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THE 

X)ran\afic peerage 

=^x 1892. K5X. 



Personal Notes 

AND 

Professional Sketches 

OF THE 

^dorg" and jSdresges k^ 

— ^ — 

COMPILED BY 

Erskine Reid 

AND 

Herbert Comfton 

(AutliorofThe Dead Maris Gift.") 



London : 
RAITHBY, LAWRENCE & CO., LIMITED, 

I IMPERIAL BUILDINGS, LUDGATE CIRCUS, E.C. 
[All rights reserved,] 



NOTE. 

The thanks of the Compilers are due to the many 
ladies and gentlemen who have corrected the sketches 
of their lives appearing in this Edition of The Dramatic 
Peerage, by which the insertion of numerous errors and 
inventions, published from time to time, has been 
avoided in the majority of the following notices. 

Careful attention will be paid to any additional cor- 
rections that may be sent to care of the Publishers. 



^^e i)ramafic j^eerage. 



Abingdon, W. L.— This popular Adelphi villain was 
born in i860, at Northampton, where, after leaving school, 
he obtained a clerkship in a bank. He early evinced a 
desire to become an actor, and with that aim in view devoted 
all his spare time to qualifying himself for a dramatic career. 
At length, hearing through a friend of a vacancy in a stock 
company at Belfast, he threw up his situation at the bank, 
and made his dibut in Ireland in 1879. On the disbanding 
of the company he was thrown on his own resources, 
and having neither interest nor family connection with the 
stage, and none of his new acquaintances volunteering to 
"help him, he wandered about the country getting what 
theatrical employment he could, and gaining more experi- 
tence than shillings. After a couple of years of this up and 
down existence, his steady perseverance attracted the notice 
■of some of the better provincial managers, and his talents 
eventually brought him to the front. Of his London suc- 
cesses his clever impersonation of John Bird in The Still 
■Alarm, and Robert Stillwood in Hands Across the Sea, in 
which he drew a finished silhouette of a cut-throat, may be 
mentioned. In the revival oi Harbour Lights at the Adelphi, 
in 1889, he and Mr. J. D. Beveridge formed a strongly 
contrasted but equally powerful brace of villains, and his 
acting in The Shaughraun, and creation of Peter Marks in 
London Day by Day, added deservedly to his laurels. As 
Captain Macdonald in The English Rose he maintained to the 
full his reputation for depicting the acme of scoundrelism. 



4 AcH 

At the close of that melodrama, Mr. Abingdon left for a 
time the Adelphi, to play his original part of Lambert 
D'Arcy in Handfasi, when that play was placed in the 
evening bill at the Shaftesbury in May, 1891. As Kopain 
in Fate and Fortune at the Princess' he had hardly enough 
to do, but what he had was done in his usually strong 
and effective manner. In October, Mr. Abingdon was 
one of the cast in the adaptation of Zola's squalid and 
repulsive Therese Raqutn, played for a single evening 
under the auspices of the "Independent Theatre" at the 
Royalty. 

Achurch, Janet. — This lady comes of a family long 
connected with the stage, her grand-parents, Mr. and Mrs. 
Achurch Ward, having been well known in the profession, 
and at one time engaged in the management of the Theatre 
Royal, Manchester. Miss Achurch was born in 1864, and 
when nineteen years old made her ddbut in a curtain-raiser 
at the Olympic Theatre. An autumn tour in the provinces 
followed, with a winter season in pantomime. She then 
joined Mr. F. R. Benson's Company, and played the lead 
in Macbeth, Othello, and other similar productions. In 1886 
she returned to London, and during that and the following 
year appeared in many leading characters in the metropolis 
and provinces, her greatest success being as Angela in 
Devil Caresfoot. In i8go she created Norah in Ibsen's play, 
A Doll's House, being the first English actress to introduce 
the Norwegian dramatist's heroines to the English stage. 
Her success was remarkable, and it was a matter for regret 
to the disciples of Ibsen that her pre-arranged departure for 
Australia (where she met with an appreciative reception) 
curtailed the run of a play that had not ceased to draw 
houses. 

Addison, Carlotta. (Mrs. Charles La Trobe.)— 
Miss Addison was born on 6th July, 1849, and is a daughter 
of Mr. E. P. Addison, formerly the proprietor of the Theatre 
Royal, Doncaster. Notwithstanding the advantages that 
her parentage gave her, she bravely commenced at the 
bottom of the profession, and worked her way upwards 
by sheer industry. Often, as a beginner, she was called 
upon to perform six parts a week, each entailing its daily 
rehearsal, at which she was expected to be letter perfect. 
Although the work was laborious, both mentally and 



Add 5 

physically, the training, and especially the rapid studying, 
was invaluable to her in after life, and the knowledge of 
this should lighten the sorrows and sighs of many a young 
and struggling aspirant. Her first speaking part was as 
the Charity Girl in Nine Points of the Law at her father's 
theatre. In i866 she came to London to try her fortune, 
and obtained an engagement with Miss Herbert at the 
St. James', appearing as Lady Touchwood in The Belle's 
Stratagem. The cast included Henry Irving, then little 
known to fame. She next shared in the production of Mr. 
W. S. Gilbert's first burlesque. Dulcamara. Shortly after- 
wards Miss Herbert revived She Stoops to Conquer, and 
being unable through indisposition to fill the part of Miss 
Hardcastle, Miss Addison assumed the rdle at twenty-four 
hours' notice, and played it without a whisper from the 
prompter. She next applied to Miss Oliver at the Royalty, 
and was engaged to play small parts and understudy the 
manageress. Here again luck smiled upon her. Miss 
Oliver fell ill, and her part devolved upon her understudy, 
who executed it so well, that during the remainder of the 
run she was left to fill it. Her next appearance was in 
Society, when it was revived at the Prince of Wales' Theatre, 
after which she played Bella in School. An engagement at 
the Gaiety followed, where she appeared in Dot with Mr. 
J. L. Toole, and this led to an invitation from handsome, 
though hapless, Harry Montague to join his company at 
the Globe. She then returned to the Prince of Wales' to 
play in The Merchant of Venice, Miss Ellen Terry being the 
leading lady. In 1875 Miss Addison reached the pinnacle 
of her popularity by her really splendid creation of Ethel 
Grainger in Married in Haste. After which she herself 
married at leisure, and was for a considerable time absent 
from the stage. She re-appeared in 1877 at the Prince of 
Wales' Theatre, playing Grace Harkaway in the revival of 
London Assurance, Mrs. Kendal and Mrs. Bancroft both 
being in the cast. Her health then gave way and she went 
abroad to recruit. On her return to work she created the 
part of Lady Dolly in Moths, and was for a short season 
at the Princess's in Harvest. A later creation has been 
that of Ruth Rolt in Sweet Lavender. In 1890 she made 
her appearance in Dream Faces at the Garrick. Miss 
Addison's sister Fanny, the well-known actress, now resides 



6 Alb 

in America, being married to Mr. Pitt, the stage manager 
of the Boston Museum. 

Albu, Annie. — Although English by birth, Miss Albu 
is of German extraction on her father's side. She displayed 
vocal talent and sang in public concerts in the North of 
England and elsewhere before she was fourteen years of 
age, when she entered the Royal Academy of Music as a 
student, and remained there five years, gaining medals 
and distinctions, and enjoying the advantages of tuition 
from Signer Manuel Garcia. Subsequently she went to 
Italy to perfect her education, and studied some time in 
Milan, and in that land of song made a highly promising 
debut on the operatic stage. Returning to England, she 
joined the Carl Rosa Opera Company, and soon obtained a 
hearing in London, with results equally satisfactory to her 
audience and herself. She then toured the provinces, play- 
ing many principal parts, and in April, 1889, in the absence 
of Miss Marie Tempest, created the title rdle in Doris. 
After this she relinquished the lyric stage for a time, and 
appeared in concerts and oratorios. In 1890 she accepted 
an engagement at the Alhambra, and here her renderings 
of ballads and operatic music were much appreciated. 

Alexander, George. (Mr. Samson.)— This enter- 
prising actor-manager is a member of a well-known mer- 
cantile Scottish family, and was born at Reading in June, 
1858, and educated at Clifton College, and Edinburgh. 
Before joining the stage he had made his mark as an 
amateur. His professional career commenced in the autumn 
of 1879 at the Theatre Royal, Nottingham, which was at that 
time under the management of Miss Ada Swanborough and 
W. H. Vernon. Success here led to an engagement with 
the "Caste" Company under Mr. Tom Robertson, which 
extended over three years in the provinces. It was, how- 
ever, his rendering of Caleb Deecie in the revival of The 
Two Roses at the Lyceum (in which he made his first 
appearance before a London public), that raised him to a 
prominent position, and on Mr. Terriss retiring from that 
theatre all his roles were entrusted to Mr. Alexander. 
Amongst other London engagements which followed were 
those at the Court and Opera Comique, where he played in 
the short run of Bondage, and at the Adelphi and Imperial, 
before he moved to the more congenial atmosphere of the 



Ayn 7 

St. James', appearing with great success in Impulse, Young 
Folk's Ways, and A Case for Eviction. He was subsequently 
chosen by Mr. W. S. Gilbert to support Miss Mary Anderson 
in Comedy and Tragedy at the Lyceum, retaining meanwhile 
his original engagement at the St. James', and later on 
playing there in The Ironmaster. To Mr. Irving's kindness 
Mr. Alexander has acknowledged a deep debt of gratitude, 
and his pleasantest experience of stage life was with that 
manager in his American tour in 1884-5, '" which, during 
Mr. Irving's indisposition at Boston, he acted Benedick, 
and won warm encomiums from the Press. In 1888 he 
appeared with great success in Macbeth, and in 1889, there 
being no suitable part for him in The Dead Heart, migrated 
to the Adelphi, playing the lead in London Day by Day. 
After this Mr. Alexander undertook the management of the 
Avenue, opening there with Dr. Bill, which ran for seven 
months. In The Struggle for Life, which he next produced, 
his acting as Paul Astier was superb. This was followed 
by Sunlight and Shadow, which he determined to transfer 
to the St. James' Theatre, of which house he became sole 
lessee and manager in January, i8gi. Sunlight and Shadow 
gave way to the The Idler, one of the few plays that obtained 
popularity in the summer season of 1891, and with it he 
achieved. a memorable success in an immemorable season. 
On its termination Mr. Alexander started for a provincial 
tour, and returned in September to the St. James', when 
The Idler resumed its place in the bills. Mr. Alexander's 
success as an actor-manager may be attributed to his 
administrative faculties, his keen sense of justice, and an 
indescribable charm of manner which influences all brought 
under his sway. He is married to a lady of French extrac- 
tion, and lives in Park Row, Albert Gate, Knightsbridge, 
in a house which on one side is separated from the Row 
only by the Park railings. He is never happier than when 
riding, driving, or handling the foils. 

AyneSWOrth, E. Allan. — it was as a member of 
the famous Hare and Kendal Company, at the St. James' 
Theatre (where he first appeared in a small part in The 
Ironmaster) that Mr. Aynesworth began his London career. 
He further increased his experience by a season with Mr. 
Tree's Company, before he accepted an offer from Miss 
Thorne to play leading light comedy parts, and was for 



8 Ayr 

some months on tour. He was next engaged to appear in 
The Dean's Daughter, with which Mr. Rutland Harrington 
■opened the St. James' Theatre, in October, 1888. When 
the Kendals commenced their season at the Court Theatre, 
in March, 1889, with The Weaker Sex, Mr. Aynesworth's 
clever acting as the Honourable George Liptott, made a 
decided hit, and on Mrs. John Wood's return to that theatre 
in July, he was again seen impersonating the type of fatuous 
swell as Lord St. John Brompton vl\ Aunt Jack. Since then 
he has further added to his reputation as Brooke Twombley 
in The Cabinet Mhiister. As Richard Webb in The Late 
Lamented, it would be difficult to find a character better suited 
to the powers of one whose clever impersonations of modern 
masherdom are amongst the best on the London stage. 

Ayrtoun, Margaret. — Miss Ayrtoun's dibut was 
made in a minor part at the Haymarket in 1884, in a 
revival of The Rivals. She then set herself to study her art, 
and worked hard under Mrs. Dallas Glyn, Mrs. Chippen- 
dale, and Mr. H. Wigan, after which she practised in the 
provinces, touring with Miss Sarah Thome's Company, 
and continuing in the country for a long educational course. 
In 1887, Mr. Edouin engaged her for the Strand to play 
iij the burlesque of Airey Anne, and there was a touch of 
something like genius in her parody of Mrs. Bernard 
Beere's Ariane. In 1890, as Flora Tra-la-la-Tosca at the 
Royalty, she again burlesqued the same original — perhaps 
too faithfully, for the vivid realism of her agony almost 
belonged to actual tragedy. It is a pity that burlesque is 
in its decadence, for Miss Ayrtoun is decidedly one of its 
cleverest exponents on the modern stage. In 1891, Miss 
Ayrtoun was engaged for the part of Mrs. Christison in The 
Dancing Girl at the Haymarket, both in the summer and 
autumn season. 

Bancroft, Marie Effie.— Passing dear to all 
old playgoers is the lady who charmed hearts without 
number under her maiden name of Marie Wilton. Mrs. 
Bancroft is the eldest daughter of the late Robert Pleydell 
Wilton, a gentleman who belonged to a well-known 
Gloucestershire family of that name, and who himself 
followed a theatrical career, although he attained to no 
great eminence in it. Perhaps it was from him that his 
daughter inherited that love of acting which, at an age 



Ban 9 

when most young ladies are occupied in praiseworthy 
attempts to illustrate the maxim that "little children should 
be seen, not heard," enabled her to make herself both heard 
and seen in children's parts on the provincial stage. This 
was in September, 1856. A little later Miss Wilton made 
her debut on the London stage at the Lyceum Theatre, 
under the management of Charles Dillon, undertaking the 
boy's part of Henri in the drama of Belphegor, and at the 
same time, through the indisposition of another actress, 
assuming the rdle of Perdita in Mr. Brough's burlesque of 
that name. For the next nine years burlesque and extrava- 
ganza claimed her, first as a pupil, then as a consummate 
mistress, during which period she appeared at the Strand 
and other theatres. Even so far back as 1858 there was one 
who "saw her and marked a star," and whose divination 
of her talents must form a proud page in Mrs. Bancroft's 
memory. This is what Charles Dicken s wrote in December 
of that year : "I escaped at half-past seven and went X61 
the Strand Theatre, having taken a stall beforehand — for 
it is always crammed. There is the strangest thing in it 
that I have ever seen on the stage, in the Maid and the 
Magpie burlesque. The boy, Pippo, by Miss Wilton, while 
it is astonishingly impudent (must be, or it couldn't be 
done at all), is so stupendously like a boy, and unlike a 
woman,- that it is perfectly free from offence. I have never 
seen such a thing. Priscilla Horton as a boy not to be 
thought of beside it. She does an imitation of the dancing 
of the Christy Minstrels — wonderfully clever — which/ in the 
audacity of its thoroughgoing, is surprising. A thing you 
cannot imagine a woman doing at all ; and yet the manner, 
the appearance, the levity, the impulse and spirit of it, are 
so exactly like a boy that you cannot think of anything like 
her sex in association with it. It begins at eight and is 
over by a quarter past nine. I have never seen such a 
curious thing, and the girl's talent is unchallengeable. I 
call her the cleverest girl I have ever seen on the stage in 
my time, and the most singularly original." The young: 
girl with the "unchallengeable talent" was not long in 
establishing herself as a leading favourite on the London 
stage, and for ten years held the monopoly of the " Sacred 
Lamp." This brings Miss Wilton's career to 1865, when 
she first entered into management — a responsibility less 



lo Ban 

irresponsibly assumed in those days than in these. Joining 
her fortunes with the late H. J. Byron, the dramatist and 
actress leased a somewhat squalid little theatre, then known 
as the Queen's, and situated in the ultima Thule of the 
Tottenham Court Road. Their first joint exploit was their 
happiest — they re-named it the Prince of Wales'. Then 
they launched the barque of burlesque. L'komme propose — 
in this case Byron and burlesque : with the best intentions, 
too, and supported by a prestige that almost discounted 
success. But Dieu dispose, and neither Byron nor burlesque 
could sail into the sea of success. But out of the failure 
came Robertson and refinement. Assuredly a propitious 
failure that led to such an alternative ! For of the many 
dramatic departures of the latter half of the nineteenth 
century none have been so singularly reformatory and 
epoch-making as that which was now in motion. When, 
on that eventful night in November, 1865, the green curtain 
rolled up, it was not merely on a new play called Society, 
but on a new era in the annals of the stage. Robertson 
refined the British drama, and the Bancrofts reformed it — 
it was a conjunction of literary and artistic genius that 
ended in the happiest results. It swept aside the cobwebs 
of tradition, and introduced improvements that had never 
been dreamed of before. The coarseness and cloddishness 
of ancient British drama gave way' to artistic grace and 
delicacy, which took root and grew and increased, until it 
made the modern stage the mould of fashion and the glass 
of form. Society was followed by Caste, Play, School and 
M.P., and Mr. and Mrs. Bancroft's acting (for Marie Wilton 
had married by this time) soon made the Prince of Wales' 
Theatre the most fashionable and crowded in London until 
the year 1880, when they emigrated to the Haymarket. 
On the reconstruction of the interior of this house they 
expended a very large sum of money, and made it the 
handsomest theatre of its size in Europe. On the 31st 
January, 1880, it was opened with a revival of Lord Lytton's 
comedy of Money. It was soon apparent that the prestige 
of the Prince of Wales' had been transferred to the Hay- 
market, where the same conscientious attention to detail, 
and the same earnest and thoughtful acting, brought a 
similar meed of success. Behind the wings, as well as in 
front of the house, refinement ruled ; a liberal scale of 



Ban II 

salaries attracted capable exponents for the smaller parts ; 
the mounting of the plays and the costuming of the players 
left nothing to be desired ; and the bills were singularly 
devoid of capitals in advertising the cast, for the star 
system was practically abolished, and individual merit 
allowed a full scope and an equal share of notice. It would 
require more space than the limits of this sketch permit to 
record how deeply the stage is indebted to Mr. and Mrs. 
Bancroft for these innovations, which assured free trade 
and no favour to every aspirant to fame. It is sufficient to 
say that they share with Henry Irving the proud distinction 
of having reformed British drama. Of the numberless 
creations with which Mrs. Bancroft's name is associated 
perhaps those that stand out brightest are her inimitable 
Polly Eccles in Caste, Naomi Tighe in School, Jenny North- 
cott in Sweethearis, Lady Franklin in Money, her fresh and 
original Lady Teazle, and her wonderfully powerful imper- 
sonation of Countess Zicka in Diplomacy. But when one 
recalls the glowing past it seems almost invidious to 
particularise any dramatic creation in the career of one who 
nihil qtiod tetigit nan omavit. In July, 1885, after twenty 
years of brilliant and continuous success, Mr. and Mrs. 
Bancroft retired from management. Their farewell perform- 
ance gave evidence — if any evidence were necessary — of the 
intense affection and respect with which they were regarded 
by the public and the members of their own profession, 
who recognised how great a loss to the theatrical world 
was involved in their withdrawal from an arena in which, 
at some time or other, nearly every leading actor or actress 
of the present day had appeared under their rdgime. The 
consolation remains that, although Mrs. Bancroft has 
severed her connection with management, she will still from 
time to time be seen on the boards, and her reappearance, 
however occasional, will be a signal for a host of old and 
faithful admirers to rally to the doors when ' ' Marie 
Wilton's " name is once again in the bills. 

Bancroft, Squire B. — This finished actor and suc- 
cessful theatrical manager, was born near London, in 1841, 
and educated at private schools in England and France. 
Upon the death of his father, his mother was left with 
a family to support, of whom Squire was the eldest, and 
he was obliged at an early age to earn his own living, 



12 Ban 

and with that end in view visited America ; but failing to 
secure an opening there, returned to England, and after 
writing many unsuccessful letters to different managers, most 
of which were never replied to, obtained an interview with 
Mr. Mercer Simpson, then running the Theatre Royal at 
Birmingham, who took a fancy to the shy good-looking lad 
of nineteen and engaged him. A few days later he appeared 
as Lieutenant Manley in Si. Mary's Eve, on a salary of one 
guinea a week. Several other engagements followed at 
Dublin and Liverpool, where he acted in a very wide range 
of character with the leading players of the day. His first 
appearance on the London stage was in April, 1865, at the 
Prince of Wales' Theatre, then under the management of 
the late Mr. H. J. Byron and Miss Marie Wilton, a lady 
whom he had previously met in the provinces, and whose 
husband he was destined to become. In each of Mr. T. W. 
Robertson's popular comedies, brought out at this theatre, 
Mr. Bancroft created a character, and the distinct individu- 
ality and artistic truthfulness to life of his acting gave rise 
to the now familiar expression "Bancroft Parts." In 
December, 1867, Mr. Bancroft married Miss Marie Wilton, 
and from that time shared in the management of the Prince 
of Wales' Theatre, rapidly developing eminent powers of 
stage organisation and direction. Among the many char- 
acters subsequently impersonated by Mr. Bancroft may be 
mentioned Sir F. Blount in Money, Joseph Surface in The 
School for Scandal, Triplet in Masks and Faces, Sir George 
Ormond in Peril, Dazzle in London Assurance, Blinkinsop 
in Ati Unequal Match, and Count OrlofF in Diplomacy. 
This successful management over, Mr. and Mrs. Bancroft 
opened the Haymarket, on January 31st, 1880, where they 
remained nearly six years. Upon the expiration of their 
splendid career in that historical house, they decided 
to retire from the cares of management ; and with this 
ended the most eventful epoch of theatrical undertaking, 
with the single exception of Mr. Irving's, that the present 
generation of playgoers has seen, and the good influence of 
which is felt to this day on the stage. In September, 1889, 
Mr. Bancroft emerged from his retirement, at the invitation 
of his friend Mr. Irving, and was once more seen on the 
London stage as the Abb6 de Latour in The Dead Heart, 
receiving a most enthusiastic welcome after his long absence. 



Ban 



13 



Throughout the play his acting was worthy of his reputa- 
tion, particularly so in his duel scene with Robert Landry. 
One of Mr. Bancroft's secrets of successful management lay 
in his unselfishness as an actor. He and his wife sur- 
rounded themselves with the finest talent to be found in the^ 
profession, and frequently contented themselves with 
subordinate parts where the success of the piece would gain 
by a particular character being entrusted to other hands^ 
In private life, Mr. Bancroft is an enthusiastic bric-a-brac 
collector and a lover of old oak, and spends much of his 
time and money in sale rooms and old curiosity shops, 
where, thanks to a critical eyeglass, he has established a 
reputation as a connoisseur of no small craft. In 1888, in 
collaboration with his wife he published ' ' Mr. and Mrs. 
Bancroft on and off the Stage," a book full of well told 
reminiscences, which enjoyed an enormous sale, and passed 
into many editions. 

Banister, Ella.. — This young lady is anative of jersey, 
U.S., and made a successful debut in Mr. Dion Boucicault's 
Company at New York, in 1886. She then joined Miss 
Rosina Vokes, and played in The Schoolmistress and Caste. 
Coming to England in 1888, she first appeared before a 
Vaudeville audience in Fascination, which was followed by 
a tour in the provinces with Mr. Chatterton's Company. 
Returning to town she played Lady Flutter in Joseph's 
Sweetheart at the Vaudeville, accompanied Mr. Thomas 
Thorne on his country tour, and followed him back to his 
London house, where she was allotted the part of Hetty 
Bedford in Clarissa, and played it with intelligence and 
sympathy. 

Barnes, J. H. — This handsome actor, who commenced 
business life in W. W.'s establishment in Westbourne 
Grove, made his first appearance on the stage at the Lyceum 
in 187 1, in a small part in The Bells. Various provincial 
engagements followed, till in 1874 he accompanied Miss 
Neilson to America, and in the summer of the following 
year formed one of her company during her tour in Canada. 
In September, 1883, Mr. Barnes appeared again at the 
Lyceum in the title role of Ingomar, when Miss Mary 
Anderson was first seen in England, and continued to play 
the lead in all her repertoire during that successful visit, 
and accompanied her back to America. When Antoinette 



14 Bar 

Rigaud was played by the Kendals at the St. James' in 1886, 
Mr. Barnes' acting as Rigaud received the greatest praise. 
In 1887 he joined Miss Grace Hawthorne at the Princess', 
and went with her to America. Soon after his return to 
London in the autumn of 1889, he appeared at the Princess' 
in Proof, and further increased his reputation by his 
pathetic rendering of Jem Burleigh in Master and Man. In 
the following year Mr. Barnes played for a season at the 
Grand, where, among other parts, he appeared in his 
original character in A Convict's Wife. This was followed 
by a series of provincial engagements. 

BarraclOUgh, Sydney. — This rising young actor 
was born in Yorkshire in 1869, and seven years later became 
a chorister boy at Peterborough Cathedral, where he sang 
for five years. He next obtained a three years' scholarship 
at New College, Oxford, and sang the solos in the chapel 
most exquisitely. He then came to London, and for a few 
months appeared at concerts and in oratorios. Passionately 
fond of music, and equally ambitious for histrionic fame, he 
determined to enter the dramatic profession at the bottom 
of the ladder and push his way up to the lyric stage, and 
in May, 1886, accepted a place in the chorus at Drury Lane 
Theatre in Frivoli, and later on a similar post in La Bdarnaise 
at the Prince of Wales'. From 1887 to 1890 he played 
light comedy parts under various managers in the provinces, 
one of these engagements being with Mr. Willie Edouin as 
Montague Drury in Run Wild (April, 1889), who, spotting 
him as a coming man, gave him the part of Clarance Vane 
in his Our Flat Company on tour. When Turned Up was 
revived at the Strand (February, 1891,) he engaged Mr. 
Barraclough to play the part of Nod Steddam. Subse- 
quently he appeared at that theatre as Fred Danby in Our 
Daughters and Claude d'Elmont in A Night's Frolic, and 
also in The Late Lamented. Mr. Barraclough is still studying 
singing under Mr. Neville Hughes, and has a really beau- 
tiful baritone voice. Of Mr. Edouin's kindness and assist- 
ance he speaks in the warmest terms, and under his foster- 
ing care should soon make a mark on the London stage. 

Barrett, George. — Mr. Barrett, whose acting always 
exhibits careful study, humour and finish, was born at Clare, 
near Esham, Suffolk. When fifteen, he entered the office 
of a firm of printers in Fleet Street, and remained there till 



Bar 15 

he learnt his business. Like his brother, Wilson Barrett, he 
had an inborn desire to become an actor, and at last obtained 
an engagement at the old Theatre Royal, at Durham. He 
next joined a stock company at Aberdeen, as second low 
comedtan and comic singer, and remained with it two 
seasons, during which time he played at several of the larger 
towns in Scotland. Then followed a long and hard period 
of knocking about, getting what few engagements he could 
in any part of the country, until he obtained an opening at 
the St. James' Theatre, and there made his ddbut on the 
London stage. Soon afterwards he received an offer to 
play at Calcutta for the season, and during his stay in 
the East appeared twice before the Prince of Wales, who 
was visiting India. On his return to England he played at 
the Criterion, and later on appeared as Bailie in Les Cloches de 
Comeville, a character he acted with a wonderful brilliancy, 
perhaps only surpassed by his success in Pink Dominoes. 
He next became a director of. one of Mr. Wilson Barrett's 
principal provincial companies, and after this appeared in 
The Lights 0' London, produced at the Princess's in 1881, 
and scored a distinct success in the character of the old 
showman. Since then he has completely thrown in his lot 
with his brother, and taken an important part in all of the 
plays produced by the latter both in England and abroad, 
meeting everywhere with that demonstrative reception 
accorded to established public favourites. Mr. George 
Barrett's broad comedy is always an admirable supplement 
to his brother's romantic style of acting. 

Barrett, Wilson. — This eminent tragedian was 
boni in 1846. His parents were persons of very strict views, 
and he was never allowed to enter a theatre during his 
youth, yet he was stage struck from a very early age, and 
discounted this weakness in a practical way by commit- 
ting to memory the whole of Hamlet and Othello, before 
he was eleven years old. In due time he donned the buskin 
and ascended the stage, playing utility at Halifax Theatre, 
Yorkshire (1864), at the modest honorarium of a guinea a 
week and " find his own props." Shortly after this a piece 
of good luck befel him, for one evening the leading juvenile 
having incautiously miscalculated his capacity for innocu- 
ously imbibing stimulant, was unable to play his part, and 
Barrett promptly tendered his services. They were gladly 



1 6 Bar 

accepted by the manager, and so successfully did he acquit 
himself, that he was shortly raised to the dignity of "respon- 
sibility." His career had now fairly commenced, and he 
travelled the dusty high road of the profession in a tour 
through the northern provinces, meeting with such appre- 
ciation that he determined to attempt stage management, 
and opened on his own account at Burnley, in Lancashire, 
but was quickly compelled to return to the rank and file 
of the profession. He next appeared at the Theatre Royal, 
Nottingham, in 1868, then under Mr. Saville's sway, 
drawing, for the representation of leading parts, a salary of 
twenty-seven shillings and sixpence a week, "with an extra 
half-crown thrown in for playing harlequin." Even At this 
modest figure he was one of the best paid members of the 
company. About this time Mr. Barrett married Miss 
Heath, and together they played with such success that an 
engagement was soon offered them at the Surrey Theatre, 
where Mr. Barrett made his first appearance before a London 
audience in East Lynne. In 1874, he became lessee of the 
Amphitheatre, Leeds, where he remained two years till it 
was burnt down. He then boldly undertook the manage- 
ment of the Princess's Theatre, London, opening ■<m.t\\Jane 
Shore. In 1879, he removed to the Royal Court Theatre, 
following Mr. Hare's famous tenancy of that house, and 
here he and his wife played the lead for a season. In the 
spring of 1881, he again returned to the Princess's, and 
obtained a notable success in G. R. Sims' play The Lights 0' 
London. This was followed by the Romany Rye (1882), 
Claudtan {1882), Chatterton {188^), Headman Blind (188^), 
and other plays. In 1884 he also produced Hamlet, and 
his rendering of that character provoked much comment 
and more praise. It ran a long time to the average nightly 
receipts of ;^ 180. In i886, he made the grand tour of the 
States, starring with Miss Eastlake, and drawing as much 
as ;£^2,7oo gross receipts per week. In 1887, he returned 
to London, and produced, in collaboration with Mr. G. R. 
Sims, The Golden Ladder, and with Mr. Hall Caine, 
Good Old Times. A provincial season followed, and then 
some farewell performances of his most successful plays at 
the Princess's, preceded his departure to America. In 1890, 
he was once more back again in England, and opened the 
New Olympic Theatre, which was built on the ruins of the 



Bar 17 

old historic home of melodrama. Here in December, 1890, 
Mr. Barrett produced The People's Idol, in which Miss 
Emery appeared as leading lady. The play failed to attract, 
and in January, 1891, The Silver King was revived, to be 
soon followed by The Lights o' London and Hamlet. In 
April, Mr. Barrett produced a new adaptation of La 
Paillasse from his own pen, under the title of The Acrobat. 
On the first night the gods in the gallery demonstrated in 
favour of the abolition of fees, and Mr. Wilson Barrett 
cleverly improved the occasion by promising a free pro- 
gramme for the future. But in spite of this bid for 
popularity, financial success came not. During the rest of 
his term in London the bill was constantly changed, and 
finally the curtain fell in May, on the last scene of The 
Silver King, and closed an unfortunate season. Mr. 
Barrett is gifted with a wonderful memory, a fine and 
commanding stage presence, a pleasing voice, and great 
powers of elocution. He is the father of three daughters, 
who in 1890 entered into fashionable commerce under the 
pseudonym of "Elita et Cie," and at their establishment in 
Bond Street the dresses for The People's Idol and sub- 
sequent plays were designed and executed. 

Barrington, Rutland. (Mr. George Rutland 
Fleet.) — -"Pooh-Bah" was born in 1853. Educated at 
Merchant Taylor's School, and intended by his father for a 
commercial life, Mr. Barrington's predilections for the stage 
led him to risk the -svrath of his relations, and accept an 
engagement in 1873 to play in Lady Clancarty, under Mr. 
Neville's management at the Olympic, and he subsequently 
appeared there in such melodramas as The Ticket of Leave 
Man and The Two Orphans. Early in 1875 he joined Mrs. 
Howard Paul, and assisted at her entertainments for nearly 
four years. In 1878, he became a member of Mr. D'Oyly 
Carte's Company, then settled at the Opera Comique, 
and played with inimitable humour Dr. Daly in The 
Sorcerer. Migrating with it to the Savoy, he sustained 
leading parts in Pinafore, Patience, and The Pirates of 
Penzance, and in the latter, as the Sergeant of Police, 
displayed to the full the resources of an excellent voice. 
Then came The Mikado and the creation of Pooh-Bah, and 
following it a share in that qualified success, Ruddigore. 
After this Mr. Barrington played in several revivals of old 



1 8 Bar 

operas until October, 1888, when he left Mr. D'Oyly Carte's 
Company to undertake the management of the St. James' 
Theatre. His lesseeship, to the sincere regret of everyone, 
proved unsuccessful, and subsequently involved frequent 
visits to Portugal Street. With the exception of a few 
matinees Mr. Barrington did not secure an engagement till 
he once more found a place on the Savoy boards, on the 
production of The Gondoliers in December, 1889, which ran 
till June, 1 89 1, when with it was ended the memorable series 
of Gilbert-Sullivan operas, played in unbroken succession 
for over twelve years by Mr. D'Oyly Carte's Company. 
Such a run of conspicuous success in one line of business 
stands out alone in the history of the English stage, and 
affords a brilliant proof of the beauty of the music, the 
excellence of the libretto, and the exquisite stage mounting 
of each of these charming operas. After The Gondoliers — 
rather a long way after — came The Nautch Girl, in which 
Mr. Barrington enacted the part of Punka, the Rajah of 
Chutneypore, and it is not too much to say that he stood 
out — as a Rajah should do — high above everyone else. 
Mr. Barrington is devoted to all sports, and is the winner 
of many cups for hurdle racing, football and lawn tennis. 
A noted bat, he has been thrice elected captain of the 
Thespian Cricket Club. His house in Grosvenor Road is 
one of those few bits of old London still left ; set back 
from the road with a quaint little garden in front, and 
looking straight on to the Embankment and across the 
muddy Thames. Here in his studio the genial actor and 
enthusiastic artist spends much of his spare time, and 
turns out many charming landscapes. It is in this room 
also, amid clouds of tobacco, that his numerous friends 
have oft collected for a quiet rubber. Mr. Barrington 
enjoys a salary of ;^25 a week, and supplements his 
income by afternoon engagements to amuse society ; in 
these he is generally supported by Miss Jessie Bond, with 
whom he has long shared the leading honours at the 
Savoy. 

Barry, Shiel. — Mr. Shiel Barry passed his boyhood 
in New South Wales, and in 1859, when sixteen years old, 
played his first part on the boards of a small theatre at 
Paramatta. Joining a wandering company, he travelled 
with it through the Colonies, and after many adventures. 



Bed 19 

worked his way to England, where for a time he knocked 
about in nearly every town in the United Kingdom with 
various entertainments, and theatrical companies of high 
and low degree. At length he obtained a footing on the 
London stage, appearing as the Doctor in Dion Boucicault's 
^p\a.y Rapparee at the Princess's, in September, 1870. When 
Mr. Chatterton became manager of the theatre, Mr. Barry 
acted under him for several months. He then accompanied 
Mr. Dion Boucicaiilt to America, visiting the United States 
and California, and later on joined an excellent dramatic 
company which starred the West Indies and adjacent 
Colonial possessions. Returning to New York, he met 
Mr. Dion Boucicault again, and accompanied him to 
England in order to play Harvey Duff in The Shaughraun, 
at Drury Lane, and on the play being subsequently trans- 
ferred to the Adelphi, migrated with it. At the conclusion 
of this successful Irish drama, he joined Mr. Charles 
Sullivan in a company they took round the provinces. He 
next appeared at the Queen's Theatre, and in 1880 moved 
to Tooles', then known as the Folly. Soon after this he 
was cast for the Miser in Les Cloches de Comeville, an opera 
which ran with enormous success in London until the 
spring of 1883, when, in conjunction with Mr. Hogarth, he 
bought the acting rights. In 1889, he played the Evil 
Demon in Cinderella, at Her Majesty's Theatre, and in the 
autumn of the next year, appeared as Chickanaque in The 
Black Rover at the Globe. Mr. Shiel Barry's name is as 
closely identified with Jaspard the Miser in Les Cloches de 
Comeville — a part he has acted more than 3,000 times — as 
Mr. Jefferson's is with that of Rip Van Winkle. 

Bedford, Henry. — After leaving Christ College 
Hospital, where he was a contemporary of William Terriss, 
Mr. Bedford served an apprenticeship as an artist and 
wood engraver ; and for some years acted as an amateur 
and gave recitations all over the country, before he turned 
his attention to the stage as a profession. It was not long 
before he made his mark as an actor, and was soon 
engaged to play leading parts at Greenwich and New 
Cross, where, as a local favourite, he established a great 
reputation. His first appearance at a London theatre was 
at the Surrey, playing Bob Brierly in The Ticket of Leave 
Man. After a tour with his own company, Mr. Bedford 



20 Bee 

was engaged by Mr. John Douglas for a series of London 
engagements, during which his creation of Stephen Norton 
in The Dark Secret induced the St. James' management to 
engage him for Scum Goodman in Clancarty. Mr. Bedford 
then went on tour with Messrs. Hare and Kendal to play, 
in addition to the last-named character, the part of Victor 
de Riel in Impulse. Mr. Bedford then became stage 
manager to Mrs. Oscar Beringer through her first tour 
with Little Lord Fauntleroy. At Toole's Theatre, in 1890, 
he appeared as Peter Flagan in The Solicitor, and also in 
a clever little curtain-raiser The Bailiff, the success of 
which was mainly due to the skill and life which he 
threw into the character of Benjamin Grattan. More 
recently Mr. Bedford created the part of Sam Swogg in 
Fate and Fortune at the Princess', and played the Sergeant 
in Arrah-nor-Pogue which followed. Always a finished actor, 
his bye play on the stage is invariably worth studying. 

Beerbohm-Tree, Herbert. — The present mana- 
ger of the Haymarket Theatre — the Apostle of the Policy 
of Progress on the stage — is the grandson of Herr Ernest 
Beerbohm, a large landed proprietor, who at the beginning 
of the present century carried on the business of a timber 
merchant at Bernsteinbruch, on the shores of the Baltic. 
Fifty years- ago his second son, Julius, settled in London, 
and founded a profitable business in the grain trade, and to 
him was born in 1853 the subject of this notice. Educated 
partly in England and partly in a school at Schnepfeuthal 
(where subsequently the Princes Alexander and Henry of 
Battenberg were pupils), Mr. Beerbohm-Tree, in order to 
avoid the conscription, entered his father's London office in 
1870. Shortly afterwards he became a member of The 
Irrationals, A.D.C., and assumed the stage name of "Tree," 
and as a member of that Band achieved local fame. At 
length he determined to make the stage not only his pastime 
but his profession, and made his dibut in 1878, in the 
character of Grimaldi, at a matinie given at the Globe 
Theatre in aid of the Stafford House Fund. His success 
was so great that, beside obtaining complimentary press 
notices, he received several offers from managers for pro- 
vincial engagements, and at once joined the regular ranks 
of the profession. For the next five years he played at 
least a hundred different parts in a hundred different plays, 



Bee 21 

but without making any startling- sensation, until he hap- 
pened by good luck to meet at a supper party at Blooms- 
bury a meek and mild curate, just at the time when he was 
rehearsing the character of the Rev. Robert Spalding, in 
The Private Secretary. Him he annexed, and so splendid 
was his dramatic reproduction of that gentle gentleman, 
that it even triumphed over adverse press criticisms of the 
piece itself, and transformed a condemned comedy into a 
phenomenal success. After a few months he surrendered 
his part to Mr. W. S. Penley, being engaged to play the 
character of Macari, in Called Back. No two parts more 
unlike each other could be instanced than these which he 
played in succession, and yet he was equally successful in 
both. Later on, in his clever conception of the German 
swindler in Jim the Penman, he added a Teutonic reality to 
the impersonation, which was highly effective, and in 
keeping with the character. In April, 1887, Mr. Beerbohm- 
Tree undertook the lesseeship of the Comedy Theatre, 
opening with The Red Lamp, in which he played the role 
of Paul Demetrius ; and in September of that year trans- 
ferred his management to the Haymarket, where he has 
established a claim to public gratitude by the excellent plays 
he has from time to time produced, and in many of which 
his wife ably assists him. In the spring of 1891 Mr. 
Beerbohm-Tree tried the novelty of Monday matinies, in 
order to keep his company fresh by acting a change of 
parts during the long run of a piece, and the plays brought 
out met with appreciation at the hands of press and 
public. At the end of June he was unfortunately compelled 
to break the run of The Dancing Girl, through having 
made arrangements for a long provincial tour. The success 
of this play stands out unrivalled in the disastrous summer 
season of 1891, when the West End theatres experienced 
collectively the ' ' worst business '' ever known of late years. 
It was during this tour at the Theatre Royal, Manchester, 
in September, that Mr. Beerbohm-Tree first acted Hamlet. 
His reading of the character, which gave evidence of 
originality of conception in many important points, was 
most favourably received, as was the acting of the 
company generally. Mr. Beerbohm-Tree's long promised 
production of the play in London is now more eargerly 
looked forward to than ever. Mr. Beerbohm-Tree is a 



22 Bee 

nephew of General Von Unruh, who was for sixteen years 
aide-de-camp to the late Emperor William I. of Germany, 
and is also connected by marriage with General Von Pape, 
who bore the standard at the funeral ceremony of that 
Sovereign. He is a strong and strenuous advocate for 
the actor-manager doctrine, and has on more than one 
occasion emphasised his views in black and white. He 
lives in Cavendish Street, and is devoted to a little 
daughter who was born in 1885. He is a great reader, 
and the proud possessor of an old oak coffer, given him 
by Lady Wantage, in which at various times David 
Garrick, John and Charles Kemble, and the Elder Mathews 
kept their theatrical wardrobes. 

Beerbohm-Tree, Maud. — No one could imagine 
that the fragile and delicate-looking lady, whose sweet 
rendering of songs is often so charming a feature of the 
plays she is engaged in, is a profound classical and mathe- 
matical scholar, who grapples gracefully with Greek, treats 
Trigonometry as a trifle, and whose library bristles with 
editions of Homer, Xenophon, Plato, Todhunter, Cherubini, 
and Colenso, relieved only by the poetical works of Robert 
Browning and Matthew Arnold. Yet such is the case. 
Mrs. Beerbohm-Tree {ned Maud Holt) was educated at 
Queen's College, where she cultivated a passion for classics, 
and acted in a Greek play before Mr. Gladstone. In 1884 
she married, and with a connubial adaptability to circum- 
stances, determined to follow her husband's profession. 
Under his tuition she made her first appearance as Hester 
in the Millionaire, since which she has gained a large 
measure of popularity. One of her earliest efforts was her 
bright and happily-conceived rendering of Lady Betty Noel 
in Lady Clancarty at the St. James'. In September, 1887, 
Mr. Beerbohm-Tree opened his phenomenally successful 
management of the Haymarket Theatre with The Red 
Lamp, and his wife fairly astonished her audience by the 
power and subtlety of her performance as Princess Claudia 
Morakoff. Since then she has been seen in many lead- 
ing characters, such as Desdemona, Stella Darbisher in 
Captain Swift, Sweet Ann Page (in which she sang, 
" Love laid his weary head," exquisitely), Princess Claudia 
Morakoff in The Red Lamp, and in The Hobbyhorse, and 
more latterly as Dorothy Musgrave in Beau Austin. In the 



Bee 23 

autumn of 1891 she accompanied her husband on his 
provincial tour. 

Beere Bernard, Mrs. — This powerful tragidienne 
was born in Norfolk, and is the daughter of Mr. Wilby 
Whitehead, an artist of reputation, who was a friend of 
Dickens and Thackeray. The latter stood godfather to the 
subject of this sketch, who has many interesting recollec- 
tions of both the great authors to relate. Early in life she 
was married to Captain E. C. Bering, eldest son of Sir 
Edward Bering, a Kentish baronet, and brother to Mr. Henry 
Neville Bering, a gentleman well-known in the diplomatic 
service and now heir to the title. On her husband's death 
a predilection for acting induced her to turn her thoughts to 
a dramatic career, and to Mr. Herman Vezin belongs the 
credit of having trained an apt pupil for the stage. Her 
debut was made at the Opera Comique with success, whilst 
her subsequent representation of Julia, at the St. James's 
Theatre, stamped her as an actress of more than ordinary 
power, and she was soon playing leading roles with the 
Chippendales in London and the provinces. To Mr. and 
Mrs. Bancroft, also, she owed much for both personal and 
professional assistance. The apotheosis of her fame was 
reached in 1886, when her conception of F4dora took the 
playgoing world by storm, and her rendering of the part 
has often been advantageously compared to the assumption 
of the same character by her friend and rival, Madame 
Sarah Bernhardt, whose photograph in this character adorns 
Mrs. Bernard Beere's sanctum, inscribed with the happily 
conceived epigram "La Princesse FMora Bernhardt a la 
Princesse FMora Bernard, mille amities sinceres." In 1887, 
Mrs. Bernard Beere appeared as Lena Despard in As in a 
Looking Glass, and in 1888 undertook the management of the 
OperaComique, reviving Masks and Faces, inwhich her acting 
in the part of PegWoffington (a character percuHarly suited 
to her personality and powers) was rendered more impressive 
by the fine contrast with Mr. Henry Neville's Triplet. One 
of her best creations, which should not be omitted, is that of 
Ariane. Early in 1889 Mrs. Bernard Beere appeared as Mrs. 
Sternbolt in Still Waters Run Deep at the Criterion, and at 
the end of that year Mr. Hare secured her services (at a 
salary of ;£^8o a week), for the part of Floria Tosca in La 
Tosca, to the Scarpia of Mr. Forbes Robertson. In this 



24 Bel 

play she rose with all the strength of inherent genius to the 
heavy and difficult demands of the character, confirming 
her reputation as a tragedy actress of the highest order. 
Mrs. Bernard Beere possesses afine imposing stage presence, 
her face is full of power and dignity, whilst her movements 
are the symbolisation of grace, as witness the gavotte she 
dances in the second act of Masks and Faces. When on the 
stage she seems to fill it, and her rich melodious speech 
lends itself- to the expression of emotion and feeling. She 
has a full mezzo-soprano voice of singularly sweet quality ; 
writes with a facile pen, her contributions being often in 
the magazines ; and is a well-known visitor at Monte 
Carlo, playing at the green tables with a dash and audacity 
that has often been rewarded with success. Her dresses 
on the stage are quite unique in their fashion^ but she 
succeeds in carrying off, as to the manner born, costumes 
which would perhaps appear bizarre on ordinary women. 
She resides at Church Cottage, a little house, enclosed in 
high walls, and next door to the well-known church in the 
Marylebone JRoad, where she has surrounded herself with 
all that is beautiful and artistic. Amidst an almost incon- 
ceivable wealth of ornaments and knick-knacks, the souvenir 
which finds the most honoured place is a horse shoe, picked 
up by the Prince of Wales at Sandringham, and sent her 
"for good luck." Unhappily the strain of acting in Zfl 
Tosca early in 1890 proved too severe, and resulted in a long 
illness, from which she recovered very slowly. It was not 
until the autumn season of that year that she reappeared 
on the stage, resuming her old character in Still Waters 
Run Deep at the Criterion. After the death of her first 
husband Mrs. Bernard Beere was married again to the 
gentleman whose name she now bears. In October, 1891, 
Mrs. Bernard Beere sailed for America to fulfil a long 
engagement. 

Bellew, Harold Kyrle. — This actor is the youngest 
son of the late Rev. J. C. M. Bellew, the well-known public 
reader and reciter. Mr. Kyrle Bellew passed part of his 
early life in the Mercantile Marine, and then entered a firm 
of shipbrokers, but disliking office life, again went to sea. 
On his return he conceived the idea of going on the stage, 
and even had an off^er from Mrs. Rousby, to play in her 
company in London, but was obliged to decline it as his 



Ben 25 

father positively forbade the idea. He then sailed for 
Australia where he tried his hand as a lecturer, but that 
proving unremunerative, he joined Kreifmayer's Wax Works 
at Melbourne, only to find within seven weeks that financial 
difficulties necessitated the final winding-up of the Show. 
He then had a shot at gold-digging, and later on joined the 
Press and remained on it for three years. In 1875 his father 
died, and he returned to England. In August, of the same 
year, he first appeared on the stage in England at the 
Theatre Royal, Brighton, and soon made his London dibut at 
the Haymarket Theatre, where he was subsequently engaged 
for three years. In 1879, he joined Mr. Irving's Company 
at the Lyceum, and later became a member of Miss Litton's 
Company at the Imperial Theatre. Among the numerous 
characters he has created, must be mentioned his Jacques 
Rosny in Civil War at the Gaiety (1887), arid his Pedro in 
Loyal Love, which followed. During this engagement Mrs. 
Brown-Potter also appeared at the Gaiety, and in the 
autumn of i888, she and Mr. Bellew started for a two 
years' Australian tour which proved a considerable success, 
and induced them to visit India before returning to London 
in 1891. 

Benson, F. R. — Mr. F. R. Benson is the son of the 
late William Benson of Langtons, Alresford, Hants., and 
matriculated in 1878 at New College, Oxford. Here he 
devoted his energies to athletics and theatrical representa- 
tions, and organized and acted in the Greek Plays given at 
the University at that time, and was recognised as a leading 
member in the Amateur Dramatic Club. But it was on 
the cinder-path that he achieved the highest fame, winning 
the three mile race in the inter-' Varsity sports of 1881 in 
the record time of 15 min. 5|ths sec. So eager was he to 
become an actor that he left college before taking his degree. 
His first engagement was under Mr. Henry Irving at the 
Lyceum,- where he succeeded Mr. Alexander as Pavis, in 
1882. He then went into the provinces, and after acting 
for a time with Miss Alleyne and Mr. Walter Bentley, 
started management on his own account in 1883. At length 
he determined to test the critical faculties of a London 
audience, and opened at the Globe Theatre in December, 
1889, producing a series of Shakespearean dramas. 
The repertoire- inc\\xA&d Hamlet, without which no Shakes- 



26 Ber 

pearean actor's rdle is complete, and the plays he produced 
were staged regardless of expense. Towards the end of 
the season at the Globe, Mr. Ben'son revived Othello 
(April, 1890,) with equal care and costliness, and was 
rewarded by the universal acknowledgment of its artistic 
success. His own rendering of the character was also 
greatly praised, and he wisely made the dusky Moor less 
sable than is common in the traditions of the stage. Since 
then Mr. Benson has been engaged in the provinces, and 
his company has been a nursery for rising talent. Under 
his management Mr. Henry Irving's younger son made, in 
August last, his dibut on the stage at the Theatre Royal, 
Birmingham, in A Midsummer Nighfs Dream,, under the 
nom.-de-thiatre of Mr. Lawrence. In i8gi Mr. Benson 
produced The Tem,pest at the Memorial Theatre, Stratford- 
on-Avon, and subsequently at Dublin, Manchester, and 
other large towns. Mr. Benson married, in 1886, Miss 
Constance Featherstonhaugh, daughter of the late Captain 
Samwell, whose first engagement was in 1883, in the 
Lyceum touring company of Rom.eo and Juliet. Two years 
later she joined Mr. Benson's company to play leading parts, 
and appeared as Titania, Katherine, Ophelia, and Desde- 
mona, during his tenancy at the Globe. Mr. Benson takes 
great interest in The Actors' Association, and was chairman 
at the annual meeting in 1891. 

Bernhardt, Rosine Sarah. — Born in Paris, in 

1844, "The Divine Sarah" is some years older than Miss 
Ellen Terry and Mrs. Bernard Beere. Her father was a 
French lawyer, and her mother a Dutch lady of Jewish 
extraction. At the age of fourteen she left the Convent 
where she was educated, and within whose gloomy walls 
she had in some mysterious way imbibed an ambition for 
histrionic celebrity, if the following anecdote be true. 
Being asked what her wishes were with regard to the future, 
she replied: — "I desire to be a Nun — unless I can be an 
actress of the ComMie Frangaise." The alternative was so 
startling, that possibly its very audacity induced her mother 
(her father being then dead), to obtain for the convent maid 
admission into the Conservatoire, where she received tuition 
from Provost and Samson. Here Madame Bernhardt soon 
distinguished herself, and obtained several prizes for elocu- 
tion in tragedy, which led to her enrolment as a member of 



Ber 27 

the Thddtre Frangaise, where she made her d^but in Racine's 
Iphig&nie. She failed, however, to achieve success in her 
first attempt, and in her mortification retired for a time from 
the boards. But the whispers of ambition, prompted by 
genius, were not to be thus easily hushed, and within a 
short period she was facing the foot-lights again. Her 
perseverance was rewarded, and as Marie de Neuberg in 
Victor Hugo's Ruy Bias she made a mark. Her career 
thenceforward was one of uniform success, culminating in 
triumph, and she soon obtained a world-wide reputation, 
chiefly through her genius, but partly by reason of some 
of its eccentricities. In 1879 she visited London with 
the company of the Comedie Frangaise, and appeared to 
crowded houses at the Gaiety Theatre. This opened the 
way for a series of foreign engagements in Italy, Spain, 
Algeria, and America, and the great inducements offered 
her to star abroad led her to break a contract she had 
entered into at Paris, whereby she wbjs condemned to pay 
;^4,ooo damages. But this was a bagatelle to one who for 
two comparatively short engagements in the United States 
received the enormous sum of ;^37,ooo each. In 1886, 
1888, 1889, ^nd 1890 Madame Bernhardt again visited 
London, appearing at the Gaiety, Lyceum, and Her Majesty's 
Theatres, and creating a furore by her acting in La Tosca, 
La Dame aux Camelias, Phedre, and Adrienne Lecouvreur. 
Her name alone — which on one occasion, drew ;^i,8oo in 
four nights — was sufficient to fill the house with forward 
booking, and she herself received a salary which on calcu- 
lation represented ;^20,ooo a year. It is consistent with 
Madame Bernhardt's reputation that she wears quite the 
most extravagant dresses on the stage, and when on tour, 
her baggage (consisting of wooden boxes four feet high and 
running into dozens), suggests the employment of goods' 
trains rather than guards' vans. In April, 1882, Madame 
Bernhardt was married to Monsieur Jacques Damala, a 
Greek gentleman, who adopted the stage as a profession, 
and had achieved a distinguished place in it, when he died 
somewhat suddenly in 1889. Madame Bernhardt is incom- 
parably the greatest actress of the day. The similarity 
between her and Rachel Felix is startling. Not only is the 
physical resemblance between the two great tragediennes 
remarkable, but they were both of Jewish extraction, and 



28 Bev 

the details of their careers are singularly similar. There is, 
however, more of the melodramatic in Madame Bernhardt's 
acting : many of her conceptions are terrible in their inten- 
sity, but they are always human. In the expression of love 
and tenderness, where Rachel was weakest, Madame 
Bernhardt is at her best. She is gifted with a face of intense 
power and expression, her figure is tall and singularly thin, 
yet full of a marvellous grace that lends itself to those 
supple movements she knows so well how to call to her aid ; 
her voice is an exquisite melody, the harmonious modula- 
tions of which, once heard, can never be forgotten, whilst 
her crystal distinctness of elocution is a standard for all ages 
-and all stages. During the siege of Paris Madame Bern- 
hardt served as a nurse in the Comddie ambulance, and 
received a gold medal in recognition of her humane and 
patriotic services. She is exceedingly fond of animals, and 
has a partiality for tame tigers, which is only one degree 
less appalling to her friends than her gruesome idiosyncracy 
for carrying her own coffin about with her. She is a clever 
sculptress, and the authoress of a one-act-play, and is 
reported to have the manuscript of her autobiography ready 
written, which, if it contains one-tenth of the anecdotes 
currently imputed to her, will certainly be the literary 
sensation of the year in which it sees the light. No one who 
has seen Madame Bernhardt upon the stage, can realise 
that she has for some time borne the honours of grand- 
motherhood ; yet such is the case, and a grown up son, who 
was married in 1887, calls her mother, and inherits some of 
her abilities, and much of her temper. 

Beveridgre, J. D. — Mr. Beveridge's father was a 
railway engineer, and partner in a large firm in Sackville 
Street, Dublin, where he himself was born in 1844 and 
educated, and when sixteen appointed a clerk in the firm. 
But the stage fever attacked him, and he ran away to 
Oldham, where he played in a small travelling company for 
one week, at the end of which he was dismissed by the 
manager for general inefficiency. He soon, however, 
obtained another "general utility" engagement, and having 
studied the various lines of an actor's profession in the 
provinces, made his ddbut in London in 1869, in Lost at 
Sea, at the Adelphi, where in after years he was destined 
to become so tremendous a favourite. Mr. Beveridge con- 



BiL 



29 



tinued to play under different manag-ements, both in London 
and the provinces, until some ten years ago, when one 
of the Brothers Gatti offered him the villain's part in Taken 
from Life, and his impersonation of the cowardly rascal 
Philip Bradley made his fortune. Since then he has worked 
up a reputation as one of the finest exponents of man's 
evil passions on the EngHsh stage. But his histrionic 
powers are not confined to depicting scoundrelism, for his 
rendering of the part of the dear old Knight of Ballyveeny 
in The English Rose was admitted to be one of the most 
masterly of his many creations. The English Rose was 
followed in August, 1891, by The Trumpet Call, in which 
Mr. Beveridge drew a realistic picture of a gallant non-' 
commissioned officer by his cheery and genial acting as 
Sergeant-Major Mulligan. 

Billington, John. — The late Mr. Charles Dickens 
was instrumental in obtaining for Mr. and Mrs. Billington 
their first London engagement at the Adelphi, where in 
1857 they appeared in Like and Unlike, and made then the 
acquaintance of Mr. Toole, which has since ripened into a 
life-long friendship. From that date down to the year 
1868 they remained members of the Adelphi Company 
under Mr. Benjamin Webster's management, and in 1858 
had the honour of playing the Spitalfield Weaver, at one of 
the three special performances ordered by the Queen, at 
Her Majesty's Theatre, after the wedding of the Princess 
Royal. Prior to their engagement in London they had 
acted together a great deal in the provinces, Dublin having 
been the scene of a large share of their popularity. The 
Adelphi engagement over, Mr. Billington played as Don 
Caesar in Ruy Bias, and took part in Haunted Homes, by 
the late H. J. Byron, who specially wrote for him Chained 
to the Oar. Mr. Paul Merritt next wrote for them Rough 
and Ready, which they acted some five years in London 
and the provinces with immense success. At the close of 
1880, Mr. Toole opened his present theatre, then known as 
the Folly, and secured Mr. Billington as leading actor and 
stage manager, which post he has most ably filled ever 
since, both in London and during Mr. Toole's successful 
travels in different quarters of the globe. 

Billington, Mrs. — For many years Mrs. Billington 
was connected with the Adelphi Theatre when it was under 



30 Bla 

the management of Benjamin Webster, and regularly 
appeared in its bills between the years 1858 and 1868. It 
was here, in 1865, that she assisted in the famous produc- 
tion of Rip Van Winkle, taking the part of Gretchen, when 
Mr. Joseph Jefferson made his first appearance in London. 
Three years later she temporarily seceded from this house, 
but returned to it in 1874. In the following year her hus- 
band, Mr. John Billington, undertook the management of 
the Globe, and she naturally transferred her services there. 
Coming down to the year 1887, Mrs. Billington was seen 
at the Opera Comique under Miss Kate Vaughan's man- 
agement, playing Mrs. Hardcastle in She Stoops to Conquer, 
and in the autumn, Paulina in Winter's Tale at the Lyceum. 
In 1888 she was at the Olympic when To the Death was 
produced, and in July, 1891, accepted an engagement from 
Sir Augustus Harris for Madame Rouge in the revival of 
Drink at Drury Lane. 

Blakeley, \A^. S. — This excellent delineator of old 
men's parts, who has for so long been connected with the 
Criterion, has had one of the most monotonously successful 
careers on the London stage. Comedy, with a strong vein 
of humour, is the line in which he is most successful ; 
yet his versatility was plainly shown when he played Mr. 
Furnival in the revival of The Two Roses at the Criterion in 
1887. Betsy saw him back again in his old line of comedy, 
and this was followed by Still Waters Run Deep, in which 
he was equally happy. In The Headless Man his creation 
of the hen-pecked old general was genuinely comic, and in 
Welcome Little Stranger he fairly revelled in the part of 
Cranberry Buck. Nor could he have been more in his 
element than as the old rou^ in Truth, in which he simply 
kept the audience convulsed with his droll acting. On the 
revival of London Assurance (November, 1890,) Mr. Blakeley 
played Mark Middle, a part Robert Keeley acted when 
that sparkling comedy was first seen in 1841 ; and in 
April, 1891, when Mr. Wyndham revived The School for 
Scandal, appeared as Crabtree, and his humorous acting 
was never seen to greater advantage than it was in that 
character. 

Bond, Jessie Charlotte. — Miss Bond was born 
in London, from whence her father moved to Liverpool, 
where he was engaged in business pursuits. As a child 



Bon 31 

she showed a remarkable turn for music, and when only 
eight years old was exploited as an infant pianiste. 
Although a bright future seemed assured to her in this 
particular line, her vocal talents eventually led her to turn 
her attention to their development, and after singing for some 
time as a contralto in a Roman Catholic Church at Liverpool, 
she made her debut w\\ex^ seventeen years old on the^concert 
platform in the St. George's Hall of that town. She then 
came to London and studied under Emanuel Garcia, and 
later on under Mr. J . B. Welch, in the course of which instruc- 
tion she incidentally displayed so much dramatic power that 
she resolved to try her fortune on the lyric stage. Her first 
appearance was as Hebe in H.M.S. Pinafore in 1878, at the 
Opera Comique, where in the previous year the Gilbert- 
Sullivan Operas had been started with The Sorcerer ; and 
since then, with the exception of an eight months' visit to 
America, she has been a regular member of Mr. D'Oyly 
Carte's famous company — an almost unique instance of a 
popular actress remaining so long and so loyally under one 
management. Miss Bond is as great a favourite with her 
brother and sister professionals behind the curtain as she is 
with the public in front. Her greatest success was as 
Phoebe In The Yeomen of the Guard. No one who saw the 
splendid composure with which she opened that opera on 
its first night, could help feeling a thrill of admiration for 
her. Her favourite part was Madcap Margaret in Rvddigore, 
which enabled her to display histrionic abilities that are 
quite equal to her vocal ones. In The Gondoliers she 
enacted the part of Tessa almost uninterruptedly during 
its long run — an exertion which was not without effect 
upon her health. When The Nautch Girl was produced, 
she undertook the rdle of Chinna Loofa, and looked so 
delightful in a dainty oriental costume, that she captivated 
the heart of an idol two thousand years old — a fitting 
climax to a career of continual conquest ! Miss Bond, 
who as a " singing soubrette " is unexcelled, lives at West 
Kensington, in a red brick house which she finds even more 
charming than the artistic flat she beautified in Chancery 
Lane, where she formerly resided. She writes cleverly, 
and some pretty and pathetic little sketches from her pen 
have appeared m the magazines. She is a great favourite 
at the Ladies' Nights of the Lyric Club, and in conjunction 



32 Bou 

with Mr. Rutland Barrington appears in "Entertainments" 
which it is a treat to witness. 

Boucicault, Aubrey. — Mr. Aubrey Boucicault is 
the second son of the late Dion Boucicault, who was a 
native of Dublin, and is, moreover, connected with the 
stage through his mother, Miss Agnes Robertson, an 
artiste <of the highest repute, and a lady with many per- 
sonal charms. His elder brother turned his energies to play 
writing and stage management, and is now running the 
Bijou Theatre at Melbourne with Robert Brough. Mr. 
Boucicault's first appearance was in The Dan at Toole's 
Theatre, in March, 1888, and later in that year he played 
in Betsy at the Criterion. He next gained considerable 
praise as the rattling Wally Henderson in Caprice at the 
Globe, in 1889, and in the short run of Truth at the 
Criterion in the autumn of 1890 added to his laurels. 

Boyne, Leonard. — it was in 1869, at the Theatre 
Royal, Liverpool, that Mr. Leonard Boyne began his 
theatrical career, being engaged there for ' ' responsible 
business," with incidental turns at prompting. So infa- 
mously did he fail in the latter branch of his avocations 
that he was requested to resign it within the week. The 
first part he played was that of Leybourne in The Flowers 
of the Forest, but he failed to give satisfaction, and received 
notice that as soon as his engagement expired, his 
services would be dispensed with. Before his time ran out, 
however, he had so improved that he was told he might 
remain, but that his salary would be decreased from fifteen 
to twelve shillings a week. Accepting the inevitable, he 
played for the next two months with such diligence that the 
honorarium was raised to eighteen shillings, but a cor- 
responding extra amount of work was expected from him, 
and he had to play from ten to twelve parts a week. In 
1 87 1 he obtained the post of second comedian at the 
Theatre Royal, Newcastle-on-Tyne, and subsequently 
secured other good provincial engagements. In 1874 he 
first appeared in London at the St. James's Theatre, as 
John Fern in Progress, and so realistic was his rendering 
of the character that he was several times called before the 
curtain. Five years of London successes at various 
theatres followed ; then a visit to Dublin, after which he 
travelled for a year with a company under his own manage- 



Bra 



33 



ment. The autumn of 1880 saw him back again in London 
at the Olympic Theatre, where he appeared in Delilah. 
In 1881 he accepted an engagement with Mr. Carton, at 
Toole's Theatre, to play in Mr. Pinero's com&dy Imprudence. 
This was preceded by His Last Legs, in which he gave one of 
his most successful impersonations as 0'Callagha,n. Mr. 
Wilson Barrett then chose him to take the important rdle 
of Claudian, in the play of that name, when it was produced 
for the first time in England, at Hull in 1884. Mr. Boyne 
subsequently appeared in many of the successful dramas 
brought out at the Princess's — his clever delineation of 
Walter Leigh in Sister Mary (1886) gaining for him special 
kudos. In Heart of Hearts at the Vaudeville, and in Ariane 
at the Opera Comique, his acting was equally good, 
and to his energy and technical skill the success of The 
Armada at Drury Lane was almost entirely due. In 
Theodora, at the Princess's, he played the part of the lover, 
and in the more vigorous episodes fairly carried his 
audience along with him. He next succeeded Mr. Alexander 
at the Adelphi, and appeared as the hero in The English 
Rose, which afforded him an opportunity of displaying his 
excellent horsemanship. This was followed, after a ten 
months' run, by a short revival of The Streets of London, 
before a new melodrama entitled The Trumpet Call was 
produced, in both of which he played the lead with his 
usual force and spirit. Mr. Leonard Boyne is an excellent 
all-round man at games and sports, and spends all his spare 
time at his cottage at Coombe Maiden, Surrey. 

Braham, Leonora. (Mrs. Duncan Young.)— 
Miss Braham studied for the Concert platform, but on 
receiving an offer from Mr. and Mrs. German Reed in 
1874, joined their entertainment at St. George's Hall. She 
did not, however, discontinue her musical studies, for she 
subsequently gained a gold medal at the Royal Academy 
of Music. After this she paid a professional visit to 
Canada, and was fortunate enough to be engaged by 
Mr. W. S. Gilbert and the late Mr. Frederick Clay to 
appear in New York, where she achieved such signal 
success, that on her return to London in 1880, after a 
short five months' engagement with her old friends the 
German Reeds, she was offered the lead in the Gilbert and 
Sullivan Opera of Patience, and this was followed by her 

c 



34 Bra 

permanent engagement, first at the Opera Comique and 
later on at the Savoy, to play the lead in the series of 
brilliant operas produced. In 1888 she severed her con- 
nection with Mr. D'Oyly Carte's Company, and has since 
then been far too seldom seen in London, but has been 
very successful in establishing herself as a favourite in 
South America. 

Bra.ndon, OlgSi. — Born in Australia in 1865, but of 
Russian parentage. Miss Brandon spent the early part of 
her life in the Antipodes, and was educated at a convent in 
Geelong. In 1878 she accompanied her parents to China, 
and subsequently to America, where, in October, 1884, she 
made her first bow before the foot-lights at the Madison 
Square Theatre, New York. After three years' experience in 
the States, she obtained the offer of an English engagement, 
which enabled her to realise a long-standing ambition to 
appear on the London stage. She made her metropolitan 
dibut in January, 1887, at the Royalty Theatre, then under 
the direction of Mr. W. Edouin. Returning to America, 
she played a short season there with Mr. J. S. Clarke, 
sustaining the lead in such characters as Ophelia and 
Pauline. She then reappeared in England in Mr. and 
Mrs. Kendal's Company at the Court Theatre, admirably 
creating the part of Rhoda in The Weaker Sex and Lady 
Molyneux in A White Lie. An autumn season at the 
Criterion followed, which led to an engagement by Mr. 
Willard to appear at the Shaftesbury at Easter, 1890, as 
Mrs. Lisle in Dick Venables, a play which was shortly suc- 
ceeded by Judah, in which she created the diflScult and 
subtle character of Vashti Dethic in a way that very much 
enhanced her already established reputation. Two months 
later, to the regret of many, she migrated to the Strand to 
play the lead in Adelphi melodrama, appearing as Ethel 
Kingston, the heroine in The English Rose, and as Lucy in 
The Streets of London. Miss Brandon is a tall graceful 
woman, possessing a face of singular calm and beauty, 
softened by large dark-brown eyes. Her heart-whole iden- 
tification with the personality of the character she is repre- 
senting, constitutes in a great measure the secret of her 
success as one of the best emotional actresses of the day. 

Brandram, Rosina. — Miss Brandram made her 
first appearance at the Opera Comique in 1877, undertaking 



Bro 35 

at a very short notice Mrs. Howard Paul's part of Lady 
Sangazure in The Sorcerer. Her success in this assured 
her promotion to a suitable rank in Mr. D'Oyly Carte's 
brigade. She next paid a visit to America and played 
Kate and also Ruth in The Pirates of Penzance. On her 
return she found her natural sphere at the new Savoy 
Theatre, where she remained for nearly a decade, playing 
a long roll of favourite characters, which included Lady 
Augusta in Patience, Katischa in The Mikado, Dame Car- 
ruthers in The Yoemei^ of the Guard, and The Duchess 
of Plaza Toro in The Gondoliers, and giving delightful 
expression to many of Sir Arthur Sullivan's most delicious 
melodies. Miss Brandram also appeared in several of the 
curtain raisers which formerly found a place in the Savoy 
bills. When The Nautch Girl was produced in 1891, the 
name of this clever and popular vocalist and actress was 
found to be missing from the cast, and the shock to the 
feelings could not have been greater if the "programme" 
had been printed without the final "me." In September, 
howrever, she appeared again in Captain Billy, the clever 
operetta that precedes The Nautch Girl. Apart from the 
richness of her voice, which it is always a treat to listen to, 
Miss Brandram illustrates in the highest degree the art of 
clear enunciation in singing. 

Brookfield, Charles H. E.— Mr. Brookfieid is 

the son of a celebrated and eloquent preacher, the Rev. 
W. H. Brookfield, who succeeded to the pulpit of an 
•equally popular divine — the Rev. J. M. Bellew, who also, 
singularly enough, was the father of a distinguished actor. 
Mr. Brookfield's first engagement was in Still Waters Run 
Deep, at the Alexandra Palace Theatre in 1879, and after a 
short probation he joined the Haymarket Company, and 
played in all the Robertsonian comedies produced there up 
to 1885, when he went on tour with Mrs. Bernard Beere. 
Following this came his clever impersonation of General 
MorakofF in The Red Lamp, at the Comedy, which brought 
bim prominently into notice, and he repeated the rdle when 
Mr. Beerbohm-Tree opened with that play his management 
of the Haymarket Theatre in September, 1887. There he 
was subsequently seen in The Ballad Monger, The Pompa- 
dour (with conspicuous success), Partners, A Promising 
Case, and in Captain Swift, in which, as the truculent and 



36 Bro 

revengeful servant, he displayed a power of depicting' 
intensity of hatred and passion, that came as a surprise 
to those conversant with his usual vein of acting. Mr. 
Brookfield has also impersonated many Shakespearean 
characters, including the Doge, the Prince of Morocco, 
and Antonio in The Merchant of Venice, Montano in Othello, 
and Slender in The Merry Wives of Windsor, when revived 
at the Haymarket in 1889. Later on in that year he played 
in the revival of Caste at the Criterion, and also in his own 
clever little monologue, Nearly Seven. Then came some 
months in the provinces, which were followed by a long 
engagement at the Comedy, where he appeared in May and 
December, Jane, and Husband and Wife. In this last comedy 
his acting as the Magistrate received the highest praise 
from press and public, and is considered by many to be 
his strongest character. 

Brougfh, Fanny Whiteside. (Mrs. Richard 

Smith Boleyn.) — This clever lady was born in 1856, at 
Paris, and seems to have been endowed with much of the 
chic characteristic of that city. She is the only daughter 
of the late Robert Brough, a well-known journalist and 
dramatic author (best remembered, perhaps, by his " Songs 
of the Governing Classes"), whose promising career was 
cut short at the age of thirty-two. Her uncle, Lionel 
Brough, bears a name to conjure with on the London stage, 
and her brother Robert is the manager of the Bijou 
Theatre at Melbourne. On her mother's side she is related 
to Miss Romer, a well-known vocalist years ago, who was 
inseparably connected with a brilliant period of the lyric 
stage. Miss Brough commenced her professional career 
when fourteen years old, appearing at the St. James's 
Theatre under Mrs. John Wood's management, and playing'^ 
the title rdle in Femande. After this she acted in School, 
Caste, and Ours, in Mr. and Mrs. Bancroft's Company. 
Then followed an eight months' engagement at the Gaiety, 
where she appeared in conjunction with Mr. J. L. Toole, 
and this was succeeded by four years' hard work in the 
provinces, under such masters of the dramatic art as 
Phelps, Charles Mathews, and Barry Sullivan. This gave 
the finishing touch to a thorough stage education. Up to 
this time she had acted chiefly in tragedy and sentimental 
characters, but she now turned her attention to the lighter 



Bro 37 

branch of her profession, and achieved her greatest success 
as Mary Melrose in Our Boys, which was closely followed 
by her Norah Fitzgerald in Harvest, and Petrella in 
Woman and the Law — an adaptation from the Spanish. In 
this she sustained a strong emotional character, which not 
only gained her the universal praise of the critical world, 
but brought her a most complimentary letter from Leopold 
Cani, the Spanish author of the original play. More 
recently Miss Brough gave a remarkable rendering of the 
part of Mary, the Irish servant girl, in Little Lord 
Fauntleroy, in 1888, followed by her appearance in several 
matinies in 1889, in two of which she was responsible 
for creations that have long since passed into historical 
success, namely, those of Mrs. Sylvester in Our Flat, 
and Cicely in Marjorie. In the autumn of the same year 
she was engaged to play in The Royal Oak at Drury Lane. 
Early in 1890 she joined Mr. George Alexander's Com- 
pany at the Avenue, and as Mrs. Horton in Dr. Bill was 
certainly the key which opened the door of success to that 
farcical comedy. In September she again returned to 
Drury Lane drama for A Million of Money. In March, 
1891, she appeared as Mrs. Cornelia Opdyke in The 
Henrietta, in which, at the peril of her person, she did 
heroic justice to an inimitable love scene. Upon the 
transfer of The Late Lamented irova^ the Court to the Strand 
Theatre, Miss Brough undertook the rdle of Mrs. Stuart 
Crosse, originally played by Mrs. John Wood for a short 
time, before passing on to Drury Lane for a leading role in 
A Sailor's Knot, previous to appearing in Mr. Pinero's 
comedy, The Tim.es, at Terry's Theatre. There is no 
more capable actress on the London stage than Miss Fanny 
Brough, whose quaint humour, intelligent brightness, and 
quickness of repartee have never failed to realise success in 
any of the parts she has undertaken. In private life she 
suffers from fits of depression, and from nervous excite- 
ment before a First Night, which, when the crisis arrives, 
actually adds to the " go " of her performance. She is the 
wife of a gentleman who was originally in the mercantile 
marine, but who took to the stage, and met with success 
as an actor and stage manager of provincial companies. 

BrOUgfh, Lionel.' — -No actor on the modern stage is 
a greater favourite, in public and private life, than " Lai " 



38 Bro 

Brough. The fourth son of the late Mr. Barnabas Brough, 
a dramatic author of repute (who wrote under the nom-de- 
plume of Burnard de Burgh, and was the younger of the 
well-known "Brothers Brough"), Mr. Lionel Brough was 
born on the loth of March, 1836, at Pontypool, in Mon- 
mouthshire. He was educated, first at the Manchester 
Grammar School, and later on at Mr. Williams' private 
academy in London, and at an early age commenced the 
battle of life in a modest but meritorious manner in the 
office of the Illustrated London News, then under the editor- 
ship of Douglas Jerrold. Later he became connected with 
the Daily Telegraph, and had a share in the production of 
its first number, but shortly afterwards transferred his 
services to the Morning' Star, with which he remained for 
five years. This long apprenticeship to journalism was, 
however, wasted, for in 1854 he made his first appearance 
on the stage, under the management of Madame Vestris, 
in Prince Pretty Pet at the Lyceum Theatre. After four 
years' experience of the board he returned to journalism 
again, and from 1858 to 1863 was on the staff of The 
Morning Star, a London daily paper. He then gave 
"Entertainments," and was the first to travel the provinces 
with a "Ghost Show." In 1864 he assisted in an amateur 
theatrical entertainment given by the members of the Savage 
Club at Liverpool, in aid of the Lancashire Relief Fund, 
during the period of the American Civil War, when so many 
thousands of cotton factory workers were thrown out of 
employment by the stoppage in the supply of the staple. 
His aqting on that occasion created such a favourable 
impression, that Mr. Henderson, the manager of the 
Prince of Wales' Theatre, Liverpool, at once offered Mr. 
Brough a regular engagement, which he accepted, and 
appeared on the boards of the above-named theatre in 
the December of that year. Working on in his quiet 
painstaking way, he at length made a hit in Dearer than 
Life, a drama written by the late H. J. Byron, and since 
then his career has been a series of successes. Mr. Brough 
has acted in more plays than there is space here to enume- 
rate ; but of the hundreds of characters he has assumed, 
it is as Tony Lumpkin and Bob Acres that he has achieved 
his greatest triumphs. In 1885 he paid his second visit to 
America, and on his return to London played for one season 



Bro 39 

at the Opera Comique. No better example of his infinite 
versatility can be adduced than the contrast between his 
portraits of Tony Lumpkin and Moses (in the School for 
Scandal), which parts he played in succession at the Globe 
Theatre early in 1889 ; the dry saturnine and antique 
gravity of the latter being only equalled by the youthful 
rollicking spirit of the former. In Shakespearean drama 
Mr. Brough is as excellent as he is in everything else, and 
showed it when he played, in 1889, Mine Host of the 
Garter in The Merry Wives of Windsor. He managed 
Covent Garden Theatre for Mr. Dion Boucicault, when 
Babil and Bijou took London by storm. Recently he made 
a very successful trip to South Africa, where he received 
ovations everywhere, and his enthusiastic reception from 
the public when he reappeared in La Cigale at the Lyric 
Theatre in October, 1890, is a memory he may well be 
proud of. He resides at Percy Villa, South Lambeth, with 
his wife and daughter and his son Sidney, in a house that 
once belonged to Fauntleroy the banker, the last man 
executed for forgery in England. Here Mr. Brough has 
gathered together a fine collection of rare engravings of 
the older masters of tragedy and comedy, and many curios 
and objets d' arts — of these . he especially prizes a meer- 
schaum pipe, the gift of the Prince of Wales, and a huge 
silver box originally presented by President Lincoln to 
Professor Anderson, the Wizard of the North. A tremen- 
dous smoker, Mr. Brough even steals a whiff during the 
intervals between his appearances on the stage. Elssentially 
a domestic man, he is never so happy as when at home, 
surrounded by his family and numerous friends, and 
followed about by his dogs. Touring and travelling, 
which are most people's amusements, are part and parcel 
of his severest work, while his maddest, merriest holiday 
is — staying at home. 

BrOUgfh, Sidney .^ — This clever comedian is the son 
of Mr. Lionel Brough, and entered the profession in 1885, 
and by his easy, natural style of acting has already gained 
a considerable reputation. He was especially good as the 
young cavalry officer in Civil War, at the Gaiety in 1887, 
in which Mrs. Brown-Potter played the lead ; and later 
on at the Criterion, his rendering of the Verdant-Green 
type of young gentleman in The Circassian was fresh and 



40 Bro 

natural, as also was his Jack Wyatt in The Two Roses. 
When Mr. Hare opened the Garrick Theatre in 1889 he 
secured Mr. Brough for two years, and he has since 
appeared there as Wilfred Brudenell in The Profligate, 
Trevillac in La Tosca, Dick in A Pair of Spectacles,, and 
Philip in Dream Faces. 

BrOUghtOn, Phyllis. — Miss Broughton was born 
in Norfolk, and began her professional career at the Canter- 
bury Music Hall, then under the direction of Mr. Villiers — 
a gentleman destined to become her brother-in-law. She 
soon grew more ambitious, and turning her attention to 
the Lyric stage, made her dibut at the Gaiety Theatre in 
1881, in a somewhat humble part; one, in fact, of forty 
thieves, whose careers, however sensational in actual life, 
did not permit much scope in their histrionic treatment. 
The engagement, however, enabled her to make the 
acquaintance of Mr. John Hollingshead, whom she describes 
as the kindest and most considerate of managers. It was 
not until she obtained a part in the burlesque of Camaral- 
zaman that Miss Broughton distinguished herself. She 
stayed at the Gaiety for nearly five years, making such 
rapid progress, that at the end of that period she was 
playing characters which had previously been taken by 
Miss Kate Vaughan. In 1886 she migrated to the Avenue, 
where she played leading parts as foil to Mr. Arthur 
Roberts, whose irresistible drollery was wont to affect her 
almost as much as it did the audience. But her dancing 
was always delightful, and to Indiana, The Old Guard, and 
other comic operas she added the charm of twinkling feet 
and graceful movement. In 1889 she was engaged by the 
late Mr. Carl Rosa, and created the part of Chopinette 
in Paul Jones, in which character she was successful. 
Although it may seem strange. Miss Broughton once 
developed a thirst for tragedy, and suffered so seriously as 
to study elocution under competent masters with a view to 
appearing as Lady Macbeth ! She has refused several 
offers to go to America, Australia, and India, chiefly by 
reason of her unseaworthiness. Miss Broughton was at 
one time engaged to be married to Yiscount Dangan, but 
the proposed match was broken off and she received a 
solatium of ;^20oo. Her portrait in the Academy of 1890 
was a point of attraction. In private life she amuses 



Bro 41 

herself with painting and the piano, and Hves in Oxford 
Street with her mother (now married to General Hutchinson) 
and her two sisters. In the autumn of 1890 Miss Broughton 
appeared in Majorie at the Prince of Wales' Theatre, in 
which she had much diverting business with Mr. Harry 
Monkhouse. When Joan of Arc was produced at the 
Opera Comique in January, 1891, she was cast for the part 
of Catherine of Rochelle, in which her abilities had not 
sufficient scope. 

Brown - Potter, Cora Urquhart. — Mrs. 

Brown-Potter is an American lady of good family, and was 
born in New Orleans. A taste for recitation in childhood 
developed in later years into a love of'' amateur acting, 
which in turn led to a very successful public representation 
given at the Madison Square Theatre, New York, in aid of 
charity. In March, 1886, Mrs. Brown-Potter, who was by 
this time one of the ornaments and leaders of fashionable 
society, and represented the beauty of America, followed 
the precedent set by Mrs. Langtry, and made her profes- 
sional ddbut on the English stage, playing the difficult 
character of Anne Sylvester in Man and Wife at the Hay- 
market. In 1887 she appeared as Faustine de Bressier in 
Civil War at the Gaiety, a part in which she showed 
marked progress in her adopted profession, and which 
obtained for her very favourable press criticisms. An 
Australian tour followed, with Mr. Kyrle Bellew, which 
was extended to Calcutta and the East, where she met 
with enthusiastic appreciation. Mrs. Brown-Potter is the 
wife of a gentlertjan connected with an old North of England 
family, and whom she married in America. On her return 
to England in the autumn of 1891 she was announced to 
appear with Mr. Bellew in Romeo and Juliet and other plays. 

Buckstone, Lucy Isabella. (Mrs. h. e. Smithes.) 

— Miss Lucy Buckstone is a daughter of the late John 
Baldwin Buckstone, who lost a fortune and made all 
play-goers his friends by his management of the Hay- 
market Theatre. For an actor-manager's daughter the 
primary reason of her adopting her father's profession was 
a remarkable one. One day she was seeing him off at 
a railway station, when he was starting for one of his 
tours, and was seated in the carriage talking to him. So 
engrossed was she in the conversation that the train moved 



42 BUF 

out of the station before she had time to alight. " As you 
are bent on coming with us," observed her father in his 
delightfully casual way, "you had better join us." Up to 
that moment it had never been intended that she should go 
on the stage. Her first appearance was as Gertrude in The 
Little Treasure. She subsequently played at the Haymarket 
in 1875, as Ada Ingot in David Garrick, Florence Trenchard 
in Our American Cousin, and Lucy Dorrison in Home, being 
associated much with Mr. Sothern. Later on she created 
Minnie Symperson in Engaged, and Blanche Denman .n 
Crises. Then came a trip to America, and on her return in 
1883 she accepted an engagement from Miss Genevidve 
Ward, and played' in Forget-Me-Not and The Queen's 
Favourite. Miss Buckstone next passed to the Prince of 
Wales' and Strand Theatres, to play in The Private Secre- 
tary and Our Boys. In 1885 she supported Mr. J. S. Clarke 
in The Heir at Law, and in the autumn played the lead in 
the provincial tour of^ RunofLuck. In 1888 she appeared 
at the Gaiety in Marina, and showed she had lost none of 
her old power to please. Engagements with Mr. David 
James, Miss Fortescue, and Mr. Charles Wyndham for 
provincial tours came next. In May, 1890, she received the 
compliment of a benefit matinie, in which Miss Ellen Terry 
and most of the leading artistes assisted. In February, 
1891, Miss Buckstone appeared in The Parvenu, when it 
was revived by Mr. Norman Forbes at the Globe Theatre, 
and as Gwendolen Pettigrew gave a sweet and tender 
rendering of an English girl ; and in July she was seen in 
the successful operatic comedy of Miss Decima at the 
Criterion, where she is still appearing. 

Bufton, Eleanor. (Mrs. Arthur Swanborough.) — 
Miss Bufton was born in Wales in 1840. Through her 
connection with an old established theatrical family she 
soon made acquaintance with the footlights, and her first 
bow to the public was at Edinburgh. She then came to 
London and appeared at the St. James's, and subsequently 
at the Princess's Theatre under Charles Kean, playing a 
round of Shakespearean characters as far back as 1856. 
In 1857, at the revival of The Tempest, she essayed the 
part of Ferdinand, it being the first occasion in London in 
which the rdle was filled by a lady. She then migrated to 
the Strand Theatre, where she soon established herself as a 



Cal 43 

popular favourite under Mrs. W. H. Swanborough's man- 
agement. In 1866 she was at the St. James's playing Hero 
in Much Ado about Nothing, and Julia in The Rivals, and 
later on appeared in The Road to Ruin and The Heir at Law. 
At the opening of the Royal Court Theatre in 1871, Miss 
Bufton created the part of Miss Flamboys in Randall's 
Thumb. Shortly after this she met with a severe railway 
accident, which necessitated her withdrawal from the pro- 
fession for a time — a misfortune especially hard after she 
had worked her way to the top of the tree. She reappeared 
in 1876, and in 1879 she was engaged by Mr. Irving for 
his Lyceum Company. In recent years Miss Bufton's 
creation of Miss Pippin in The Union Jack deserves mention. 
In 1890, at the benefit matinee given to Miss Buckstone, 
Miss Bufton recited very charmingly an address written for 
the occasion by Mr. Robert Reece. 

Calhoun, Eleanor. — Miss Calhoun is an American 
importation, and the daughter of a citizen of California, in 
which far country her childhood was passed. At an early 
age she experienced an ambition to become an actress and 
forthwith descended on the profession in the rdle of Juliet 
at the Grand Opera House, San Francisco, in 1880. She 
next toured the Southern States of the Union, sustaining 
many leading parts. As not unfrequently happens, her 
health broke down from overstrain, and she sought rest in 
a visit to Europe, and studied the native methods of acting 
in Paris. Coming to London in 1882, Miss Calhoun made 
her metropolitan dibut as Hester Grazebrook in An Unequal 
Match at the Imperial, under her own management. Soon 
afterwards Mr. and Mrs. Bancroft, who witnessed the per- 
formance, engaged her for small parts at the Haymarket, 
where she appeared, but it was not until 1884 that her Dora 
in Diplomacy brought her into special notice. In 1888, 
Miss Calhoun determined to try management again, and 
opened the Royalty with The Scarlet Letter. Two years 
later she enjoyed a rare chance of distinguishing herself 
when she succeeded Miss Olga Brandon as Vashti Dethic 
in Judah at the Shaftesbury, and displayed considerable 
powers of emotional acting. 

Cameron, Violet. (Mrs. de Bensaud.) — This lady 
was born in 1862, and made her first appearance in 1869 as 
Karl in Faust at the Princess's, and her success was so 



44 Cam 

marked that it led to a three years' engagement for children's 
parts in Drury Lane pantomime. When twelve years old she 
essayed the character of Siebel, and toured the provinces, 
and the next year was engaged by Mr. Alexander Henderson 
to play in town and country, and appeared at the Adelphi, 
Globe, and Criterion Theatres. Her first substantial success 
was in Piff Paff aX the Criterion in 1875, ^^er which she 
created Germaine in Les Cloches de Corneville at the Folly. 
A season at the Strand and Olympic led up to her remark- 
able triumph in La Mascotte, at Brighton, in 1880. Rip 
Van Winkle, which followed, enjoyed a year's run, and 
Falka was her nightly task for six months. After a rather 
lengthy absence from the boards, she reappeared in La 
Mascotte in 1885, the occasion bringing her a tumultuous 
■reception from the public. She next passed on to the 
Empire Theatre, and from thence in 1885 to the Gaiety 
and Avenue. Then came a tour in America, in a company 
taken over by a noble lord, and where she was awarded a 
warm welcome. Returning to England, she appeared in 
The Sultan of Mocha, The Old Guard, and Faust up to Date 
at the Gaiety, and in March, 1890, in the revival of Lxs 
Cloches de Corneville at the Opera Comique. In October, 
1890, she succeeded Miss Claire in the title role in Captain 
Thirese at the Prince of Wales' Theatre, where she later on 
appeared in The Rose and the Ring, and in 1891 in Maid 
Marian. Miss Cameron is one of the handsomest actresses 
on the stage, has an excellently trained voice of fine quality, 
and acts earnestly. She is a niece of Miss Lydia Thompson, 
and married to a gentleman in the City tea trade, whose 
uxorial care of her was a topic of public interest for some 
time. 

Cannpbell, Herbert. — The first important part 
played by Mr. Campbell was that of King Winter in the 
pantomime of King Autumn, produced at the Theatre 
Royal, Liverpool, in 1871. The following year he was 
again engaged there, and remained on for the stock season. 
In 1873 he came to London, and in December appeared in 
the annual pantomime at the Grecian, where he remained 
for five seasons. Christmas, 1878, found him playing in 
Messrs. Gatti's first pantomime at Covent Garden, ybcy^ and 
the Beanstalk, but for the Christmas season of 1880 he 
returned to the Grecian, to appear in King Frolic (Mr. 



Car 



45 



Henry Pettitt's only pantomimic effort), and continued to 
delight playgoers at that transpontine house during the 
following twelve months. In December, 1882, he first 
appeared at Drury Lane, where he has since been, seen 
every winter season. During his fourth engagement at the 
Grecian he met Mr. Harry Nicholls, and the clever duets 
and humorous topical songs of these two gentlemen have 
been one of the most attractive features of the pantomimes 
produced at Augustus Druriolanus' National Theatre, and 
so far from one comic star extinguishing the other, the two 
comedians — arcades ambo — have shone as twin planets of 
equal magnitude. 

Carleton, Royce. — Mr. Royce Carleton hails from 
Edinburgh, in which town he was born in i860. Edu- 
cated at Blackheath Proprietary School, he distinguished 
himself there much as a reciter, but more as a football 
player. His first appearance on the stage was when he 
was fifteen, which was followed by several years of hard 
work in the provinces. Having by this time acquired con- 
siderable experience, he obtained a London engagement, 
and appeared in Far from the Madding Crowd, and since 
then his career has been one of continued success. His 
realistic acting as Faulkner in Gladys at the Avenue in 1888, 
and Redmayne in The Silver Falls at the Adelphi, are 
perhaps his best delineations of stage villainy. But it is 
not in Adelphi crime alone that Mr. Royce Carleton is a 
master of his craft, for as the Due de Choiseul in The 
Pompadour, Krogstad in A Doll's House, and George Villiers 
in The Favourite of the King, he has proved his capacity 
in more virtuous lines. Of the characters he has since 
undertaken, perhaps none have been more admirably 
played than that of the smooth spoken scoundrel, Mr. 
Dethic, in Judah. Mr. Royce Carleton lives in Regent's 
Park in the house that Stepniak once inhabited. His wife 
is also a talented artiste, and was formerly well-known on 
the London stage as Miss Nelly Lyons: 

Carte, Richard D'Oyly.— Mr. D^OyiyCarteisthe 

third bearer of the name that heads this notice, and was born 
in i844inSoho. His grandfather was a native of Leicester, 
and served with distinction at Waterloo as Quartermaster 
of the Blues. His father, who was at first a flute player, 
became later on in life a member of a successful firm of 



46 Cau 

musical instrument makers, and married the daughter of a 
clergyman attached to the Chapel Royal. Educated at 
University College, Mr. Richard D'Oyly Carte matriculated 
at London University and entered his father's business, 
but soon turned his attention to writing songs and 
operettas, and then to founding a concert agency, arranging 
in that capacity, among many others, Mario's farewell 
tour. From the summer of 1870 he devoted his whole 
energy to the establishment of English Comic Opera, 
and seven years later was rewarded by the triumphs he 
achieved with The Sorcerer. From that time to the present 
he can boast of an unbroken record of successes. The 
success of the Gilbert-Sullivan operas enabled him to build 
the Savoy Theatre, in which the system of incandescent 
lighting was first inaugurated. With The Nautch Girl, pro- 
duced in June, 1891, Mr. D'Oyly Carte tried to found a new 
firm of coUaborateurs, but the outcome did not approach 
within even measurable distance of the old, and left all 
playgoers lamenting the rupture that ended the reign at the 
Savoy of the Gilbert and Sullivan masterpieces. Not 
content with the Savoy Theatre, Mr. D'Oyly Carte pur- 
chased the adjoining site, and planned, financed, and 
furnished the vast Savoy Hotel. His next venture was 
the magnificent English Opera House in Cambridge Circus, 
with its four Venetian fa9ades and terra-cotta freizes. This 
he opened in February, 1891, with Ivanhoe. By his first 
marriage Mr. D'Oyly Carte has two sons. His present 
wife, who is one of the most energetic of women, was a 
Miss Cooper Black, who, after carrying off honours in 
mathematics, mechanics, logic, and moral philosophy at the 
London University, was strangely enough seized with a 
desire for theatrical management. To this end she assumed 
the name of Miss Lenoir, and became first translator and 
then secretary to Mr. D'Oyly Carte at the Opera Comique, 
and prior to her marriage paid fifteen visits to America to 
arrange theatrical business. Mr. D'Oyly Carte now lives at 
the Savoy Hotel, and his business sanctum sanctorum is 
on the Adelphi Terrace. 

Cautley, Laurence.— After a short and unsatis- 
factory introduction to the Examiners at Lincoln's Inn, Mr. 
Laurence Cautley determined to forego the prospective 
glories of wig and gown, and don, in their place, sock and 



Cav 47 

buskin. Miss Marie Litton gave him his first engagement, 
and he played for some time a round of general utility 
under her management, and subsequently obtained a small 
part in Mankind -when that play was produced at the Globe. 
Here fortune favoured him, for on the opening night 
Mr. Kyrle Bellew met with a serious accident, and Mr. 
Cautley volunteered to play his part, a very long one, on 
the following evening, and did so successfully until Mr. 
Kyrle Bellew's recovery. From that time he has gone 
right ahead, and his trial at management, with a company 
of his own in the provinces, met with very fair results. 
Later on he joined Mr. Robert Buchanan at the Globe, 
and since then has played many characters at various 
West End theatres, until in the autumn of 1890 he accepted 
a fifteen months' engagement to star in The English Rose 
in Australia. 

Cavendish, Ada. (Mrs. Frank Marshall.) — This 
talented lady studied for the stage under Miss Fanny Stirling 
and Mrs. Walter Lacy. In 1864 Miss Ada Cavendish made 
her debut in Ixion ; or, The Man at the Wheel, and soon 
blossomed into a sprightly burlesque actress. In 1886 she 
appeared at the Haymarket, where she remained some time. 
Four years later she assisted at the opening of the Vaude- 
ville. In 1873, after filling engagements at the Globe and 
Gaiety Theatres, she leased the Olympic, and redecorated 
and renovated it until it became one of the most elegant 
houses of the period. Here she produced Wilkie Collins' 
New Magdalen — a play with which her name and reputation 
will ever be associated. Her tenure of the Olympic only 
lasted a year, and she then played in star parts in London 
and the provinces. In 1878 she gave a series of per- 
formances at the St. James', under the management of Mr. 
S. Hayes, and shortly afterwards visited America, where 
her acting in the title rdle of Lady Clancarty — a character 
well suited to her passionate, earnest style — and as Rosalind, 
Juliet, Mercy Merrick and Lady Teazle, created great 
enthusiasm. Miss Ada Cavendish is the widow of the 
late Mr. Frank Marshall, known for his scholarly 
edition of Shakespeare, and who died in December, 
1889. Of late years Miss Ada Cavendish has been little 
seen in London, her engagements having been principally 
in the provinces. 



48 Cec 

Cecil, Arthur. (Mr. A. C. Blunt.) — Born near Lon- 
don in 1843, of a family who have been solicitors for many 
generations, Mr. Arthur Cecil was intended for the Law, but 
evinced such a distaste for it that his father offered him the 
alternative of the Army. He had already made his mark in 
an Amateur Dramatic Club, and this led him to turn his 
attention to Thespian art as a profession. In 1869 he joined 
the German Reeds, then in the height of their fame, and 
appeared as Mr. Churchmouse in Mr. W. S. Gilbert's sketch 
entitled No Cards. This was followed by a musical version of 
Box and Cox, in which as Box he made a phenomenal success, 
and has since played the character over 400 times. For five 
years he remained at the Gallery of Illustration, his clever 
musical sketches given there and also at private drawing- 
room entertainments, largely adding to his reputation. At 
Christmas, 1873, Mr. Cecil left the German Reeds to play 
on the wider theatrical stage, and appeared at the Globe, 
and later on at the Gaiety and the Opera Comique, then 
underMr. Hollinghead's management, during which engage- 
ments he made his only two appearances in Shakespearean 
drama, in the character of Dr. Caius in the Merry Wives of 
Windsor, and Touchstone in As You Like It. From the 
heavy and legitimate drama to light and farcical comedy is 
a long stride, but Mr. Cecil achieved it with a skip, and in 
The Magistrate, The Schoolmistress, and Dandy Dick, com- 
pleted the building up of the reputation which he now 
enjoys. Conjointly with the late Mr. John Clayton, he 
undertook the management of the Old Court Theatre. The 
plays at first selected failed to draw, but salvation was 
subsequently found in Pinero and farcical comedy, and 
some ;£'i 2,000 represented his share in the profits of this 
speculation. Mr. Arthur Cecil is a confirmed bachelor, 
and lives at his ease in Clarendon Chambers, next door to 
the Haymarket Theatre. He is a member of the Garrick 
Club, where he entertains his numerous friends in princely 
style, but his breakfasts given at his own chambers have 
idealised that homely meal. His rooms are exquisitely 
furnished and decorated, and the walls hung with a unique 
collection of photographs of every imaginable celebrity, 
most of them made more valuable by autographic attach- 
ments. But that which he prizes most of all his treasures 
is an old-fashioned rosewood piano, standing in one corner 



Cha 49 

of the room, and which was formerly used by Albert Smith 
at his entertainments. A finished musician, Mr. Cecil has 
written many clever songs and sketches, and his compo- 
sitions have been heard at some of the Monday "Pops." 
Au reste, the fact of his having been called upon to respond 
to the toast of the Drama at the Royal Academy Banquet, 
in succession to such masters as Irving^ Vezin, and Hare, 
sufficiently indicates the high position he enjoys in the 
profession. Mr. Cecil has, since 1888, been acting at the 
Court Theatre, under the management of Mrs. John Wood, 
and in Mamma, Aunt Jack, The Cabinet Minister, and as 
the long-suffering Stuart Crosse in The Late Lamented, 
added further successes to the many past ones in his career. 
Chard, Kate. (Mrs. Deane Brand) — Miss Chard 
was born at Surbiton, and first turned her attention to the 
concert platform, after an education at the Royal Academy 
of Music, where Mr. Holland and Signer Alberto Randeg- 
ger directed her studies. Her ddbut was the result of chance, 
and originated through a good-natured consent on her part 
to fill the place made void by the sudden indisposition of a 
professional singer. After the concert she was offered an 
engagement at the Promenade Concerts at Dublin. This 
led to further appearances at Brighton and the Crystal 
Palace. She then turned her attention to the stage, and 
accepted an offer to tour with one of Mr. D'Oyly Carte's 
companies, and was next engaged by Mr. Carl Rosa, and 
sang in Faust, Mignon, Maritana, and other operas, alter- 
nating the lead with Miss Josephine Yorke. This lasted for 
three years,, when she returned to Mr. D'Oyly Carte's fold, 
having in the meantime married Mr. Deane Brand, whom 
she had met when first a member of that troupe. Shortly 
afterwards (1883) she and her husband sailed for Australia, 
where they remained a year and a half. Returning to 
England, she was fortunate enough to get an opening at the 
Savoy in Princess Ida. When the play was ended she 
treated herself to a year's well earned rest, after which she 
made her reappearance at the Empire Theatre in Billee 
Taylor and Round the World in Eighty Days. And now she 
and her husband were doomed to fall victims to the mania 
for management, and pinning their faith to an opera called 
Rhoda, lost heavily by it. After Rhoda had been ridden to 
ruin. Miss Chard returned to the galley slave work of the 

D 



50 Che 

country concert platform, which is best described by her 
actual experience of singing four consecutive nights at 
Southport, Eastbourne, Dundee, and Brighton in the order 
given. In 1889 she once more appeared on the theatre stage 
in The New Corsican Brothers at the Royalty. Here an 
incident occurred which it is a pleasure to record. One night 
a fire broke out on the stage whilst she was in front. She 
was singing a song at the time, and continued it with per- 
fect composure. In all human probability she saved a panic. 
After the Royalty she turned her attention to the Music 
Halls, but is seen every year in the pantomime at the Crystal 
Palace, where she is an established favourite. 

Chester, Edith. (Mrs. Hallowel Carew.) — Success 
at amateur theatricals and an infatuation for the footlights 
led Miss Chester to take to the stage as a profession, and 
she made her debut in America in 1885 under Miss Rosina 
Vokes' management, touring with that lady for twelve 
months in Canada and the United States. On her return 
to London, Mr. Hawtrey engaged her for Lettice Venne in 
Harvest, in which she achieved a decided success, playing 
with great grace and refinement. Her next appearance 
was in Dorothy at the Prince of Wales'. In 1887 Miss 
Chester was married, and in the following year appeared 

(with the Old Stagers during the Canterbury week, and also 
in Sweet Lavender at Terry's, but had to resign her part 
through ill-health. More recently she has been seen in The 
Jiidge at the Opera Comique, and Your Wife at the St. 
James', supporting Mr. Bourchier, and in July, 1891, 
was one of the Babes in A Pantomime Rehearsal at the 
Shaftesbury. 

Chevalier, Albert. — Born in 1856 near London, 
the subject of this notice was baptized with a string of 
Christian names that contain altogether something like a 
hundred letters. Hereen Albert Onezime Algarth Britan- 
nicus Garfleur Alphonse may be taken as fairly representa- 
tive of this prodigal nomenclature. His father, Mons. 
Chevalier, was a Parisian, while his mother was of Welsh 
extraction. His love of acting attracted the notice of the 
Kendals, who gave him a boy's part to play when he was 
only ten years old ; but it was not until a dozen years later, 
when he took Mr. Arthur Roberts' place at the Avenue 
Theatre in The Field of the Cloth of Gold, that he came 



Cla 51 

prominently before the public. His quaint personality, his 
clever patter of broken English, and his business-like way 
of moving about, always bring down the house. Mr. 
Chevalier is a successful playwright, and the author of 
many popular songs ; Faust up to Date was entrusted to 
him to be shaped for its revival at the Gaiety. Once a 
capital athlete, cricketer, and sculler, he now keeps himself 
in training by bicycling exercise. He is, moreover, the 
happy possessor of one of the prettiest little house-boats on 
the river. A first-rate violinist, and an adept on both the 
banjo and piano, he can sing a good song and play a good 
accompaniment. Mr. Chevalier has never acted out of 
England, though he has received many offers from American 
managers, for nothing will induce him to risk the collapse 
which he feels would inevitably ensue were he to commit 
his person to a voyage on the ocean wave. 

Claire, Attalie. — Miss Claire was born in Canada, 
and her vocal talents manifested themselves so early that 
her first appearance on the stage was made when she was 
a mere child, and with such success that from that moment 
her musical education was carefully supervised by Mr. J. 
H. Torrington, of Toronto. When she grew older she 
went to New York, and studied under Madame Fursch- 
Madi, at the National Conservatoire. Her dibut was in 
the character of Siebel in Faust, but the remarkable range 
of her voice enabled her to eventually take the part of 
Marguerite in the same opera. She proved herself an 
indefatigable worker, and her industry soon procured for 
her an engagement with the Boston Ideals, that celebrated 
American Company which has produced such stars as 
Agnes Huntington and Geraldine Ulmar. After leaving 
them she filled a very successful engagement with Mr. J. 
W. Morrisey's Company, and this was succeeded by the 
high honour of being selected for a place in the Patti 
Operatic Tour. As a result of her effbrts here she received 
from the Diva a diamond bracelet, accompanied by a very 
kindly recognition of her talent. She next appeared at the 
Grand National Opera House at New York, and concluded 
a most successful season with the title rdle in Carmen and 
Armine in The Bohemian Girl. She then came to London 
to join the Carl Rosa Opera Company. The part allotted 
to her was the title rdle in Captain Thirbse, which had been 



52 Cle 

written for a low contralto. This was in itself a misfortune, 
but a worse difficulty militated against her metropolitan 
dibut, for she was taken ill, and actually got up from a 
sick bed to take her place on the stage and make her first 
bow to a London audience. Such pluck was deserving of 
the reward she met in a kindly and sympathetic reception, 
and she has recorded that she can never forget the kindness 
shewn to her by both press and public. In October, 1890, 
Miss Claire essayed a short provincial tour, returning to 
London later in the year to assume the dual rdles of Betsinda 
and Rosalba in The Rose and the Ring, in which her piquant 
singing and charming acting brought her great commenda- 
tion. She eclipsed her triumph here, however, by her acting 
in Maid Marion, which followed, the part of Annabel being 
exactly suited to her powers. Miss Claire — who owns 
herself delighted with London — is gifted with a pretty face, 
a petite figure, and a charming stage presence which com- 
pels the sympathy of her audience. 

Clements, Effie. — Miss Clements was educated at 
the Royal Academy of Music, where she gained the Bronze 
and Silver Medals and the Certificate of Merit. She 
possesses a soprano voice of great clearness and purity, 
and obtained her first professional engagement with Mr. 
Sims Reeves, on his farewell (?) concert tour, in which she at 
once made a distinct mark. Joining the Carl Rosa Com- 
pany, she made her ddbut at Liverpool, in 1886. Her first 
appearance in London was at the Opera Comique, in Our 
Diva, when she quickly made good her claim to a leading 
place on the light opera stage. After this came a turn on 
the concert platform, but on the production of La Cigale in 
1890, she was offered the part of Charlotte. It was one 
that suited her extremely well, and her impersonation has 
pleased everyone who has seen her. To a quiet and refined 
manner she adds a charming face, and an absence of any- 
thing approaching to affectation. Her opening song in La 
Cigale, which she renders with great sweetness, is one of 
the prettiest in this tuneful opera. 

Coffin, C. Hayden. — This popular baritone is an 
American by birth, and hails from Maine, New England, 
U.S.A., though his father, a well-known surgeon dentist, 
lived and practised for over twenty years before his death 
in South Kensington. At one time Mr. Hayden Coffin 



CoF 53 

studied for his father's profession, but his passion for music 
and the unusual richness and timbre of his voice determined 
him to adopt that of the stage instead. His first appear- 
ance was at the Empire Theatre in 1885, as Cosmo in The 
Lady of the Locket, and his next at the Avenue Theatre, to 
fill a part in Falka. In 1886 he assumed the role of Harry 
Sherwood in Dorothy. In this phenomenally successful 
opera he made a great hit by his splendid singing of 
the song ',' Queen of my Heart," which, although published 
twelve years previously, had never touched the public taste 
till he demonstrated its merits. Mr. Cellier, recognising 
that the melody only required to be well handled to obtain 
fuller appreciation, introduced it specially for Mr. Hayden 
Coffin into the score of the opera, and his rendering of it 
was the chief feature of the performance. Dorothy stood 
the marvellous test of 931 consecutive performances, and 
after passing on from the Gaiety to the Prince of Wales', 
and from thence to the Lyric, succumbed in the fulness of 
time to Doris, which was produced in April, 1889. In spite 
of Mr. Hayden Coffin's excellent singing as Sir Philip Carey, 
Doris had to give way sooner than was anticipated to The 
Red Hussar, in which he sustained the part of Leighton 
until its premature and undeserved withdrawal. Returning 
to the Prince of Wales', Mr. Hayden Coffin took the part 
of Ralf in Marjorie, under the Carl Rosa management, 
which piece enjoyed a fair run, and in August, 1890, 
appeared in Captain ThMse, where, in addition to the 
success attending his vocal efforts, he " debutted" as a very 
neat dancer in company with Miss Phyllis Broughton., In 
Maid Marian, which followed, Mr. Hayden Coffin played 
the part of Robin Hood, until that opera was withdrawn 
in favour of L'Enfant Prodigue. Shortly afterwards he 
joined the company at the Lyric Theatre to take the character 
of Vincent in La Cigale. It was on the 228th night of 
the run of that delightful opera, and the eventful occasion 
of Miss Geraldine Ulmar's return after her marriage to 
resume the title rdle, and both met with an equally hearty 
reception. In the new love song, specially introduced for 
him, Mr. Hayden Coffin nightly won a double encore, and 
elevated a previously small part into one of importance by 
his picturesque acting and finished vocalism. A few weeks 
later Chevalier Scovel's engagement with Mr. Horace 



54 Cog 

Sedger ended, and Mr. Hayden Coffin assumed the leading 
part as Franz de Bernheim, formerly sustained by that 
gentleman. The substitution of a baritone for a tenor in 
so important a role, was a daring move ; and though the 
score was cleverly transposed, the part undoubtedly lost 
power by the change. B ..■JrghMu.i"" 

Coghlan, Charles F.— Mr. Coghlan's early ap- 
pearances of note on the London stage are associated with 
his engagements at the Prince of Wales' Theatre between 
the years 1870-6, though he had previously acted in London 
with more or less success at the Olympic, St. James', 
Lyceum, and Holborn Theatres. During those six years 
Mr. Coghlan created numerous important characters, and 
was seen for the first time in 1874 as Charles Surface in 
The School for Scandal. Since then he has acted that part 
far and wide, and is now universally allowed to be one of the 
best exponents of that character. In 1876 he left England to 
tour in the United States, and after a career there of unusual 
success returned to London in 1879, and in various engage- 
ments which followed increased his reputation as an actor 
of modern comedy. In 1885 Mr. Coghlan first became a 
member of Mrs. Langtry's Company, then at the Prince's 
Theatre, and in the following year, when that lady produced 
his play entitled Enemies, played the lover to her Margaret 
Glenn. In 1887 he returned with her to America. His 
next appearance on the London stage was as Antony, 
when Mrs. Langtry took the Princess' Theatre in December, 
1890, and opened with Cleopatra. This was followed by 
Mr. Coghlan's comedy Lady Barter, which, failing to draw, 
was replaced by that old-fashioned play Linda Grey. It was 
during this time that Mr. Coghlan's experiences before Mr. 
GifFard afforded several columns of copy to the "Star" and 
other papers, under such headlines as "Coghlan in Farce" 
and the like, and he learnt that the delights of living an 
unreal existence could be rudely broken by creditors. As a 
dramatist Mr. Coghlan has met with very fair success, and 
is the author of Lady Flora, Brothers, and A Quiet Rubber. 
This last Mr. Hare revived at the Garrick before A Pair 
of Spectacles 'v!\ 1890. 

Coleridge, Amy. — Miss Coleridge made her first 
appearance in 1877 with Mr. Craven Robertson's Caste 
Company as one of the pretty pupils in School, and was 



Col 55 

soon promoted to Martha in Society. She then filled a 
short engagement at the Olympic, from whence she passed 
to the Lyceum, where, with the exception of a brief space 
at Drury Lane drama in 1885, she has almost continuously 
appeared since, when Mr. Irving has been in possession 
of the house. Her earlier parts were Rose in The Corsican 
Brothers and the Page in The King and the Miller, and more 
recently the Waiting Maid in Macbeth (in which character 
she supported Miss Ellen Terry in the sleep-walking scene 
very sympathetically), and Rose in The Dead Heart. One 
of her best parts is that of Annette in The Bells, xn which 
she had the honour of appearing before the Queen and the 
Prince of Wales at Sandringham. In i8gi, Miss Coleridge 
was seen as Estelle in The Corsican Brothers, Ursula in 
Much Ado about Nothing, and Julie Lesurgues in The 
Lyon's Mail. 

Collette, Charles.—Mr. Charles Collette is the 
son of a solicitor, and for some time studied for the bar. 
Not liking the life, however, his father purchased for him, in 
1861, when just nineteen, a commission in the 3rd Dragoon 
Guards, and after spending a year at Canterbury he was 
ordered out to Ahmednugger. In India he devoted himself 
to big game shooting, and used to enliven the station by 
acting with his fellow-officers in many of the old Strand 
burlesques, such as Fra Diavolo, The Lady of Lyons, Esme- 
ralda, and the like. In 1866 the regiment returned to 
England, and whenever he could get leave, Mr. Collette used 
to slip off, and act with any provincial company that would 
have him. So successful was he on these occasions that he 
sold his commission in 1868, and soon afterwards appeared 
at the Prince of Wales' Theatre (then under Miss Marie 
Wilton's management) as Charles Hampton in Tame Cats, 
and scored his first professional success as Serjeant Jones in 
Ours. After leaving the Bancrofts, with whom he remained 
several years, he played under various managements. One 
of Mr. Collette's engagements during this time was in The 
Critic. Mr. Charles Mathews was impersonating Puff, the 
leading character, and one night he was prevented from 
appearing by a sudden attack of gout ; whereupon Mr. 
Collette essayed the part at sight, and his success induced 
him to devote himself to studying parts of the Charles 
Mathews type, and with these he has since been closely 



56 Col 

identified. A long provincial tour as leading comedian in 
the Vaughan and Conway Company was followed by a 
series of London engagements, in all of which he played 
with his invariable energy and skill. In the autumn of 1890 
he took the part of Peter Guzman in the Black Rover, at 
the Globe Theatre. Mr. Collette also gives entertainments 
of the Grain and Grossmith character, at which he is 
sometimes assisted by his daughter. Miss Mary Collette, 
who is also well known on the London stage as a clever 
young actress. Mr. Collette is married to a sister of Mrs. 
Bancroft. 

Collette, Mary. — This young lady is a daughter of 
Charles Collette, the popular comedian. Her mother, 
formerly known in the bills as Blanche Wilton, is a sister 
of Marie Wilton, now Mrs. Bancroft. Miss Collette made 
her first appearance in a child's part as Wilkins Micawber, 
Junr., at the Theatre Royal, Southampton, in January, 
1883 ; but her regular debut occurred five years later, 
when she undertook the part of Suzanne in The Ironmaster 
in Mr. and Mrs. Kendal's Company. In 1889 she joined 
Mrs. Oscar Beringer's Company at the Opera Comique, 
and was the original Rosie in Tares, and played Matilda 
Jane in A Regular Fix. She was next engaged at the 
Vaudeville for the part of Jenny in Clarissa, followed by 
Dolly in Miss Tomboy, in which she acquitted herself well. 
Since then she has been on tour with Mr. Thomas Thorne. 
In addition to her histrionic abilities, Miss Collette shows 
decided talent as a musician, and was a favourite pupil of 
the late Mr. John Maclean. 

Compton, Edward. — There are few members ot 
the profession more popular with their confreres than Mr. 
Compton, who is a brother of Katherine, Percy, and 
several other Comptons, well known on the London stage, 
and a younger son of the distinguished comedian, the late 
Mr. Henry Compton. It was his father's special wish that 
he should begin at the bottom of the ladder, and though 
born and educated in London, his first recognised 
appearance was made at the New Theatre, Bristol. This 
was in 1873. Mr. Compton's subsequent apprenticeship to 
the Thespian Art was passed in stock companies at 
Glasgow, Liverpool, and Birmingham. In 1881 he started 
a company of his own, in which his wife played as leading 



Con 57 

lady, to exploit old English comedies. With a fair all- 
round cast he secured considerable success, and this in- 
duced him to take the Strand Theatre for a three months' 
season, where he opened in the autumn of 1886. Here 
Mr. Compton revived The Rivals, The School for Scandal, 
David Garrick, She Stoops to Conquer, and The Road to Ruin. 
After this season in London, Mr. Compton again sought 
the provinces, where good fortune followed the Compton 
Company, which quickly became recognised as one of the 
best schools for young talent. At the end of September, 
i8gi, Mr. Compton became sole lessee and manager of 
the Opera Comique, and opened with The American. In 
this he played the title role, and the reception accorded 
him promised well for the success of his season there. 
The house was crowded from stalls to gallery. Mr. Compton 
had expended a large sum on decorations and structural 
improvements, and never before, in its chequered existence, 
had that theatre been made so cosy, homelike, and com- 
fortable. All fees were abolished, and everything was 
done to merit the patronage of London playgoers. 

Conquest, George. — This veteran playwright, 
actor, and acrobat ■was born at the old Garrick Theatre, 
Whitechapel, in 1837. His father was a noted delineator of 
sailor characters, and at that time sole lessee of the Garrick, 
and his mother had played Columbine in the palmy days of 
Harlequinade at Astley's and Covent Garden Theatres. In 
1846 the Garrick was burnt down, and George had a narrow 
escape. In 1851 his father took the Eagle, and the ballets 
subsequently produced there by Mrs. Conquest became the 
talk of the town, and induced her to open a Dancing 
Academy, where, amongst many distinguished pupils, Miss 
Kate Vaughan and- Miss Lingard learnt their art. When 
fourteen years old George was sent to school at Boulogne, 
and sat on the same form with Coquelin, afterwards the 
famous French actor, whose father then kept a "tuck shop" 
at which George was one of the best customers. In 1857 
he married one of his mother's most promising pupils — 
whose death from a carriage accident in 1890 called forth 
many tokens of sympathy and regard — and on Boxing 
night of that year made his first appearance before the foot- 
lights in the pantomime of Peter Wilkins. Later on he 
became manager of the Grecian Theatre, and turned out 



58 Con 

stars in showers, amongst them such planets as Harry 
Nicholls, Herbert Campbell and Arthur Williams. Tragedy 
then claimed him for a time, and he played the lead in 
Richard III. and in The Merchant of Venice. Mr. Conquest 
has for many years reigned at the Surrey, where his judg- 
ment and complete knowledge of the tastes of his audience 
have reduced success to an exact science. He has paid the 
inevitable visit to America, where, at Wallack's Theatre, he 
met with a very serious accident while impersonating a 
twenty-five foot worm ! His career has been one of cease- 
less activity, during which he has written and adapted plays, 
pantomimes, and melodramas by the dozen. In most of 
these productions he has played the leading character. His 
eldest son, George Conquest, junior — who from a child has 
appeared under his father's regime — made his first appear- 
ance at Drury Lane as the Giant Gorgibuster in Jack and 
the Bean-stalk, at Christmas, i88g, and in the autumn of 
1890 played, as also did his younger brother Fred, in 
The Village Forge at the Surrey, where both brothers are 
established favourites. 

Conway, H. B. (Mr. Blenkinsopp-Coulson.) — 
"Handsome Harry" Conway is a kinsman of the greater 
Byron and a connection of the lesser one — the author of 
Our Boys. On the death of the poet the barony devolved 
upon his first cousin George Anson, who had two daughters, 
one of whom married Captain John Blenkinsopp-Coulson, 
of Blenkinsopp Castle, Northumberland, and was the father 
of the subject of this sketch. Mr. Conway was born in 
1850, and educated at Rossall, where, on account of his 
girlish looks, he obtained the nickname of "Miss Fanny." 
In 1867 he went to Berlin to complete his education at the 
University of that city. Here he somehow drifted into 
dramatic circles, and became so stage struck that on his 
return to England two years later he fully determined to 
make the drama his profession. His family strongly op- 
posed this design, and he therefore postponed its execution 
for three years. Circumstances then arose which made it 
necessary for him to earn his own bread and butter, and 
he obtained an opening at the Olympic, in November, 1872, 
as Bernard in a play entitled Without Love. His talents 
were soon recognised, and he was taken up by Mr. Bancroft, 
who gave him a place in his company, which was then 



Coo 59 

starting for a provincial tour. On his return to London, 
Mr. Irving' offered him an engagement at the Lyceum, 
where he soon acquired a merited popularity. In conjunc- 
tion with Miss Kate Vaughan he next started the Vaughan- 
Conway Comedy Company, which proved a great financial 
success in the provinces, and in 1887 he joined with Mr. 
William Farren in the management of the Conway-Farren 
Comedy Company, which enjoyed an excellent season at the 
Strand Theatre in that year, and subsequently made a very 
successful country pilgrimage. Mr. Conway has also 
visited America, where he is as great a favourite as in 
England. In August, 1890, he entered on a two years' 
engagement with Mr. Thorne at the Vaudeville. In 
Shakespearean plays Mr. Conway is quite at home, as his 
rendering of Romeo testifies, but he prefers old English 
comedies and characters which require vigorous imper- 
sonation and handling. He is the husband of the clever 
actress Miss Kate Phillips, and lives in a spacious flat in 
Victoria Street during the winter months, but in the summer 
is always located in a charming cottage at Sunbury-on- 
Thames. 

Coote, Carrie. — Born in 1870, Miss Coote comes of 
a well known theatrical and musical family. Her first 
appearance was in pantomime at the Theatre Royal, 
Brighton, under the late Mr. Nye Chart, when she was 
only 4 years old. The remarkable talent she displayed led 
to many engagements for children's parts, amongst which, 
her most successful impersonation was Eva in Uncle Tom's 
Cabin. She next paid a visit to America, where she under- 
took ingdmie characters, for which her pretty face and 
graceful girlish figure pre-eminently fit her. After a highly 
satisfactory season at Wallack's Theatre, she returned to 
London, and joined the Avenue Company, taking Miss 
Phyllis Broughton's place in the comic operas produced. 
Her fascinating dancing, in the style popularised by her 
predecessor, and her spirited acting, brought her many 
admirers. In 1890 she appeared in the provinces with the 
Gaiety Company, and is engaged for the next pantomime 
at the Crystal Palace. 

Coveney, Harriet. — This heroine of over a thousand 
distinct characters on the stage was the thirteenth child of 
her parents, who were continuously connected with the 



6o Cov 

Drury Lane and Haymarket Theatres for a third of a 
century. Her father was a renowned Trip and Paul Pry 
in his day, and lived to the patriarchal age of 94, and her 
mother was a popular actress who shone in singing parts. 
Miss Coveney's first appearance was at the age of seven, 
and it led to a series of engagements for children's parts in 
Shakespearean plays. This brought her into contact with 
the great Macready, who took an immense fancy to her, and 
shewed her much kindness, and she describes him as " a 
most charming companion, but in business a terror." 
Having grown to woman's estate. Miss Coveney proceeded 
to take lessons in dancing from Mr. Charles Leclercq, not 
with any idea of becoming a professional danseuse, but 
because dancing and deportment were a part of the dramatic 
curriculum of those days. The course finished, she made 
her dibut at the Adelphi Theatre, Edinburgh. A little later 
she laid the foundation stone of her subsequent success by 
her dramatic representation of Oliver Twist at the Theatre 
Royal, Glasgow, and this encouraged her to come to 
London, where she first appeared at the old Adelaide 
Gallery. She was next engaged as a coryphee to support 
no less a star than Taglioni, and appeared at her last per- 
formance. When the green curtain fell for ever on that 
Terpsichorean Queen, the great danseuse, with a vanity 
which had in it something that was pathetic and something 
that was great, took off her wreath and slippers, and 
dividing them into pieces, gave the fragments as mementos 
to those around her. Miss Coveney treasures to this day 
the souvenir she then received. Her next engagement was 
with Mr. Webster at the Adelphi, followed by another at 
the Surrey, and she then went to pantomime at Drury Lane. 
After this she gave the music halls a trial, where she was 
most successful, but at the urgent representation of her 
relatives and friends, returned again to the higher branch, 
and accepted an engagement with Mr. Chatterton at 
Drury Lane, remaining with him for eleven years, during 
nine of which she appeared in conjunction with the Vokes 
family, and also with such great artistes as Walter Mont- 
gomery, Barry Sullivan, John Ryder, Phelps, Helen Faucit, 
and Adelaide Neilson, and her connection only terminated 
in 1879, when poor Chatterton's lesseeship ended and 
found him encumbered with ;^36,ooo of liabilities. Space 



Cra 6r 

forbids to more than briefly recapitulate her subsequent 
engagements at the Criterion (The Great Divorce Case), the 
Royalty (under Kate Santley), the Princess's, Imperial, 
Gaiety, Adelphi, Haymarket (in The Yellow Dwarf), and 
more recently in low comedy parts quite unworthy of her 
powers, however amusing, in Dorothy and Doris. 

Craigf, Gordon. (Mr. Warden.) — The actor whose 
nom-de-theatre heads this paragraph is the son of Miss 
Ellen Terry, and was born near London in 1873, and edu- 
cated at Bradfield College and in Germany. In September, 
i88g, he made his debut at the Lyceum, as Arthur de St. 
Valery in the Dead Heart, in which character his intelligent, 
careful acting at once attracted favourable notice. In the 
autumn of the following year he appeared in Ravenswood, 
as the high-spirited boy Harry Ashton, his mother taking 
the part of Lucy, his sister. After this Mr. Gordon Craig 
acted in nearly all the revivals seen at the Lyceum till 
the summer recess of 1891, when he joined Miss Sarah 
Thome's Company to play Shakespearean characters in 
the provinces. 

Dacre, Arthur. — Before Mr. Dacre adopted the 
dramatic profession he practised for a time as a physician, 
being better known to grateful patients as Dr. Culver-James, 
although, like Mr. Irving, Mr. Henry Neville, and other 
actors who could be mentioned, he has definitely abandoned 
his patronymic, and assumed for both practical and pro- 
fessional purposes that which was at first only a nom-de- 
thddtre. As an actor, for which Mr. Dacre (the alliterative 
Dr. Dacre almost forces itself forward) is eminently suited 
by his personal appearance, he quickly rose to a place in 
the front rank. He made his first appearance in America, 
under Didn Boucicault, his debut occurring at forty-eight 
hours' notice, and after only two rehearsals, as Captain 
Molyneux in The Shaughraun. After a round of Boucicault 
parts he returned to England, and was at once engaged by 
Mr. Wilson Barrett to create Dick Capel in A Clerical Error. 
His excellent rendering of this part procured for him that 
of Harold Kenyon in The Old Love and the New. It was 
during the run of this play that he met Miss Amy Roselle, 
to whom he was subsequently married in December, 1884. 
Meanwhile Madame Modjeska was so attracted by his im- 
personation of Harold Kenyon that she engaged him to 



62 Dal 

support her at her London dibut. His success was now 
assured, and many excellent engagements rapidly followed, 
in which he increased his reputation by his powerful and 
artistic acting in Jim the Penman, and as Dr. Riel in Impulse 
(in which he drew the warmest commendations from Mr. 
Clement Scott), Jack Absolute, Young Marlowe, Mercutio, 
and Loris Ispanoff in Fedora. Of this last performance 
the Saturday Revieisi declared that it was the finest impersona- 
tion of the part that had been seen in England. After 
this Mr. Dacre toured with his wife, playing in The Double 
Marriage, Old Heads and Young Hearts, Our Joan, and The 
Lady oj Lyons. A particularly successful appearance at the 
opening of the new Richmond Theatre saw him once again 
in his original part in Jivi the Penman, and later on in A 
Scrap of Paper. In 1889 Mr. and Mrs. Dacre repeated at 
the Grand their success in The Double Marriage, in which 
the former's rendering of Camille Dujardin was an especially 
picturesque and earnest piece of acting, and in Rumour, 
which succeeded it, he gave as dark and clean cut a 
silhouette of the stage scoundrel as could well be conceived. 
In the autumn of the same year his Dorian Cholmondeley 
in The Royal Oak at Drury Lane brought the audience 
face to face with a veritable cavalier of the seventeenth 
century. Nor must mention be omitted of his Captain 
Tempest in A White Lie under the Kendal manage- 
ment at the Court, when he displayed great skill 2LnA. finesse 
in a- most difficult part. At the end of 1890 Mr. Dacre 
sailed for America to fulfil a star engagement, and returned 
to England in the summer of 1891, taking his passage in 
the City of Richmond, which narrowly escaped destruction 
by fire. Although Mr. Dacre's chief successes in London 
have been in serious parts, comedy roles are his favourite 
ones, and he feels himself best suited when playing 
characters like Mercutio, or acting in pieces like A Regular 
Fix. 

Dallas, J. J. — This versatile comedian's first appear- 
ance before a London audience was made in Von Suppd's 
opera Fatinitza at the Alhambra. After this several years 
of busy work again followed in the provinces as actor, 
vocalist, clown, christy minstrel, and any other line of 
business that turned up, until in 1878 he joined the Gaiety 
Company, when the phenomenally successful burlesque The 



Dan 63 

Forty Thieves was produced, and remained at that theatre 
some years. The happy possessor of an excellent voice, his 
duet with Mr. Arthur Roberts, "When we were young," 
in The Old Guard, at the Avenue in 1887, and again when 
revived at that theatre in 1888, is probably as good a 
specimen of a song of that sort as the stage knows, and 
he was almost as happy as Margrave in Nadgy, which 
followed. His acting in 1889, during Mr. Auguste Van 
Biene's five weeks' season at the Gaiety with Faust up to 
Date, was worthy of the best traditions of that house. In 
conjunction with Mr. F. Stanislaus he made, in the autumn 
of 1890, a long and successful provincial tour with Little 
Jack Sheppard. Under Mr. Henry Lee's management at 
the Avenue Theatre, Mr. Dallas played a part in Mdlle. 
Cleopatra (March, 1891), but the skit came out too late in 
the season to catch on, as Cleopatra had already been 
withdrawn from the Princess' Theatre to make room for 
Lady Barter. In August he played the part of the Rajah 
of Chutneypore in The Nautch Girl for a short time when 
Mr. Barrington was absent. Mr. Dallas is a nephew of 
Mrs. Lewis, the well-known actress. 

Danby, Charles. — Early attacked with a longing 
for Thespian delights, this diverting comedian, while 
articled to an architect, spent dull hours in his office draw- 
ing plans of phantom theatres, which in years to come he 
hoped to build for himself to act in. By a friend's assistance 
he secured a leading part in a miserable travelling company, 
which opened at Blackburn, Christmas, 1876, and joyfully 
accepted six shillings additional salary to play the "police- 
man" and submit to be knocked about by a brutal clown; 
The management found his acting wanting, and gave him 
notice to leave at the close of the first evening's performance, 
and he had hard work to compromise the matter by accepting 
a substantial reduction, which for the double capacity made 
his salary exactly a pound a week. Nothing daunted, he 
continued in this rough school for nine months before he 
joined "The Russian Diorama of Plevna" show, and added 
to the function of "general utility" that of a graceful skater. 
After a rough time with another company in the West of 
Ireland, Mr. Danby appeared in 1880 at the Victoria Music 
Hall, London, at a benefit, in that truly awful tragedy 
Catherine Howard, in which he played the funeral comedy 



64 D'Ar 

part. The actor with whom he had his scene was very drunk, 
and they were soundly hissed. Next came a two and a half 
)'ears' engagement at the Pavilion, playing comedy parts, 
and he made a great hit by his rendering of Michael Feeny 
in Arrah-na-Pogue (1885). This was followed by a time of 
very low water, jobbing in various places, till he secured a 
success at Newcastle, which led to Sir Augustus Harris 
engaging him for the next Drury Lane pantomime. After 
his appearance at the National Theatre, he undertook Mr. 
J. L. Shine's part in Glamour, which was his first appear- 
ance in light opera. His success led him in the following 
year (1887) to try a small company of his own for the 
summer months at the Isle of Man, during which an offer 
came from Miss Lydia Thompson to play in The Sultan of 
Mocha at the Strand. It is, indeed, seldom that an actor 
gains popularity with a London audience in one bound as 
Mr. Danby did, when as Captain Sneak, the bad bold man 
of the play, he captured the house at once by his grotesque 
humour and quaint originality. After the pantomime at 
Drury Lane, in which he played as one of the wicked 
brothers in Puss in Boots, Mr. Danby returned to the Strand 
and subsequently accompanied Miss Lydia Thompson to 
America. With the opening of the autumn season of 1889 
of the Farren-Leslie Company at the Gaiety, Mr. Danby 
appeared as Don Salluste in Ruy Bias, in which his singing 
of "They're after me" always received a double encore, and 
was received with equal enthusiasm when sung by him 
during the company's tour in the Antipodes. Mr. Danby's 
next London appearance was in the first edition of Joan of 
Arc at the Opera Comique, where by his humorous acting, 
and especially by his clever singing in " Round the Town" 
with Mr. Arthur Roberts, he scored immensely. In the 
autumn of 1891 he once more left England to join the 
Gaiety contingent in Austraha. 

D'Arville, Camille. (Miss Cornelia Dykstra.)— 
Miss D'Arville is a native of Holland, and was born at 
Overrysel, in the Dutch provinces, in 1863. She studied 
singing at the Academy of Music at Amsterdam, and 
whilst yet a child of fourteen made her first appearance 
on the concert platform in that city. A little later she 
ascended the lyric stage, and undertook some children's 
parts in Operettas. When her voice was fully matured. 



Dav 65 

she visited Germany and Austria, where she met with such 
success that she determined to extend her travels to 
England, and arrived here in 1883. But the reality of 
London life was very different to her anticipations of it, 
and after many disappointments Miss D'Arville made her 
ddbut on the boards of the Oxford Music Hall, where she 
remained for five months. At last she was successful in 
obtaining an opening in Comic Opera, and appeared in 
Cyrnbia at the Strand, where she at once found favour with 
the public. Rip Van Winkle at the Comedy, and Chilperic 
at the Empire followed, where Mr. Harry Paulton gave her 
some coaching in the English language, of which she was 
much in need. After a provincial tour with Falka, she 
returned to the Comedy in 1887 to play in Mynheer Jan. 
At the end of that year Miss D'Arville joined the Gaiety 
for a short time, but a misunderstanding occurring with 
regard to the particular character allotted to her, she 
severed the connection, and adjourned to the Strand 
Theatre to play the title role in Bahette. An American 
engagement for Pepita followed, from which she returned 
to play in Carina at the Opera Comique, in which her 
charming archness was the feature of the piece. Then 
followed an engagement from the Carl Rosa Opera Com- 
pany to succeed Miss Wadman as Yvonne in Paul Jones, 
and after that to create the title role in Marjorie. In 1890 
Miss D'Arville went to America, and resuscitated the old 
triumphs oi Madame Angot. 

Da.vieS, Ben. — A pretty little village in the Swansea 
Valley, Wales, was the birthplace of Mr. Ben Davies, 
where he commenced singing in the church choir at the 
early age of five, and continued his chorister career until 
sixteen. Some four years later Mr. Brindley Richards heard 
him sing at a local concert, and urged him to study music 
as a profession. Acting upon this advice, he entered the 
Royal College of Music, and gained whilst a student there 
the bronze, silver, and gold medals, and eventually became 
an associate. In 1882 he joined the Carl Rosa Company, 
and made his first appearance as Thaddeus in The Bohemian 
Girl, at Her Majesty's Theatre, remaining with that man- 
agement until 1885, and taking all the principal tenor roles. 
In the same year he married and left the company, intending 
to devote himself to concert and oratorio work, but he re- 

E 



66 Daw 

joined it again in 1886 for a year. His first appearance on 
the Comic Opera Stage was as Geoffrey Wilder in Dorothy 
in 1887, succeeded by Martin Bold in Doris, and Ralph 
Rodney in The Red Hussar. Mr. D'Oyly Carte then en- 
gaged him to sing in the grand English opera of Ivanhoe, 
and his salary was said to be the highest ever paid to an 
English tenor on the stage. Mr. Davies manages to conceal 
his want of height wonderfully well, and few men of his 
inches ha\'e such a fine stage presence. He is thirty-five 
years of age but looks younger. He lives at St. John's 
Wood, and is an enthusiastic cricketer, seldom missing 
any of the good matches at Lords. 

Dawson, Forbes. — it was in July, i860, at Alfrick, 
Worcestershire, that Mr. Forbes Dawson was born, where 
his father, the Rev. William Vancrosser Dawson, M.A. , 
(who afterwards joined the Church of Rome) was at that 
time the clergyman. Educated at Yvetot in Normandy, 
and later at Ushaw Roman Catholic College near Durham, 
Forbes early developed a taste for acting, which his father 
disapproved of and sent him off to sea. When in Australia 
he left his ship and knocked along till in 1876 he found 
himself in New Zealand and became a stock-driver, driving 
cattle to the west coast gold fields from Christchurch 
markets. He then took to the life of a steeplechase jockey, 
but, getting badly hurt at an up-country meeting, was forced 
to resign riding for a time, and joined Mr. W. Hoskins' 
Company at the Theatre Royal, Christchurch, and toured 
with him in the colonies before returning to England in 
1880. Not finding an opening to his taste at home, he 
made his way to America, and travelled with an Opera 
Company, which came to grief at Worcester, Massa- 
chusetts. After some very rough experiences he opened at 
New York in Youth, and then joined a stock company, 
which wended its weary way through the French Canadian 
towns to Halifax. This was followed by a tour with 
William Horace Lingard's Company through New Mexico 
and Southern California till it ended at 'Frisco in 1883. 
Mr. Forbes Dawson then joined Madame Modjeska, and 
accompanied her through California and the Western 
States, coming back to New York in 1884, from which 
tour he returned to London and obtained an opening 
at the Gaiety as Sneer in The Critic, on the occasion of 



Daw 67 

Mr. Royce's return to the stage. This was followed by- 
other London engagements interspersed with provincial 
tours, till he accepted an offer from Mr. A. W. Pinero to 
produce In Chancery at the Madison Square Theatre, New 
York, with poor John T. Raymond in the cast. Once again 
in London, Mr. Dawson was engaged at the Haymarket 
for Dark Days, Nadjezda, and the light comedy parts in the 
farces. While there he played Joseph Surface to Miss 
Kate Vaughan's Lady Teazle, and after a tour with that 
lady returned with her to the Opera Comique. After ful- 
filling engagements at the Princess's, Mr. Edgar Bruce 
secured him for Paddy Miles in Bootle's Baby at the Globe 
— a part specially written up for him. Later, Mr. Dawson 
appeared at the Strand in his original character of Captain 
• Cameron in The Balloon, and Jack Wilton in Ruth's 
Romance, created the title role in Fred Broughton's 
powerful piece The Beggars, and was seen as Clarence 
Vane during the long run of Our Flat. Then came a tour 
with his own piece The Outsider, in which he played the 
part of the Irish trainer; returning to Terry's, he appeared 
in The Commission, before he moved to the Vaudeville to 
play the lead in Prince and Pauper. 

Dawson, Jenny. — Miss Jenny Dawson made her 
ddbut at the Theatre Royal, Nottingham, in a minor part, 
and shortly afterwards gained her first success as Pousette 
in the pantomime of Cinderella at the Prince's Theatre, 
Manchester. In 1886 she came to London, and appeared 
as Jeames in Oliver Grumble at the Novelty Theatre, under 
the management of Mr. Willie Edouin. An autumn tour 
with Mr. G. P. Hawtrey, to play in The Pickpocket, was fol- 
lowed by her charming impersonation of AUan-a-Dale in 
the successful pantomime of The Babes in the Wood at the 
Prince of Wales' Theatre, Liverpool. She remained in the 
provinces for a year, undertaking juvenile and leading parts, 
and principal burlesque. In September, 1887, she accepted 
an offer to join the Drury Lane Company, where she played 
Mrs. Egerton in Pleasure, and made an adorable Cupid in the 
pantomime of Puss in Boots. Mr. George Edwardes next 
engaged Miss Dawson for his provincial tour of Miss 
Esmeralda, and she then crossed the Atlantic solely to 
understudy Miss Nelly Farren in America, which brought 
her but barren honours. Returning to England in June, 



68 Den 

1888, she appeared in Faust up to Date at the Gaiety 
during Mr. Van Bienne's short autumnal season, to the 
success of which she very materially conduced. A panto- 
mime engagement took her to Edinburgh for the winter, 
and in the spring of i8go she was cast for Millie in The 
Bungalow at Toole's. When Carmen up to Data was pro- 
duced, Miss Dawson created the role of Escamillo, but not 
liking the part, resigned it after the first week. Liverpool 
again claimed her for the winter pantomime, and in the 
spring of i8gi she was engaged by Mr. Thomas Thorne for 
Lady Franklin in the revival of Money, alternating the part 
with Miss Kate Phillips, after which she joined Mr. Charles 
Hawtrey's Company at the Comedy, and besides creating 
the part of Rosabel in Houp La with unqualified success, 
filled the leading part in Husband and Wife with equal 
verve during Miss Lottie Venne's absence. 

Dene, Dorothy. — This beautiful young lady is the 
product of a serious family who held theatres in abhorrence. 
At quite an early age — say six — Miss Dene chanced to 
hear a drawing-room recital, and at once became enamoured 
of the heavy lead in the legitimate and Shakespeare, and 
incontinently learnt Macbeth, which she spouted to the 
moon through the nursery window. So complete was her 
lunar success that she determined to be an actress. Years 
passed, and these infantile inclinations were intensified by 
four visits to real theatres, at one of which Miss Kate 
Vaughan's exquisite dancing and deft manipulation of 
skirts completed Miss Dene's determination. Overcoming 
all domestic difficulties, she joined a school of dramatic 
art, and studied for some time under Mrs. Dallas Glyn. 
It is interesting to learn that the curriculum of the 
Academy consisted in the pupils sitting in a ring and 
declaiming parts in the various plays chosen ; but the 
system lacked some of its interest owing to the sepafa- 
tion of the sexes. When, however, a piece was selected 
for representation, the cast was completed, and then 
the ladies and gentlemen rehearsed in company, and every 
three months a performance was given. Soon after this 
Miss Dene appeared as Maria in the School for Scandal, 
and also in Lady Deadlock's Secret at the Olympic and Opera 
Comique. Then the strange fancy possessed her to study 
madness from the life, and she passed hours in the company 



Den- 69 

of dangerous lunatics at the Bethlehem Hospital. She 
found this weird cult so fascinating, that even during a 
holiday trip on the Continent she squeezed in a visit to a 
lunatic asylum when she could. In this way she laid up 
for herself treasures upon earth, which proved an excellent 
investment when she made her first appearance as mad 
Pauline in Called Back, which character she played with a 
wonderful fidelity to nature. Her success led to a London 
debut in Gringoire. Further engagements followed at the 
Prince's Hall in Cassandra, Royalty in Jack, and Adelphi, at 
which latter house she came under the direction of those 
charming managers, the Brothers Gatti. In 1887 she 
created the part of Olga in A Secret Foe at the Opera 
Comique, and the next year appeared at the Lyceum 
during Miss Genevieve Ward's revival of Forget Me Not. 
She subsequently played at the Globe in Mr. Benson's 
Shakespearean plays. Miss Dene is in great request in 
fashionable theatrical circles, and achieved a veritable 
triumph in Mr. Herkomer's musical play in 1889, and also 
as Helena in A Midsummer Night's Dream, produced in the 
open air at Pope's Villa, Twickenham, by Mrs. Labouchfere. 
She is, moreover, Sir Frederick Leighton's favourite type 
of beauty, and has appeared in several of his pictures. 

Denny, W. H. — Mr. Denny was born in 1854, 
and is the son of Mrs. Henry Leigh, an actress cele- 
brated for her clever rendering of old women's parts, 
and who for fourteen years was never out of the Gaiety 
bills. When six years old Mr. Denny played a boy's part 
at a provincial theatre, and was occasionally seen on the 
stage till he was seventeen, when he made his grown-up 
dihut at Dundee. Two years later he came to London, 
and filled small engagements at Rosherville and Sadler's 
Wells, followed by a season at the Gaiety in Shakespearean 
parts, which led to his accompanying Miss Lydia Thompson 
to America for three years. Returning to London, he 
joined Messrs. Hare and Kendal for two seasons, after 
which he passed to Miss Litton's management. In October, 
1888, he first appeared in Gilbert-Sullivan operas, succeed- 
ing Mr. Rutland Barrington, and making an immediate 
and distinct mark by his magnificently morose personifica- 
tion of Wilfrid Shadbolt the jailer, in the Yeomen of the 
Guard, and further increased his reputation by his bland 



70 Dor 

and benevolent rendering of the Grand Inquisitor, in The 
Gondoliers. In June, 1891, The Nautch GzV/f was produced 
at the Savoy. The story centres round the return to anima- 
tion of Bumbo, the idol, that had been peacefully seated for 
full 2000 years in its niche in the Indian temple. Mr. 
Denny's marvellous povi^ers of stolid gravity were exactly 
suited to this novel character, and his original and humor- 
ous acting created the greatest merriment, and won for 
him much praise and favourable criticism. Mr. Denny is 
the author, amongst other plays, of that laughable little 
farce, A Mutual Mistake, which preceded both The Volcano 
and The Late Lamented at Mrs. John Wood's Theatre in 
1891. He is married and lives at Richmond, and at home 
goes in largely for gardening and carpentry. 

Doree, Ada. — Miss Dor6e was educated under Mr. 
W. H. Cummings, and entering at the Guildhall School of 
Music, secured a scholarship for singing. Her first expe- 
rience of dramatic art was with the Philothespians and 
South Kensington Amateurs. She then obtained an 
engagement in one of Mr. D'Oyly Carte's Light Opera 
Companies, and went on tour with it. In 1888 she played 
the part of Leonina in Carina very cleverly, and in the 
following year joined Mr. Auguste Van Biene's touring 
company, to play Martha in Faust up to Date, and in the 
autumn appeared for five weeks at the Gaiety. 

D'Orsay, Lawrence. (Mr. Dorset William Law- 
rence.) — This excellent exponent of "dear old chappie 
parts " on the stage comes of a family of lawyers, and for 
a time studied for the legal profession after he left Merchant 
Taylor's School, where, by the way, his nickname of Count 
D'Orsay suggested later his nom-de-tMatre. His first 
engagement was at the Marylebone Theatre, where in 1887 
he graduated as a very promising utility gentleman. After 
the usual probation in the provinces he returned to London, 
and at the old Philharmonic Theatre made his mark as 
Lord AUcash in the burlesque of Fra Diavolo (August, 
1882). After a season at the Imperial, Miss Minnie Palmer 
engaged him to support her as Dudley Harcourt in My 
Sweetheart, first in London and the provinces, and later in 
America. After playing in A Run of Luck tour, he accepted 
an engagement for himself and his wife, who is professionally 
known as Miss Marie Dagmar, with Miss Melnotte's The 



Dre 71 

Barrister Company. In 1889 he became for two seasons 
understudy to Mr. Hare, and for some time played his 
part in The Profligate. After this he again joined Miss 
Melnotte, and appeared in The Solicitor at Toole's Theatre, 
July, 1890, as Private Manners — a character that did not 
suit him. In January, 1891, he was with Mr. Norman 
Forbes at the Globe in All the Comforts of Home, and 
later joined Mr. Thomas Thorne to play in Diamond Deane 
at the Vaudeville, and remained with the company till after 
their summer tour. 

Drew, John. — The Daly Company, whose annual 
autumn seasons in London since 1886 have been so mar- 
vellously successful, contains no finer or more faithful 
comedian than Mr. John Drew, who is one of its oldest 
members, and certainly worthy of comparison with our best 
English actors. Mr. Drew was born in 1854, and was 
married in 1889 to Miss Mackee Renkins, who, although 
not in the profession herself, is intimately connected with 
it through her mother, Miss Kate Blanchard, the proprie- 
tress of the Archer Street Theatre at Philadelphia. His 
father, the late Mr. John Drew, was an actor, and made 
his last appearance in the character of the Admiral in the 
American run of H.M.S. Pinafore, and his mother is the 
proprietress of a well-known theatrical company in America. 
Across the Atlantic Mr. John Drew is at the very head of his 
profession, and deserves the wonderful popularity he has 
obtained. There is a style, and withal a simplicity, in his 
acting which is positively fascinating, and in such characters 
as Petrucio he is a veritable autocrat amongst men, while 
his Orlando was worthy to rank with Miss Ada Rehan's 
Rosalind. In Daly Comedy — which has a flavour of its 
own — he is equally at home, and his Courtney Corless, in 
Casting the Boomerang, was as easy and elegant a piece of 
acting as any that Sothern ever displayed. 

Drum-mond, Dolores. (Dolores Drummond 
Green.) — Miss Drummond was born in London, and is a 
granddaughter of the late Samuel Drummond, A.R. A. She 
was originally educated for an artist, and accompanied her 
mother to Australia, intending to practice as a painter 
there ; but having a liking for the stage, and an oppor- 
tunity offering, she made her first appearance in 1858, 
before she was eighteen, at Mr. Coppin's Theatre in La 



72 Eas 

Trobe Street, Melbourne, and thereafter adopted the stage, 
in lieu of the brush, as a profession. She subsequently 
supported Mr. G. V. Brooke as Ophelia and Desdemona, 
etc., and also Mr. and Mrs. Charles Kean at the Hay- 
market Theatre, Melbourne, and was for many years lead- 
ing lady at the principal theatres of the Antipodes. In 
1874 she returned to England, and in November of the 
same year made her dibut at the Standard as Hermione in 
Winter's Tale, and played a round of Shakespearean lead 
with great success. Two years later she was playing in Jo 
at the Globe, and in 1878 returned to the Standard for the 
part of Lady Isabel in East Lynne, and this was followed 
by engagements at the Princess's and Adelphi Theatres. 
More recently Miss Drummond has been seen at the Vau- 
deville in That Doctor Cttpid, and in Mr. Pierre Leclercq's 
four-act play. The Love Story; and upon the revival of 
Proof Sit the Princess's in 1889, she gave a clever rendering 
of the part of Madame Depreto. In the following year 
Miss Drummond supported Miss Grace Hawthorne in 
Theodora, and in the autumn played in Mr. Terry's revival 
of Sweet Lavender. In 1891 she created Mrs. Veale in 
Lady Bountiful at the Garrick, and in July assisted in 
The Lancashire Sailor at the Shaftesbury. 

Eastlake, Mary. — Soon after leaving school at 
Norwich, of which town she is a native, family reasons 
made it necessary that Miss Eastlake should earn her 
own livelihood. She had previously achieved some success 
in private theatricals, and it was natural that under the 
circumstances her footsteps should be guided towards the 
footlights. As a school girl, Mrs. Charles Wyndham had 
chanced to see her performing in a dramatic entertainment, 
and the judgment which has so often discovered hidden 
talent predicted an histrionic future for her, if she chose to 
attempt it. When the occasion came, it was Mrs. Wynd- 
ham who, remembering a promise of assistance, procured 
an engagement at her husband's theatre for the young 
aspirant. Thus encouraged she put all her heart and 
energies into her work, and studied so hard that her health 
became affected, and she had to go to Cannes for a year to 
recruit. On her return to town, Mr. Wilson Barrett 
induced Mr. Charles Wyndham to release her from her 
agreement, and joining the company of the famous trage- 



Edo 73 

dian she very soon rose to be leading lady in it. For the 
next twelve years she remained with him, affording one of 
those examples of a star actress associated with a single 
management, and for which a parallel is found in the 
careers of Miss Jessie Bond and Miss Ada Rehan. Miss 
Eastlake reached the zenith of her career in 1886, when her 
splendid performance of Halle in Clito was so daring in 
its abandon, and so full of power and subtlety, that it 
astonished the critics, and produced an almost unprece- 
dented sensation. But she enjoyed many triumphs before, 
and has done so since in connection with Mr. Wilson 
Barrett's Shakespearean successes and popular dramas, 
especially in her well-known impersonation of Ophelia. 
She has twice visited America with him, in addition to 
appearing at constant intervals at the Globe and Princess's 
Theatres, and performing in every important provincial 
town in England. Miss Eastlake's head quarters are at 
Hampstead, where she owns a large and charming house, 
called Norfolk Hall, set in a pretty garden and with a well- 
kept tennis lawn attached. She loves her art, but not 
quite so enthusiastically as those actresses whose assertion 
she quotes, that they would not give up the theatre for a 
thousand pounds a day ! She is one of the most sympa- 
thetic and emotional actresses on the stage, and these 
qualities are characteristic of her in private life. When 
acting she cannot keep the tears back from her eyes, if 
they are a legitimate adjunct of the character played, 
and she feels at times that she would like a good strong 
comedy part, in order to get out of the " weeping groove." 
She returned from her last American tour in the autumn of 

1890, and appeared in a play especially written for her by 
Mr. Wilton Jones, entitled A Yorkshire Lass. In October, 

1891, she commenced a tour in America. 

Edouin, Willie. — This successful actor-manager is 
one of a clever family who gained much popularity all 
over Europe and America under the name of the " Edouin 
Troupe." Born in England, Willie Edouin undertook his 
first speaking part when but four years of age, and has 
stuck to theatrical business ever since, playing in every 
kind of character, from the tumbling acrobat to the leading 
comedian, and even being occasionally seen in the legiti- 
mate. For a time he appeared only in his father's com- 



74 Edw 

pany, but later under various managers, and mostly in 
America, where he became a member of Miss Lydia 
Thompson's stock company, in which Miss Alice Atherton, 
who is now his wife, was also engaged. Three years later, 
upon Miss Thompson's return to England, the Edouins 
accompanied her, and played under her management in 
Loindon at the Charing Cross Theatre in Blue Beard 
(1872), where Mr. Edouin created the greatest merriment 
by his clever tumbling with his only son tucked under one 
arm, then a child about six months old, who seemed 
thoroughly to enjoy it. Since 1879 Mr. Edouin has been 
constantly engaged in management at the Royalty and 
elsewhere, and is one of the best examples that can be put 
forward as demonstrating the merits of the actor-manager 
combination. On 25th February, 1888, Mr. Edouin opened 
at the Strand Theatre with Katti, and in the August of 
the following year was seen magnanimously caricaturing 
his own calling as Nathaniel Glover in Our Flat At the 
end of the run of that highly successful farcical comedy at 
the Strand, he produced in January, 1891, Private Inquiry, 
appearing himself as the principal character, Harry Hooker, 
the private inquiry agent ; but he caricatured rather than 
acted the part, and it was withdrawn after a month to 
make room for Turned Up, in which he resumed his original 
character of Caraway Bones. Turned Up gave way to 
Our Daughters, specially written by himself and Mr. T. G. 
Warren for Miss Atherton, and in it she made her reap- 
pearance on the stage after an illness of two years. But 
the press criticisms were too strong for it, and it survived 
their attack only a few weeks. A Night's Frolic, and a 
subsequent revival of Katti, met with no better success. 
On I St August The Late Lamented was moved to the Strand 
from the Court Theatre, and Mr. Edouin was seen in Mr. 
Arthur Cecil's old part as Stuart Crosse ; where that 
farcical comedy (now very farcical indeed) took root at 
once and flourished with even greater popularity than at 
its old abode. 

EdwardeS, George. — While Mr. Edwardes was 
cramming for the army, his cousin, Mr. Michael Gunn, asked 
him to look after his company, then touring with The Lady 
of Lyons, for a fortnight ; and this glimpse of stage manage- 
ment determined him to adopt a theatrical life. He then 



Eme 75 

came to London, and was engaged as acting manager at 
the Opera Comique in 1875. From there he went to the 
Savoy, and after remaining with Mr. D'Oyly Carte some 
years, purchased a half-interest in the Gaiety from Mr. 
HolHngshead. Soon afterwards that gentleman retired, 
and Mr. Edwardes inaugurated his sole management by 
producing Jack Sheppard. Mr. Edwardes generally runs 
his pieces for six months at a time, and changes so as to 
give his patrons something new at Christmas. With 
Monte Christo, Esmeralda, and Ruy Bias, Mr. Edwardes 
secured immensely successful runs from first to last. 
Dorothy was a failure in his hands, and his venture with 
the Opera Comique in 1886 was unfortunate. The ap- 
parently prosperous run of Carmen up to Data at the Gaiety, 
to see which the public paid at the doors ;£'58,ooo, entailed 
such an enormous expense to produce, that the net result 
ended in a rather serious loss. In 1887 Mr. Edwardes 
bought the Empire Theatre from Mr. Nichol for a syndicate, 
and is himself one of the principal shareholders in that 
successful venture. Mr. Edwardes has found two most able 
assistants in Mr. Charles Harris and Herr Meyer Lutz, to 
whom he gratefully ascribes much of his success as a 
London manager. Ever trying to find new mines of wealth, 
whether in burlesque business, ballet divertissement, or in 
the legitimate, he inaugurated a summer season at Terry's 
Theatre, with a programme of three short pieces, and met 
with such success that he moved to larger quarters at the 
Shaftesbury. It is interesting to learn from a manager 
of such wide experience as Mr. Edwardes that he considers 
theatrical management a very one-sided speculation. The 
manager is the only man who takes any risk, and if the 
piece fails he loses his investment, and sometimes a large 
amount weekly until he can get something else ready, while 
the actors, who take no risk and incur no responsibility, 
draw their salaries whether the piece pays or not. 

Emery, Winifred. (Mrs. Cyril Maude.) — Born in 
Manchester, in 1862, Miss Winifred Emery made her first 
appearance upon the stage in Green Bushes'm 1875, and for 
some time afterwards continued to play in pantomime, and 
in serious productions where a clever exponent of children's 
parts was required. But what was more properly her ddbut 
occurred in 1879 at the Imperial (now the Aquarium), 



76 Eme 

Theatre, which was then under the management of Miss 
Marie Litton. Later on in the same year she achieved a 
distinct success by her creation of a souhrette part — Mrs. 
Brown in The Old Love and the New, and this led to an en- 
gagement with Mr. Wilson Barrett to understudy Madame 
Modjeska, a privilege which was in itself a liberal education. 
Nor was Miss Emery slow to accept as a model a lady 
whom she regards as an ideal and perfect actress. Shortly 
afterwards her services were secured by Mr. Henry Irving 
to play in The Bells, Louis XL , and Richelieu at the Lyceum. 
She next passed to Mr. Toole's Theatre, where Mr. 
Thorne saw her performing and was struck with her ability, 
and in consequence offered her a place in the Vaudeville 
Company, where she appeared as Lydia Languish in 
The Rivals, proving herself second to none in that r6le. 
This was in 1883, and the next year she returned to Mr. 
Irving's fold to understudy Miss Ellen Terry, and later on 
accompanied him to America. The experience of this tour 
gave her confidence and finish, and resulted in a prolonga- 
tion of her Lyceum engagement, where she now rose to play 
the second lead. On more than one occasion she took Miss 
Ellen Terry's place in the bills, when that actress was inca- 
pacitated by illness, and as Marguerite in Faust and in the 
title role of Olivia gave further proofs of her remarkable 
talent. A second time she accompanied Mr. Irving to 
America, and received a warm welcome on her re-appear- 
ance in the States. Since then Miss Winifred Emery has 
played many leading parts in many theatres, but in none 
has she been more successful than in her womanly and 
charming creation of Dearest in Little Lord Fauntleroy, 
In 1888 and 1889 she was allotted the lead in the Autumn 
dramas at Drury Lane, a season at the Vaudeville inter- 
vening, during which she created the title rdle in Clarissa, 
which is by many competent critics considered her finest 
achievement. It was certainly a character that appealed 
to her own sensibility, and Clarissa's sobs and tears were 
real ones. In 1890, she succeeded Miss Olga Brandon in 
the impersonation of Vashti Dethic in Judah at the Shaftes- 
bury, and her rendering of the part was quite as powerful 
as that of her predecessor. In November she' was engaged 
by Mr. Wilson Barrett to play the lead to him at the New 
Olympic Theatre, vice Miss Eastlake translated to the 



EsM 77 

higher sphere of management. Here she appeared as Grace 
in The People's Idol, Bess in The Lights o' London, and in all 
the revivals of the winter season of 1890-gi, but made her 
most distinct success by her exquisite rendering of the part 
of Ophelia. In the autumn of 1891 she was engaged by 
Mr. H. A. Jones to appear in his new play, produced 
under his own management at the Avenue. Miss 
Emery is an intellectual actress of the highest capacity, 
and her personal beauty and womanly charm of manner 
assist her in the portrayal of pathetic character. She 
comes of a fine old theatrical stock, her father, Samuel 
Emery, having been the best dialect actor of his day — 
the Henry Neville in fact of a quarter of a century 
ago — whilst her grandfather John Emery connects her 
with the best traditions of an even more remote era. Off 
the stage she amuses herself with a little literary work, 
and is one of the contributors to "Woman." In 1888 she 
was married to Mr. Cyril Maude, the well-known actor. 

Esmond, Georgie. — Miss Esmond's first appear- 
ance before the footlights was at the Olympic Theatre when 
she was thirteen years old. She was one of the six brides- 
maids in Hunted Lives, and at once distinguished herself 
by tumbling down coram, populo. Undismayed by so in- 
auspicious a stumble on the threshold of the profession, she 
persevered, and when the children's Pirates of Penzance was 
produced at the Savoy, was rewarded with the part of 
Ruth, which she played so well that her salary was spon- 
taneously raised by the management after the first week. 
Miss Esmond next entered on an educational course, play- 
ing in Mr. Bland Holt's Company, which was a stepping- 
stone to the sphere of "Principal Girl" in Birmingham 
pantomime. Returning to London she was engaged by 
Mr. Charles Warner to understudy Miss Annie Hughes in 
Held by the Enemy at the Princess', and on one occasion 
played Susan McCreery at two hours' notice. After another 
tour in the provinces which lasted ten months. Miss Esmond 
was engaged by Messrs. Gatti for the Bells of Haslemere, 
and stayed at the Adelphi a year, playing small parts and 
understudying the principal characters. During this en- 
gagement Miss Esmond was "lent" to Mr. Terry to play 
Minnie Gilfillian in Sweet Lavender during Miss Maud 
Millett's holiday, and also to the Grand to undertake a 



78 Eve 

leading- part in Silver Falls. She was then engaged by Mr. 
Willie Edouin, and played over six hundred times in Our 
Flat, and the ingenues in many of his matinie experiments 
and farcical comedies. In September, 1891, Miss Esmond 
appeared in A Royal Divorce at the Olympic for a short 
special engagement until the opening of the Garrick, where 
her services were secured to understudy Miss Kate Rorke 
and Miss Annie Hughes in the revival of School. 

Everard, Walter. — This clever character-actor 
first faced the footlights at the Theatre Royal, Nottingham, 
in 1872, and after two years in stock companies made his 
London ddbut at the Globe, in The Guinea Stamp, which 
was played as a curtain raiser before Blue Beard. In 1876 
Mr. Everard moved to the Adelphi, where he appeared as 
Traddles in David Copperfield, and continued to play at 
that home of melodrama till 1878. Through Mr. Wynd- 
ham's kindly influence, with whose Truth Company he 
subsequently toured during the seasons of 1879-80-81, he 
obtained a leading place under Mr. W. H. Vernon, who 
was then running Mammon at the Holborn Theatre, and 
with whom he subsequently toured. From 1881 to the 
autumn of 1886 (with the exception of a tour with Nita's 
First in 1884), Mr. Everard was busy with London engage- 
ments, the last of which he cancelled to accept an offer to go 
to Melbourne with a company run by Messrs. Brough and 
Boucicault. On his return to London in September, 1887, 
he played at the Comedy in The Barrister. In the follow- 
ing year Mr. Lestocq and Mr. Everard brought out at 
that theatre their clever comedy Uncles and Aunts, in 
which he played the lead, and which ran for about eight 
months. In 1889 Mr. Evera.rd produced April Showers at 
Terry's Theatre, in which piece he again acted when played 
at the Comedy in the following year. More recently Mr. 
Everard has been seen in Culprits, and in Hubby, a 
Matinie at the Shaftesbury, interesting merely as the 
occasion of Miss Victoria Vokes' re-appearance in London 
after an eight years' absence in America. 

Eyre, Sophie. — Miss Eyre began her professional 
career in a stock company at the Theatre Royal, Ports- 
mouth, in 1877, playing small parts for four months, until 
she was promoted to that of Zicka in Diplomacy. She 
then went to London, and made her dibut in The New 



Far 79 

Babylon at the Holborn, after which she returned to the 
provinces for three years, and subsequently supported 
Madame Ristori at Drury Lane, and followed it by a series 
of successes at the Adelphi. In 1884 she went to America, 
and for three years appeared at all the principal theatres 
in the United States, from New York to 'Frisco. Whilst 
there she was married in haste, for which she was sorry 
at leisure, but she added a practical point to her repentance 
by divorcing her husband before she returned to England, 
which she did in 1887. She then appeared at the Lyceum, 
supporting Miss Mary Anderson in Winter's Tale, and subse- 
quently created the title role in that poetical play, Nitocrts, 
which Miss Clo Graves wrote in something under a month, 
and which was produced at a Drury Lane matinde. In 1888 
Miss Eyre made a passing appearance at the Gaiety in 
Marina, the dramatised version of Mr. Barnes of New 
York, and in the following month created She, which was 
produced during her incumbency of the same theatre. There 
is probably no living actress who could as successfully have 
impersonated Mr. Rider Haggard's weird inspiration. In 
all the dazzling beauty and terrible fascination of the 
portrait, in its scorn, its witchery, its ruthlessness, its abject 
fear, its powerless hate, its supernatural episodes, and its 
final death-like swoon. Miss Eyre proved herself an actress 
of the highest order. That the play did not realise her 
expectations was due more to its inherent faults of con- 
struction than to its representation on the boards. 

Farquhar, Gilbert. — This clever character-actor 
of old men's parts began his professional career in January, 
1883, as Mr. Younghusband in Married Life, and Barker 
in Uncle's Will. He then placed himself under Mr. Andrew 
Melville, who at that time was manager of the old Bristol 
Theatre, and after several months of somewhat severe 
discipline, returned to town to play, first at the Novelty, 
and then at the Court. A provincial tour followed, and 
led to an engagement at the Olympic, during which he 
appeared as Burnaby the banker in Alone in London, a play 
that ran to crowded houses for one hundred and eleven 
nights. He next joined the Vaudeville, impersonating 
Squire Allworthy in the successful run oi Sophia, and enacted 
this character in over three hundred performances, remain- 
ing with Mr. Thorne until the spring of 1888. He then 



8o Far 

posed as the army doctor in Bootle's Baby at the Globe. 
This was followed by a very clever rendering of the fatuous 
old nobleman Attavanti in La Tosca at the Garrick. Mr. 
Farquhar was next seen in the clever character of Buxom 
Brittle in Nerves at the Comedy, until ill health compelled 
him to resign that part in the autumn of 1890. During the 
whole run of The Late Lamented at the Court Theatre, he 
sustained the part of the family solicitor, which he played 
with the natural and easy style that characterises his 
acting. Mr. Farquhar is the author of some clever dramatic 
sketches, and has written a series of letters to Punch. 

Farren, Nellie. (Mrs. Robert Soutar.) — Miss Nellie 
Farren (more familiarly known to her pit and gallery 
"boys" as "Our Nellie"), was born in Lancashire, her 
father being Henry Farren, a son of William Farren the 
Elder, and made her first appearance when she was seven 
years old, at the Old Victoria Theatre, playing Genie of 
the Ring in Dick Whittington. Her juvenile experiences 
of the stage were, however, limited, for she was presently 
withdrawn from public life in order to be educated. Her 
school days over, she made her debut a.t the Olympic Theatre, 
in 1864, under Horace Wigan's management. Here she 
confined herself to comedy roles, having at that time no 
aspirations for burlesque. Once, indeed, she slipped into 
Shakespeare, playing the Clown in Twelfth Night, and 
singing all the original classic music. But her earlier suc- 
cesses have been almost obliterated by the brilliancy of her 
later triumphs, and it may surprise many of the younger 
generation of playgoers to learn that Miss Farren made a 
distinct mark as Lydia Languish, was exquisitely human 
as Nan in Good for Nothing, drew tears from the eyes of her 
audience as Jo, and again as Smike in Nicholas Nickleby, 
and displayed remarkable powers of character acting as 
Sam Willoughby in The Ticket-of-leave Man. When, in 
1868, Mr. John Hollingshead transformed the Strand 
Musick Hall into a Thespian shrine, and lit therein 
the sacred lamp of burlesque, which, like the everlasting 
flame of the Parsees, has never been allowed to die out 
since, he happened to engage Miss Nellie Farren as one of 
his new company. True, it was only for comedy, the 
burlesque lead being reserved for Miss Patty Josephs, but 
when that lady left, Miss Farren was chosen to succeed 



Far 8 1 

her, which she did in every sense of the word, and the result 
was that the next production was actually written round 
the subject of this sketch. Since then she has been asso- 
ciated with every Gaiety triumph — and who shall number 
them ? She herself confesses her inability to do so, and 
when recently she unbosomed herself to an interviewer, and 
gave a "complete list" of all the burlesques she had played 
in, the next week brought letters from innumerable un- 
known admirers, who were able to nearly double the 
record, and prove that she had shared in something over 
forty distinct productions. Miss Farren has visited both 
America and Australia, where she is as great a favourite as 
in London. Her several metropolitan re-appearances, after 
these foreign tours, have been the occasions of tumultuous 
and enthusiastic receptions. The welcome of 1 889, especially, 
will never be forgotten by those who witnessed it. The 
people rose en masse, the pit waved hats and handkerchiefs, 
and the gallery hung out a banner on which was inscribed 
the legend, " The boys welcome their Nellie." Miss Farren 
is a woman of wonderful physical endurance. Twenty years"^ 
wear and tear have still left her "Our Nellie" with the boys 
who adore her. Still does she sing and dance with all the 
old accustomed spirit, and only the other day was playing 
cricket in Australia with the vigour of a schoolgirl. Au 
reste, it may be mentioned that she draws a salary in 
London of £,60 weekly, wears the most profuse diamonds 
on the stage, has throughout her career confined her en- 
gagements to two interests (although she has been fre- 
quently "lent" to other managers), and is the wife of 
Mr. Robert Soutar, a gentleman connected with stage 
management. 

Farren, William. — That playgoers for more than a 
century should have witnessed four actors, each bearing the 
name of William Farren, and whose histrionic talents have 
been handed down from father to son, is a circumstance 
too remarkable not to be here recorded. The first William 
Farren was born in 1725, and made his London d^but as 
Othello at Covent Garden Theatre in 1782. His son, 
William Farren, was born four years later, and naturally 
followed in the footsteps of a father who had shared dis- 
tinction with Garrick as an actor at Drury Lane, and had 
so satisfactorily proved by the fortune he had accumulated, 



82 Far 

that the histrionic profession was not unremunerative to its 
competent members. His first engagement in London was 
at Covent Garden in 1818. In this he appeared as Sir 
Peter Teazle, the character of Lady Teazle being played 
by Miss Brunton, afterwards Mrs. Yates, and mother of 
Mr. Edmund Yates, the well-known editor and proprietor 
of The World. Mr. Farren (now generally spoken of as 
William Farren the elder) quickly established a great repu- 
tation as a comedian, and his high position in the profession 
was cordially recognised by playgoers for many succeeding 
years, till he retired from the Haymarket in 1855. His 
son, who is the subject of this sketch, was born in 1825, 
and made his first recognised appearance at the Hay- 
market, as Captain Absolute in The Rivals, on the evening 
of March 28th, 1853. Later in the same year, on Mr. J. B. 
Buckstone assuming the management of the Haymarket 
Theatre, Mr. Farren became a member of his company, and 
was in the original cast of the now^ famous plays, mostly by 
Stirling Coyne and Tom Taylor, produced there during the 
next fourteen years. In 1870 he was selected by Mrs. John 
Wood to represent the wicked old butterfly Brizard, in Mr. 
A. Daly's version of Frou-Frou. When Our Boys was pro- 
duced at the Vaudeville under the triple management of 
Messrs. Thorne, James, and Harry Montague, he was the 
original Sir Geoffrey Champneys, and for more than eleven 
hundred consecutive performances never missed being at 
his post for a single night — an attendance record unlikely 
to be beaten. This was followed in 1879 by Our Girls, in 
which he sustained the part of Josiah Clench. In 1887, in 
conjunction with Mr. H. B. Conway, he started the Conway 
and Farren English Comedy Company, which appeared at 
the Strand Theatre. In the December of the same year he 
played Digby Grant in a revival of The Two Roses at the 
Criterion with all his accustomed finish. At the opening 
of the Shaftesbury Theatre in October, 1888, he took the 
part of Adam in As You Like It. After more than a year's 
absence from the London stage, he appeared in David 
Garrick, March, 1890, at the Criterion, and later was seen 
in A Gold Mine and The Booktriaker during Mr. Nat Good- 
win's season at the Gaiety, but returned in the autumn to 
the Criterion to play Sir Harcourt Courtly in London 
Assurance — the part originally taken by his father when this 



Far 83 

comedy was first seen in 1841 — and gave as such a masterly- 
picture of the vain, deluded old beau, who, once rid of his 
conceit, was the truest gentleman. In April, 1891, Mr. 
Farren was again seen as Sir Peter Teazle in Sheridan's 
immortal comedy The School for Scandal, which was first 
played at Drury Lane in 1777, with the first William Farren 
as Charles Surface. The fourth William Farren, now 
described in the programmes as William Farren Junior, 
has already won distinction as an actor on the London 
stage. Thus we are brought back to the curious reflection, 
that a William Farren has figured in the playbills of one 
or other of the London theatres for an unbroken period 
extending over a hundred and ten years. 

Farren, W., Jun. — Mr. William Farren, Junior, 
who is especially clever in old men's "make ups," is the 
son of the above-mentioned Mr. William Farren. Great 
versatility marks his acting, and whether as the patriarchal 
Egyptian Armeses in Nitocris, who lived in 1400 B.C., or as 
some amusing nineteenth century saint or sinner, he is 
equally at home, and equally successful. It was not till 
Mr. Farren was twenty-three years of age that he became 
a regular member of the dramatic profession. During the 
sixteen years which have passed since then, he has played 
old men and character parts in support of Madame 
Modjeska, Mrs. Bernard Beere, Miss Genevieve Ward, 
Miss Wallis, Miss Mary Anderson, Miss Kate Vaughan, 
and many other prominent "stars" in Australia, America, 
and England. In the autumn of 1891 Miss Minnie Palmer 
opened at the Vaudeville with My Sweetheart, and again 
secured Mr. Farren to support her in his old role of Joe 
Shotwell. Mr. Farren has tried his hand with happy 
results at original play-writing and has also dramatised 
"The Vicar of Wakefield." Like so many other actors 
Mr. Farren lives at Barnes. He is married, and has a 
young son William, who is intended in due time to follow 
in the footsteps of his father and forefathers ; and should 
he, too, become an eminent actor, there would seem to be 
a good deal in heredity after all. 

FaWCett, Charles S. — This actor's name has for 
some years been chiefly associated with plays brought out 
by Mr. Edouin, both at the Royalty and during his tenancy 
at the Strand Theatre, and his invariably neat playing up 



84 Fea 

to Miss Alice Atherton (Mrs. Edouin) in Blackberries, The 
Paper Chase, Cycling, Our Daughters, A Night's Frolic, and 
other plays in which they have appeared together, has 
always repaid study. Of his many original characters 
that of Reginald Sylvester in Our Flat earned for him 
no small reputation, which was further increased by 
his excellent rendering of the part of Mr. Foljambe, in 
The Sequel. He is the author of several well-received 
comedies, notably A Tragedy, Madcap Madge, For Charity's 
Sake, etc., etc., and of the domestic farce entitled Katti, 
the Family Help, with which Mr. Edouin opened his present 
tenancy of the Strand in 1888, and which was again revived 
there in i8gi. 

Featherstone, Vane. — Miss Vane Featherstone 
was little more than a school-girl when she made her 
appearance on the boards of the old Olympic Theatre, 
where she gained experience by undertaking a succession 
of small parts ; and subsequently extended this course of 
education by further practice at the Royalty, Adelphi and 
Haymarket, where she was down in the playbills as Miss 
Vane. Having passed through her apprenticeship she now 
assumed her full cognomen, and obtained an engagement 
in the Caste Company, and was very successful in the 
provinces in such parts as Polly Eccles, Naomi Tighe and 
Mary Netley — remaining eighteen months on tour. On 
her return to town she played for a short season at the 
Criterion and Olympic. In 1884 Mr. Charles Hawtrey 
engaged her to appear at the Globe as Edith Marsland 
in The Private Secretary. Her success in the play led 
up to a three years' engagement, during which she con- 
siderably enhanced her reputation for light comedy charac- 
ters, and at the same time essayed more serious parts 
in matinee productions, notably in The Spy and The 
Inheritance. In 1890, at Toole's Theatre, under Mr. 
Horner's management, she displayed great diversity of 
talent in Isalda, Pedigree, The Linendraper, and My Mother 
— all m.atinie experiments ; and in the autumn was particu- 
larly successful in Welcome Little Stranger at the Criterion, 
and also appeared in Nerves 2l\. the Comedy. On the pro- 
duction of Husband and Wife at the Comedy in the summer 
of 1891 Miss Featherstone was allotted the part of Mrs. 
Greenthorn, in which she achieved a very signal success. 



Fer 85 

Fernandez, James. — The subject of this sketch 

was born at St. Petersburg on May 28th, 1835, and when 
eighteen, made his first appearance on the boards at the 
Queen's Theatre, Hull, in October, 1853. Two years later 
he made his London debut at the Queen's Theatre, Holborn. 
In 1856 he crossed the river to the old Surrey Theatre, 
with which house he was chiefly connected until its total 
destruction by fire in 1864. He then obtained an engage- 
ment at Astley's, and later on was working at the Lyceum. 
Then followed three years' touring in the provinces. In 1871 
he joined the Adelphi, and remained there for three seasons, 
after which he became associated with Mr. Chatterton, 
and acted under his management at both Drury Lane and 
the Princess' Theatres till March, 1878, when Mr. Irving 
chose him to play Coitier in Louis XL He next accepted 
an engagement, which lasted two years, to play Gaspard 
in Les Cloches de Corneville, first at the Globe and then in 
the provinces. In 1882 Mr. Irving again secured his 
services, this time for the Friar in Romeo and Juliet, and 
Leonato in Much Ado About Nothing. Mr. Fernandez then 
rejoined the Drury Lane Company, and has since taken 
part in very many of the dramas produced at that theatre, 
and as Master of the Drury Lane Fund, cut the Baddeley 
Cake on Twelfth Night, 1890. In the April of that year 
Mr. Fernandez created, with masterly power, the character 
of Jean Torquenie in The Village Priest zX. the Haymarket, 
and in January, 1891, at the same theatre, that of David 
Ives in The Dancing Girl. In recitations of dramatic and 
descriptive poems Mr. Fernandez has no superior on the 
platform, and his elocution is a model of sonorous dis- 
tinctness. 

Filippi, Rosina. (Mrs. H.M.Dowson.) — This clever 
soubrette actress is by birth an Italian, although brought 
up and educated in England. She made her first appearance 
in Mr. F. R. Benson's Provincial Company. Her London 
dibut was in a small part in The Red Lamp at the Comedy 
Theatre, with the result that her clever impersonation 
became one of the features of the piece. In 1885 she played 
with Mrs. Langtry, taking the part of Rosalie in Princess 
George. She then went on tour, playing in The Arabian 
Nights, which was succeeded by an engagement with Mrs. 
John Wood to play the divorced wife in Mamma, her 



86 For 

vivacious and clever acting in which was a prelude to 
further successes in Aunt Jack, The Cabinet Minister, 
and The Late Lamented. Miss Filippi is an accom- 
plished musician, and an authoress of ability. She is 
responsible for a pretty dramatic fancy, acted by children 
for children, and entitled Little Goody Two Shoes, which 
was played with great success for an afternoon season at 
the Court Theatre during the Christmas of 1888-9, and 
withdrawn all too soon on account of the legal prohibition 
against the employment of such a juvenile company. She 
also produced, at the Town Hall, Chelsea, in January, 
1890, a fairy sketch entitled An Idyll of New Year's Eve. 
Until August last Miss Filippi lived with her grandmother, 
Madame Colmache, the widow of the secretary of the famous 
minister Tallyrand. Her mother was remarkable as being 
the only female professor who ever rose to that position at 
the Milan Conservatoire. There are few actresses on the 
modern stage who dress more smartly than the subject of 
this notice, and her versatility and resource render almost 
any character safe in her hands. Miss Filippi was quite 
recently married to Mr. H. M. Dowson, of the Lion Brewery, 
Oxford. 

Forbes, Norman. — Mr. Norman Forbes was born 
in London in 1859, and is the son of Mr. Forbes Robertson, 
the well-known art critic, and brother of the actor of the 
same name. After leaving London University School, 
where he was educated, he at once entered upon his the- 
atrical career, and in 1875, when but sixteen years old, 
appeared at the Gaiety in the part of Sir Henry Guildford in 
King Henry VIII. , for which performance he was specially 
trained by Samuel Phelps, who was one of his father's 
oldest friends. Later on he played at the Court Theatre, 
under the management of Charles Mathews and Mr. J. L. 
Toole. In 1877 Mr. Forbes joined the Drury Lane Com- 
pany, with whom he took the part of Lance Outram in 
England. That engagement concluded, he returned to the 
Court, and while there made his first decided success as 
Moses in Olivia. He then joined the Haymarket Company, 
which at that time numbered Sothern, J. S. Clark, Buck- 
stone, and Adelaide Neilson in its list of members, and 
remained at that theatre until 1879, when Mr. Irving 
selected him to play Wilford in The Iron Chest. In 1880 



For 87 

he joined Mr. Wilson Barrett's Company, and later on was 
associated with Madame Modjeska. Then followed a second 
engagement with Mr. Irving-, which lasted five years. In 
1888 he appeared in his own and the Hon. Stephen Cole- 
ridge's version of The Scarlet Letter at the Royalty, and 
later on in that year in W. S. Gilbert's ill-fated drama 
Brantinghame Hall. A visit to America occupied 1889, but 
the following February found him playing in As You Like It, 
when Mrs. Langtry reappeared on the London stage after 
eight years of foreign travel. Towards the close of the 
year 1890 Mr. Forbes joined the ranks of actor-managers, 
and acquired a long lease of the Globe Theatre, where, 
after making considerable alterations, he opened in the 
following January with All the Comforts of Home, followed 
by a revival of The Parvenu. The venture turned out a 
frost, in spite of excellent acting and a novel method of 
advertising by anonymous post cards, and after ten weeks 
he wisely closed the doors, amid much sympathy from all 
who knew him, for he was very plucky and took his beating 
like a true sportsman. In addition to his histrionic powers 
Mr. Forbes is a great disciple of the foils, which he began 
to handle when but seven years of age and has practised 
ever since. In 1880, at the first Royal Military Tourna- 
ment, he gained the first prize for fencing. 

Forsyth, Helen. — it was as an exponent of pretty 
girl-parts in Haymarket plays that Miss Forsyth first came 
into notice,and her pleasantvoice and refined manner shewed 
to advantage in Dark Days and Jim the Penman, in which 
latter play especially she gives a very pleasing representa- 
tion of a natural unaffected English girl. From characters 
of this description to Molly Seagrim, the gipsy in Sophia, 
was a startling departure, yet Miss Forsyth achieved it suc- 
cessfully. In 1887 she appeared at the Adelphi, and made 
a coquettish Nora Desmond in The Bells of Haslemere, and 
followed it with an equally happy effort as Ivy Arden in 
The Union Jack. When The Bungalow was produced at 
Toole's in 1889, she provided the bewildered Leighton 
Buzzard with an adorable sweetheart. In 1890 she played 
winsome and winning parts in matindes oi Jess and Nixie, 
and later in the year passed to the Criterion when Welcome 
Little Stranger and Truth were produced and revived. Last 
year she was less seldom in evidence, but her Betty Steele 



88 For 

in Richard Savage shewed considerable feeling, and her 
individual share in unfortunate Lady Baxter displayed a 
charming' piece of acting. 

ForteSCUe, Miss. — When engaged in following the 
duties of her profession in London Miss Fortescue lives 
with her mother in St. Ermine's Mansions, Westminster, 
and her home is a veritable coterie of art, taste, and 
culture. She made her first appearance in iSSi as Lady 
Ella in Patience, at the Opera Comique, and accompanied 
the management to the Savoy to appear in lolanthe. She 
then deserted comic opera, and in 1884 accepted an engage- 
ment from Messrs. Cecil and Clayton to play Dorothy in 
Dan'l Druce at the Court, after which she migrated to the 
Strand, there to undertake the part of Mary Melrose in the 
first revival of Our Boys after its historical record run. 
She next toured as Galatea, and, returning to London in 
1886, acted in Gretchen and Moths. At the end of that year 
she sailed for America, opening in New York, and subse- 
quently playing with great success in the principal cities of 
the Occident. In 1887 she was back again in London, and 
taking the lead in The Bhce Bells of Scotland aX. the Novelty, 
and the next year appeared in the principal female part in 
the revival of ^ Run of Luck at Drury Lane. She then toured 
with Galatea a second time, and added to her repertoire the 
character of Julia in The Hunchback, which proved one of 
her best achievements, although her favourite impersonation 
is Galatea, as is Mr. Gilbert her favourite dramatist. Nor 
must her exquisite representations of Juliet and Pauline be 
omitted. Miss Fortescue is intensely fond of her profession, 
and her success in it is due quite as much to her industry 
and perseverance as to her native ability — albeit the latter 
would certainly have enabled her to win classical honours 
at Girton, or adorn the lecture platform in another sphere 
of life. She adds to great personal charms a fluent speech, 
a quick fancy, and a brilliant intelligence. She is reported 
to have amassed a large fortune by her American and 
provincial tours. In the autumn of 1890 Miss Fortescue 
opened again in the country with a grand production of 
As You Like Lt, and also appeared for a week at the 
Grand Theatre, Islington. Miss Fortescue was at one time 
engaged to be married to the late Lord Cairns, but the 
match was broken off, and she received the somewhat un- 



FUL 89 

satisfactory solatium of £ s. d. She is devotedly attached 
to dog-s, and the proud possessor of a Sabbatarian Collie 
and a practical Poodle. She is extremely fond of a touring 
life, but, as she is always accompanied by her mother and 
sister, probably sees the rosy side of it. She thoroughly 
believes in the stage as the best career for ladies who are 
compelled to earn their living. 

Fuller, Loie. — It was to audacity, presence of mind, 
and the gift of being able to seize opportunity by the forelock 
that Miss Fuller owed the incident of her stage dibut. Her 
first endeavours to gain a footing on the boards through the 
ordinary path of application to managers had all proved 
unavailing, and it came to pass that one evening she was 
sitting in the pit of a New York theatre, sighing over 
blighted hopes of Thespian renown, when the announce- 
ment was made that, owing to the sudden indisposition of 
an actress, one of the pieces in the programme would have 
to be omitted. Accidents of this description usually stir 
the ordinary playgoer to indignation, if not to riot, but 
Miss Fuller recognised the hand of kind fate beckoning to 
her. It was a part she happened to know. So she slipped 
out and there and then went to the stage manager with an 
offer to play it. Of course her proposal was accepted, and 
of course she scored a success — how could it be otherwise 
with such rare pluck ? Thenceforth the road was open, for 
offers of engagement soon followed. After several appear- 
ances at New York, Miss Fuller came to England in 1889, 
and, taking the Globe Theatre, made her London dibut in 
Caprice. The play was not a success, but her acting made 
a favourable impression. It was not, however, till her 
appearance in His Last Chance at the Gaiety in October, 
1890, that she obtained a recognition of her endeavours, 
and in conjunction with Mr. Minshull made a decided 
hit. Miss Fuller is an American by birth, and made 
her first effort at the immature age of three, when the 
stimulating effect of a successful adult performance at a 
conversazione encouraged her to volunteer her services, 
and stepping on to the platform she heroically recited a 
baby ballad. 

Garden, Edmund William.— Born in London 

in 1845, Mr. Garden, after gaining considerable experience 
in the provinces in light eccentric and low comedy, made 



go Gar 

his dibut on the London stage as Uriah Heep in Little 
Em'ly, when that play was revived in October, 1870, at the 
Olympic. Two years later he became one of the original 
members of the late H. J. Montague's company at the 
Globe, where he remained three seasons, and scored his 
first decided success as Daniel Dole in Fine Feathers, pro- 
duced a year or two afterwards at that theatre, and later 
his acting as Don Bolero in Girojie-Girofla was much 
praised. From 1875 he was the original representative in 
the provinces of Talbot Champneys in Our Boys, and Gibson 
Green in Married in Haste, and played these parts for over 
three years uninterruptedly. When Mr. Toole opened the 
Folly Theatre with The Upper Crust, Mr. Garden played 
Sir Robert Boobleton during the fifteen months of its merry 
life. Following this he was at the Adelphi for eighteen 
months as Joe Buzzard (In the Ranks), and for a similar 
period represented Tom Dossiter in Harbour Lights, whilst 
as Reuben Armstrong in The Bells of Haslemere he was ten 
months in the bills. His Jessie Pegg in The Middleman, 
which ran for upwards of eight months at the Shaftesbury, 
is perhaps the best creation for which he is responsible. 
In the autumn of 1890, Mr. Garden was engaged to play 
the second low comedy lead to Mr. Lionel Brough in La 
Cigale at the Lyric. 

Gardiner, Edward W. — Mr. Gardiner commenced 
his theatrical career in 1882 at the Crystal Palace, and 
played there for two seasons, until the close of Mr. H. F. 
Macklin's successful management. He has since then 
appeared in many plays produced at the Princess's, Toole's, 
Adelphi, Criterion and other theatres. Prior to 1889 he 
had fulfilled various engagements, which in the aggregate 
amounted to more than three years, at Drury Lane, although 
the sequence of the servitude was broken, as during the 
pantomime season Mr. Gardiner did not appear. In the 
spring of 1889 he had a serious illness, and his application 
to be placed on the "Drury Lane Benefit List" was made 
a test case. In the October of the following year he joined 
Mr. E. S. Willard's Company for an American tour, and 
on his return in the summer of 1891 appeared, among 
other small engagements, in a revival of Harbour Lights at 
the Britannia. Mr. Gardiner is the husband of the well- 
known actress, Miss Kate Rorke. 



GiD 91 

Giddens, Georgre. — Well-nigh unsurpassed on the 
stage for general humour and clever character-acting is 
Mr. George Giddens, who commenced the serious part 
of his life as an articled clerk in a solicitor's office. Mr. 
Charles Wyndham saw him act in some private theatricals, 
and persuaded him to study for the stage. This good 
advice he followed, and when twenty made his dSbut in an 
engagement to which Mr. Wyndham assisted him, at the 
Theatre Royal, Edinburgh, in November, 1865. In 1871 
he went to the United States as a member of Charles 
Wyndham's Comedy Company, and on this and subsequent 
visits has established himself as almost as great a favourite 
across the "herring pond" as he is in London. His London 
ddbut was made in 1878 at the Folly Theatre as Jeux, in a 
play entitled The Idol. Not content with his success as an 
actor, he determined to try his hand at management, 
and with Mr. T. G. Warren opened the Novelty in 1888; 
but the effort was not successful, and Mr. Giddens returned 
to the ranks, appearing in Betsy at the Criterion, and later 
on as Dunbilk in Still Waters Run Deep. As the bewildered 
medico. Dr. Glynn, in The Balloon at the Strand, his 
acting was excellent, as also was his make-up as the 
deaf old gentleman in The Headless Man at the Criterion, 
and in Truth he was exceedingly humorous, while his 
inimitably droll impersonation of the immortal Dolly in the 
revival of London Assurance (November, 1890), and as 
Careless in The School for Scandal (April i, 1891), won for 
him special comment from the critics. In July of that year 
he appeared in his original character of Adolphus Green- 
thorne in Husband and Wife at the Comedy Theatre, and a 
better exponent of that part could not have been found. 
Miss Edith Giddens is his daughter, whose appearances on 
the stage have already received favourable comment, and 
who, last summer, played in Pink Dominoes with the 
Criterion Company in the provinces. 

Gillmore, Frank. — Mr. Frank Gillmore comes of 
an old theatrical family, being a son of the lady profes- 
sionally known as Miss Emily Thorne. His first appear- 
ance was as a boy of twelve in pantomime parts, but later 
on he worked an apprenticeship of nearly three years at 
the desk before he finally decided on adopting the dramatic 
profession. In the winter season of 1884 he appeared in 



92 Gle 

Miss Emily Thome's Company, and remained with it for 
three years, enjoying the advantages of a sound pro- 
fessional education, appearing as Shylock one week and 
the bad boy in burlesque the next, and alternating the 
juvenile high comedy lead with the more silent humour of 
James the Thespian footman. Mention must also be made 
of a visit to Paris, where he received some flattering press 
notices for his Shakespearean recitations. Mr. Gillmore's 
London dibut was at the Vaudeville in a minor part, but 
he was also engaged as understudy, and it was a lucky 
day for him when the chance came to play the lead in 
Joseph's Sweetheart. His success led to several brilliant 
ofl^ers, but he remained staunch to Mr. Thomas Thorne, 
and was rewarded by promotion to many juvenile leading 
characters, his most successful appearances being Tom 
Fashion in Miss Tornboy, in which his imitations of the vain 
brother were very clever, as also his fine impulsive Harry 
Racket in That Doctor Cupid. He also gave an intelligent 
rendering of Malcolm in a matinee of Macbeth, in which 
Mr. Willard essayed the title role, and appeared with 
success in a matinee of Captain Swift at the Haymarket. 
After leaving the Vaudeville, Mr. Gillmore appeared at the 
Adelphi, and in the summer of 1891 accepted a provincial 
engagement, when he tested the truth of the adapted quota- 
tion that "One man in his week plays many parts," if 
Hamlet, Charles Surface, Richmond, and leading role in 
melodrama, all undertaken within the compass of a Monday 
and Saturday, may serve as an illustration. 

Glenny, Charles H. H.— The subject of this sketch 

is the son of Mr. F. H. Glenny, who, in his day, w^as a 
famous actor of that old school in which robust declamation 
was regarded as a first principle. His son Charles, who 
was born at Glasgow in 1857, was cradled in the profession, 
and educated under his father's rigorous and severe code. 
His first regular appearance on the stage was at the Theatre 
Royal, St. Helen's, in the part of Montano in Othello. His 
London debut was at the Duke's Theatre, Holborn, as 
Theuerdier in The Barricade (a dramatisation of Victor 
W.w^o' s Les Miserables^, in 1878, and he afterwards continued 
to play there in several standard pieces, and created the 
character of Mr. Lamb in New Babylon. The year 1882 
saw him at the Lyceum, as Tybalt in Romeo and Juliet, 



Gou 



93 



which was followed by a series of engagements at the 
Comedy, Adelphi, and Vaudeville Theatres. Mr. Glenny 
then paid a visit to America, and on returning to London 
was engaged a second time by Mr. Irving to play in The 
Merchant of Venice and Much Ado about Nothing, and after 
this accompanied him on his next visit to America at the 
close of that year. On his return in 1887, Mr. Glenny 
appeared in a revival of The Merchant of Venice, and in a 
matinee of Werner, at the Lyceum. Since then he has been 
seen in numerous plays produced at the Globe, Vaudeville, 
and Princess's, where in The Still Alarm he made a special 
mark. Another of his very successful impersonations was 
that of Leighton Buzzard in The Bungalow. Mr. Glenny's 
rendering of Gerald Riordan, M.P., in A Gold Mine, was 
exceptionally happy, whilst his powerful representation of 
the broken down turf man, Geoffrey St. Clair, with his 
bursts of frenzied passion and semi-idiotic laughs, in A 
Million of Money, will ever rank as one of the best of his 
many creations. Mr. Glenny was next seen at Drury Lane 
in the short revival there of Formosa. When that play 
was first produced in 1869, it so terribly shocked Mrs. 
Grundy's idea of propriety, that her blushes induced 
Londoners to flock to sample it for themselves, and their 
curiosity made it one of F. B. Chatterton's few monetary 
successes. Sir Augustus Harris then revived Drink, in 
which Mr. Glenny gave an admirable representation of the 
worthless villian, Lautier, while his fine acting as Harry 
Westward in A Sailor's Knot, which followed, won hearty 
plaudits from pit to gallery. 

Gould, NutCOmbe. — it was some years before Mr. 
Nutcombe Gould obtained that place on the London stage to 
which his acting justly entitled him, and which he attained by 
his clever representation of his original part of Rheinveck 
in The Red Lam,p at the Comedy in 1887. In the following 
year he played in Brantinghame Hall — Mr. Gilbert's only 
effort at something serious, which was withdrawn after a 
five weeks' run, having failed to attract. The Panel Picture, 
at the Opera Comique in 1889, in which he was also en- 
gaged, met with a similar reception. About this time he 
became associated with Miss Genevifeve Ward, and later 
created parts in Miss Cinderella and April Showers, and 
in 1890 joined Mr. Alexander at the Avenue, and played 



94 Gra 

in T]ie Struggle for Life and Sunlight and Shadow, and 
in the spring of 1891, appeared as General Merryweather 
in The Idler at the St. James'. When the company 
opened in the autumn with the same play, after a very suc- 
cessful summer tour, Mr. Nutcombe Gould resumed his 
old character. 

Grahame, Cissy. (Mrs. Saunders.) — This actress- 
manageress was born in 1862, and first faced the footlights 
at the age of thirteen. Her mother was well-known on 
the provincial stage, appearing in the bills as Miss Gifford, 
and it was under her sheltering wing that her daughter 
mustered up courage one night to step into the breach 
caused by the sudden indisposition of an actress cast for a 
minor part, during the performance of a stock company at 
Hull. But this enterprise, however excellent in intention, 
was not successful in execution, for not a word of the 
debutante's part was heard in front. Time and experience, 
however, brought confidence, and soon Miss Cissy Grahame 
was going through the mill of the profession. To such 
good purpose did she turn her opportunities, that when she 
was only sixteen years old Mr. Wilson Barrett engaged her 
to play Adrienne in Proof, in which she acquitted herself so 
favourably that she was shortly afterwards invited by 
the Kendals to join their company at the Court Theatre, 
and made her London debut as Lucy in A Scrap of Paper. 
She was thus fairly launched on a career which has been 
singularly successful. From the Court she went in turn to 
the Prince of Wales', Vaudeville, Adelphi, Her Majesty's, 
Globe, and Comedy Theatres, at which latter house her 
brilliant and sprightly acting in Uncles and Aunts v!\zXs.r\z\\y 
assisted the piece to success. An aspiration towards 
responsible management, which had previously been fettered 
by ignoble financial considerations, now found the means 
of realisation, and Miss Grahame opened a new page 
in her history by taking Mr. Terry's theatre and producing 
New Lamps for Old in February, 1890. After a successful 
run, this was followed by The Judge, which, on the termina- 
tion of her lease in mid-Strand, she transferred to the 
Opera Comique. Miss Grahame is tall, has grey eyes and 
auburn hair, and talks very rapidly. She is married to 
Mr. Saunders, who is a solicitor by profession, and lives 
at Barnes. 



Gre 95 

Grey, Sylvia. — The poetry of motion has no more 
charming- exponent than Miss Sylvia Grey. Born in London, 
partly of Swiss parentage, she commenced her stage career 
at the early age of ten, but not in that Terpsichorean arena 
in which she was subsequently to shine. Her original 
appearances were in children's parts in Shakespearean 
plays, under the agis of Mr. E. H. Brooke, at Sadler's 
Wells Theatre. After two years she left the boards in 
order to resume her education, and a long period of earnest 
study followed, until she graduated in music at Trinity 
College, Manchester Square. She then joined Mr. Sted- 
man's well-known choir, and enjoyed the benefit of his 
tuition, taking a share in his concerts and oratorios, and 
in church music. On her return to the stage she obtained 
several openings for small parts from Mr. Thos. Thome 
and Mr. Lytton Sothern, whilst Mr. Charles Wyndham 
offered her a three years' engagement, which, however, she 
did not accept, preferring an invitation from the Gaiety, 
where she has confessed that her tuition in sacred music has 
not been of much service to her. She had always felt a 
predisposition for dancing, long before she joined the Gaiety, 
and with the examples of success and excellence everywhere 
around her, it was not surprising that the desire came to 
emulate them. She therefore commenced a course of study 
under Signor Espinoza and Madame Katti Lanner, and 
finished up under Monsieur D'Auban, learning the distinct 
and special style of each teacher. In 1884 she made her 
ddbut as a danseuse. Two years later she entered into an 
agreement with a company about to tour the country, but 
no sooner had she signed the contract than she received an 
oifer to join the Gaiety for a dancing part in The Vicar of 
Wide-awake-field. This — which was distinctly the tide in 
the flood — she would have been obliged to refuse, had it 
not been for the good nature of the gentleman who had the 
lien over her services, and who, bending a willing ear to 
the equally kindly suggestions of his acting manager, 
allowed Miss Grey to go — an act of liberality which was 
justified, if not compensated, by the collapse of his own 
theatrical speculation three weeks later. Since then Miss 
Sylvia Grey has been a permanent and a prominent member 
of the Gaiety Theatre, and risen to premiere danseuse in its 
ranks — a notable position which places her at the head of 



96 Gro 

her branch of art in London. She is an enthusiast as 
regards dancing, and very rightly considers that the true 
artiste despises vulgarity in any shape. She often appears 
in comedy parts at matinie performances, and if perchance 
at any of these the exigencies of the piece permit of a 
momentary lapse into terpsichorean performance, it invari- 
ably gives rise to a burst of enthusiasm. Miss Grey adds 
very considerably to her income by teaching the accomplish- 
ment in which she has so few equals — in fact her emoluments 
from that source surpass the salary she draws from the 
Gaiety. Many of her pupils are members of the aristocracy, 
and often after receiving their visits at her "house," she 
returns them at their own houses if they happen to be 
entertaining. Amongst her latest pupils are Miss Ellen 
Terry and her sister Minnie. Miss Grey, who accompanied 
the Gaiety Company to Australia in 1891, has a face that 
is full of charms and irresistible smiles, and her sylph-like 
figure, when she dances, seems to float above the long skirts 
and profusion of lace petticoats that she wears, whose 
fashion has certainly elevated and refined the standard of 
stage dancing in this decade of grace. 

Grossmith, Walter Weedon. — After leaving 

the North London Collegiate School, Mr. Weedon Grossmith 
joined the West London School of Art in Portland Street, 
and also studied at the Slade School at the London Univer- 
sity, and from thence passed the necessary examinations 
that admitted him to the Royal Academy Schools. As an 
artist he had a fairly successful career, exhibiting and selling 
his paintings, which were entirely figure subjects, at the 
principal exhibitions, and he was honoured by being five 
times awarded a place "on the line" at Burlington House. 
The market being over-stocked with this kind of work, he 
took up portraits, but not caring for this line, and having 
had some little dramatic experience he determined to 
try his fortune as an actor, and joined Miss Rosina 
Yokes' Company, then starting for an American tour, and 
played with them in the States for two seasons. On his 
return to London he made an unfortunate failure at the 
Gaiety in Woodcock's Little Game, and in disgust returned 
for a time to the studio. But an unexpected offer from 
Mr. Irving to play Jacques Strop \n Robert Macaire tempted 
him once more to face the footlights, and he impersonated 



Gro 97 

the sneaking little pilferer so faultlessly that Mr. Irving, 
after the fall of the curtain, specially congratulated him, 
and expressed his belief that there was a fine dramatic 
career before him. When Mr. Mansfield opened his man- 
agement of the Globe Theatre with Prince Karl, Mr. 
Weedon Grossmith formed one of the cast, but declining 
to accept a part in Richard III., migrated to the Haymarket, 
where he distinguished himself as the bumptious little cad, 
Percy Palfreyman, in Wealth. He next appeared in Aunt 
Jack at the Court, in which he was immensely funny as the 
attorney. But all his previous performances paled before 
his life-like impersonation of the Jewish money lender, 
Joseph Lebanon, in The Cabinet Minister. Such a masterly 
picture of low vulgarity (in which vein of comedy he has 
no equal) has seldom been presented on the London stage. 
After playing in The Volcano, which followed it, Mr. 
Weedon Grossmith left the Court, and appeared in his 
own play entitled A Commission, which formed the middle 
tit-bit of the sandwich with which Mr. George Edwardes 
tempted the jaded appetites of London playgoers at Terry's 
Theatre in June, 1891, and proved so tasty as to warrant 
its bodily removal later on to the Shaftesbury. He is a 
younger brother of Mr. George Grossmith, that inimitably 
funny actor and entertainer, who in 1877 made his ddbut on 
the London stage at the Opera Comique in the part of 
John Wellington Wells in The Sorcerer, and subsequently 
played in all the Gilbert-Sullivan Operas produced up to 
August, i88g, when he resigned his membership of the 
famous Savoy Company, in which during the twelve years 
he was with them he had built up a reputation second to 
none in the particular line allotted to him. After three 
months' rest he was again hard at work in his original 
sphere of entertainment, and some idea of the success which 
has attended him may be obtained from the fact that the 
profits for his two years' touring with "Piano and I" have 
reached the enormous figure of ;^25,ooo. Mr. Weedon 
Grossmith is devoted to the North of London, where he has 
a large old-fashioned house in Canonbury Place, Islington, 
built more than 300 years ago, full of really beautiful Chip- 
pendale furniture, and which boasts three mantelpieces by 
Adams, all of unique design. Staffordshire shepherds and 
shepherdesses, ancient Chelsea figures, rare old books, and 

G 



gS Gro 

queer and quaint obj&ts d' arts are scattered about the rooms, 
whilst the walls are adorned with many pictures — notably 
several by Frank Holl, R.A., and prints of old theatrical 
characters. 

Groves, Charles. — it was at Limerick that this 
clever comedian was born in 1843, and when but ten months 
old appeared as Little Peter in Mr. and Mrs. White, which 
his parents were then acting- on tour. His father, Charles 
Groves, was for many years a provincial actor, and his 
mother was known as " Little Biggs," and played children's 
parts in London in the thirties. Following his early ap- 
pearance and never relegated to the nursery, he was utilized 
in his father's company till 1858, when he first tasted the 
sweets of a salary under an engagement to make himself 
"generally useful." For several years he played all sorts 
of business, with all sorts of managers, in all sorts of places, 
till in 187 1 he appeared at Covent Garden Theatre as Lebean 
in The Lost Letter. In Confusion, which ran for 450 nights 
at the Vaudeville, he played to perfection the part of the 
innocent old uncle who caused all the muddle, and after a 
visit to America appeared in Uncles and Aitnts (1888); and 
later in the same year in Mamma at the Court. In February, 
1890, he joined Mr. Hare to play Gregory Goldfinch in A 
Pair of Spectacles. It was a splendid performance, and the 
clever contrast he drew to his brother Benjamin, so different 
in every trait of character to himself, was without the least 
exaggeration in treatment or appearance, and yet could 
not possibly have been more decided. Mr. Groves was next 
seen in Lady Bountiful, and resumed his original character 
when A Pair of Spectacles was revived, before accompany- 
ing Mr. Hare on his summer tour in 1891. 

Hanbury, Lily. — Miss Hanbury is a cousin of Miss 
Julia Neilson, at whose London debut in Pygmalion and 
Galatea, at a Savoy matitxee in May, 1888, Miss Hanbury 
made her first appearance, playing Myrine with grace and 
charm, and obtaining a large meed of praise. Two other 
matinees of Gilbertian plays at the same theatre gave her 
further opportunities of showing progressive improvement. 
Then followed a season in the provinces for practice. Early 
in 1890 Miss Hanbury was engaged at the 'Vaudeville, and 
appeared in Clarissa, and a month later very cleverly created 
the part of Juha Topliff in Meadowsweet. In the winter 



Har 99 

she. appeared with Mr. Wilson Barrett at the Olympic 
Theatre, and played Rose Lendham in The People's Idol on 
the opening night of the new house. Following this, in 
1891, she was seen as Countess Wintersen in The Stranger, 
Hetty Preene in The Lights 0' London, and Madame Catherine 
in The Acrobat, in all of which she showed how great 
was the advance she had made in her art. After the closing 
of Mr. Barrett's London management she appeared in 
A Commission at Terry's, playing the character of Mrs. 
Hemmersly. 

Hare, John. (John Fairs.) — Mr. Hare, who is a 
native of Yorkshire, studied for some time with a view to 
passing for the Civil Service, but after much careful con- 
sideration resolved to try a stage career instead, and when 
about twenty placed himself under Mr. Leigh Murry's 
tuition and studied with him for six months. He then 
joined a stock company at the Prince of Wales' Theatre in 
Liverpool, ■where in the spring of 1865, he made his debut 
in a small part in A Business Woman. Shocking to relate, 
he was so nervous the first time he faced the footlights 
that he was actually hissed ! Six months of hard study 
altered matters however, and moving to London he proved 
his ability by the creation of the character of Landlord 
Short in Naval Engagements, at the old Prince of Wales' 
Theatre, at that time under the management of Miss Marie 
Wilton and H. J. Byron. For the next ten years he 
remained at that house, playing with increasing success in 
the various plays produced there. In March, 1875, Mr. John 
Hare assumed the management of the old Court Theatre, 
succeeding Miss Litton, and opened with Mr. Charles 
Coghlan's comedy, Lady Flora. Here he collected a brilliant 
company, including such stars as Mr. and Mrs. Kendal, 
Miss Amy Faucit, the late Mr. John Clayton, Mr. Charles 
Kelly, Miss Ellen Terry (Mrs. Charles Kelly), Mr. Kemble 
and Miss Hughes, and with their aid he soon placed the 
house in the first rank of metropolitan theatres. Mr. John 
Hare borrowed ;^400 to start this management, which lasted 
four years, and his first success was with New Men and Old 
Acres, which cleared for him ;^i2,ooo. Olivia, with which 
he closed his lesseeship, brought him in upwards of ;!^ 15,000 
profit during its successful run. In 1879, Mr. Hare joined 
Mr. Kendal in the management of the St. James' Theatre, 



loo Har 

and this memorable partnership continued for nine years. 
When in 1888 the curtain fell on the final scene of The 
Squire, and with its descent ended this eventful manage- 
ment, Mr. and Mrs. Kendal and Mr. Hare were honoured 
with repeated and enthusiastic calls, to which they grate- 
fully responded. After this Mr. Hare for a time withdrew 
from the arduous toils of management, and whilst the 
Garrick Theatre was being built for him, joined Mrs. John 
Wood's Company, appearing as Jack Pontifex in Mamma, 
at the new Court Theatre. On April 24th, 1889, he opened 
the Garrick with The Profligate, which was followed by La 
Tosca, and A Pair of Spectacles, in which his masterly 
acting as Benjamin Goldfinch gained for him the highest 
praise that critics could bestow. Mr. Hare was honoured 
by receiving a command from the Queen to play that 
delightful comedy and A Quiet Rubber at Windsor Castle, 
on March 17th, 1891. This programme Mr. Hare had 
already given before the Prince and Princess of Wales at 
Sandringham, on which occasion he received a silver cigar- 
case, inscribed: " To John Hare, from Albert Edward, in 
remembrance of 'A Pair of Spectacles' at Sandringham, 
8th January, 1891." Of the many pieces Mr. Hare has 
appeared in. School enjoyed the longest run, extending 
over four hundred nights, which was at the time it was 
brought out regarded as a phenomenal affair. Personally 
Mr. Hare much dislikes long runs, and holds that after 
some fifty nights in one character, an actor becomes me- 
chanical in his part. Mr. Hare is very reticent over the 
vexed question of the actor-manager, but considers that 
an ideal manager would be one who, whilst possessing the 
best artistic knowledge and thorough command over his 
company, is self-sacrificing enough not to act himself. But 
this in practice often fails, as the mere business man is 
usually deficient in artistic knowledge and judgment, and 
to carry the theory out would often subject the public to a 
serious loss, by depriving it of the best talent. In 1865 
Mr. Hare married, and on their silver wedding day in 1890, 
he and his wife were presented by the staff of the Garrick 
with a valuable set of George HI. silver fruit dishes and a 
letter of congratulation. Mr. Hare possesses the secret of 
perpetual youth, which is perhaps the reason that he is all 
kindness and consideration to those who are brought in 



Har loi 

connection with him. His son, Mr. Gilbert Fairs, made 
his ddbut at the New Theatre Royal, Richmond, in Mamma, 
in May, i8go (appearing in the bills as Mr. Gilbert Dangars), 
and after a season in the provinces, joined the Garrick to 
play a small part in Lady Bountiful in March, 1891. In 
September he appeared in the cast of School, and his easy, 
natural acting as Mr. Krux, was distinctly the success of 
the evening. In the original production of School at the 
Prince of Wales' in 1869, Mr. John Hare played the 
character of Beau Farintosh. 

Harris, Sir Augustus. — Seldom can one chronicle 
so brilliant and successful a career as that of the present 
popular lessee and manager of Drury Lane, who was born 
in the Rue Taitbout, Paris, in 1852. His father was in 
his day the most accomplished and successful stage 
manager in Europe, regisseur general at the Italian Opera, 
and for thirty years connected with Covent Garden Theatre, 
London. In spite of all the advantages his father's posi- 
tion offered, the son preferred a commercial life, and entered 
the house of Emile Erlanger and Co., in London, as foreign 
correspondent. Shortly afterwards his father died, and by 
the advice of the late Mr. John Rider he entered the 
dramatic profession, and accepted an engagement to play 
Malcolm in Macbeth at the Theatre Royal, Manchester, in 
September, 1873. From there he moved to Liverpool to 
play juvenile light comedy parts with the late Mr. Barry 
Sullivan. Mr. Mapleson then engaged him as assistant 
manager for his Italian Opera Company, and his skill was 
so obvious, that within six weeks he was made manager. 
Later he invented, constructed, and produced for Mr. 
Wyndham, Sinbad the Sailor at the Crystal Palace in 1876, 
and in the following year played at the Criterion, where he 
created the part of Harry Greenleaves in Pink Dom.inoes. 
In 1879 h^ became lessee and manager of Drury Lane, and 
opened in November with a revival of Henry V., and for 
some years his name was occasionally seen in the playbill. 
The enormous quantity and variety of work accomplished 
by him since then may be gauged by a glance at the important 
plays of all kinds he has presented on the stage of the 
National Theatre and elsewhere. Under his hand panto- 
mime has made a fresh start and reached a state of lavish 
splendour never before seen, and in many of those at Drury 



I02 Hat 

Lane he has been joint author. The annual engagement 
of the Carl Rosa Company was due to his energy and skill. 
To him we owe the resuscitation of operatic art, which 
many supposed was practically extinct in this country. 
His latest undertaking has been the establishing of a school 
for ballet dancing, under the guidance of Madame Phasey, 
for damsels between the age of sixteen and twenty. This 
Sir Augustus Harris opened from a commendable desire of 
satisfying the requirements of the public and improving 
choregTaphic art in England, and not as a financial specu- 
lation. In the spring of 1891 he ran, at one and the same 
time. Her Majesty's, Covent Garden, and Drury Lane 
Theatres, and Olympia, and gave direct employment to 
over 2,000 persons in London alone, not to mention the 
many other enterprises he was either solely or conjointly 
connected with. Nor are his energies confined to the 
drama. He is an indefatigable freemason and a sheriff of 
the City, and received a knighthood after the visit of the 
Emperor of Germany to the city in July, 1891. Lady 
Harris, who was a Miss Rendal, assists him in dispensing 
lavish hospitalities. 

Hatton, Bessie. — This rising young actress is the 
youngest daughter of Mr. Joseph Hatton, the well-known 
novelist. She was educated at a Convent School in the 
Ardennes, and Bedford College, London. Having early 
developed that acute desire for dramatic distinction, which, 
to judge by the kindred experiences of Sarah Bernhardt, 
Olga Brandon, Myra Kemble, Marie Tempest, and others, 
finds a home in the atmosphere of convent life, Miss 
Hatton commenced the serious study of her profession 
under the late Mrs. Chippendale, and made her first 
appearance in 1887, playing a round of smaller Shakes- 
pearean characters in Mr. F. R. Benson's provincial 
company, which has been a veritable nursery to so many 
excellent actors and actresses. In 1888 she came to 
London, and for a time had to content herself with the 
understudy of a part in The Real Little Lord Fauntleroy, 
but subsequently obtained an engagement with Mr. Richard 
Mansfield at the Globe to play the Prince of Wales in 
Richard IIL. She then enacted the boy's part of Gennarino 
in La Tosca, at the Garrick, which led to an engagement 
from Mr. -Willard at the Shaftesbury, to appear in the 



Haw 103 

difficult character of Lady Eve mjudah, when she signally 
distinguished herself. In the autumn of 1890 she accom- 
panied Mr. Willard on his American tour, where she met 
with great success ; on her return she was announced to 
appear in the title r6le of The Prince and the Pauper at the 
Vaudeville on the 12th October. Miss Hatton is a pains- 
taking and intelligent young actress, whose quick progress 
is the result of steady work and perseverance. 

Hawthorne, Grace. (Miss Cartland) — Miss Haw- 
thorne is the daughter of a fine old American family, and 
connected by marriage with the quaker poet J. G. Whittier. 
Her parents were lineal descendants of the Plymouth 
Brethren who peopled America, where she was born, (at 
Bangor, Maine), early in the sixties. Her childhood was 
passed in the Pork Metropolis of Chicago, and seeing that 
she has achieved such histrionic fame, it will not surprise the 
students of this hand-book to learn that she was educated in 
a Convent School. The great fire of 1871 reduced her 
family from a state of affluence to one of comparative 
poverty, and was followed by her father's death, which was 
accelerated by the shock. Her mother being left a widow 
with four daughters, and in narrow circumstances. Miss 
Hawthorne and one of her sisters, (who now holds a lead- 
ing place on the American stage), turned their thoughts to 
a dramatic career, as a means of lightening the family 
burdens. It was not without great difficulty that the con- 
sent of their relatives was obtained, nor until 1878 that 
Miss Hawthorne carried into effect her determination to 
become an actress. She had at first to content herself with 
the humblest parts, and her early experiences of understudy 
in the rough and exacting school of a travelling company, 
were sufficient to discourage any but one endued with a 
resolute spirit and an inherent ability. Miss Hawthorne 
persevered, and made steady progress, and her opportunity 
came. The leading lady of the company fell ill — God bless 
them ! how often and how conveniently they do, — and she 
had to take her place. Of course she was successful, and 
was next cast for the heroine in The Octoroon, which fol- 
lowed. In this, at Providence, Rhode Island, she made her 
mark, and thereafter all was smooth sailing. Five years 
of hard study and valuable experience followed, during 
which she played many leading parts, and this brings her 



I04 Haw 

career to 1884, when she obtained an engagement from Mr. 
W. W. Kelly, and after playing one hundred and thirteen 
consecutive weeks in his company in America, came over to 
England, and in 1886 made her London ddbut in Misi 
Multon, which was soon followed by Heartsease at the 
Olympic. The next year, not knowing the conditions re- 
quisite for success in metropolitan stage management, and 
how it was westward that the star of victory winged its 
way, she took that theatre and produced The Governess and 
The Ring of Iron, but both proved failures. Not to be 
vanquished, she tried to find a north-west passage to success, 
via the Princess' Theatre, of which she became lessee. In 
1889 her manager found a sanguine solicitor of Derby, 
and another large-hearted gentleman, with a perfect faith 
in the future of the Oxford Street house, who consented to 
finance Miss Hawthorne. The first loan was ;^4oo, and it 
commenced a sort of rolling snowball career, until it ended 
in ^14,000, and Mr. Registrar Giffard and the Court ot 
Bankruptcy for the legal gentleman. The play exploited 
was epigrammatically called The Gold Craze. In May, 
1890, Miss Hawthorne produced Theodora with a lavishness 
that suggested a new field of finance. The papers said 
her dresses cost ;£'i,5qo! She brought it out first at 
Brighton, and subsequently sent it the round of the pro- 
vinces, and also played it in London. To add to the realism 
of a realistic drama she introduced live lions on the stage. 
She then took it round the country, and returning to 
London in 1891 , opened with it at the New Olympic Theatre, 
on the I St August, by which date the intrinsic value of the 
properties seems to have increased, according to the Press, 
to ;^5,ooo, whilst the entrance fees to pit and gallery were 
reduced to one shilling and sixpence respectively. Theodora 
was followed, in September, by A Royal Divorce, a drama 
which the sober Standard A&scrWi&d. as a "twopence coloured 
illustration of history," and in which the Live Lions gave 
way to Wild Horses. 

Hawtrey, Charles H. — This successful actor- 
manager is one of several brothers, three at least of whom 
have made their mark in the profession. Their father was 
the Rev. John Hawtrey, who died in 1891, and was for a 
period of seven and twenty years a highly esteemed and 
generally popular master at Eton College. As an actor 



Haw 105 

Mr. Charles Hawtrey is a light comedian, with a quiet and 
humorous style of his own. As a manager he is at times 
audacious in judgment, and his luck in catching the fickle 
jade Success has been prodigious. His earlier attempts at 
stage management at the Princess's Theatre were not 
happy, but The Private Secretary and The Arabian Nights 
at the Globe lined his exchequer with something more sub- 
stantial than paper passes, nor was the spell broken by 
Tenterhooks and Nerves when he migrated to the Comedy 
Theatre, whileyawe and Husband and Wife managed between 
them to keep the wolf from the door during the famine 
season of 1891. Mr. Hawtrey's brother, Mr. G. P. Haw- 
trey, is a playwright, and the author of many clever songs 
and graceful lyrics, and played in The Late Lamented when 
that comedy was moved from the Court to the Strand in 
August, 1891. Mr. Charles Hawtrey is yet in the thirties, 
and lives in Wilton Crescent. He has a very pale face, 
accentuated by jet black hair, and sports a black moustache. 

Hawtrey, William F. — This popular actor is con- 
stantly en evidence, and is at times a martyr to matindes 
many. In the long list of finished characters he has 
given on the London stage, the same careful acting is to 
be observed alike in subordinate or leading parts, and to 
his hands is often entrusted the merriment making of the 
piece. He has often been associated with his brother 
Charles' management, and joined him at the Comedy in 
1888, where he played with all his accustomed humour in 
Uncles and Aunts, The Spy, and Tenterhooks. In the August 
of the following year he transferred his services to Mr. 
Willie Edouin, and as Mr. McCullum in Our Flat proYsd 
himself a master of something deeper than light comedy. 
In the .spring of 1891 he was at the Avenue for the short 
run of Mdlle. Cleopatra, before he again joined his brother 
at the Comedy to act in Husband a7id Wife. His efforts 
at management have not always proved successful, and 
his provincial tour with Loose Tiles in 1886, when the com- 
pany played some nights to houses that did not pay the gas 
bill, was the cause of his efforts in 1891 to get "white- 
washed." 

Herberte- Basing, S. — it was at Liverpool in 1876 
that this successful actor and manager first looked across 
the footlights as a chorister in Madame Angot, and for the 



io6 Hew 

next few weeks things went merrily enough till an unprofit- 
able visit to Keighley compelled the enterprising manager to 
decamp, and the company, with his unexpected departure, 
to dissolve itself. For the next three or four seasons Mr. 
Herberte-Basing had a real rough time of it, so rough 
indeed that he dropped acting, and took to concert singing. 
This led to engagements in light opera, and after a time 
he acquired a considerable provincial reputation by his 
success in H.M.S. Pinafore, Patience, The Pirates of 
Penzance, and other Gilbert-Sullivan operas. His first trial 
at management was a disastrous one indeed, for it was 
during his tenancy that the theatre at Exeter was completely 
destroyed by fire in September, 1887, and cost him nearly 
;^io,ooo. Through Mr. Irving's assistance he obtained an 
engagement under Mr. Bram Stoker, and soon afterwards 
became assistant manager at the Alexandra Palace. En- 
gagements then followed with Mrs. Churchill-Jodrell and 
Mrs. Lancaster Wallis, when the latter opened at the 
Shaftesbury in 1888. Here, after a spell at the Haymarket 
and at Terry's, where he appeared both as Clement Hale 
and as GeoflFrey Wedderburn in Sweet Lavender, he 
returned, to play in The Sixth Commandment and The 
Pharisee. In the spring of 1891 he again tried his hand at 
metropolitan management, after appearing in Mdlle. 
Cleopatra at the Avenue, and subsequently had a successful 
season at the Princess's, where he produced Fate and 
Fortune and Arrah-na-Pogue. 

Hewitt, Agnes. — Miss Hewitt was born in India, 
her father being an officer in the army, and she came home 
to England in 1865. When later on she turned her atten- 
tion to the stage, it was with the usual difficulty that she 
obtained an engagement, and made her first appearance at 
the Olympic Theatre in 1878 in The Duke's Device. After 
an eight months' season at this house, she migrated to the 
Globe, then under the management of Mr. Edward Righton, 
and there acted in company with Mr. J. L. Toole in The 
Cricket on the Hearth, in which she achieved her first 
success. She was then selected by Mr. Charles Wyndham 
to understudy Miss Mary Rorke at the Criterion, but an 
illness cut short her engagement, and for a year she was 
scarcely ever seen on the boards, except at a few matindes 
at the Crystal Palace. When at length her health was re- 



HiL 107 

established, she appeared in pantomime at Drury Lane, 
and in burlesque at the Gaiety, after which she returned to 
Mr. Charles Wyndham's management at the Criterion for 
a time. An American engagement to play the lead with 
Mr. Lytton Sothern tempted her to cross the seas, and 
when she came back she assisted Mrs. Brown-Potter in her 
dibut. After this she commenced a season at the Olympic, 
of which her then husband, Mr. Darbishire, was the lessee, 
and she appeared in many leading characters and successful 
plays, including The Pointsman, produced in 1887, the sole 
acting rights of which she secured. In May of this year 
Miss Hewitt purchased the expiring lease of the old Olympic 
Theatre for ;£^3,5oo, and, introducing additional capital, 
essayed management on her own account. But fortune 
was unkind, and before the end of 1888 there was a loss of 
nearly ;^8,ooo, which compelled her to seek the ameliora- 
tion of circumstances offered by the Court of Bankruptcy. 
These proceedings terminated in 1890, and in the same 
year Miss Hewitt appeared in an adjoining hall of justice, 
the co-respondent being Mr. Abington Baird, the celebrated 
gentleman jockey. A decree nisi and five hundred pounds 
sterling was the result. Amongst her other accomplish- 
ments she is an excellent swimmer, and at Brighton, 1889, 
very pluckily saved the life of a child who was in danger 
of being drowned a few yards off" the beach. In September, 
1891, Miss Hewitt made her reappearance in London, as 
the New York Herald mjoan of Arc at the Gaiety Theatre. 

Hill, Annie. — Miss Annie Hill's first engagement was 
with Mr. Kyrle Bellew in Romeo and Juliet. She next 
joined Mr. Henry Irving at the Lyceum Theatre, and ac- 
companied him on one of his American tours. Two seasons 
with Mr. Tearle followed, in which she played in Shake- 
spearean drama. In 1889, she appeared as Maud Chandler 
in The Middleman, and the next year, after understudying 
Vashti Dethic at the Shaftesbury, played that difficult part 
in Judah for a time, when Miss Olga Brandon resigned it, 
and met with considerable success. 

Hood, Marion. (Mrs. Hesseltine.) — This lady has, 
in her own expressive words, "sung for her supper ever 
since she was eleven years old." She commenced her career 
on the music hall stage when quite a child. In 1876, under 
the name of Miss Marion Isaac, her engaging appearance 



io8 Hoo 

and her sympathetic rendering of Bishop's music, made her 
many friends, who predicted a great future for the pretty 
child who pleased them so much. At an early age she was 
married to Mr. Hunt, the proprietor of the Alhambra at her 
native town of Hull. Shortly after this she left the music 
hall stage and commenced a course of study at the Royal 
Academy of Music, with a view to appearing either on the 
grand opera stage or the concert platform. But a fortunate 
incident occurred. She chanced one day to accompany 
Mrs. Jecks (Miss Harriett Coveney) to a rehearsal of the 
Pirates of Penzance at the Opera Comique, and was inci- 
dentally introduced to Mr. W. S. Gilbert. In the course 
of conversation he learnt she was studying music, and 
asked her for a specimen of her powers. She sat down 
and sang the Shadow song in Dinorah, and was at once 
offered the part of Mabel in the opera then being rehearsed, 
and it was in this character that she made her debut on the 
London stage. Shortly after this she was married to her 
present husband, and left the boards for some months. On 
her re-appearance she played at the Olympic, and sub- 
sequently passed on to the Alhambra and Avenue Theatres. 
After this she made a provincial tour in grand opera, 
appearing as Marguerite in Faust in the country and also 
at the Crystal Palace. But the strain of work proved too 
exhausting and she returned to comic opera, and joined the 
Gaiety Company. After acting in Billee Taylor and Jack 
Sheppard she created the title role in Dorothy, and played 
it for three hundred and fifty nights, when illness and 
domestic trouble forced her to relinquish it. It is a curious 
coincidence that after her retirement, Mr. Edwardes, who 
thought that the popularity of the opera was played out, 
sold all rights in it to Mr. H. J. Leslie for a thousand 
pounds, and that gentleman made a fortune of ^£^40,000 out 
of its subsequent career. After Miss Hood's recovery she 
re-appeared at the Gaiety and played the female lead in all 
the productions from Monte Christo to Ruy Bias. With 
the termination of the run of the latter burlesque she tem- 
porarily retired, in order to obtain a much needed rest. In 
the spring of 1891 she re-appeared on the boards again in 
the successful burlesque of Joan of Arc at the Opera 
Comique, and in September was in the cast when it was 
revived at the Gaiety. Miss Hood has a tall figure, charm- 



How 109 

ingf features, and fine stage presence, which are familiar 
to all London playgoers. She has invented and given a 
name to a particular style of wig which is amazingly 
popular. 

Howe, Henry. (Mr. Hutchinson.) — This father of 
the English stage who was born at Norwich in 181 2, is 
the son of Mr. Hutchinson, a Quaker, and the only repre- 
sentative of that sect now on the boards. As a boy he was 
a great chum and rival athlete of John Bright, and there 
was only a difference of three months in their ages. His 
father would not hear of his becoming an actor, but Mr. 
Howe solved the difficulty by running away from home, 
when nineteen years old, to join a travelling company. 
Many hard vicissitudes followed, until Macready engaged 
him to play at Covent Garden Theatre in 1837 ; and on the 
occasion of that tragedian's farewell performance two years 
later, Mr. Howe played Marc Antony to his Julius Caesar. 
He then obtained an engagement at the Haymarket, and 
appeared regularly in the bills of that theatre for nearly 
forty years. Such a lengthened term of service under the 
changing interests and fortune of one theatre, is un- 
paralleled ; and Mr. Howe can also boast another unique 
record, viz., that of having played in every part of the male 
role in some of the pieces produced on its stage, including 
The Lady of Lyons, The Stranger, Money, etc. In 1879, 
owing to changes in the management, he became for a 
time associated with the Vaudeville before he joined the 
Lyceum under Mr. Henry Irving's management in 1881, 
where he has ever since regularly appeared. 

HugfheS, Annie (Mrs. Devereux). — Miss Hughes 
has been dubbed "the Mrs. John Wood of the future — 
that rara avis, a female comedian." And yet she only 
commenced her theatrical career six years ago, making her 
first appearance at the Globe Theatre in 1885 under Mr. 
Charles Hawtrey's management, where she succeeded to 
Miss Maud Millett's part in The Private Secretary. She 
then joined Mr. Thomas Thome's company at the Vaude- 
ville, where Mr. Charles Wyndham saw her, and engaged 
her for two years. Her first original creation was the part 
of Caroline Boffin in The Man with Three Wives, and she 
followed this with Jenny Gammon in Wild Oats. In 1886 
(when Mr. Wyndham was interested in the Princess's), she 



no Hun 

appeared there in Held by the Enemy, and then played one 
of The Two Roses at the Criterion, Miss Maud Millett 
being the other, and the two bright young girls formed a 
fascinating contrast, which did the eyes good to look at. 
Early in 1888 she transferred her services to the Adelphi, 
and appeared in The Bells of Haslemere. When the New 
Court Theatre was opened Mrs. John Wood retained her, 
and she created the part of Winifred in Mamma, and, on 
Mrs. Kendal succeeding to the temporary management, 
had a share in the production of The Weaker Sex. In 1887 
she created the part of Little Lord Fauntleroy in the play 
of that name, at a matinde, and completely realised the 
authoress' conception of the hero. When Mr. Willard 
produced The Middlem.an at the Shaftesbury, Miss Annie 
Hughes was cast for the part of Nancy Blenkarn, and in 
her clever love scenes with Mr. Garden gave a deliciously 
comic touch to the play. So rapid and successful has her 
career been, that she has received many offers from America, 
but has declined them all, and reserved for the metropolitan 
stage that absolute freshness and sincerity of art which 
distinguishes her acting. Early in i8go Miss Annie Hughes 
was married to Mr. Nicholas Devereux, a wealthy young 
Irish gentleman, and within the cycle of twenty-four hours 
announced her intention of retiring from the boards, and 
returning to them. Later on in the year she appeared in 
April Showers, and subsequently in the short run of Sweet 
Nancy at the Lyric — her part in which she resumed when 
that play was revived at the Royalty in October. In 
September, 1891, she essayed Naomi Tighe in the revival 
of Sclwol at the Garrick. Miss Annie Hughes writes 
cleverly, and her contributions to current literature are 
always worth reading. 

Huntington, Agnes. — Miss Huntington is a 
native of Buffalo, U.S.A. Her love of singing was born 
in her, and as a child she was always filling her home with 
"stray breaths of song," and when financial trouble over- 
took her widowed mother, it was determined to turn her 
vocal ability, and her elder sister Effie Huntington's 
musical talent, to account. Miss Agnes Huntington there- 
fore commenced her education under Signor Erani at New 
York, who, to everyone's surprise, diagnosed her voice 
as a true contralto. The claims of the elder sister now 



Hun hi 

asserted themselves, and in order that she might receive 
lessons on the piano, Mrs. Huntington took her two 
daughters to Berlin. But here no suitable singing master 
could be found for the younger, and so the family moved 
to Dresden, where Miss Huntington studied under Signor 
Lamperti. Here she made her debut in a concert, and was 
much praised by press and public. Following this early 
success, she appeared at Stuttgart, Berlin, Frankfort, 
Leipzig, and finally at the Trocadero in Paris. Coming to 
London, she enjoyed the advantages of some lessons from 
Signor Randegger, and in 1884 sang at one of Mr. Ganz's 
concerts in the metropolis, after which she returned to 
America, where she made her first appearance at a concert 
of the New York Philharmonic Society, and afterwards 
sang oratorios and other music in Boston, Baltimore, and 
elsewhere, invariably creating a favourable impression. 
Numerous offers of engagement poured in upon her, but 
she eventually decided to join the Boston Ideals Operatic 
Company, where her compatriot, Miss Ulmar, was just 
finishing her career. As leading lady of this talented corps 
she made a tour through the States, singing in Martha, 
The Bohemian Girl, and kindred productions. Satiated with 
Transatlantic triumphs, she once more returned to London, 
and was introduced to the late Mr. Carl Rosa, who at once 
recognised her high gifts, and secured her for his com- 
pany to play the title role in Paul Jones, an opera w^hich 
he set much store by. M. Planquette, the composer, having 
heard Miss Huntington sing, was so struck with her voice 
that he made several important changes in the score of 
Paul Jones to suit it. On the 12th January, 1889, Miss 
Huntington made her London debut on the stage of light 
opera at the Prince of Wales' Theatre, and achieved an 
immediate and most brilliant triumph, the critics sounding 
but one note — that of unstinted praise. The singular 
success of Paul Jones was of her creating alone. When 
its course was run she essayed the part of Wilfred in 
Marjorie, but after a few nights threw it up as unsuited to 
the compass of her voice, the score not having been lowered 
as she was led to understand it would be. The only alter- 
native offered her was to go on tour and sing seven times 
a week, a task for which she felt herself physically unequal. 
To enact Wilfred meant ruin to her voice, and in ^his view 



112 IrI 

she was supported by such eminent authorities as Mr. Sims 
Reeves and Madame Antoinette Sterling. In the end Miss 
Huntington had to pay ;^i,ooo damages to the Carl Rosa 
Opera Company, and Mr. Augustus Harris, who had taken 
Mr. Rosa's place after that gentleman's death, obtained an 
injunction against her, restraining her from singing in 
public for a year — a restriction which punished the British 
playgoer as much as it did the victim. For some months 
afterwards Miss Agnes Huntington was not seen or 
heard upon the boards, and in September of the same year 
she sailed for America, taking a company with her under 
the CBgis of Mr. Abud, to star the States in Paul Jones. 
Miss Agnes Huntington resides with her mother and sister, 
who is a most accomplished musician. In private life she 
is full of animation and high spirits, has a great talent for 
drawing, talks German and Italian, dances divinely, and 
lavishes her affections on a little black and tan terrier 
called Ditto. There are rumours of her being seen before 
long in a London theatre of her own. 

Irish, Annie. — Miss Irish is of German extraction on 
her mother's side, and her father was a Devonshire man. 
She was born at Warloys, in Huntingdonshire, and is of 
clerical descent, and the first of her family to tread the 
boards. She made her debut in 1880 at the Theatre Royal, 
Nottingham, and fitted herself for a dramatic career by 
several seasons of hard work in the provinces. Coming to 
London, she soon secured an opening. In 1887 she appeared 
at the Adelphi when Miss Mary Roorke left, taking her 
place in The Harbour Lights, and then as Mary Northcote 
in The Bells of Haslemere. The next year she had a share 
in several matinies, and proved herself a highly finished 
actress. In 1889 she obtained an engagement at the 
Vaudeville, where subsequently she played Miss Winifred 
Emery's part in Dr. Cupid, and passing from thence to 
Terry's, filled the role originally allotted to Miss Maud 
Millett in Sweet Lavender. In the matinde of Her Father 
at the Vaudeville, she appeared to great advantage in a 
powerful scene with Mr. Herman Vezin, and also in The 
Pillars of Society, in which she took the part of Dina Dorf. 
In 1890 she played with the "Old Stagers" during the 
Canterbury week, and the next year was engaged to under- 
study Miss Ellen Terry in all her parts at the Lyceum, 



Irv 113 

where she played Hero in Much Ado about Nothing, and 
Lady Eleanor in Charles I. Miss Irish is a lady who, by 
assiduous study, has not only educated herself for a high 
place on the stage of the future, but has shown many 
proofs of literary ability as well. 

Irving', Henry. — Mr. Henry Irving was born at 
Keinton, near Glastonbury, Somersetshire, on the 6th of 
February, 1838, and was the only son of the late Mr. 
Brodribb, a man of a somewhat restless and undecided dis- 
position, with whom the world did not prosper. It was from 
his mother that he inherited his force of character and 
distinguished talents. She was a Miss Behenna, one of 
the six daughters of an ancient Cornish family, and a tall, 
stately, gentle woman, strongly opposed to his adopting 
the stage as a profession, and who, unhappily, never lived 
to see the mark he made in it. When quite a child Mr;. 
Irving went to reside with his aunt, a lady bearing the 
good old Cornish name of Pemberthy, who lived at Helston, 
situated a few miles north of the Lizard. In those days it 
w^as quite a small village, and young Henry enjoyed the 
best education it afforded, and when at home had the run 
of a select but not extensive library, which comprised the 
Bible, Don Quixote, and a copy of old English ballads. 
When eleven years old he was packed off to Dr. Pinches' 
Academy, in George Yard, Lombard Street, London, and 
deponent sayeth was oft heard as a schoolboy enume- 
rating the numbers of Hamlet and Macbeth. Be this as it 
may, two years later he entered the firm of Messrs. William 
Thacker & Co., as a clerk, and from that time has earned 
his own living. When he was seventeen his employers 
offered to send him out to their Indian branch (which still 
exists as Thacker, Spink & Co., booksellers, at Rampart 
Row, Bon^bay), but he had now made up his mind to 
become an actor, and declined the proposal. Two years 
later he finally severed his connection with that firm, for 
the very problematical advantages of a stage engagement 
on a salary of ten shillings a week. His first appearance 
was at the Theatre Royal, Sunderland, where he was rele- 
gated to the obscurity of a very small part. But, nothing 
daunted, he set his shoulder to the wheel, and working his 
way to Edinburgh, played there for the next two and-a-half 
years, and with such progress in his art, that before he 

H 



114 Ii^v 

left that city he gave two public dramatic recitals. In i860 
he endeavoured to better his fortunes by removing to 
Glasgow, and appeared there in a company of which Edwin 
Booth was a member. An engagement at Manchester 
now offering, he came south, and soon established himself 
as a favourite in Cottonopolis, where he remained for five 
years. It was during this period that, with the assistance 
of Mr. Fred Maccabe and Mr. Philip Day, he eflfected 
before an audience of three thousand persons an exposure 
of the spiritualistic delusions of the Davenport brothers. 
In January, 1866, he appeared for a short season in Liver- 
pool, returning to Manchester in July, where he remained 
a year, playing with Miss Kate Terry in Hiuited Down. 
Then he came to London, where for the first three years he 
devoted himself to the depiction of stage villainy, relieved 
with occasional comedy, but met with only moderate appre- 
ciation ; and it was not until 1870 that he commenced to 
emerge from the ranks, when his creation of Digby Grant 
in The Two Roses (a part which he played for three hundred 
consecutive nights at the Vaudeville) began to be talked 
about. But even this did not obtain for him a full recogni- 
tion of his extraordinary talents, and it was reserved for a 
half-empty Lyceum house to witness his first great triumph, 
when, as Matthias in The Bells, he leapt up at one bound 
a head and shoulders above his compeers. Clement Scott 
was in the stalls that night, and there is no more brilliant 
memory in that eminent dramatic critic's career than the 
opinion he boldly expressed, in the next morning's issue of 
The Daily Telegraph, that Henry Irving was the coming 
man. It was a well-deserved success for the actor, who 
after fifteen years of incessant toil, of laborious perse- 
verance, above all of faith and belief in himself, proved in 
that pregnant evening the claims of genius to recognition. 
The Lyceum had been taken by Mr. Bateman to exploit 
his daughter. Miss Bateman, with that excellent actor, 
George Belmore, to play the lead to her. But the experi- 
ment failed, and happily Henry Irving was at hand, with a 
play of his own suggestion, to step in and save the manager 
his reputation and his rent. It is strange to learn that even 
after this Mr. Irving returned to Manchester, but not, 
how^ever, for long. London could not spare such a man to 
the provinces. Eager eyes had marked him, and with his 



Irv 1 1 5 

return there dawned the Henry Irving Era of dramatic art. 
He appeared in Charles I., and this was followed by 
Eugene Aram, Richelieu, and Hamlet, each bringing some- 
times discussion, but always fame eventually. Then came 
the 1875 Macbeth, which was superb, followed by Othello 
in the spring of 1876. After these the artistic study of 
Philip in Tennyson's Queen Mary, and a tour through 
England, Scotland, and Ireland. In 1877 Richelieu was 
revived, and The Lyons Mail produced, in which he doubled 
the characters of Duboscq and Lesurques, and then the 
poetical drama of Vanderdecken saw light. In 1878 Mr. 
Irving succeeded Mrs. Bateman in the management of the 
theatre, and shortly afterwards secured the services of 
Miss Ellen Terry as his leading lady, and entered on that 
brilliant later page of his career which has marked him as 
the greatest actor and the most competent stage manager 
of the day. Nothing has he spared to render the Lyceum 
management perfect in every detail. Over the revival of 
many of his productions he has spent as much as ;^io,ooo 
each, and has succeeded in running a single Shakespearean 
play for 250 consecutive nights to crowded houses. In 
1881 he alternated the roles of Othello and lago with Edwin 
Booth, who had by this time become associated with the 
jnost brilliant performances on the American stage. Shortly 
afterwards he demonstrated his marvellous fertility by 
playing The Bells, and following it, during the same even- 
ing, as an after-piece, with Jingle. In 1883 he determined 
to visit America, and in the July of that year a farewell 
banquet was given to him in the St. James' Hall, when 
Lord Coleridge presided. Previous to sailing he toured 
for a short season in the North of England and also 
Scotland, and at Glasgow, in twelve nights, played to an 
aggregate of ;^4,5oo. In America his reception was unpre- 
•cedented. Speculators bought up all the tickets, and 
admission to his performance could only be obtained at 
famine prices, yet nothing hindered the people from throng- 
ing to them. Mr. Abbey, who " boss'd the show," cleared 
^50,000 out of this first American venture. Mr. Irving 
revisited the States in 1884 and 1887, and on both occasions 
there was a repetition of the same enthusiasm. In Sep- 
tember of the latter year he revived Faust at the Lyceum, 
and in the rdle of Mephistopheles repeated the triumphs of 



ii6 Irv 

his performance in the same play three years previously, 
Then followed that great revival of Macbeth, which eclipsed 
the glories of the same play that had been so glorified 
thirteen years before. In 1889 Mr. Irving raised The Dead 
Heart — an Adelphi melodrama — from the dust of the past, 
and endowed the forgotten thing with artistLc life and 
Lyceum success. It was the touch of the master hand. 
A veritable potter, he had seized a lump of cold clay, and 
by his genius moulded it into a work of art and symmetry 
and beauty. In September, 1890, he made a new departure, 
and produced Raveiiswood, which was followed by a series 
of revivals till the close of the summer season of 189.1, 
when an affection of the throat compelled him to undergo an 
operation, and he retired to Malvern for complete rest and 
quiet, before he appeared in the autumn at the Grand, and 
then in the provinces for a few weeks prior to returning to 
the Lyceum, which had meanwhile again undergone very 
material structural improvements. Concerning Mr. Irving's 
unprofessional life it is impossible to more than touch on one 
or two points. In July, 1886, at the special invitation of Vice 
Chancellor Jowett, he gave a lecture on "The Dramatic 
Art," at Oxford. In 1889 he was commanded to appear 
before the Prince of Wales at the Theatre Royal, Sandring- 
ham. Her Majesty the Queen honoured the performance 
with her presence, and scenes were chosen for representa- 
tion from The Bells and The Merchant of Venice. At the 
conclusion of the play the Queen presented Mr. Irving with 
a pair of diamond sleevelinks, and the Prince of Wales 
marked his appreciation by the souvenir of a cigar case with 
the Royal Arms set in brilliants. One of the most potent 
factors in the success of Mr. Irving's career is his marvellous 
power of infusing every play that he undertakes with his 
own ideas and individuality, and thus giving each production 
a sense of unity and perfect harmony. His work can be 
examined in detail or as a whole — it will always be found 
excellent. He stops at nothing. Time, trouble, and 
expense are never considered by him ; they are merely the 
means to an end. He sets up for himself an ideal standard 
of excellence, and pauses not until he has reached it. 
In private life Mr. Irving is the accepted tragedian — 
dreamy, pre-occupied, inspired. He cares but little for 
society, yet holds a higher place in the social scale than 



Jam 117 

any actor has hitherto done, and numbers amongst his 
intimate friends such men of Hght and leading as Earl 
Derby, Lord Chief Justice Coleridge, and the Poet Laureate. 
He is a member of the Athenseum Club, the Rector of a 
Scotch University, and the acknowledged representative of 
the Drama at all public gatherings. When engaged at the 
Lyceum he occupies his suite of rooms at the corner of 
Grafton Street and Bond Street. Mr. Irving is a great 
smoker, and a connoisseur of the fragrant weed. He is not 
a musician, nor are his politics known ; but he takes a deep 
interest in all social questions, and especially in those con- 
nected with education. There is probably no finer master 
of the foils on the stage, as will be allowed by those who 
have witnessed the duel scenes in The Dead Heart and in 
The Corsican Brothers. Mr. Irving was married in 1868 
to a lady whose sympathies were not in accord with his 
profession, and is the father of two sons — Henry and 
Lawrence, the latter named after his great friend Mr. J. L. 
Toole — and both have given promise of being worthy to 
inherit the illustrious mantle of their illustrious sire. 

James, Albert. — Mr. James'stage experiences began 
in 1868, when he started as call-boy at the Globe Theatre, 
and his first visible histrionic appearance was at the same 
house in Cyril's Success. Later on he joined the old Hol- 
born Theatre, under Mr. Sefton Parry's management, and 
soon afterwards became a member of Professor Pepper's 
Spectral Opera Company. He was subsequently connected 
with one of Mr. D'Oyly Carte's provincial companies. 
Low comedy is Mr. Albert James' mitier, and he has played' 
in pantomime with considerable success. After leaving 
Mr. D'Oyly Carte, he tried stage management on his own 
account, but the experiment was not altogether a success, 
and he was glad to join the Carl Rosa Light Opera Company 
at the Prince of Wales' Theatre, where he created the 
exceedingly droll characters of Petit Pierre — the Insect — in 
Paul Jones, and Witgills in Marjorie. Mr. James has a good 
baritone voice, and sings comic songs exceedingly well. 

James, David. (Mr. Belasco.) — it was in the 
year 1839 that Mr. James was born, and at an early age 
commenced his theatrical career in the ballet corps at 
the Princess' Theatre, when that house was under Charles 
Kean's management. After a period of probation in the 



ii8 Jay 

provinces, he obtained an engagement at the Royalty, and 
subsequently joined the Strand Burlesque Company, playing 
King Francis in The Field of the Cloth of Gold, when that 
famous burlesque was first produced in 1868. He then 
joined the Comedy, and made his name as Zekiel Homespun 
in The Heir at Law. In 1870 he became a partner with 
Harry Montague and Thomas Thorne in the management of 
the Vaudeville Theatre, then just built, and when Our Boys 
was produced, impersonated, as he alone could do, the 
part of the now immortal Perkyn Middlewick, during the 
whole of the record run of that play. In 1881 he severed 
his connection with the Vaudeville and joined the Bancrofts 
at the Haymarket, remaining with them almost to the end 
of their tenancy of that theatre. In the spring of 1885 Mr. 
James opened management at the Opera Comique, and in 
the December of the same year made a decided hit at the 
Gaiety, as Blueskin in Little Jack Sheppard. In 1886 Mr. 
James moved to the Criterion, and there achieved one of 
his greatest successes as John Dory in Wild Oats; and 
later in that year obtained the greatest praise for his Simon 
Ingot, on the occasion of Mr. Charles Wyndham's first 
appearance in the title role of David Garrick. Owing to a 
temporary trouble with his eyesight, Mr. James was for 
a time but little on the boards, but his appearance in 1890 
in Cyril's Success, and later in a revival of Our Boys (when 
he was the sole representative of the famous original cast), 
showed that he had lost none of his old power to delight 
and amuse. It was while playing Perkyn Middlewick that 
Mr. James was attacked with the serious illness which kept 
him away from his profession for twelve months. Happily 
he completely recovered, and more recently (May, 1891,) 
played at the Criterion in Wild Oats, and as the Rev. Dr. 
Jackson in Miss Decima. In private life he is apparently 
the personification of misery — a funeral mute, in short — but 
this only conceals a mine of hidden humour, which is all 
the more comical coming from one with such a woe-begone 
visage. Mr. David James, Junior, is his son, who, like his 
father, invests each character he plays with a distinctive 
individuality. 

Jay, Harriett. — Miss jay ranks equally high as 
novelist or actress, and is a sister-in-law of Mr. Robert 
Buchanan. Although in receipt of a good income from 



Jec 119 

her pen, she decided to take to the stage. Knowing the 
manager of a country company, she prevailed upon him to 
let her join it, and her first part was the Player Queen 
in Hamlet. She then studied for some time under Mrs. 
Stirling, and prepared herself to undertake the character of 
Kathleen in the dramatised version of her own novel, "The 
Queen of Connaught," a role which was originally played by 
Miss Ada Cavendish. She was next allotted a part in Mr. 
Robert Buchanan's play A Nine Days' Queen, after which 
she migrated to the Olympic, and then was seen in the 
provinces in the title role of Lady Clancarty. She subse- 
quently appeared at the Globe in Lady Clare, undertaking the 
boy's part, a line of character in which she has been particu- 
larly successful. To enact this she went in for a regular 
course of training, adopted boy's clothes at home, was drilled 
in a masculine gymnasium, learnt to dance boy fashion, and 
went so far as to hire a real Eton boy to "study." The 
papers were full of her success, which after her elaborate 
preparations was deserved. And yet, strange to say, she 
has since developed a positive loathing for masculine im- 
personations, and regards with distaste any allusion to her* 
triumphs in Lady Clare and Fascination, in which she 
played a similar character, and quite as successfully. The 
latter play was written by herself in collaboration with Mr. 
Robert Buchanan, and the part of Lady Madge Slashton, 
who masquerades in man's attire, was evidently inserted 
on her own behoof. After a short spell at Drury Lane, she 
retired from the stage for awhile, but re-appeared in 1890 
in The Bride of Love, a highly poetical play written by her 
brother-in-law. It should also be mentioned that in 1887 
she was manageress of the Novelty. In the autumn of 
1890, she opened at the Royalty with Sweet Nancy, in which 
she appeared. 

JeckS, Clara. — This established Adelphi favourite is 
the daughter of the talented lady who has so long adorned 
the stage under the name of Harriet Coveney, and her 
father, Mr. Charles Jecks, is the well-known acting manager 
of the theatre with which she is associated. Miss Jecks 
was born in the profession, and as a child accompanied her 
mother on tour, appearing occasionally as a fairy in panto- 
mime. It was, however, originally intended that she should 
follow a musical career, and she was trained for a pianiste, 



1 20 Kay 

but the hereditary passion was too strong, and carried her to 
the footlights. In a long and varied career she has played 
nearly two hundred characters. She first appeared in 1873 
at the Opera Comique in Kissi Kissi, and afterwards in 
Drury Lane pantomime, as Genie of the Lamp in Aladdin, 
and she supported the Vokes when they were in the zenith 
of their fame. A season with Mr. Barry Sullivan followed, 
and that eminent "heavy" was so taken with her loud 
and deep-toned voice that he suggested her building a 
tragedienne's career around it. But Miss Jecks modestly 
concluded that she was not tall enough ! She played three 
seasons at Drury Lane, and then joined the Adelphi 
Company, where as Lord Eden (a boy's part) in Formosa, 
she made her first success, playing it so well that Mr. 
Chatterton paid her the practical compliment of doubling 
her salary. Space forbids anything but a mere summary 
of her subsequent career, though special mention must be 
made of another boy's part in The Middy Ashore, in which 
she greatly distinguished herself. She has been chiefly 
connected with the Adelphi, although she has on occasions 
toured the provinces, and accepted passing engagements 
at Covent Garden, Her Majesty's, the Globe, the Prince of 
Wales', and the Novelty Theatres, besides understudying 
Nelly Farren, whom she describes as the kindest and 
most charming of women, and who specially taught her 
"business." Miss Jecks very naturally regards the Adelphi 
as her theatrical home, and she has been seen in most of 
its famous melodramas, and is actually an integral portion 
of Adelphi farce. In August, 1890, she appeared in The 
English Rose, wherein she and Mr. J. L. Shine prove 
themselves par excellence the comic stage lovers of the 
day, and was in the curtain raiser — of course. On the 
production of The TruTnpet Call, in 1891, Miss Jecks filled 
an important role. 

Kaye, Fred. — This clever character comedian, whose 
eccentric style of acting reminds one at times of Mr. 
W. S. Penley in his happiest moments, compresses a won- 
derful amount of spontaneous humour and genuine fun in 
the smallest human compass on the contemporary stage. 
At Toole's Theatre as Gregory Bell in The Bungalow, Mr. 
Kaye was the life and soul of the piece, and added to his 
reputation by his admirably clever creation of Colonel Stern- 



KeM 121 

dale in The Solicitor, with which in July, 1890, Miss Melnotte 
opened her term of management of that theatre, and where 
he subsequently appeared, with equal success, as Joe 
Gurgles in The Two Recruits. At Terry's Theatre in March, 
1891, he was seen in Culprits, a play that was not well 
received, and was shortly withdrawn. 

Kemble, Henry. — Mr. Kemble, whose father was 
an officer in the army, is a grandson of the eminent trage- 
dian Charles Kemble, and after leaving King's College, 
London, where he was educated, held an appointment in 
the Civil Service for two years. His first appearance as 
an actor was made at the Theatre Royal, Dublin, in 1867, 
and for the next seven years he played only in the provinces, 
generally in "first old men" and character parts, and did 
not obtain a footing on the London Stage till 1874, when 
he was seen as Tony Foster in Amy Robsart at Drury Lane, 
and played there for a year in Shakespearean dramas and the 
legitimate. The following spring saw him a member of Mr. 
Hare's Company at the Court, and the next season he joined 
the Bancrofts at the Prince of Wales' Theatre, and accom- 
panying them to the Haymarket, played uninterruptedly 
under their management till its close in 1885. From that 
time Mr. Kemble has been engaged at various West End 
theatres, but chiefly at the Haymarket, where in January, 
1888, he undertook the part of Parr, the honest old head 
clerk in Partners, and later that of Mr. Seabrook in 
Captain Swift, and the President in A Man's Shadow — all 
three sterling creations. In October, 1890, he moved to 
the Comedy, there to resume his original part of Buxom 
Brittle in Nerves, and subsequently played in Jane, and in 
Husband and Wife. Mr. Kemble is in constant demand 
for matinees, and was a leading member of Mr. Beerbohm- 
Tree's Crystal Palace Company during his afternoon seasons 
there in 1889-90. 

Kendal, Margaret (Mrs. Grimston).— This lady, 
who dwells deep in the hearts of all old playgoers by 
her maiden name of Madge Robertson, was born at 
Great Grimsby, in Lincolnshire, on the 15th March, 1848, 
and it has been stated that she was the twenty-second child 
of her parents ! She comes of a family of actors, all her 
ancestors, back to her great-grandfather, being connected 
with the stage and its best traditions. Her parents were 



-122 Ken 

both members of the profession, and travelled the Eastern 
Counties, and Mrs. Kendal was born, as it were, upon the 
boards, and nurtured within the wings. Her first public 
appearance was in 1854 in The Struggle for Gold, at the 
Theatre Royal, Marylebone. For a long time she played 
children's parts in pantomime, and on the 29th July, 1865, 
made her grown up debut at the Haymarket, playing 
Ophelia to the Hamlet of Mr. Walter Montgomery. An 
eighteen months' tour in the provinces followed, and in 
1867 she returned to London, and appeared under Mr. F. 
B. Chatterton's management at Drury Lane in The Great 
City, the first of those magnificent realistic dramas which 
have taken such firm root at the National Theatre. It was 
not, however, until the spring of the next year that she 
came into prominent notice, giving an earnest of the art 
that was in her by her rendering of Blanche Dumont in the 
Hero of Romance at the Haymarket. In 1869 she appeared 
as Lady Clara Vere de Vere in Dreams, a comedy written 
by her brother Tom Robertson, who was so soon to grasp 
the success he had been straining at, and to create an era 
in British drama. In the August of this year she was 
married to Mr. Kendal at Manchester, and for the next 
five years husband and wife acted together in a series of 
historically successful plays at the Haymarket, and the 
conclusion of this lustrum found Mrs. Kendal the reigning 
comedienne of the day. Early in 1875 she appeared for a 
short time at the Opera Comique, and later on in the year 
was engaged by Mr. Hare at the Old Court Theatre, and 
became a member of that brilliant company which included 
Mr. John Clayton and Miss Amy Faucit, and whose combined 
efi'orts soon raised the little house in Sloane Square to the 
leading rank of London theatres. In 1879, after a short tour 
in the provinces, Mr. Kendal entered into partnership with 
Mr. Hare in the management of the St. James' Theatre, a 
house that had hitherto been cursed with an almost stereo- 
typed ill-fortune. Here Mrs. Kendal achieved her two 
greatest triumphs as Lady Orman in Peril, and Dora in 
Diplomacy ; the latter being universally considered her 
crowning performance. During the next decade some of the 
most perfect, and many of the most popular performances 
on the modern stage were witnessed at St. James'. On 
the ist February, 1887, Mr. and Mrs. Kendal had the 



Ken 123 

honour of being commanded by the Queen to perform at 
Osborne, and they appeared in Uncle's Will and Sweethearts. 
The next year saw the final season of the Hare and Kendal 
management. They revived for a series of farewell per- 
formances A Scrap of Paper, The Wife's Secret, and The 
Squire, and on the 21st July, 1888, the green curtain 
fell for the last time on the brilHant partnership. The 
enthusiasm of a public, grateful for many hours of 
happiness enjoyed within those walls, found vent in a 
scene of tumultuous excitement, and Messrs. Hare and 
Kendal and Mrs. Kendal were called again and again before 
the curtain, and expressed their gratitude in suitable 
speeches. Mr. and Mrs. Kendal then favoured provincial 
audiences for a long time, and in March, 1889, made their 
re-appearance in London at the Court, opening with The 
Weaker Sex, and finishing with A White Lie. On the i6th 
of July a public banquet was given to them at the Hotel 
Metropole, when the Right Hon. Joseph Chamberlain took 
the chair. This was preparatory to their sailing for 
America, where they made a triumphant tour. They 
returned to England for a short provincial engagement in 
the North of England, and in September, 1890, once more 
re-crossed the Atlantic, and precisely the same thing 
happened in 1891. There are many critics who consider 
Mrs. Kendal the finest actress on the English stage. She 
is certainly one of the most thorough, and a mistress of 
the complete gamut that commences with light sparkling 
comedy and finishes with the deepest and most sombre 
pathos. 

Kendal, W. H. (William Hunter Grimston.) — In 
1861, when eighteen years of age, Mr. Kendal entered the 
dramatic profession as a member of the company of the old 
Soho Theatre, which at that period included Ellen Terry, 
David James, and Charles Wyndham. During a course 
of long and patient experience in the provinces, he acted 
at various times with such famous artistes as Mr. and Mrs. 
Kean, Amy Faucit, and Dion Boucicault. At the end of 
1866 he was fortunate enough to obtain an engagement at 
the Haymarket, and the chance was cultivated. He made 
a distinctly favourable impression, and quickly secured a 
firm footing on the London stage. He was next engaged 
in an even more delightful way — to that peerless lady 



1 24 Ker 

Madge Robertson, whom he married at Manchester in i86g. 
From that time Mr. and Mrs. Kendal have always acted 
together, and given the world an example of brilliant 
dramatic power combined with notorious domestic felicity. 
In 1879 Mr. Kendal became associated with his friend Mr. 
John Hare in the management of the St. James' Theatre, 
and it was not until 1888 that the partnership was severed. 
Those nine years of success form a period that has but few 
equals in the annals of theatrical direction. In each of the 
three years that have since elapsed Mr. and Mrs. Kendal 
have visited America, where they are always enthusiasti- 
cally welcomed. Mr. Kendal's acting is characterised by 
high intelligence, delicate refinement, and artistic finish. 

Kerr, Frederick. (Frederick Grinham Keen.) — Mr. 
Kerr is a son of the well-known solicitor who was recently 
President of the Incorporated Law Society, and was 
educated at Charterhouse and Caius College, Cambridge. 
Intended for the bar, he kept several terms at the Inner 
Temple, but that profession not being in accordance with 
his inclinations, he turned his attention to the stage. Un- 
like most recruits in that arena, he did not commence in 
the provinces, but sailed for America, and in 1881 obtained 
his first engagement at Wallack's Theatre, New York, 
which was followed by a short season at the Bijou, prior 
to his return to London in 1882. Mr. Kerr considers that 
America is the best field for commencing a dramatic career. 
In England the young aspirant requires private means for 
the first years of his apprenticeship, but under Transatlantic 
management he can reckon on ^^ o^ £4- ever)' Saturday, 
even though his efforts are confined to the mere delivery of 
a stage letter. But he must dress well and speak like a 
gentleman to secure a trial. When an actor rises to a 
higher level, the benefits of an American engagement are 
questionable, for though talent which would command ;^20 
a week in England might obtain £2^^ in America, the en- 
hanced cost of living there more than counterbalances the 
moderate increase in salary. Mr. Kerr considers that a 
recognised leading actor starring with his own selected 
London company in America, has pagbably the best field in 
the world to work on. After returning to England Mr. 
Kerr played in some minor parts in the provinces with 
Miss Wallis and Miss Ada Cavendish, after which he was 



Kin 125 

entrusted by Miss Nellie Harris with the management of 
the Novelty Theatre, where he also appeared as the German 
surgeon in The New Magdalen, and in other plays and bur- 
lesques. In 1884 he appeared at the Court, in Voting Mrs. 
Winthrop, The Magistrate, The Schoolmistress, and Dandy 
Dick, and shared the honours in several clever duologues. 
After Mr. Clayton's death in 1887 Mr. Kerr left the Court 
and joined Mr. Terry, and created Horace Bream in Sweet 
Lavender, drawing a very faithful picture of the modern 
American gentleman. This was the fourth consecutive 
play of his friend Mr. Pinero in which he appeared, and 
each of which ran for over a year. In 1889 he paid a short 
professional visit to America, and on his return home 
created the part of Juxom Prall in Judah. Declining an 
offer from Mr. Willard to accompany him to America, he 
transferred his services to Mr. George Alexander, and ac- 
cepted the trying part of Antonin Caussade in The Struggle 
for Life. In the spring of 1891 Mr. Kerr joined the Hay- 
market, appearing in Called Back, and as the American in 
The Red Larnp. Then came his inimitably droll creation of 
the Hon. Reginald Slingsby in The Dancing Girl, which 
was certainly one of the greatest successes in that success- 
ful production. 

Kingrhorne, Mark. — Mr. Kinghorne is the hero of 
a most adventurous and romantic life. He made his first 
appearance on the stage of the Strand Theatre in 1867, 
gracefully but silently carrying a spear in the burlesque of 
Pygmalion, sustained by the conviction that speech is silver, 
silence gold ! When the piece was withdrawn he deter- 
mined to try his luck in the provinces at "quick business," 
and joined a small company, in which he was called upon 
to represent three or four characters in each piece. Then 
followed a period of low water, during which he thankfully 
played clown in a travelling circus, and reluctantly tore 
himself away from that to join a ghost show, which, when 
it gave up its raison d'etre, compelled him to accept a situa- 
tion with the Rev. J. C. Bellew, the celebrated dramatic 
reciter. This was followed by a tour with some "Fit-ups" 
in the provinces, when on occasions the "treasury ghost" 
forgot to walk on Saturday nights, and hard times super- 
vened, often necessitating turnips without the mutton for 
dinner, whilst his salary for playing some eighteen parts a 



126 Kin 

week averaged about a penny a part nightly. Nothing 
daunted by this unsympathetic fortune, he married, and 
the hopeful couple started off with another company, being 
engaged on the joint salary of ten shillings a week. In 
1873 the tide turned, and Mr. Liston engaged him to play 
in La Fille de Madame Angot, in which he made his first 
real hit upon the boards. He then accepted a good offer 
from Miss Alice Oates to assist her in producing at New 
York several London successes, such as Giroflk-Girofla, etc. 
With this came the dawn of brighter days, and on his 
return to England Mr. Edward Terry engaged him as 
principal comedian in a company going on tour. Eight 
years of successful provincial work followed in the blended 
capacities of actor, stage manager, and musical conductor. 
He then paid a visit to New Zealand with Miss Marie de 
Grey's Company, during which he essayed Shakespeare 
and the legitimate. In 1887 he returned to England and 
appeared at the Grand, Islington, and also in Loyal Love at 
the Gaiety. Since then he has played with marked success 
at different West End Theatres. In 1890 he created the 
part of Mowle the valet in The Judge, and his attentions 
on that dignitary presented one of the most comical 
episodes in the play. 

Kingston, Gertrude. (Mrs. Silver.)— Miss Kings- 
ton is one of the most industrious and persevering of the 
more recent recruits to the ranks of the English stage. 
Wanting an occupation in life she determined to adopt a 
dramatic one, and did so for the sake of art, not lucre. She 
had already quaffed the champagne of histrionic success at 
amateur theatricals. She first joined Miss Sarah Thome's 
Company, and for three months went through the kaleidos- 
cope of dramatic life. She then went on tour, but a week 
was sufficient ! During the last two or three years she has 
appeared in an amazing number of plays — both at evening 
and 7natinee performances. In 1888 she proved herself a 
valuable addition to the Haymarket Company, by her 
realistic rendering of the heartless woman of fashion in 
Partners, and later on made a distinct success, artistic and 
personal, by her impersonation of Mrs. Fred Fizzleton in 
Nita's First. Moreover in the same year she appeared in Mr. 
Barjies of New York (Pooh Bah's version) at the Olympic, 
and at matinees at the Comedy and Criterion. In 1889 she 



Lam 1 27 

played Rachel Denison, the cool and calculating adventuress 
in Tares, with wonderful subtlety and depth of passion ; 
appeared at matinees at the Gaiety and Vaudeville ; and 
w^hen Harbour Lights was revived at the Adelphi, assumed 
"with considerable pathos and effect, the role of the unhappy 
Lena Nelson, originally played by Miss Mary Rorke, an 
advancement which showed the remarkable progress she 
had made during her short experience of the stage. In 
April, 1 89 1, on the production of The Idler at the St. 
James', Miss Kingston undertook the part of Mrs. Glynn- 
Stanmore, and materially assisted to make the play the 
success it proved to be. Miss Kingston (whose maiden 
name was Kohnstamm, and who has a sister married to a 
Mahomedan gentleman, Mr. Justice Ameer Ali, in Calcutta) 
is the wife of Colonel Silver, of the 42nd Royal Highlanders 
(the Black Watch). In private life she is a most accom- 
plished lady, speaking Latin, French, German, and Italian, 
besides paintmg in oil and water colours, and being an 
accomplished musician. In addition to which she rides 
beautifully, and is, in this respect at least, qualified for a 
three months' trip to Mashonaland, which she contemplates 
attempting. Her unrepentant villainy on the stage contrasts 
vividly with her uniform amiability in society. 

Lamb, Beatrice. — Despite opposition from her 
family Miss Beatrice Lamb determined to be an actress. 
An old and intimate acquaintanceship with that kindly 
doyen of the First Night Brigade, Mr. Joseph Knight, 
enabled her to obtain an introduction to Mr. Beerbohm- 
Tree, and in April, 1887, she added a stately grace and 
beauty to the company of guests who thronged the drawing 
room in the first act of The Red Lamp at the Comedy. 
When Mr. Beerbohm-Tree adjourned to the Haymarket 
Miss Lamb became a regular member of his company and 
understudied Miss Marion Terry, and, through the con- 
siderate kindness of that lady, was afforded an opportunity 
of exhibiting her powers at a performance of The Ballad 
Monger. This led to an engagement from Mr. John Hare, 
and she played Irene Standing in The Profligate, which 
character, although devoid of sympathetic qualities, yet 
sufficiently tested her scope and powers. In 1890 Miss 
Lamb joined Mrs. Langtry's Company, and played Phoebe 
in As You Like It at the St. James'. Later on she decided 



1 28 Lan 

to undergo an educational course in the provinces, and 
naturally applied to Miss Sarah Thorne, who afforded her 
opportunities of appearing in melodrama, comedy, and 
Shakespearean play, by which she learnt the technique of the 
art and practised herself in quick study. The progress she 
made was illustrated by her capital performance in a 
matinee of Moths in October, 1890. But the great oppor- 
tunity of her career came to her in 1891, when she assumed 
the difficult part of Drusilla Ives in the Dancing Girl, at 
twelve hours' notice, and played it admirably for three 
weeks. She then accepted a temporary engagement with 
Mr. Wyndham for Sowing and Reaping, after which she 
returned to the Haymarket to understudy Miss Julia 
Neilson. Miss Lamb also appeared during the same season 
in Mrs. Annesley and In the Old Time, and in August, when 
A Commission and A Pantomime Rehearsal were transferred 
to the Shaftesbury, was called to assist. Amongst her other 
accomplishments Miss Lamb recites cleverly, dances well, 
and can handle the foils in a style that would make her 
dangerous, and certainly irresistible, to an antagonist of 
the sterner sex. 

Langlry, Lillie. — The "Jersey Lily," was born in 
1854, and is the daughter of the late Rev. W. C. Le Breton, 
Dean of Jersey. In 1874 she married Mr. Langtry, and 
shortly became one of the attractions of Torquay Society. 
Royalty presently bowed to her, and she was next dividing 
the honours of the London season in the realms of profes- 
sional beauty with Mrs. Cornwallis West and Mrs. Wheeler. 
Her first appearance on the amateur stage was under the 
shadow of Mrs. Labouchere's wing, when she played Lady 
Clara St. John in A Fair Encounter. Her success and the 
cruel pressure of res angusta domi made the transition from 
a society queen to a fashionable actress an easy and opulent 
one, and the sensation her professional dihut caused at the 
time may be estimated from the fact that at th^ Haymarket 
Theatre stalls were eagerly snapped up at five pounds each to 
witness her first performance. Undiscouraged by the not 
very flattering criticisms of her dramatic powers which fol- 
lowed, Mrs. Langtry bravely held to her determination, and 
was rewarded after several years of diligent work and patient 
application by achieving on her merits alone, a conspicuous 
position on the modern stage. Her debut occurred on the 



Lar 



129 



15th December, 1 881, when she played the character of Miss 
Hardcastle in She Stoops to Conquer. She then starred the 
provinces, and shortly afterwards made the inevitable 
American trip, and immediately established herself as a 
popular personage across the sea, receiving in process of 
time such substantial homage as is expressed by the 
(reported) accumulation of a capital of ;^6o,ooq in six years. 
It is at least certain that no actress has ever made such 
a fortune upon the stage in such a short period as the 
Jersey Lily. In America her chief characters were Lady 
Macbeth, Rosalind, and Esther Sandraz. She finished her 
American tour in 1889, and in the September of that year 
made her reappearance on the English stage at Wolver- 
hampton. Early in 1890 she opened the St. James' Theatre 
with As YouLikelt, to a fashionable audience, which included 
the Prince and Princess of Wales, and many of the leaders 
of London society. Her rendering of Rosalind showed a 
considerable development of art andpower, when contrasted 
with her reading of the same character eight years pre- 
viously. As You Like It was followed by Esther Sandraz, the 
run of which was unfortunately cut short by her illness. In 
the winter of 1890 Mrs. Langtry leased the Princess' 
Theatre, and revived the historical glories of that house by 
the production of Cleopatra. This was followed by Lady 
Barter and Linda Grey, both of which failed to catch on. 
She then starred in the provinces, and in October opened 
the new theatre at Cheltenham, appearing with her com- 
pany in Lady Clancarty. It is not surprising that a lady 
who has raised herself to such an eminence in her profession 
by sheer industry and perseverance, should command equal 
success in other lines of life, and it is a fact that Mrs. 
Langtry has shown a wise discrimination, not perhaps 
unaided by singular good luck, in the disposition of her 
material talents, which in defiance of precedent she buried 
in American^ earth, where, however, they increased and 
grew. A keen sportswoman, she has stocked her ranches 
with imported English horses of the best pedigree, with a 
view to breeding, and her stud farm is one of the best in 
America. 

Larkin, Sophie. — it is more than a quarter of a 
century ago that this popular actress made her first pro- 
fessional appearance as Mrs.Pontifex \xs. Naval Engagements 

1 



130 Lea 

at the old Prince of Wales' Theatre. When Society was 
produced by Mrs. Bancroft in 1866, she had a place in the 
cast, and also in Ours which followed, and was the original 
exponent of the Marquise in Caste. She then migrated 
to the St. James' Theatre, and presently to the Holborn 
and Queen's Theatres in turn. When Our Boys com- 
menced its phenomenal career she sustained the part 
of Clarissa Champneys throughout the long run. From 
that time she has taken a foremost place amongst the 
actresses of the period, her presence on the stage being a 
sure signal for merriment to begin. In i88g she was 
playing at the Comedy in Merry Margate, and as Mrs. Bell 
in The Bungalow at Toole's, and in 1890 appeared at the 
Comedy in Nerves and in the part of Mrs. Maxwell in 
The Pharisee at the Shaftesbury. In 1891 she returned to 
the Vaudeville, which has been so intimately associated 
with many of her best successes, to play her original part 
in Confusion. 

Lea, Marion. — Miss Lea is an American by birth, 
but a long residence on this side of the Atlantic has 
practically made England her home, and she likes London 
so well that she desires no other domicile. She left Phila- 
delphia some years ago, and came to England to study for 
the operatic stage under Signor Gustave Garcia, who was 
an old family friend, and it was a disappointment to her to 
learn, after some months of work, that her master considered 
her better fitted for a dramatic than an operatic career. 
But so emphatically did he express his confidence in the 
future she had before her, that she at once determined to 
act on his advice, which was also endorsed by Mr. Kendal, 
who added a practical point to his opinion by promising 
her an engagement, and she made her debut under his and 
Mr. Hare's regime at the St. James's Theatre in 1884. After 
a couple of months' work in London, Miss Lea very sensibly 
went to school in the provinces, where she spent two and 
a half years grounding herself in all the details of her art. 
She then returned to the metropolis, where she has since 
enjoyed constant engagements. Miss Lea does not confine 
herself to any particular line of character. She has no 
scruples of stage conscience, and as Clotilde in The Monk's 
Room, in 1888, gave a remarkable display of female villainy. 
In The Duke's Boast she exhibited true powers of emotional 



Lec 131 

acting-, and in That Dr. Cupid showed how pretty and 
fascinating a ^vidow could be. The ingenue role, and that 
of the country lass, do not come amiss to her — her Audrey, 
indeed, is one of the very best the modern stage has seen — 
whilst in Esther Sandraz she gave proofs of sympathetic 
acting of no ordinary power. Miss Lea was engaged at 
the Shaftesbury in the autumn of 1890 to play the second 
lead in The Sixth Commandment. In 1891, in conjunction 
with Miss Elizabeth Robins, she exploited Ibsen drama, 
and their matinee endeavours -were so successful that the 
two young ladies actually placed it in the evening bill at 
the Vaudeville, where it ran a plucky course against criti- 
cism that was hostile to the playwright, but appreciative of 
the talent and enterprise of the joint manageresses, who 
are at the beginning of a partnership which everyone 
hopes will be lasting and successful. Miss Lea lives in Tite 
Street, Chelsea, with her sister, Mrs. Lea Merritt, the well- 
known artist, whose " Love Locked Out" was one of the 
best pictures in the Academy of 1890. 

Leclercq, Carlotta. (Mrs. John Nelson.)— This 
clever actress is the elder daughter of the late Charles 
Leclercq, who for many years was favourably known in 
dramatic circles in Manchester and London as a successful 
stage manager, a clever actor, and a ballet master and 
pantomimist of the highest class. He was the son of Pierre 
Leclercq, who was born at Chainay, in Hainault, and the 
immediate descendant of an old Flemish family. Pierre 
Leclercq served for a long period in the Spanish army as 
officer in the Flemish company of King Charles the Third's 
body-guard, and when the first French Revolution broke 
out, was forced to fly to England with his wife and 
young son Charles, who in due course grew up, married, 
and became the father of Carlotta, the subject of this 
sketch; Rose, an equally talented artiste; Louise (very 
popular at the Haymarket Theatre some years ago), who 
retired from the stage on her marriage; Charles, one of 
the cleverest members of the Daly Comedy Company; 
Arthur, the celebrated Haymarket harlequin and acting 
manager of theatres in America, who died in January, 1890 ; 
and Pierre, the dramatic author, whose plays The Love 
Story, Illusion, This Woman and That, and The Rule of Three 
have been so freely criticised in many countries. Miss 



132 Lec 

Carlotta Leclercq achieved a "record" first appearance, for 
she was not more than twenty months old when she was 
carried about as Cora's child in Pizarro, at a theatre at 
Bolton of which her father was then part manager. When 
she grew a little older — old enough, in fact, to walk — she 
appeared in a series of children's parts in Shakespearean 
drama with Charles Kean, and a remark he chanced to let 
drop in her hearing — that "she was sure to succeed" — was 
a great incentive to her to persevere. At the age of fifteen 
she appeared in his company as Marguerite, in fulfilment 
of a promise he had made her that she should play it when 
she was "big enough," and her success fully confirmed his 
prediction of her capacity. A little later she played Titania 
in A Midsummer Nighfs Dream, Miss Ellen Terry being in 
the same cast, and appearing as Puck. In 1863 Miss 
Leclercq was secured by the late Charles Fechter for his 
tenancy of the Lyceum, and appeared there with him till 
1868, sustaining, among many other characters, that of 
Madame de Pompadour in The King's Biitterjly, and Lucy 
Ashton in Palgrave Simpson's version of The Master of 
Ravenswood (1865). During the very successful run of 
Hamlet in 1866 she appeared as Ophelia, and in the follow- 
ing year as Pauline to Mr. Fechter's Claude Melnotte, and 
for the next two years in the various plays produced by him 
at the Adelphi. Old playgoers can remember the triumphs 
of those da)'S, when this lady, in the zenith of her grace, 
beauty and power, assisted in the renaissance of dra- 
matic art. During the next seven years Miss Leclercq 
acted chiefly in the United States, appearing in many of 
the plays produced there by Mr. Fechter, and also toured 
with marked success on her own account, playing most of 
Shakespeare's heroines, as well as those in such dramas as 
Masks and Faces, Plot and Passion, and School for Scandal. 
In Chicago Miss Leclercq, supported by a powerful German 
company, appeared as Rosalind in a German version of As 
You Like It, and afterwards received an invitation, signed 
by the principal citizens of Milwaukee, to repeat that im- 
personation there, which she did. She has also acted in 
French, most notably in Un Caprice by Alfred de Musset. 
She returned to England in 1877, in which year she married 
that excellent actor, John Nelson, with whom she acted at 
the chief provincial theatres down to the date of his death 



Lec 133 

in 1879. Since then she has appeared in all the recognised 
leading rdles, and in almost every theatre in London, and 
is one of the most popular and accomplished actresses on 
the stage. An enumeration of the parts she has played is 
beyond the limits of this notice — they are intimately asso- 
ciated with the dramatic history of the last quarter of a 
century. Miss Leclercq loves her profession, and her ser- 
vices are in constant request; she is one of the leading 
dramatic educationalists of the day, and has trained many a 
young aspirant, who has since won honour and renown. 
Miss Leclercq's latest engagements have been in The Cabinet 
Minister at the Court, and in Handfast at the Shaftesbury. 
LeclerCQ, Ross. — This talented actress, who is the 
fourth daughter of the late Charles Leclercq, on her sixth 
birthday played the part of Ceres in The Tempest at Wind- 
sor Castle before the Queen and the late Prince Consort, 
and prattled her lines so sweetly that she received the 
special notice of Her Majesty. Her first London appear- 
ance of note was in 1863, when Phelps revived Manfred at 
Drury Lane, and she played the small part of the Phantom 
of Astart6, and although she had but twelve words to 
speak, they were delivered with such a charm that they 
formed the attraction of the play, became the talk of Lon- 
don, and were specially mentioned by Miss Braddon in her 
novel, ' ' Henry Dunbar. " During the same engagement she 
also appeared as Celia to Miss Helen Faucit's Rosalind. 
By the autumn of 1868 she had made such a mark in the 
profession that Mr. George Vining chose her to create the 
heroine's part in Dion Boucicault's After Dark, and in the 
followring year she appeared at the Adelphi as Kate Jessop 
'vR.Lost at Sea by the same author, and created quite a. furore 
by her acting of that character. From that time to 1875 
she sustained many leading parts in London, including that 
of Princess Neuborg in Ruy Bias, with Fechter in the title 
rdle (1872), later playing with him in Hamlet, and in Don 
Ccesar de Bazan, and in The Corsican Brothers. At the 
Princess's Theatre she also appeared as Desdemona, 
Ophelia, Lady Macbeth, and many other parts with Phelps 
in the title role. In 1875 ^^^ created at Drury Lane the 
part of Claire Ffolliott in Boucicault's drama of The Shaugh- 
raun, but from that year to 1884 was chiefly engaged touring 
with her own company, and as a "star" made a great pro- 



134 Le 

vincial name as Galatea, but especially as Liz in That Lass 
o' Lowrie's, a character she had previously acted in London. 
Her impersonations, also, of the characters of Lady Sneer- 
well and Lady Teazle in The School for Scandal (which she 
gave with both Phelps and Chippendale) were remarkable. 
In 1884 Miss Rose Leclercq accepted Mr. Henry Irving's 
offer to play Olivia in Twelfth Night. This was followed 
by an engagement with Mr. Thomas Thorne, to create the 
part of Lady Bellaston in Sophia, and in Heart of Hearts, 
which followed, she appeared as Clarissa Fitzralph. Mr. 
Beerbohm-Tree then secured her for the Haymarket, where 
she created, amongst others, the characters of Marie 
Leczinska in The Pompadour (1888), Lady Staunton in 
Captain Swift, and Madame Fourcanarda in Esther Sandraz 
(1889), and next appeared as the Queen in La Tosca at the 
Garrick. No account of this lady's career would be com- 
plete without mentioning her exquisitely pathetic acting in 
the very difficult character of La Faneuse in her brother 
Pierre's play Illusion, produced at the Strand in July, 1890. 
In November of the same year she was back again at the 
Haymarket, illustrating with charming realistic grace the 
manners of the Georgian period as Evelena Foster in Beau 
Austin, and her acting as Mrs. Page in The Merry Wives of 
Windsormust also be noted. In The Dancing Girl (January, 
1891) her acting, as the fashionable Lady Bawtry, made 
that comparatively small part stand out and become one of 
importance in her hands. 

Le Hay, John. — This clever low comedian, who at 
times seems to recall memories of Harry Paulton, was 
born in 1854. Desirous of becoming an actor, and induced 
the more to adopt that profession by his success at an 
amateur performance given at King's Cross Theatre, Mr. 
Le Hay accepted an offer to travel with a minstrel troupe, 
in which, as "Bones," his ventriloquial powers (that have 
since become so famous) secured him popularity at once. 
Soon afterwards Mr. Edgar Bruce gave him his first 
opening, as understudy to the principal tenor at the 
Royalty. This was followed by a five years' engagement 
with Mr. D'Oyly Carte. Mr. Le Hay then played for a 
season in pantomime, and as first low comedian in Mr. 
Cooper Coles's Strand Company. At the close of this last 
engagement Mr. Edward Terry secured his services for a 



Les 135 

time, and while still under contract with that gentleman 
Mr. Le Hay was sent for to form one of the original cast 
of Dorothy, when that opera was produced at the Gaiety. 
Mr. Le Hay has appeared in many prominent parts during 
the last few years. In Jubilatimi — a skit produced in the 
Jubilee year — he was exceedingly happy as Herkomais 
Miller. In Warranted Burglar Proof, a very clever curtain 
raiser, he depicted Browser admirably, and received an 
encore for the clever duet which is introduced into the piece. 
He appeared in Dorothy and Doris at the Prince of Wales' 
and Lyric Theatres in 1888 and 1889, and also in several 
matinies. In the winter of the latter year he sustained the 
part of one of the sour old sisters in the pantomime of 
Cinderella at Her Majesty's. When The Black Rover was 
produced at the Globe in the autumn of 1890, he was cast 
for a leading part, and gave a humorous rendering of a 
Dutch overseer, looking the character as well as he acted 
it. Later, Mr. Le Hay also created the part of Prince 
Bulbo in The Rose and the Ring, and that of Sir Guy of 
Gisborne in Maid Marian, at the Prince of Wales' Theatre. 
Mr. Le Hay never lets a chance pass, and is making rapid 
progress towards the top of the tree, and has already 
established a reputation as one of the best Shakespearean 
clowns now on the London stage. 

Leslie, Fred. — After leaving Dr. Quine's school at 
Netting Hill, where he first met his great friend Mr. Fred 
Terry, Mr. Leslie passed a short probation in the provinces, 
and joined the Royalty Theatre in 1872, making his ddbui 
on the London stage in the character of Colonel Hardy in 
Paul Pry. He subsequently fulfilled engagements at the 
Comedy and the Alhambra, and then visited America to 
play in Madame Favart at the Fifth Avenue Theatre. On 
his return to London he created the character of the Duke 
in Olivette. Shortly after this, in 1882, he came promi- 
nently into public notice, by his acting in the title role of Rip 
Van Winkle at the Comedy, and proved himself to be a 
worthy disciple of Joseph Jefferson. Then came a second 
visit to America, from which Mr. Leslie returned after a year 
to fill his old part when Rip Van Winkle was again revived. 
His next engagement was in The Beggar Student at the 
Alhambra, followed by a part in The Great Mogul. Early 
in the spring of 1885 he moved to the Opera Comique, and 



136 Les 

in the December of that year joined the Gaiety Company, 
of which he soon became a prominent member, and at the 
farewell performances given prior to their setting out on an 
American and Australian tour in the autumn of 1890, he 
fully shared with Miss Nellie Farren the honours of popu- 
larity. His chief successes at the Gaiety have been won as 
Jonathan Wild in Little Jack Sheppard, Noitier in Monte 
Christo Junior, the Monster in Frankestein, and Don Caesar 
de Bazan in Ruy Bias, of which clever burlesque he is the 
joint author (under his noni-de-plume of A. C. Torr) with 
Mr. Herbert F. Clerk. 

LestOCQ, W. (William Lestock Woolridge.) — Mr. 
Lestocq is the son of a clergyman, and a member of a 
family well known in the Bombay Presidency. When 
about eighteen he entered a commercial house, and was 
connected with it until some dozen years ago, when he 
joined the stage. His appearances there have been con- 
fined to subordinate parts, in which he has, however, 
sometimes shown cleverness and versatility ; but his repu- 
tation as a playwright is considerably in advance of that of 
an actor. Amongst his literary successes may be men- 
tioned, inter alia, the libretto of the Sultan oj Mocha, 
produced at Liverpool in 1874 and in London in 1887 ; and 
the brightly written farce, A Merry Meeting. In collabora- 
tion with Mr. Walter Everard he wrote Uncles and Aunts, 
produced at the Comedy in 1888 ; and shared with Mr. H. 
Cresswell the credit of In Danger, which had a very suc- 
cessful run at the Vaudeville in 1889. He was joint author, 
with Mr. Harry Nicholls, oi Jane (December, 1890), which 
drew at the Comedy for seven months, and has also been 
doing good business in Australia. In the autumn of 1890 
he played the part of Mr. Shuttleworth in The Judge, and 
of Sam Eckersley in Nearly Severed, the lever de rideau 
which preceded it at the Opera Comique. 

Le Thiere, Roma Guillon.— Miss Le Thi^re 

made her first appearance as far back as 1865 as Emilia in 
Othello, when it was produced at the Royalty Theatre. 
She subsequently played in Hunted Down at the St. James', 
Life for Life at the Lyceum, and Ours at the Prince of 
Wales'. She then went to Drury Lane, where she imper- 
sonated Helen Macgregor in Rob Roy. Thereafter for 
many years she played alternately at the St. James' and 



Lew 137 

Haymarket Theatres. More recently she has been seen at 
the Lyceum and Court Theatres, at the latter in The 
Cabinet Minister, and at the former in Ravenswood, in which 
her representation of Lady Ashton was remarkably fine. 
Miss Le Thiere is a teacher of elocution, and has trained 
many successful debutantes. She is also the authoress of a 
comedy entitled All for Money, which, however, somewhat 
belied its title on production. 

Lewis, Eric. (Mr. Tuffley.)— Like Mr. E. S. Willard, 
Mr. Eric Lewis is a Brightonian, and it was in 1879, at the 
St. James' Hall in that town, that he began giving his 
musical sketches in conjunction with Mr. Arthur Law and 
Miss Fanny Holland. His first appearance in London as 
an entertainer was at the Polytechnic, during the Christmas 
of 1880, and his debut 2lS an actor was made in the following 
autumn at the Haymarket Theatre, in the comic opera Blue 
and Buff, after which he was seen at the Court as Lord 
Glenmuir in Honour. Then followed some hard work in 
the provinces with Miss Alice Earth's Ballad Opera Com- 
pany, w^ith a change of bill every night ; and in November, 
1882, he was engaged by Mr. D'Oyly Carte to understudy 
Mr. George Grossmith at the Savoy, where he remained 
till January, 1887, playing in Trial by Jury and all the 
first pieces. Then followed a season at the Royalty with 
Mr. Edouin ; and after a short engagement with Miss 
Helen Barry in Her Trustee, Mr. Beerbohm-Tree engaged 
him for Partners (January, 1888). Mr. Eric Lewis then 
went on tour as Caleb Deecie in Two Roses, and also in 
Dr. D., playing the title role ; after which, at Mrs. John 
Wood's invitation, he joined her Company at the Court 
Theatre, and appeared as Tom Shadbolt in Mamma — a 
creation that at once placed him in the first rank of light 
comedians. He next appeared in The Weaker Sex, during 
Mr. and Mrs. Kendal's short season at the same theatre. 
When Mrs. John Wood returned and produced Aunt Jack, 
Mr. Lewis was cast for Caleb Cornish, and succeeded 
admirably in depicting the character of a nervous soft- 
hearted Benedict. He was equally happy in the two 
curtain raisers, Hermine (in which he touched a deeper 
note) and In the Corridor. After this Mr. Eric Lewis 
determined to turn his vocal and musical talent to account, 
and studied singing for nearly a year to fit himself for the 



138 Ley 

Lyric stage. In October, 1890, he appeared in La Cigale 
at the Lyric Theatre, playing- the part of the Duke of 
Fazensberg with a delightful freshness and verve. In pri- 
vate life Mr. Eric Lewis is particularly quiet and reserved. 
He has a way of rolling his eyes which would make the 
fortune of a dozen light comedians, and the whole expres- 
sion of his face is at times concentrated in those positively 
fascinating optics. His principal matinies have been The 
Great Felicidad, The Begum's Diamonds, and Woodbarrow 
Farm. 

Leyshon, Eleanor, (Mrs. j. N. Palmer.) — it 

was in the arena of amateur theatricals that Miss Leyshon 
made her mark, and succeeded so well that she attracted 
the attention of the late Mr. John Clayton, who engaged 
her in 1887 for a provincial tour, in which she made her 
professional dibut. Her manager's lamented death unfor- 
tunately brought the engagement to a premature close. 
She was next seen in several ingiyiue parts at matindes, and 
made her London ddbut at the Princess's Theatre as Rebecca 
in Midnight, in May, 1888. During the summer of that 
year she gained experience with the Conway Comedy 
Company, playing in many Old English Comedies. Return- 
ing to the metropolis she appeared at Terry's, The 
Vaudeville, Princess's, and St. James' Theatres — at the 
latter under Mr. Rutland Harrington's cegis, in A Patron 
Saint. After playing the title role in Sweet Lavender for a 
time, she joined Mr. Wyndham's Company and went with 
him to America, where she appeared as Mrs. Torrington in 
The Headless Man, Mrs. Graythorne in Pink Dom,inoes, and 
other productions. On her return to London she was seen 
at the Criterion in Trying it on, and She Stoops to Conquer, 
having renewed her engagement with the popular manager 
of the house in Piccadilly Circus. In .September, 1891, 
Miss Leyshon was married to the Rev. J. N. Palmer, an 
Anglican clergyman. 

Leyton, Helen. — it was under Miss Sarah Thome's 
Margate management that Miss Helen Leyton made her 
debut in 1880 in the pantomime of The Sleeping Beauty. 
She was next engaged by Miss Jennie Lee to play Esther 
Summerson in Jo, and appeared first at the Old Olympic 
and subsequently on tour. A round of juvenile parts at 
Alexandra Palace matindes followed, and then she returned 



Lin 139 

to the provinces. By this time she had risen to sufficient 
prominence in her profession to be the recipient of an offer 
from Mr. Aug-ustin Daly, and for two seasons played 
ingenues and light soubrettes under his management in 
America. Returning to England in 1886 she was in the 
cast of In Charge at the Olympic, and then played Agnes 
Ralston in Jim the Penman. The following year she was 
a piquant Mrs. Maxwell in The Barrister at the Comedy. 
Returning to the Olympic in 1888, she made a decided hit 
as Maud Chatres in To the Death, a part that had been 
originally created by Miss Jessie Bond. During the same 
year she played with much spirit in The Paper Chase, The 
Real Case of Hide and Seekyll, The Monk's Room, and Good 
for Nothing, her Nan in the latter being really excellent. 
More recently Miss Leyton completed a long engagement 
with Miss Cissy Grahame during that lady's occupation of 
Terry's Theatre and the Opera Comique, filling suitable 
parts in Old Lam.ps for New and The Judge, her Chloe in 
the latter being sprightly and amusing. 

Lind, Letty. — Lithesome Letty Lind, who divides 
the Gaiety honours with graceful Sylvia Grey, was early 
instructed in dancing and deportment, but not with a view 
to displaying these accomplishments, for her earliest bid 
for public favour was on the concert platform. She next 
applied to Mr. Charles Wyndham for an engagement, and 
was appointed to understudy Betsy. When the run of 
that piece was over she presented herself before Mr. Robert 
Buchanan, who gave her a part in a play he was producing. 
It happened that during the performance there was an 
unusually long wait, and the author somewhat vaguely 
suggested that Miss Lind should "fill it up." Equal to 
the occasion, she interpolated The Language of Love, with 
its quaint and clever imitations of animals, and it imme- 
diately caught on and brought her into notice. It led, 
however, to nothing better in the immediate future than a 
small part in Birmingham pantomime, after ■which she 
obtained an engagement in Mrs. Saker's Company. Here 
she had a certain song to sing which she did not care for, 
and the extremely happy thought occurred to her to sub- 
stitute a dance. This, as a special favour, she was allowed 
to do, and it actually proved the saving success of the 
production. Since then she has done nothing but dance. 



140 Lin 

In 1887 she was in the Drury Lane pantomime of Puss in 
Boots, after which she joined Mr. Edwardes' Gaiety Com- 
pany, under a contract, and has appeared in it ever since, 
refusing many brilHant offers to go abroad. In 1890 she 
left Miss NelHe Farren's division to enter that of Miss 
Florence St. John, and appeared in Carmen up to Data, until 
its close in June, 1891, since when a severe illness has kept 
her from appearing on the boards. 

Linden, Laura. — Miss Linden made her first appear- 
ance in London, at Sadler's Wells' Theatre in 1881, in Mr. 
H. A. Jones' play of His Wife. This was followed by an 
engagement from Mr. Carton to play Mattie in Imprudence. 
Miss Linden was next seen at the Globe, and in 1883 at 
the Gaiety as Dulcie in Vice Versd, and shortly afterwards 
made a distinct success in The Tiao Orphans at the Olympic. 
Then came an offer of work from Mr. Wilson Barrett, to 
tour in Claudian. Returning to London in 1885, Miss 
Linden next tried her hand at Gaiety burlesque. More 
recently as Hannah Topping in Dandy Dick her excellent 
bye-play and facial expression emphasised the excellence 
of her performance. In 1888 she supported Mrs. Bernard 
Beere in Ariane at the Opera Comique, and in the same 
year charmingly created the part of Deborah in Woodbarrow 
Farm at its Tnatinee trial. In the winter of 1889 she appeared 
at Her Majesty's, and in the following year was in the cast 
of The Bride of Love at the Lyric, and also renewed her 
connection with the Old Stagers during the Canterbury 
week. In 1891 Miss Linden was seen to considerable 
advantage as Mary Ledger in The Parvenu at the Globe ; 
was in Mrs. Langtry's Company when Linda Grey was 
produced at the Princess' in April ; and in the original cast 
when A Pantomime Rehearsal was put on at Terry's, but 
owing to a painful accident she had to retire from the part, 
her place being taken by Miss Norreys. In October Miss 
Laura Linden was able to resume work, and appeared 
again at the Shaftesbury. 

Linden, Marie. — Miss Marie Linden first appeared 
on the stage at the Theatre Royal, Oxford, in 1876, as a 
child in Dick Whittington. Five years later she made her 
London dibut at Sadler's Wells. An engagement at the 
old Philharmonic followed, where she played numerous 
parts, including Eily O'Connor, Claire FfoUiett, and 



Lin 



141 



Leicester in Kenilworth. She then accepted an engagement 
from Mr. Toole to appear as Lucy Garner in Dearer than 
Life, and in Stage Dora and Paw Claudian. More recently 
in The Don, under the same management, Miss Marie Linden 
gave an excellent picture of an ingenuous young wife. In 
1889, in addition to some pleasing appearances inmatindes, 
she was seen to advantage in The Bookmaker and Voting 
Mrs. Winthrop. The following year she played at the 
Avenue during the entire run of Dr. Bill, and in October 
was engaged at Terry's to play Minnie, in the revival of 
Sweet Lavender. In 1891, after a passing appearance in 
Private Inquiry at the Strand, she accepted an offer from 
Mr. Hare to create Margaret Veale in Lady Bountiful, a 
part she rendered with delicacy and pathos. 

Lindley, Henrietta. — Miss Lindley has always 
been associated with the Haymarket Theatre, where she 
made her first appearance under Mr. Buckstone's manage- 
ment when only fifteen years of age, and where her endear- 
ing young charms brought her many admirers. To one of 
these — an officer in the army — she ■was united, and retired 
from the stage for a time, but only to return again in 1881. 
Soon after this she made a tour of the provinces with Mr. 
Edgar Bruce's Company, playing Mrs. Blythe in The 
Colonel, and on one occasion having the honour to appear 
before Her Majesty the Queen and the Prince and Princess 
of Wales, who personally complimented her on her per- 
formance. She then came to London, and appeared at the 
Strand as Adriana in The Comedy of Errors. This was 
followed by her impersonation of Mrs. Smith in Bootle's 
Baby. Returning to the Haymarket management, she 
played Lady Dunscombe in Jim the Penm.an, Lady Lundie 
in Man and Wife, and Mrs. Ford in Merry Wives of 
Windsor. She accompanied Mr. Beerbohm-Tree on his first 
provincial tour, playing Madame D'Arcy in ^ Village Priest 
with charm and pathos. Miss Lindley has (in the words 
of an eminent dramatic critic) " a sweet voice and the dis- 
tinction to support it." She is one of the few who are able 
to truthfully represent on the boards a lady of modern 
society. Miss Lindley is the authoress, or rather adaptress, 
of two plays, The Power of Love and For England's Sake. 

Lingard, Alice. (Mrs. Needham.) — This lady is 
the wife of Mr. Horace Lingard Needham, better known ia 



142 LON 

dramatic and operatic circles as Mr. Horace Lingard. 
Although English by birth, Miss Lingard commenced her 
professional career in America, where she played a variety 
of characters, until she finally found her mdtier in French 
society plays, such as Frou Frou, M. Alphonse, Camille, 
and Divorgons. The latter she brought to England, but 
only to find its successful representation prematurely cut 
short by the cruel and implacable mandate of the Lord 
Chamberlain. She played in Sister Mary at the Princess's, 
and in 1889 enacted the part of Mistress Ford in The Merry 
Wives of Windsor at the Haymarket, and in the autumn of 
1890 appeared as Stella St. Clair in A Million of Money at 
Drury Lane. 

Lonnen, E. J. (Mr. Champion.) — Mr. Lonnen is 
the son of the late Mr. William Champion, and comes of a 
family of playgoers, for his father and mother, and both 
his grandfathers, trod the stage. He was born in 1863, and 
when two years old used to toddle on to the boards, and 
delight the audience at performances given by a stock 
company, of which his father was then the manager. A 
couple of years later he played in his first pantomime, and 
continued to appear in that line until 1879, when he joined 
Mr. Charles Dillon's Company for a year, and essayed 
comedy. He then started for a tour with his mother and 
father, to play Box and Cox in the West of England. But 
the family troupe was unfortunate, seldom finding an 
audience worth more than a few shillings, and often not 
clearing half-a-crown for a performance. As a rule they 
stayed two days at each pitch, and walked from one town 
to another, sometimes covering marches of twenty miles, 
carrying their scenery and theatrical "props" with them. 
At length discarding responsible management, they joined 
a company to play at Crediton, South Moulton, Barnstaple, 
and other fairs, often giving as many as ten to twelve shows 
a day. When this engagement ended the Champions again 
tried their own resources, but without much better finan- 
cial results than before ; and it was a relief to Mr. Lonnen 
to obtain in 1881 a small engagement with Miss Marriott, 
and subsequently, with her help, he joined Mr. Edward 
Terry's provincial company. In the following year Miss 
Marriott secured him to play at Sadler's Wells (then under 
her management), and he remained there until 1884, when 



Lov 



143 



he moved to the Avenue to fill a part in Falka. Soon 
afterwards Mr. George Edwardes engaged him for the 
Gaiety Company, in vsrhich he is now a leading favourite. 
Mr. Lonnen is an inimitable burlesque singer, and particu 
larly successful in exploiting songs and endowing them 
with popularity, as witness " Killaloe," " I shall have them 
by and bye," " Enniscorthy," and "The Bogie Man.' 
There is no need here to recapitulate his triumphs in 
Esmeralda, Frankenstein, Faust up to Date, and Carmen up 
to Data, They have achieved for him a name in America 
as well as in England. But no professional incident in his 
career can eclipse the merit of his having, by his own 
unaided exertions, raised himself from the position of a 
poor player in a country booth to the proud pre-eminence 
of a Gaiety planet. 

Love, Mabel. — This young danseuse was born in 
1874, and made her first appearance in Alice in Wonderland 
at the Prince of Wales' Theatre, during the Christmas 
season of 1886, being coached for the part by Miss Carlotta 
Leclercq. She next joined the Gaiety Company in 1888, 
and appeared as the Vivandi^re in Faust up to Date. In 
October she obtained an engagement at the Prince's 
Theatre, Manchester, and in the autumn of 1890 was 
engaged for the ballet in La Cigale at the Lyric, where her 
dancing in the quartette stands out conspicuously. During 
Miss St. Cyr's absence she was promoted to her role, which 
she filled with success. Miss Love brings an almost too 
serious earnestness to terpsichorean revels, and a little 
more gaiety of demeanour would not be misplaced. As a 
danseuse she has a great future before her. She has 
crowded a good deal of incident into seventeen years of 
life, and achieved the advertisement of a pictorial repre- 
sentation in the Star. 

Mackintosh, William. — Mr. Mackintosh is a 
character actor of very exceptional ability, who has worked 
hard to attain the high rank in his profession which he now 
enjoys. He was born in Melbourne, Australia, in 1855, 
and first appeared on the stage in 1872 at the Theatre 
Royal, Elgin. His first important engagement was with 
Mrs. John Wood at the Gaiety, Dublin, in 1875, as Crab- 
tree in The School for Scandal, followed by that of Mark 
Meddle in London Assurance. His London debut was made 



144 '^Ac 

at the old Court in 1879 as Dr. Penguin in a revival there 
of A Scrap of Paper. His original and excellent rendering 
of Baron Hartfeld in Jim the Penman was an exceedingly 
clever study of Teutonic character, and his German-English 
accent was in its way quite as happy as Mr. Beerbohm- 
Tree's rendering of the same part. In The Middleman, at 
the Shaftesbury Theatre in 1889, Mr. Mackintosh's subtle 
and able impersonation of Captain Chandler received uni- 
versal praise. But his greatest triumph was achieved in 
the role of Caleb Balderstone in Ravenswood at the Lyceum. 
In this he rose to a high level of tragic art during the last 
two scenes, and distinctly carried off the honours in a most 
difficult and trying part, which in less experienced hands 
might have seriously prejudiced the success of the drama. 
In the revival of School at the Garrick in the autumn of 
1891, Mr. Mackintosh sustained the part of Beau Farintosh. 
The Company included Mr. H. B. Irving, who made his 
debut as Lord Beaufoy. The enthusiastic reception accorded 
him for his father's sake, was sufficient to throw any young 
actor off his balance, and well accounted for his nervous- 
ness on the first night. 

Macklin, F. H. — The subject of this sketch was 
born next door to the Haymarket Theatre in 1848, and 
as a child used often to be taken to the window to watch 
Mr. Buckstone, Mr. and Mrs. Chippendale, and other famous 
actors of that day, on their way to and from the stage door; 
it is not unnatural, therefore, that from his earliest days he 
desired to follow in their footsteps. His parents, however, 
would not gratify this wish, and designed him for a com- 
mercial life. He remained in business for some years, and 
in course of time became a partner in a ship-broking firm, 
but losing all his fortune in an unlucky speculation, threw 
up city life in disgust, and adopted the stage as a profession. 
He was the more encouraged to take this step by reason of 
his success in amateur theatricals, which had brought him 
great praise from Mr. H. T. Craven and Mr. Palgrave 
Simpson, who both promised their help, and the latter 
obtained for him his first engagement with Miss Litton, 
under whose management at the Queen's Theatre, Mr. 
Macklin made his dihut in 1873 '^^ King John, appearing in 
the bills as Frank Manton. Since then he has played every 
kind of character, from Shakespearean heavies to Tom 



Mar 145 

Robertson's swells and Gilbert's fairy comedy leads, and 
has appeared at the Adelphi, Drury Lane, Princess's, and 
other theatres. When Madame Celeste made her farewell 
appearance in Green Bushes, Mr. Macklin played the part 
of Georgfe ©'Kennedy. He then gained much experience 
in the provinces, and particularly with Miss Ada Cavendish, 
to whose Juliet he played Romeo. In 1877 ^^- Macklin 
appeared in Cyril's Success at the Imperial, where he met 
Miss Blanche Henri, who was also in the cast. To this 
talented lady he became engaged, and they were married 
in 1880. In the same year Mr. Macklin became asso- 
ciated wth the Crystal Palace, and the matinees produced 
there for the next three years were under his management ; 
and for a time the Palace became recognised as a sterling 
school for young talent. Mr. Macklin has also prepared 
many pupils with success for the stage. From 1883 to 
1888 he was more or less engaged with Miss Mary Anderson, 
and in July of the latter year joined the Haymarket for a 
season, and appeared in Captain Swift actxA. other well-known 
dramas. In the autumn of i8go he went to the Lyceum, to 
play The Marquis of Athole in Ravenswood, where he after- 
wards appeared in the series of revivals which followed up 
to the summer recess of 1891. Mr. Beerbohm-Tree then 
engaged him for the Haymarket. Mr. Macklin is devoted 
to athletics, and was one of the principal promoters of the 
West London Boxing Club. He is also vice-president of 
the Ilex Swimming Club, and an expert bicycle rider. His 
brother, Mr. Arthur Macklin, is the author of that brightly- 
written comedietta, My Lady Help, which was played before 
The Pharisee at the Shaftesbury Theatre. 

Marius, Claude. (C. M. Duplany.)— The clever 
actor and stage manager whose nom-de-thedtre heads this 
paragraph is by nationality a Frenchman, and was born at 
Paris in 1850. He was intended for a commercial life, and 
entered a silk and velvet warehouse in that city, but his 
natural proclivities soon led him to mingle in stage circles, 
and he used to gratify his passion for the drama by work- 
ing as a super at \h& Folies Dramatiques, where he presently 
obtained an appointment in the chorus, and from that rose 
to small parts. In 1868 he forsook the warehouse, and 
became a regular member of the dramatic profession. Mr. 
Mansell, while on a visit to Paris in 1869, saw him act, 

K 



146 Mar 

and at once offered him a London engagement, which he 
accepted, and appeared in Chilperic ^x\iX Little Doctor Faust. 
His career was cut short by the breaking out of the Franco- 
Prussian war, and he was recalled to France and drafted 
into the 7th Chasseurs-a-Pied. He fought in three engage- 
ments, of which the most important was Champigney. 
His regiment was then ordered to Marseilles, and subse- 
quently to Corsica, to quell the Communal riots. In the 
autumn of 1872 Mons. Marius returned to London, and 
appeared at the Philharmonic in Ginevieve de Brabant, and 
afterwards in Nemesis at the Strand. Since then he has 
played in almost every theatre in the metropolis, creating 
many clever and original parts, amongst them being 
that of M. Favart in Offenbach's opera of Madame Favart 
•when first played in English at the Strand Theati'e in 1879, 
and later as General Bombalo in Mynheer Jan at the Comedy, 
and Paul Dromiroff in As in a Looking Glass. But he 
probably achieved his greatest success as Jacques Legros 
in The Skeleton at the Vaudeville in 1887. In the autumn 
of 1890 he appeared in The Sixth Commandment at the 
Shaftesbury, and in the following year in both editions of 
Joan of Arc. Mons. Marius excels as a stage manager, 
and under his able direction Nadgy was produced at the 
Avenue, and The Panel Picture at the Opera Comique in 
1888. He was also responsible for the staging of The 
Brigands, chiefly memorable by reason of the Gilbert and 
Boosey quarrel. But his most brilliant success in this line 
was the triple production of The Field of the Cloth of Gold, 
preceded in the programme by Ln the Express and La Rose 
d'Auvergne, at the Avenue in 1889, and more recently was 
responsible for the mounting of Miss Decima at the Cri- 
t-erion (1891). Mons. Marius is the husband of Miss 
Florence St. John, the bewitching /i^zVwa donna of the Gaiety 
Company. 

Marriott, Alice. (Mrs. Robert Edgar.) — Miss 
Marriott is one of the few actresses of the old school who 
remains to the present generation. She made her first 
appearance on the stage as far back as 1854, when she 
played Bianca in Fazio at Drury Lane, and for some seasons 
remained at that theatre. In 1861 she undertook the man- 
agement of the Standard, where, amongst others, she 
produced Westland Marston's ^giz-y Anne Blake. Two years 



Mar 147 

later she transferred her management to Sadler's Wells, 
remaining there for six years, during which she was seen 
in many leading parts, such as Lady Macbeth, Juliet, 
and the title rdle in Hamlet. A visit to America followed, 
where she starred in the legitimate. Returning to England 
in 1879 she travelled the provinces with a dramatic company 
of her own. In 1888 Miss Marriott appeared at the Lyceum 
in the revival of Macbeth, and in 1890 in Ravenswood. In 
this she gave an especially powerful rendering of Ailsa 
Gourlay, a character which she created with such wonderful 
weirdness as to make ^t stand out as one of the first rank. 

Marsh, Alec. — This splendid baritone singer is the 
son of a gentleman farmer, and anative of Wiltshire, where 
he was born in i860. Whilst articled to a solicitor at 
Wells he joined a musical society, and in time discovered 
that he had a voice good enough to be chosen for singing 
the solos in Mackenzie's cantata The Bride. His success 
on that occasion induced him, on Mr. Holland's advice, to 
join the Academy of Music, and under Signer Randegger's 
tuition he gained a prize for declamatory singing. His first 
professional appearance was at St. George's Hall in The 
Rival Beauties. He then sang at Norwich and other Musi- 
cal Festivals, and at the Monday "Pops," after which he 
accepted engagements at the Avenue Theatre to play in 
The Old Guard, Nadgy, and Lancelot the Lovely. Leaving 
the Avenue he went to the Lyric for The Red Hussar, after 
which he deserted, for a time, the stage for the concert 
platform. Mr. Marsh is, moreover, a good shot, a first-rate 
horseman, a capital cricketer, and a very warm short- 
distance runner. 

Mason, John. — This clever American made his 
London dibut in The Idler, at the St. James' Theatre, in 
March, 1891, and his splendid creation of Simeon Strong at 
once attracted much comment and secured for him universal 
praise. In America, however, Mr. Mason is a very popular 
actor, and was first seen on the stage at the Old Walnut 
Street Theatre, Philadelphia, in 1878. After undergoing 
some months of drudgery, he obtained, by the help of the late 
Mr. Lawrence Barrett, an opening at the Boston Museum. 
Here during the next five years he played every line of 
business, except downright low comedy, and also sang in 
comic opera, being the original Colonel in Patience, and 



148 Mat 

met with such success that at the end of that period he 
was re-engaged by the management for three seasons 
more as "leading man." Mr. M&son' s penc/iani is towards 
Hght comedy, but such is his versatility that two of his 
greatest "hits" were scored in the strong melodramatic 
parts of Jack Dudley in Hands Across the Sea, and Harry 
O'Mailly in The English Rose. 

Matthews, Ethel. — Miss Matthews was born in 
1870, and made her first appearance in the chorus at the 
Lyceum Theatre when seventeen years of age. She then 
joined Mr. and Mrs. Kendal's Company for a season, after 
which she was engaged at the Comedy for a small part in 
Nerves, and subsequently played with success in the 
provinces in Mr. Hawtrey's Private Secretary company. 
After appearing in one or two London matinees, she 
went to the Comedy to understudy Miss Maud Millett, 
and during that lady's absence filled her part of Violet 
in Nerves so intelligently that she received an offer for 
an American tour, which she refused. She was recently 
engaged for two years by Mr. C. Hawtrey, the Manager 
of the Comedy Theatre, and appeared in Jane and in 
Husband and Wife. Miss Ethel Matthews received the 
high compliment of being selected to represent one of the 
types of English beauty by that connoisseur of female 
loveliness — M. Bassano. 

Maude, Cyril.— Few actors have made more rapid 
strides to popularity than Mr. Cyril Maude, who while a 
boy at Charterhouse developed his fondness for acting. 
Delicate health compelled him, however, to take a three 
months' voyage to Australia, and on his return to England 
in 1 88 1 he began studying for the stage in real earnest. In 
the autumn his health again broke down, and he went to 
Canada, intending to lead a farmer's life for a year or two, 
but it was not long before he tired of that, and joined 
Daniel Bandmann's company at Denver, Colorado. He 
then travelled the North Western States, playing in all 
sorts of plays and seeing a vast deal of queer life, in 
the rough mining cities of Leadville, Colorado, Battle City, 
Montana, and the Western States. When the company 
reached San Francisco it was disbanded, and he made his 
way to New York by immigrant train — an experience of 
nine days he would not repeat, for the car was half full 



Mel 149 

of Chinese, and the remainder of the occupants were 
mostly pig slaughter-house men going to Chicago. In 
1884, he returned to England and played a number of 
Criterion comedies on tour, and three years later scored his 
first London success in Racing, at the Grand. This led 
to a year's engagement at the Gaiety, followed by one for 
two years at the Vaudeville. Here he appeared as Lord 
Fellamar xn^ Joseph's Sweetheart, for over 250 performances, 
and later scored one of his greatest hits as Charles Farlow 
in That Doctor Cupid, and showed then that he was one of 
the best actors of a stammering swell that has been seen on 
the stage, since the days of Sothern as Lord Dundreary. 
Subsequently he played with intense humour the part of the 
little cad Charles Spangle, in Angelina, while his creation 
of Philip O'Mara in Man and the Woman revealed un- 
suspected ability and showed that he could play the villain 
in tragedy, with the same telling power and force as he 
depicts characters in old comedies and farce. This engage- 
ment ended, he moved to the Criterion — that home of 
sparkling comedy, where his rendering of the part of Cool 
in London Assurance, November, iSgo, was one of the best 
ever witnessed, and his Sir Benjamin Backbite in The School 
for Scandal (1891) received general praise. In October 
Mr. Cyril Maude was chosen to form one of the powerful 
cast at the Avenue, by whose aid Mr. H. A. Jones tried 
to establish the advantages of author-management over 
that of actor-management. It is greatly to be regretted 
that the controversy as to the relative merits of the new 
and the old systems of theatrical management should have 
degenerated into caustic personalities between Mr. H. A. 
Jones and Mr. Willard. Unquestionably there is much 
force in Mr. H. A. Jones' argument, that if an author were 
left unfettered, the new plays seen on the stage would be 
more fresh and original, and that the charge of plagiarism 
was often due to the stereotyped lines managers insisted on 
every play being reduced to, and their reluctance to accept 
any innovation in the method of producing them. In June, 
1888, Mr. Cyril Maude married the talented actress. Miss 
Winifred Emery. 

Melford, Austin. — There are few actors on the 
London stage who are more entirely wrapped up in their 
profession than Mr. Austin Melford, who is a native of 



150 Mel 

Fareham, Hants., where he was born in 1858. His first 
appearance on the boards was in 1880, in Dick Whittington, 
at Her Majesty's Theatre, Tunstall, Staffordshire ; but for 
some four years prior to that date he had appeared for 
charities at Portsmouth, and other towns, in original 
character-songs written by his elder brother Mark Melford, 
an actor and playwright now favourably known in dramatic 
circles. Various provincial engagements followed in 
comedy and pantomime, till in 1883 Mr. Melford became a 
member of the Cast Adrift Company, which, in the course 
of its travels, paid a passing visit to the Surrey Theatre, 
London. In the following year, after a season in panto- 
mime at Newcastle-upon-Tyne, he made his West End 
ddbiit dX the Olympic. A pantomime engagement (1885-6) 
at the Grand, Leeds, was the beginning of his long connec- 
tion with Mr. Wilson Barrett. During the last week of 
this engagement Mr. Melford actually performed the Her- 
culean task of attending daily rehearsals in London, in 
order to appear in the Lancashire dialect part of Sim Slee 
in The Foreman of the Works at the Standard. Soon after- 
wards, he became a member of the Princess' Theatre, and 
in the autumn of 1886 accompanied Mr. Wilson Barrett to 
New York ; and when Mr. George Barrett returned to 
London, took up most of that actor's parts during the 
remainder of the company's stay in America. On his return 
to England Mr. Melford toured the provinces, sustaining 
such parts as Shekeniah Pank in The Lord Harry, the Holy 
Clement in Claiidian, Kridge in Hoodman Blind, Coombe 
in The Silver Ki?ig, and Colonel Damas in The Lady of 
Lyo7is. When The Golden Ladder was produced at the 
Globe in 1887 Mr. Melford gave a very skilful representa- 
tion of the villain of the piece. Equally clever was his 
Deemster in The Ben-my-Chree at the Princess' Theatre 
in the following year. It was not the well-known Deemster 
of the novel, as most of the critics expected, but an even 
more effective creation for stage purposes, and^called forth 
a special acknowledgment of its merits from Mr. Hall 
Caine the author. As Amos Drew in The Good Old Times, 
and in Baby and Now-a-Days, which were subsequently 
produced at that theatre, Mr. Melford again displayed his 
finished acting. Then came a second tour in the United 
States, which was further extended to California. When 



Mel 151 

Mr. Wilson Barrett opened at the New Olympic with The 
People's Idol, Mr. Melford create.d the leading- role of Jim 
Stevens, and continued to play at that theatre during the 
rest of Mr. Wilson Barrett's season, on the termination 
of which, not wishing to leave Londonjvhe accepted Sir 
Aug-ustus Harris' offer to play Major Jorum in a revival of 
Formosa at Drury Lane. 

Mellish, Fuller. — This actor is a younger member 
of that good old theatrical family, the Leclercqs, being a 
son of Miss Rose of that ilk. Born in i856, he made his 
London debut in a matinee at the Olympic Theatre, and 
acted with such success that Mr. Loveday at once engaged 
him for a character in Twelfth Night, at the Lyceum. Here 
again he distinguished himself, and Mr. Irving invited him 
to join his company for his second American tour in 1884, 
which he did. On his return to London, he appeared at the 
Novelty. His next engagement was with Mr. Thorne at 
the Vaudeville, where he created original parts in The 
Plebeians, Doo Brown & Co., and other plays. In June, 1886, 
he played at the Strand, and later at the Comedy, and in 
September, 1887, joined Miss Mary Anderson's Company at 
the Lyceum, and acted with great success in Winter's Tale, 
which ran for a hundred and sixty-six consecutive per- 
formances. Since then he has appeared at most of the 
West End theatres in numerous plays, and has created 
parts at many matindes. In the summer of 1891 Mr. Fuller 
Mellish played Andreas to Miss Hawthorne's Theodora at 
the New Olympic. 

Millett, Ma.ud. — This young ingenue actress is the 
daughter of the late Major Hugh Millett, an officer formerly 
in the 2nd Purijaub Cavalry, but who, after retiring from 
the service, became an exponent of photography at a 
Himalayan hill station. After his death Miss Millett, who 
was born in India, in 1867, came to England with her mother, 
a lady well known in Indian society, and a clever amateur 
actress, and from whom the subject of this sketch probably 
inherits her dramatic talent. Miss Millett, having deter- 
mined to adopt the stage as a profession, made her 
ddbut as Sebastian in Twelfth Night, and then appeared 
at the Globe Theatre during the run of The Private 
Secretary, in which she played the part of Eva Webster. 
Engagements for minor characters followed at the Vaude- 



152 Mil 

ville, Comedy, Novelty, and Royalty Theatres, after 
which she appeared in Miss Kate Vaughan's Old Comedy 
Revivals at the Gaiety. It was in Sweet Lavender, how- 
ever, that she achieved her first substantial success, and 
her unaffected acting was quite one of the features of 
the play. She was next engaged by Mr. E. S. Willard to 
personate Mary Blenkarn in The Middleman, a character 
less suited to her style than others which she subsequently 
filled in April Showers and Nerves. In 1891 she was 
engaged by Mr. George Alexander for the inginue lead 
in The Idler at the St. James'. Amongst her other 
accomplishments Miss Millett is a first-rate lady cricketer, 
and on her merits could certainly claim a place in any 
Ladies' Eleven of the day. She has been honoured 
with the most distinguished patronage in her art, and 
enjoys the friendship of Royalty. She resides with her 
mother, who, after being a widow for some years, married, 
for the second time, an officer in the army. 

Millward, Jessie. — Miss Millward was born in 
1868. Whilst yet a girl her father suffered from a long 
and serious illness, and the circumstances to which this 
reduced the family prompted her to try her fortune on the 
stage. She first applied to Mrs. Kendal, who was a 
personal friend, and offered the young aspirant a "walking 
part," which she declined, resolving instead to make a 
most audacious bid for fame, by producing, with the 
assistance of some amateurs. Love's Sacrifice at a matinie 
at Toole's Theatre. Her own share in this effort was 
the most successful, and Mrs. Kendal now offered her 
an engagement, which Miss Millward accepted. The 
parts which she was called upon to play were, however, 
of very moderate importance, and she had many dreary 
and disheartening experiences in the lower ranks of the 
profession. But without knowing it she was on the 
threshold of Fame. One evening, when she was supporting 
Miss Genevieve Ward in Forget-me-not, a mysterious 
letter was put into her hand just as she was entering 
the stage door. The incident was made more dramatic 
when the signature proved undecipherable, and terminated 
in a regular "curtain situation" on a friend informing 
her that the writer of the missive was none other than 
Henry Irving. Mr. Irving had seen her performance 



MiN 153 

and satisfied himself of her abilities, and he now offered 
her the part of Hero in Much Ado About Nothing, in which 
Miss Ellen Terry played Beatrice. This naturally proved 
the turning point in Miss Millward's career. Several equally 
good parts were entrusted to her during the next two years, 
and she accompanied Mr. Irving on his first American tour, 
and after it reappeared with him at the Lyceum. But Mr. 
Frohman had seen her in New York, and he tempted her 
back to the Fifth Avenue Theatre to play Pauline in 
Called Back. This was succeeded by a tour in the States. 
Returning to London she became a member of the Adelphi 
Company, and remained with the Brothers Gatti for some 
seasons, acting in conjunction with Mr. William Terriss. In 
1888 she accompanied that gentleman to America, where 
they starred together. Returning home she appeared with 
him in Paul Kauvar at Drury Lane. But this popular 
American play did not hit the British taste, and so, pour 
passer le temps, she and Mr. Terriss gave a series of very 
successful costume recitals, which carried them on to the 
autumn, when Miss Millward commenced a four years' 
engagement with Mr. Augustus Harris, and appeared in 
the juvenile lead in A Million of Money, produced at Drury 
"Lane in September, 1890, and in the revivals of 1891, in 
the autumn of which year she played the lead in A Sailor's 
Knot. 

Minshull, Georg'e T.— Mr. Minshullwon his spurs 
in the provinces, and is a comparatively new knight in the 
metropolitan arena. At Liverpool he was an established 
favourite, and in the pantomime of 1889, at the Prince of 
Wales' Theatre in that city, carried off the honours of the 
piece. His high reputation led Mr. Edwardes to secure him 
for the Gaiety Company, and he made his first appearance 
'vc\ Faust up to Date, in October, 1890. When Miss Nellie 
Farren's division went to America, he very wisely stuck to 
the London department, and appeared in Carmen up to 
Data and also in the lever de rideau entitled His Last 
Chatice. 

Monckton, Marie Louisa, Lady.— This dis- 
tinguished recruit from the ranks of the amateur stage is a 
daughter of Mr. Long, of Ipswich. She was married in 1858 
to Sir John Braddick Monckton, the Town Clerk of London, 
whose civic knighthood was one of the last of Lord Beacons- 



154 MoN 

field's acts when in office. Lady Monckton was always 
consumed with a passion for acting, and to this day loves 
it better than anything else, desiring nothing better than to 
be "on in front" every evening. She was long and favour- 
ably known as an amateur actress, and as such played over 
a hundred parts. At last she determined to cross the 
Rubicon, and made her professional ddbut-zX the Haymarket 
as Mrs. Ralston in Jim the Penman, which is her best, as 
it was her first, public performance. By her deep and 
earnest acting in this play, and her wonderful facial expres- 
sion, she made a distinct mark, and entered on to a career 
which, although necessarilylimited byits range of characters, 
has certainly been one of remarkable success. Amongst 
the parts she has at times undertaken are Harriet Routh in 
Black Sheep, Lady Deadlock (her favourite one), Princess 
Claudia in The Red Lamp, Mrs. Seabrook in Captain Swift, 
and Countess Sinbert in The Panel Picture at the Opera 
Comique, in which latter, at several critical points, her 
strong acting saved the piece from summary collapse. Lady 
Monckton has once essayed Shakespearean character, 
appearing as Mistress Ford in The Merry Wives of Windsor. 
In i8gi Lady Monckton was engaged by Mr. George 
Alexander, and appeared at the St. James' Theatre in The 
Idler. She is the authoress of the libretto of an operetta 
entitled Tobacco Jars, an extremely clever musician, and 
plays the piano exquisitely. Her daughter (the eldest of 
her four children) is a clever journalist, and wrote smart 
pars, for smart people in a smart paper whose smart editor 
she married. 

Monkhouse, Harry. (John Adolph McKie.)— 
There is no more general favourite than Mr. Harry Monk- 
house, who is a native of Newcastle-on-Tyne, where he 
was born in 1854. Of course he was never intended for 
the stage — actors and actresses never are — and his parents, 
who were Presbyterians, gave him a liberal education at 
Newcastle Grammar School, which they intended should 
fit him either for a clergyman or a doctor. From acting in 
amateur theatricals and assisting behind the scenes at the 
local theatre on benefit nights, he rose to the dignity of 
small parts, and at length secured his first regular engage- 
ment at the Theatre Royal, Blyth, where Mrs. Wybert 
Rousby seeing him act, offered him his next engagement 



Moo 155 

to go to Jersey 9.S one of her company. From the Grecian, 
where he first played in London, he migrated to the 
Alhambra, and thence to the Gaiety for three years. He 
met, whilst touring with the Nellie Farren Gaiety Company, 
Mr. Wilton Jones, who wrote for him a very funny bur- 
lesque entitled Larks, and with this and other plays, he 
made several long and very successful provincial tours. 
Just as every comedian fancies himself a tragedian, so Mr. 
Monkhouse, who made his name in burlesque, fancies him- 
self for parts in melodramas where pathos is the prevailing 
characteristic, and squeezes into his characters a little touch 
of pathos whenever the chance occasion offers. As Bouil- 
labaisse in Paul Jones (1889) he made himself wonderfully 
popular, and the way he eventually worked up the part 
during its run at the Prince of Wales' Theatre was very 
marked. As Gosric in Marjorie and M. Duvet in Captain 
Therese he further added to his reputation for originality 
and humour. There he also played during the run of The 
Rose and the Ring and Maid Marian, but was drafted over 
to fill the ranks at the Lyric when the second edition of 
La Cigale was produced, and played with great drollness 
the part of Uncle Mat. 

Moodie, Louise M. R. — Miss Moodie's first appear- 
ance was on the Continentlal stage, a fact accounted for, 
perhaps, by her French extraction. Early in her life her 
parents experienced a reverse of fortune, and this led her 
to adopt the dramatic profession. She did so without any 
previous training, and her success is due to her perseverance 
and determination. In 1870 she made her London ddbut, 
and shortly afterwards joined Sir Charles Young's Comedy 
Company and played in the provinces and at the Charing 
Cross Theatre, making an early success as Beatrice in 
Shadows. In 1871 she accepted an engagement at Sadler's 
Wells, but a severe illness necessitated her withdrawal from 
work for a time, and it was two years before she was able 
to resume her calling. She then appeared in the provinces 
until she secured a London engagement at the Court, 
followed by one at the Haymarket, where she impersonated 
Bertha de Savigny in The Sphinx with signal success. 
Aspiring now to higher roles Miss Moodie played Lady 
Macbeth, Ophelia, and Portia in the provinces, and in 1876 
joined the Chippendale Comedy Company for a round of high 



156 Moo 

comedy characters, including Lady Teazle, Lydia Languish, 
and Miss Hardcastle. She then returned to London for 
engagements at the Adelphi and Haymarket, and finally com- 
pleted her already considerable reputation by her splendid 
creation of Mrs. Goring in The Crisis. This was in 1880. 
During the next two years she was chiefly touring in the 
provinces, but in the intervals appeared at the Court, where 
her Queen Elizabeth, played to the Marie Stuart of Madame 
Modjeska, was another of her successful efforts. In 1883 
Miss Moodie's health broke down, and for some months she 
was obliged to relinquish work, but the following year was 
able to accept an American engagement, and delighted New 
York playgoers by her impersonations of Susanne and Miss 
Hardcastle. Whilst appearing at Wallack's Theatre she 
received a cablegram asking her to create the leading role 
in The Last Chance at the Adelphi, and this brought her 
home to achieve a veritable triumph as the Polish adven- 
turess in that play. Then followed an engagement at the 
Olympic and further touring with East Lynne, in which she 
played the character of Lady Isabel over a thousand times ! 
In 1889 Miss Moodie joined Mr. Beerbohm-Tree for the 
part of Mrs. Seabright in Captain Swift, after she started 
on another provincial tour. In 1890 she purchased the rights 
in Kleptomania, and took it round the country with her 
own company. More recently Miss Moodie has been seen 
as the Queen in Hamlet, under Mr. Wilson Barrett's New 
Olympic management, and in April, 1891, created the rdle 
of Lady Macclesfield in Richard Savage at the Criterion. 
In the autumn she was engaged at the Opera Comique. 
It is difficult to summarise the capabilities of an artiste of 
such wide and varied experience as Miss Moodie, and this 
sketch of her career cannot be better finished than by 
quoting one of the many hundreds of favourable press 
notices which her talent has elicited. Referring to her 
creation of Mrs. Goring in The Crisis, Mr. Clement 
Scott wrote in The Daily Telegraph: "Suddenly there 
came out an actress — comparatively unknown, save to 
those who study art — to hold an audience in breathless 
admiration and sympathy. Unannounced and unexpected 
Miss Moodie stood forth to convince the sceptical as to 
the value of finish, refinement, and grace in high comedy 
acting." 



Moo 157 

Moore, Decima. — Miss Dedma Moore is one of 
the youngest actresses on the stage, which added a special 
interest to her very successful dibut at the Savoy Theatre 
in The Gondoliers, when it was produced in 1889. She is, 
as her name indicates, the youngest of ten children, and a 
sister to Miss Bertha Moore, the vocalist, and Miss Eva 
Moore, the actress. A third sister. Miss Jessie Moore, is 
a member of one of Mr. D'Oyly Carte's provincial com- 
panies. Miss Decima Moore was born in 1871, of a family 
well known in Brighton for its artistic talent, and after 
leaving school in 1887, won the Victoria Scholarship for 
singing at the Blackheath Conservatoire of Music. She 
then studied for two years under Madame Rose Hersee, 
during which, without any really serious intention, she 
incidentally presented herself at the Savoy Theatre for 
judgment. To her surprise she was offered an engagement 
right away, but wisely declined it in order to complete her 
musical education. Later on, when The Gondoliers was 
produced, she was tempted with a part which was too good 
to refuse, and consequently enjoyed the almost unique 
distinction of making her first appearance before the foot- 
lights in an important character in Gilbert-Sullivan opera. 
The selection, which so boldly discounted her merits, was 
fully justified, and the critics with one voice awarded her 
the honours of the evening in which she successfully 
created the part of Casilda. Mr. D'Oyly Carte has secured 
her services for three years, and she is now appearing in 
Captain Billy, the curtain-raiser before The Nautch Girl at 
the Savoy. 

Moore, Eva. — Miss Eva Moore made her first appear- 
ance in 1887 at the Vaudeville Theatre, in a matinie of a 
farcical comedy called Proposals, and early the next year 
became a member of Mr. Toole's Company, playing Alice 
Brand in The Red Rag. In the summer she was promoted 
to the parts previously taken by Miss Marie Linden, her 
most successful impersonation being Dora in The Don. 
She remained with Mr. Toole for eighteen months and then 
went to the Shaftesbury to play Felicia Umfraville in The 
Middleman. On the termination of that play she 'accepted 
an engagement from Mrs. John Wood and appeared in The 
Cabinet Minister at the Court, and this was followed by a 
part in Culprits at Terry's. In the summer of 1891, on the 



158 Moo 

transfer of The Late Lamented from Sloane Square to the 
Strand Theatre, Miss Eva Moore joined Mr. Edouin's com- 
pany to assist in it. 

Moore, Mary. (Mrs. Albery.) — Miss Mary Moore is 
the widow of the late James Albery, the author of The Two 
Roses, Pink Dominoes, and other plays. She made her 
first appearance in 1884, under the earnest advice of Mrs. 
Bronson Howard, the wife of the American dramatist and 
sister-in-law to Mr. Charles Wyndham. The latter gentle- 
man gave Miss Moore her first engagement ; but the Criterion 
being closed at the time, she made her debut in one of his 
provincial tours, and was so successful that Mr. Wyndham 
at once introduced her to critical Liverpool, and shortly 
afterwards to a London audience. Her first original part 
was in The Man with Three Wives, but the character of 
Lady Amaranthe in Wild Oats was the one in which she 
made her initial London success. This was followed by 
Ada Ingot in David Garrick, and her exquisite rendering of 
the womanly character stamped her at once as a sympa- 
thetic actress. Shortly after this she went on a visit to 
Mrs. Bronson Howard in America, and during her absence 
Mr. Charles Wyndham conceived the idea of playing David 
Garrick in German to a German audience. He conse- 
quently cabled to her to study her part in that language. 
This she did in a few weeks, and on her return to London 
was prepared to start for Berlin. But the Teutonic manager 
grew frightened, hinted failure and fiasco, and finally 
backed out of his engagement. Whereupon the undaunted 
Mr. Charles Wyndham and Miss Mary Moore assumed 
other names, and opened at Leignitz, and the result was 
successful beyond all expectation. The original programme 
of course followed, and such was the triumphant nature of 
the undertaking, that shortly after their return to London 
in 1887, and just as they were enjoying the quiet and rest 
of a Christmas holiday, the Czar of All the Russias sent an 
Imperial command for Mr. Charles Wyndham and Miss 
Mary Moore to repeat their performance at St. Petersburg. 
Thus, in the middle of the most inclement season of the 
year, thay had to journey to that bleak northern capital, 
where their performance yielded so much pleasure to His 
Imperial Majesty, that he presented Mr. Charles Wyndham 
-with a gold signet ring, and Miss Mary Moore with a 



MoR 159 

valuable brooch, as souvenirs of the occasion. They then 
performed in public at St. Petersburg and Moscow, and at 
the former city were on one occasion recalled before the 
curtain twelve times after the second act of David Garrick. 
A season in London followed, and then an American tour, 
in which they were accompanied as usual by Mrs. Charles 
Wyndham. This was in 1888, and the visit had perforce 
to be repeated in 1889 and 1890. The enthusiasm of 
American audiences found an outlet in several silver laurel 
leaves and votive offering's innumerable. Miss Mary Moore, 
who is the mother of three boys, lives in St. John's Wood. 
In private life she is a charming hostess. In the autumn 
of 1890 she starred for a short season in the north, and in 
October reappeared at the Criterion in Still Waters Run 
Deep, and all the plays subsequently revised. 

Morel 1, H. H. — Mr. Morell is a son of Sir Morell 
Mackenzie, and a nephew of the late Mr. Compton, the 
famous Haymarket Shakespearean comedian. Whilst at 
Cambridge he was a prominent member of the Amateur 
Dramatic Club, and his rooms (which savoured strongly of 
the stage) were the rendezvous of all those undergraduates 
who had a leaning towards the drama. Within two years 
of joining the profession he took a company of his own to 
Edinburgh to play Our Regiment. After this he appeared 
for a couple of seasons at various West End, theatres, and 
in the summer of 1889 again woo'd the provinces as man- 
ager of Miss Fortescue's Company, and has since been 
seen on the London stage when that favourite actress paid 
a passing visit to the Metropolis in the autumn of 1890, 
and again in 1891. 

Murray, Alma. (Mrs. Alfred Forman.) — Miss 
Alma Murray, whom Robert Browning once designated "a 
woman of genius; the poetic actress without rival," was 
born in London, her father being the late Leigh Murray, 
who was the finest "stage lover" that ever trod the boards, 
whilst her aunt, Mrs. Gaston Murray, was well known as a 
most finished actress. Miss Alma Murray made her first 
appearance at the Olympic Theatre so far back as 1869. 
Since then she has been the heroine of a long series of 
successes, many really culminating in triumphs, and has 
appeared in a range of characters more varied and exacting 
than that which falls to the lot of most actresses. She has 



i6o Nei 

undertaken tragedy, comedy, comedy drama, romantic play, 
and melodrama, and sustained such historical characters as 
Juliet, Portia, and Titania, in Shakespeare ; Mildred, in 
Browning' drama ; Julie de Mortemar, in Lytton play ; 
Miss Hardcastle, in Goldsmith comedy ; Grace Harkaway, 
in Boucicault romantic play ; Esther Eccles, in Robertson 
light comedy ; and Pauline, in melodrama. Gifted by 
nature with every attribute for success, she began the study 
of her profession when quite a child — at an age, in fact, 
when most girls are disporting themselves in the nursery. 
At sixteen she had mastered all the technicalities of her art. 
Her greatest triumph, both mental and physical, was her 
impersonation of Beatrice Cenci — the longest and most 
arduous character in dramatic literature. In 1887 she 
played Rachel McCreery in Held by the Enemy, at the 
Princess's, evincing the greatest powers of sympathetic 
and impassioned acting. In the autumn of that year she 
appeared at Drury Lane in Pleasure. She then transferred 
her services, first to the Globe, and later to the Olympic 
Theatre, and in 1888 appeared in several matindes. In 
1889 she accepted an engagement at the Adelphi, in 
London Day by Day, and in 1891, after a temporary absence 
from the stage, reappeared at the Vaudeville, and later at 
Toole's, in The Sequel, a one-act tragedy. Miss Alma 
Murray is manned to Mr. Alfred Forman, and lives at West 
Kensington. 

NeilSOn, Julia.. — This lady was born in London in 
1869, and received her early education in Germany, com- 
pleting her studies at the Royal Academy of Music, where 
she developed into a most brilliant pianiste, and also 
studied singing under Signor Randegger, and gained the 
Westmoreland Scholarship, the Sainton Dolby prize, and 
the Llewelyn Thomas gold medal for declamatory singing, 
besides several other distinctions. She made her ddbut in 
the character of Cynisca in Pygmalion and Galatea, when 
that play was revived by Miss Mary Anderson at the 
Lyceum, and her first appearance foreshadowed the future 
success she was destined to achieve. In 1888 Mr. W. S. 
Gilbert personally selected her for the lead in Brantinghame 
Hall : and when the fate of that play was sealed, in a long 
apologia to the morning papers he paid a very compli- 
mentary tribute to the talent of this young actress, who 



Nev i6i 

certainly deserved it by her brave attempt to avert a 
disaster, that was as astonishing as it was regretful. In 
1889 Miss Neilson appeared as Julie in A Man's Shadow at 
the Haymarket, where her beautiful features and melodious 
voice assisted her in a strikingly clever representation of 
an adventuress, whilst she showed both tenderness and 
pathos in the closing scene. More recently she toured 
vnth Mr. Beerbohm-Tree's Company in the northern 
counties and Scotland, and both at the Albert Hall and at 
the Norwich Festival recited Dr. Mackenzie's verses on 
"The Dream of Jubal." In the autumn of 1890, on the 
re-opening of the Haymarket Theatre, she appeared as 
Clarice in Comedy and Tragedy, and as Pauline in Called 
Back; but the most signal success of her career was as 
Drusilla Ives in The Dancing Girl, in which the demoniacal 
attractiveness she added to wickedness was as marvellously 
audacious as it was terribly real. Miss Julia Neilson's 
engagement to Mr. Fred Terry was announced in the 
summer of 1891, and she was married to that gentleman on 
the 2nd October. 

Neville, Henry Gartside.— it is indeed difficult 

to believe that Bob Brierly, who as recently as 1888 was 
seen disporting his youth on the Olympic stage, was born 
in Manchester as far back as 1837. Yet such is the case. 
Mr. Henry Neville — par excellence the Lancashire Lad of 
the century — is the son of the late Mr. John Neville who 
was a successful theatrical manager and actor. When 
a young man his father offered to purchase for him a com- 
mission in the army, but the Drama, that inexorable sor- 
ceress, had already beckoned to him, and he had become 
her faithful disciple. His father was in a measure to blame 
for he had allowed his son to appear on the boards when 
four years old. But, nevertheless, when Henry Neville 
declined to don the Queen's uniform, the parent refused to 
use his influence to procure an opening in the dramatic 
profession. Whereupon Henry Neville bade farewell to the 
paternal roof, and joined a small travelling company which 
he accompanied for a long tour through the principal towns 
in the North of England and Scotland. The experiences 
of this period greatly assisted him in later years to repro- 
duce with vivid fidelity the North Country dialect and 
manner. This first apprenticeship to art was not an easeful 

L 



i62 Nev 

one. He had to endure many hardships, which would have 
sufficed to dismay most young aspirants. But his native 
pluck and perseverance triumphed over all difficulties, and 
in i860 he was rewarded by a London engagement at the 
Lyceum under Madame Celeste. Here the natural vigour 
and buoyancy of his acting at once attracted attention. 
In the following spring Mr. Robson secured him for the 
Olympic Theatre, where his subsequent successes did much 
to resuscitate its decaying fortunes. After Mr. Robson's 
death he appeared on the boards of most of the West End 
houses, until 1873, when he assumed the management of 
the Olympic. Here, during the following six years, his 
greatest triumphs were achieved, and during this period he 
appeared as Bob Brierly in The Ticket-of-Leave Man, a 
character he first played in the original production in 1863, 
and has since given over a thousand times. The Olympic 
was always an unfortunate theatre ; with the exception of 
Drury Lane and Covent Garden more money has been lost 
in it than in any other. Of the many notable romantic 
dramas which Mr. Henry Neville produced there, The 
Ticket-of-Leave Ma7i and The Two Orphans were alone 
financially successful. Since those days he has become a 
favourite and safe Star Actor, constantly assisting others 
to success, for his name always draws audiences. In melo- 
dramatic comedy Mr. Henry Neville is second to none, and 
as the heroic stage lover is perhaps the finest the stage 
has ever seen. There is an irresistible life and energy in 
his acting, and a distinctive English character about it 
which appeals to the British heart, and his summary and 
smart way of dealing justice to stage villains never fails to 
bring down the thunder from on high. In private life Mr. 
Neville paints, carves, and models with taste. He is an 
ardent Volunteer, and a good shot, having placed "The 
St. George's Vase" to the credit of his Corps. He resides 
at Haverstock Hill, but also possesses a cottage by the 
sea at Heme Bay, in which town he at one time owned 
considerable property. For some time past he has, in 
conjunction with his brother, Mr. George Neville (now 
known as Mr. Fred Gartside), very successfully directed 
a School of Dramatic Art, and some of the most rising 
young actors of the present day owe their success to his 
skilful tuition. 



Nic 163 

Nicholls, Harry.— The City of London School 
(where twenty-five years previously Mr. J. L. Toole had 
received his education) was the seminary in which Harry 
Nicholls mastered his ABC. He was born in 1852, and 
seventeen years later entered a Railway Office as a clerk, 
remaining there a month, after which he tried a brief ap- 
prenticeship with an auctioneer. But both occupations 
were distasteful and he determined to test the stage. So 
he joined a fit-up company, and visited "No. 3 Towns" and 
"places off the map." In these remote regions his experi- 
ences were various, and on one occasion he magnanimously 
played to an audience of two in the pit ! After a couple of 
years of general utility in the provinces, during which he 
drew a salary of twenty-five shillings a week, he obtained 
an engagement at the Surrey as second low comedian, and 
stayed there until 1876, when he joined the Grecian to play 
the lead in his line in Arrah-na-Pogue. From that time he 
rapidly made a name for himself. Four years later Sir 
Augustus Harris, shrewdest of managers, secured him for 
his National Theatre, and since then he has been the delight 
of Drury Lane audiences both in pantomime and drama. 
In none of his characters has he succeeded better than as 
Charlie Sandown in The Run of Luck, though he was almost 
as happy as Tom Cricklewood in A Million of Money. 
With his friend Mr. Herbert Campbell he has been the 
mainstay of the annual pantomimes produced at Drury 
Lane since 1880. He has written several of the best songs 
that Arthur Roberts, James Fawn, and other star comiques 
sing with rare success, and is also the author of many pan- 
tomimes produced at Liverpool, Manchester, and Dublin. 
In collaboration with Sir Augustus Harris he is responsible 
for all the Christmas productions at Drury Lane during the 
last few years, of which yflC/4 and the Beanstalk was perhaps 
the most successful. In Beauty a?id the Beast (December, 
1890,) his song "I'm Sweet Seventeen" was the saving point 
in that gorgeous spectacle, which was as devoid of original 
wit and topical fun, as the mounting was complete in lavish 
splendour. Still it drew crowded houses for four months 
owing to the British Public's desire to gaze upon Beauty, 
admirably played by Miss Belle Bilton (then Lady Dunlo). 
In 1878 Mr. Harry Nicholls married a sister of the well- 
known playwright Mr. H. Pettitt, and is now the father 



1 64 Nor 

of three children. He lives in Bedford Park, and delights 
to ramble about that rus in urbe locality, attended by his 
faithful St. Bernard dog Jack. He is an excellent hand at 
out-door sports, and a member of the Green Room and 
Garrick Clubs, at both of which he enjoys a reputation as 
a safe partner at whist, and a steady player at billiards. 
He is also a Freemason. In private life Mr. Harry Nicholls 
is an excellent companion and a sterling friend, and when he 
is not laughing he is invariably smoking the fragrant weed. 
Norreys, Genie. — Although an American by birth. 
Miss Norreys has passed almost the whole of her life in 
England. She made her first appearance in 1887 as Guster 
in Jo, and afterwards obtained an engagement with Mr. 
Wyndham at the Criterion Theatre, accompanied him to 
America, and returned with him to headquarters at 
Piccadilly, where she again appeared. She then joined the 
Court Theatre, and in The Magistrate, The Schoolmistress, 
Dandy Dick, and as the blind girl in Young Mrs. Windthrop, 
achieved distinct successes. She also played in Dryden's 
Secret Love, her predecessor in the part being Nell Gwynne ! 
In 1888, with the laudable view of gaining broader experi- 
ence in her art (of which she is an enthusiastic student), 
she entered Mr. T. R. Benson's company, and played 
Shakespearean characters in the provinces. On her return 
to London she acted continuously, and in many parts and 
theatres. In 1889 she was seen in trial matindes of The 
Begum's Diamonds, April Showers, Dregs, Out of the Beaten 
Track, and King John, besides appearing in her regular 
parts in Now-a-days and A Man's Shadow, and she also 
created the title role in Sweet Lavender. In 1890 her chief 
success was Jeanne Torquenie in The Village Priest. The 
past year has witnessed the increase of her professional 
reputation by her powerful representation of Sybil Crake 
in The Dancing Girl, whilst she displayed her remarkable 
versatility by assuming two totally different parts in the 
same evening when playing in A Lancashire Sailor and A 
Pantomime Rehearsal at the Shaftesbury. She also under- 
took the part of Nora Helmer in A Doll's House. In 
October she returned to the Haymarket to assume her 
original part in The Dancing Girl. Miss Norreys has been 
saddled with the Christian name of Rose, which attached 
itself to her after she had played a certain character, to 



Pal 165 

which it legitimately belonged. She has for a long time 
been trying to get rid of it. 

Palliser, Esther. — When Miss Ulmar left the Savoy 
Theatre there was a succession of candidates for the part 
of Gianetta in The Gondoliers, and the last and immeasur- 
ably the best of these was Miss Esther Palliser, who did 
fuller justice to the music than anyone else, and demon- 
strated by her exquisite singing many fresh charms in the 
well-known numbers. It was originally understood that 
she would make her operatic dibtit in the grand opera 
of Ivanhoe, which Sir Arthur Sullivan composed for Mr. 
D'Oyly Carte's new English opera house in Cambridge 
Circus, but the exigencies of the Savoy dilemma neces- 
sitated her being first called to the rescue there. Miss 
Palliser is an unusually tall and graceful woman, with a 
handsome face ; she acts with the greatest spirit, and was at 
home even in the marvellously well trained Savoy cast. 
When Mr. D'Oyly Carte opened the English opera house 
with Ivanhoe, Miss Palliser was transferred there, and had 
a highly honourable share in one of the most remarkable 
operatic successes of the age. 

Palmer, Minnie (Mrs. John R. Rogers). — Miss 
Palmer was born at Philadelphia in 1865, and educated at 
the Convent of the Sacred Heart, Manhattonville, New 
York, until she vs^as eight years old, when she accompanied 
her mother to Europe, where her education was resumed. 
On her return to America she prevailed upon her mother 
to allow her to go on the stage, and appeared in 1876, in a 
play especially written for her, making her ddbut at the 
Brooklyn Park Theatre in New York. Her health, how- 
ever, broke down from over study or over excitement, and 
she was obliged to recruit it. On her return to the boards she 
toured the States, playing Dorothy in Dan'l Druce, and also 
leading parts in The Cricket on the Hearth and The Two 
Orphans. In 1879 she starred in a comedy entitled Minnie 
Palmer's Boarding School, which ran for two years. Her 
next production — My Sweetheart — was her most successful 
one, and she played in it continuously for four years ! In 
this she made her English dibut at the Princess' Theatre, 
Glasgow, and has also visited all parts of the world with 
the play. So long as Mr. J. Rogers was her responsible 
manager she was obliged to act in this phenomenally popular 



1 66 Pau 

piece, but directly she married him she declined to do so any 
longer, being heartily wearied of it. In 1889 she toured 
the English provinces, and for the Christmas season was 
engaged at a huge salary for the pantomime of Cinderella, 
produced at Her Majesty's Theatre — a gorgeous and 
ambitious effort which came to a sudden termination. 
Quite recently Miss Palmer's matrimonial troubles have 
attracted attention. Her domestic difficulties with Mr. John 
Rogers led to manifestoes and counter manifestoes. She 
complained of carving knives diverted from their legitimate 
uses ; he of hypnotism and too much mother-in-law. It 
was a delicate little idyll, and worthy of the press of the 
free and enlightened country in which it appeared. In the 
autumn of 1891 Miss Palmer returned to London, and 
played, first at the Grand, and then at the Vaudeville in 
My Sweetheart, and was announced to appear in a comic 
opera named Nitouche. 

Paulton, Harry. — This experienced low comedian 
was born at Wolverhampton in 1842, and made his first ap- 
pearance as an amateur in that town when about nineteen. 
Some three or four years later he joined the stage for good, 
and soon established himself as a great favourite in the 
provinces, but was not seen on the London boards, except 
for a single performance, till 1870, when he was engaged to 
play Blueskin in The Idle 'Prentice at the Strand, and made 
at once a very decided success. But it was more as a come- 
dian than as a burlesque actor that he became established 
there, appearing in a comedy of Arthur Sketchley's, and 
in Zekiel Homespun and plays of that type. These early 
efforts were forgotten by most of the critics, who were 
surprised to find him an actor and not a buffoon when he 
again appeared in a true comedy part, in The Parvenu at 
the Globe in 1891. In 1872 he became a member of the 
Alhambra, and made a very notable success by his acting 
in the title roles of King Carrot and The Black Crook — of 
which latter extravaganza (with a brother now dead) he 
was the joint author. Here he remained five years, 
playing chiefly in Opera Bouffe. In 1883 his play Cymbria 
was produced at the Strand, and in the following year 
The Babes ; or W(K)ines from the Wood, also from his pen, 
which ran for over a hundred nights at Toole's Theatre, 
and brought Miss Alice Atherton into great prominence. 



Pay 167 

In 1885 appeared Ermine, which he wrote in collaboration 
with Claxson Bellamy, in which the thieves Ravennes and 
Cadeau were inimitably acted by Frank Wyatt and himself. 
From 1888 to 1890 Mr. Paulton was not seen in London, 
and was part of that time in America. In 1891 he re-ap- 
peared on the London stage as Bender in All the Comforts 
of Home and in The Parvenu at the Globe, and later played 
the title role there, when Mr. Pigott revived the Bookmaker. 
More recently he appeared in The Mischief Maker at the 
Vaudeville. Mr. Paulton is married and has two sons 
already in the profession, besides a younger one still at 
school, and a daughter. His brother, Mr. Tom Paulton, is 
also an immense favourite and a very clever character- 
comedian. 

Payne, Harry. — it was a good piece of news 
indeed, to old as well as young playgoers, to hear that Mr. 
Harry Payne (v^ho is the last of the old school of Christmas- 
tide clowns) would be seen once more at Drury Lane, after 
his lamented absence from the pantomime of Beauty and the 
Beast last year. There is some slight solace in the know- 
ledge that he is an eminently worthy last of his race, and 
is directly linked with the great Grimaldi by his father, 
" Old Billy Payne," who fooled it on the same boards with 
that mighty master of his art. Mr. Payne, senior, was 
moreover the inventor of a host of Harlequinade scenes, 
many of which are still in vogue. His son, the subject of 
this sketch, was brought up for the harlequin business, and 
made a mark in that line at Covent Garden. But one 
evening, Flaxmore, the established clown of the house, 
was taken ill, and Mr. Payne was called upon to play his 
part. The hereditary instinct was strong within him, and 
he proved as great an artist as his father. Thereafter the 
glittering spangles and magic wand knew him no more. 
For twenty-five years he has been associated with clowning, 
and since 1883 has been a Regular in the bills at Drury 
Lane (with the exception of the one season above men- 
tioned), succeeding Harry Boleno, the well-beloved of 
schoolboydom. It is a curious coincidence that Mr. Harry 
Payne knew Augustus Druriolanus when he was a small 
boy at school. The small boy is now a big man, and 
Harry Payne no longer pats him on the head. Mr. Payne 
attributes the decadence of the calling of clown to the fact 



1 68 Pen 

that many managers now employ " knock-abouts," or 
music hall acrobats, for turns in front during the panto- 
mime season. In the good old days the clown was not 
merely a Christmas institution, but formed one of the stock 
company, and played utility or comedy in the summer 
season. Mr. Payne is a bachelor, and it goes without 
saying that he is devoted to children, to amuse whom has 
been his privilege for nearly half a century. In private life 
he is very fond of fishing, and curiously enough next to 
that placid pursuit, loves the contemplation of bustling 
city life. He may often be seen in the more crowded 
thoroughfares of the E.C. district, and it is interesting to 
speculate whether the desire ever seizes him to re-enact in 
real life the heroic deeds of his professional career, or 
whether he merely contents himself with recalling memories 
of the bright past, and sighing at the degeneracy of the 
unappreciative present. 

Pen ley, ^V. S. — Like so many others of our success- 
ful musicians and actors of to-day, Mr. W. S. Penley learnt 
his crotchets and quavers as a choir boy, some thirty years 
ago, at the Chapel Royal, Savoy. His father was a school- 
master, and as a young man, the future eccentric comedian 
assisted his sire with his scholastic duties. While thus 
employed in the week, he sang on Sundays as a basso 
chorister at a church in Charles Street, Westminster, and 
later, in the choir of Bedford Street Chapel, Bloomsbury, 
of which the Rev. J. M. Bellew was then the incumbent. 
Mr. Penley was accustomed to view with ambitious eyes 
that eloquent divine, arrayed in surplice and cassock, and 
calling constantly to his aid the accessory of theatrical 
gesture. His next engagement was in the choir of the 
Russian Embassy ; but the Russo-Turkish War breaking 
out, the minstrels were disbanded and his occupation gone. 
He now turned his attention to the stage, and with great 
difficulty procured an engagement with Miss Litton to play 
a part in the burlesque of Zampa at the Court Theatre. 
The first character in which he shone was that of the 
Foreman in Trial by Jury at the Royalty. After several 
provincial tours, he appeared in 1876 at the Strand in 
Princess Toto, and remained there till 1879, when he 
returned to the Royalty to play in Crutch and Toothpick. 
Next came a provincial tour with H.M.S. Pinafore Com- 



Phi 169 

pany, and in the autumn of 1880 a visit to America with 
the Hanlon-Lees combination. In the following year he 
returned to take part in The Vicar of Bray at the Globe, 
and in 1882 appeared in Rip Van Winkle and Falka. 
When The Private Secretary was moved from the Prince's 
Theatre to the Globe, he succeeded Mr. Beerbohm-Tree in 
the character of the Rev. Robert Spalding-, and his notorious 
distaste for metropolitan life gave a special point to the 
catch lines, " I don't like London — it is such a funny place 
to live in," which the public were not slow to appreciate. 
In this rdle he certainly scored his most brilliant success. 
He was afterwards seen in The Doctor, The Arabian Nights , 
Uncles and Aunts, jEsop's Fables, and in The Judge, which 
was first produced at Terry's Theatre in 1890, and subse- 
quently transferred to the Opera Comique. In 1891 he 
joined Miss Melnotte's Company at Toole's Theatre, and 
appeared as Guy Warrener, an officer in Our Regiment, 
which play, in spite of his brilliant acting and whimsical 
talent, which invested a dull character with an interest it 
v^^ould not otherwise have possessed, failed to attract the 
public. In September of that year Mr. Penley was again 
seen in comic opera, undertaking for a time Mr. Rutland 
Barrington's part in The Nautch Girl. Mr. Penley is mar- 
ried and the father of two sons. He lives at Wandsworth 
Common, and in private life amuses himself with carpenter- 
ing, and is moreover an excellent musician, especially on 
the organ. 

Phillips, Kate (Mrs. Harry Blenkinsopp-Coulson.) — 
This sparkling actress is the daughter of the late Mr. Philip 
Goldney, of Broadleigh Hall, Essex, a well-known fox- 
hunting squire, and a very popular personage in his county. 
In the journey of life it happened that Miss Kate Phillips 
became a governess, and during her career in that calling 
chanced to take part in some amateur theatricals, in which 
she achieved such a distinct success, that the educational 
profession immediately lost a member, and the dramatic art 
gained one. And well it was for the stage that it acquired 
an artiste so talented, so brilliant, so rippling over with the 
spirit of gaiety and humour. She made her ddbut as a page 
in Chilperic at the Lyceum. After this came a provincial 
tour, followed by many successes at the Prince of Wales', 
the Royal Court, the St. James', and the Vaudeville theatres, 



17° Pig 

at the latter of which she remained four seasons. Amongst 
the many successful characters which Miss Phillips has 
played, may be noted the Boy in Henry V. , Gerda in The 
White Pilgrim, Maria in Twelfth Night, Phoebe in Paul 
Pry, Lady Franklin in Money, Dot in The Cricket on the 
Hearth, Mrs. Pomfret in The Paper Chase, Cerisette in 
The Dead Heart, Lady Gay Spanker in London Assurance , 
and Susan in Nance Oldfield. In 1887 Miss Phillips 
suffered from a long and serious illness, and in the December 
of that year enjoyed a complimentary benefit at the Hay- 
market Theatre, when Mrs. Kendal, Miss Mary Anderson, 
Mr. and Mrs. Beerbohm-Tree, Mrs. Bernard Beere, Miss 
Marion Terry, and Messrs. David James, Thomas, Thorne, 
Lionel Brough, Ferriss, Fernandez, Righton, and Conway 
volunteered their services. In the Autumn of 1890 Miss 
Phillips played the part of La Mardchale de S616ny in The 
Struggle for Life — which succumbed at a very infantile 
age. She then entered into a contract engagement with 
Mr. Irving, and appeared in nearly all his productions at 
the Lyceum, but w^as occasionally lent, like a lucky shilling, 
to other managers. Miss Phillips is the wife of Mr. H. B. 
Conway, the well-known actor. 

PigOtt, J. W. — The subject of this sketch was born 
at Brockley Court, Somersetshire, and commenced his pro- 
fessional career in 1880 in the stock company at the Theatre 
Royal, Torquay. Soon afterwards Miss Marie de Grey 
engaged him for a season of the legitimate, and this was 
followed by another season with Mrs. Langtry. On that 
lady leaving for America (1883), Mr. Pigott joined his old 
friend, the late Mr. Charles Reade, for the remainder of his 
tenancy at the Adelphi. Mrs. Langtry then secured him 
to accompany her on her second American tour, at the con- 
clusion of which he remained behind at New York, playing 
for two years at the Lyceum Theatre under Miss Helen 
Dauvrey, and afterwards as a member of Mr. Henry 
Abbey's stock company at Wallack's Theatre. Returning 
to England, Mr. Pigott opened at Easter, 1891, the Globe 
Theatre with his own excellent comedy. The Bookmaker, 
with which Mr. Nat Goodwin had attempted to retrieve his 
bad luck with The Goldmine, during his season at the Gaiety 
in the previous autumn. Mr. Pigott is the author of several 
other plays, some of which have received favourable notice 



Pou 171 

from the hands of the London critics. He is a nephew of 
Earl Lathom, the " Censor of Plays." 

Pounds, Courtice.— The Savoy tenor is the son of 
a lady who under the name of Miss Mary Courtice was a 
well-known concert singer. He commenced his vocal 
career when eight years of age as a chorister at St. 
Stephen's Church, Kensington, in which he soon rose to be 
solo singer. He then joined the choir of the Italian Church 
in Hatton Garden, and remained there until his voice broke. 
After the rest which this necessitated, he returned to 
St. Stephens' as a tenor, and incidentally devoted himself 
to Sunday School Teaching. It now became evident that 
he had a voice of unusual sweetness, and he applied to 
Mr. D'Oyly Carte, and secured an engagement in the Savoy 
chorus during the run of Patience, at the same time under- 
studying Mr. Durward Lely and Mr. Rutland Harrington. 
In the following year (1882) he played a small part in 
lolanthe, first in London and subsequently in the provinces, 
and later on was in the cast of Princess Ida. He then went 
to America with the Mikado company, where he was ' ' lent " 
for three months to the management of the Fifth Avenue 
Theatre. In 1887 he revisited America with Ruddigore, at 
the end of which play he transferred his services for nine 
months to the Casino at New York. In May, 1888, he 
returned to London, and in the autumn created Captain 
Fairfax in The Yeomen of the Guard. When The Gondoliers 
was produced Mr. Courtice Pounds was allotted a more 
important part. In The Nautch Girl he sustained the part 
of Indru, and his fine singing in some of the love scenes 
with China Loofa obtained special notice. 

Rehan, Ada. — This rarest Rosalind, this most cap- 
tivating Katherine on the English speaking stage, was 
born in April, i860, at Limerick, Ireland. When six years 
old, her father went to America, taking his daughter with 
him, and engaged in contract work in New York. Miss 
Rehan received her education at a school at Brooklyn, 
and as she grew into womanhood beg'an to exhibit that 
spirit and humour, typical of her Irish extraction, and which 
have since added such a characteristic charm to her histrionic 
efforts. But it was quite an accident that she adopted the 
stage as a profession. She happened in 1873 to be travelling 
for pleasure with her sister, who was married to Mr. Oliver 



172 Reh 

Byron, a theatrical manager, and a certain member of the 
latter's Company falling ill, when theywere at Newark, N.J. , 
Miss Rehan filled the gap and appeared as Clara in Across 
the Contmejit. She succeeded so admirably that, acting 
under good advice, she determined to adopt the stage as 
a profession. The next year, being fourteen years old, she 
made her professional dibut at Wood's Museum, New 
York, in a small part in Thoroughbred. In 1877 she joined 
the stock company of Mrs. John Drew (mother of Mr. John 
Drew with whom she has so long acted), and played for 
three years at the Arch Street Theatre, Philadelphia. She 
was next engaged for Mr. Macaulay 's Company at Louisville, 
and then with Mr. Albaugh to play at Albany and Baltimore, 
in Shakespearean parts, with Edwin Booth and Lawrence 
Barrett. In 1879 Mr. Augustin Daly was so attracted by 
her acting as May Standish in Pique that he engaged her, 
and she has remained the particular bright shining star 
of his company ever since, creating for herself a reputation 
second to none in America. She made her first appear- 
ance in London in 1884, when Mr. Daly brought his 
company over for that memorable experiment which 
inaugurated his successful series of visits. Her English 
debut was in the character of Floss in Casting the Boomerang 
at Toole's Theatre. In 1886 she played at the Strand, in 
1888 at the Gaiety, and in 1890 and 1891 at the Lyceum, an 
interesting gradation of theatres, commencing with one 
whose holding capacity is 900, and finishing with a house 
that seats 1455 in the auditorium. It was during the 1888 
visit that Mr. Daly produced The Taming of the Shrew, in 
which as Katherine Miss Rehan made a veritable personal 
triumph. It is impossible to convey in words the sensation 
that she created of filling the entire stage, to the exclusion, 
almost the extermination, of everyone and everything else, 
as she swept up and down in her bursts of termagent temper ; 
and equally as difficult to describe how the femme terrible 
of the first half of the comedy, softened and melted into 
the exquisitely sweet and gentle being, who lulled all ears 
and dimmed all eyes with her melodious accents and 
womanly tenderness during the last scene in Lucentio's 
banquet hall. In 1890 it was in As You Like It that Miss 
Rehan sustained and even increased her reputation. Her 
Rosalind took society by storm, and a consensus of critical 



Ric 173 

opinion declared it the finest on the modern stage. In 
October, 1891, her appearance as Lady Teazle in The School 
for Scandal was being looked forward to with the liveliest 
interest. As an actress Miss Rehan is unique. She alter- 
nates a perpetual petulance, with touches of serious, almost 
sad tenderness, and gleams of the brightest, wildest fun. 
Her elocution is exquisite, and her voice one of singular 
melody. To these high talents she adds the completing 
charms of a fine and graceful figure, and an intelligent and 
fascinating face. 

Richards, Cicely. — Miss Cicely Richards is an old 
favourite with the public, for it was as far back as 1875 
that she first obtained appreciation by her humorous acting 
at the Vaudeville as Belinda in Our Boys. She remained 
at this theatre for seven years, under the management of 
Messrs. James and Thorne, her principal successes being 
as Mrs. Cupps in The Two Roses, Mrs. Dismal in Married 
Life, Lady Sneerwell in The School for Sca^idal, and the 
Confidante in The Critic. In 1882 she toured the provinces 
for some time in Miss Robertson's and Mr. Bruce's Com- 
panies, and then joined her old manager, Mr. David James, 
at the Strand and Opera Comique. When Miss Grace 
Hawthorne assumed the management of the Princess's, 
Miss Richards appeared as Biddy Roonan in Shadows of a 
Great City, Vera in Siberia, Mrs. Manly in The Still Alarm, 
and in similar plays. In July, 1889, she returned to the 
Vaudeville. In the summer of 1891 she was in the cast of 
Fate and Fortune at the Princess's Theatre, and in the 
autumn in The Late Lamented a.t the Strand. Miss Richards 
is a remarkably clever and humorous actress, and in dialect 
parts, where the Irish brogue, the Yankee twang, or the 
Lancashire accent has to be reproduced, is unexcelled. 

Rig-Jiton, Edward Corrie. — "Teddy," the 

" Pocket Comedian," made his first appearance in 1853, in 
The Stranger, at Sadler's Wells. He soon after imperso- 
nated William Tell's son on the same boards, to the lead of 
Samuel Phelps. After this ,he was engaged by Charles Kean 
during the last years of his management of the Princess' 
Theatre. In 1861 Mr. Righton attempted the nightly task 
of attracting audiences to the Old Coliseum in Regent's 
Park, where he gave some monologue entertainments until 
the summer of 1863, when he considered it advisable to join 



174 Rig 

a provincial company on a salary of fifty shillings a week. 
Later on, after a visit to America, he appeared in 1871 at 
the Court, in Randal's Thumb, and shortly afterwards took 
over the management of the theatre for a short time. He 
then played at various London houses, but chiefly at Drury 
Lane, until 1878, when he again undertook the cares of direc- 
tion, this time at the Globe. In 1887 he joined the Conway- 
Farren Comedy Company, but a year later descended to 
the role of the fat woman in a Birmingham pantomime, 
which engagement completed, he returned to London to 
play at the Avenue and elsewhere. In i88g he added 
another distinct character to his long list, by his exceed- 
ingly clever impersonation of the fussy nervous little Mr. 
Bargus, M.P., in The Weaker Sex, at the Court. In the 
autumn he added the comic element to The Dead Heart at 
the Lyceum, as Toupet the 'barber. In 1890 he sustained 
the part of Hippolyte Caramel in Nerves at the Comedy. 
Mr. Righton's acting is marked by great versatility, and his 
eff"orts in Shakespearean comedy have always been credit- 
able. In spite of the rotundity of his figure he is a noted 
dancer, and a general favourite with all who are fortunate 
enough to know him. 

Rig"nold, Lionel. — This excellent comedian is the 
son of the late Mr. Henry Rignold, for many years a cele- 
brated delineator of nautical characters at East End 
theatres, and subsequently, under Mr. Chatterton's manage- 
ment, a member of the Drury Lane Company. Mr. Lionel 
Rignold is a cousin of the brothers George and William of 
the same name, and first appeared before the footlights 
when a babe in arms, the occasion being a farce entitled 
Mr. and Mrs. White. Sixteen years passed before he next 
faced the public, and this time at Cardiff in return for a 
salary of eighteen shillings a week. He next joined a stock 
company which included Mr. E. S. Willard in its ranks, 
and later on another at Liverpool, in which (as at the 
Adelphi in later years) he shared the comedy lead with Mr. 
J. L. Shine. A tour under the management of Miss 
Carlotta Leclercq followed. " She is one of the best direc- 
toresses," he writes, " I have ever had the good fortune to 
meet with." An experience with a company of his own at 
Ipswich proved only an artistic success, and he was fain to 
forego stage management and accept an engagement at 



Rig 175 

Aberdeen. There Mr. Charles Collette saw him act, and 
at once invited him to join his own company, which was 
shortly starting for the provinces. Of the many excellent 
characters Mr. Rignold has played, that of Jack Young in 
Green Bushes is perhaps the finest, though, as the original 
Zachariah Wiffen, in The Gay City, he received great 
praise. In London Day by Day, produced at the Adelphi 
in 1889, his rendering of Harry Ascalon was extremely 
clever, the original of his creation being a well-known city 
character. More recently, as Nicodemus Dickensen in The 
English Rose, he hit off to perfection the character of a 
cockney horsekeeper, welsher, and general sharper. This 
was followed by the Trumpet Call, in which as Professor 
Ginnifer, a showman and sort of general-entertainment- 
provider, he largely added to the comic element. All 
Mr. Rignold's representations are characterised by a won- 
derful realism. His keen eye observes human nature as it 
rolls past him in the streets, and enables him to invest his 
impersonations with touches drawn from life. 

Rignold, William H. R.— Born at Leicester in 
1838, of theatrical parents, this excellent low comedian's 
delight knew no bounds, when as a child of four years of 
age he was permitted to dance a hornpipe, at Redditch, at 
a " Benefit " performance for his mother, who was starring 
there during the vacation at the Theatre Royal, Birming- 
ham. Later on he became a chorister at the church of 
St. Andrew's, Newcastle-upon-Tyne, and studied for the 
musical profession. But whenever the opportunity offered 
he would try his hand at acting, and his penchant for that 
became so strong that he determined, when eighteen years 
old, to adopt the stage as a profession. Commencing in 
utility parts in small companies, he and his brother George 
(who is now sole lessee and manager of Her Majesty's 
Theatre, Sydney) were presently engaged for a season at 
the same theatre at Swansea, the latter in the orchestra, 
the former on the boards. The two resembled each other 
so closely that they often actually changed places to suit 
their own convenience or fancy, and for a time the manager 
was unaware of these proceedings, until he was unplea- 
santly enlightened by an unexpected collapse in their 
arrangements. After this, for the next four years, Mr. 
Rignold played leading characters at Dublin, and in 1864 



176 Rob 

joined the Princess' Theatre, London, and has since regu- 
larly played at various West End houses. Of his many 
successful impersonations, that of Jacques in The Two 
Orphans and Goujet in Drink are considered the best. His 
forte is the portrayal of well-defined characters. As a 
reciter of stirring pieces he has few equals. Mr. Rignold 
is devoted to the violin, and is an exquisite performer. He 
is, moreover, a clever artist with the paint brush. He is 
expected to return to England at Easter, 1892, from a long 
professional tour in Australia. 

Roberts, Arthur. — The absolutely funniest man on 
the London stage was born in London in 1850. After 
leaving school he entered a solicitor's office, where he 
received a small but certain wage. In the course of time 
it occurred to him to increase his means by becoming an 
actor, but, with a lawyer's shrewdness, he decided not to 
discard the substance for the shadow, and consequently 
continued to perform his legal duties during daylight, and 
fulfil any theatrical engagements he could obtain after dark. 
At times it was a trifle awkward when some chance client 
coming into the office declared he had seen the clerk per- 
forming in front of the footlights overnight, but Mr. Arthur 
Roberts was already a consummate actor, and always equal 
to the occasion. He would at once dissemble, and the look 
of blank horror in his face at the unhallowed suggestion 
would convince the bewildered accuser, against his will, 
that he was mistaken. This dual existence continued for 
no less than eight years, until in 1875 M''' Roberts finally 
adopted the stage for his profession. Since that time he 
has played with enormous success, first at music halls, but 
afterwards at many of the West End theatres, including 
Drury Lane. It was at the Avenue, however, that he 
achieved his greatest triumphs. In Madame Favart, The 
Old Guard, Nadgy, and Lancelot the Lovely, he created a 
succession of characters that caused his audiences to 
scream with laughter. He has varied his London engage- 
ments with provincial tours, during which he used to receive 
a salary of ;^i2o a week. Early in 1890 Mr. Arthur Roberts 
threw down the gauntlet to Fortune by taking the out-of- 
the-way Royalty Theatre, in conjunction with Sir Augustus 
Harris and another. Here were produced The New Corsican 
Brothers and Tra la la Tosca. The latter extravaganza 



Rob 177 

was written by Mr. Burnand, the sole surviving master of 
the art of true burlesque writing. It was full of smart 
things, and in every way worthy of its author's sparkling 
pen. But somehow it did not catch on. In the first place 
the inimitable Arthur was not letter-perfect in his part, 
when it was produced, and this roused the wrath of the 
critics. In the second place the Royalty is a "hard row to 
hoe," and a failure there is half excused by reason of the 
locality. The result was that the venture resulted in a loss of 
;^5,ooo in three months, and subsequently caused litigation 
between himself and Sir Augustus. Mr. Roberts is justly 
proud of one circumstance in connection with that disastrous 
production, and that is, that he paid up every penny of the 
money he himself lost over it, without having recourse to 
the modern fashion of dodging his creditors in Portugal 
Street. This disaster caused Mr. Arthur Roberts to seek 
recuperation in the country. He gave a special matinie to 
his friends at the Gaiety, and then took Guy Fawkes Esquire 
for a long provincial tour, visiting the metropolis twice, for 
a week each time, at the Grand. His reputation re-estab- 
lished, after the nasty jar of the Royalty experiment, he 
appeared at the Opera Comique -wiXhJoan of Arc (January, 
1891,) which met with fair support during its run of six 
months at that theatre, and ended up with a "benefit," 
when a programme of wondrous magnitude was seen, as 
is usual when the person to be benefited is on the flood 
tide of popularity, and included portions of Guy Fawkes 
Esquire (not of course the M.P. version with the Robertian 
chestnuts). Whether he was a fitting recipient for a benefit 
was freely discussed ; he certainly had to pay damages 
and costs to Mr. Wilton Jones, and the expenses of that 
comical cause cilebre probably made a small hole in the 
accumulations resulting from half a year's steady work. In 
October, a second edition oi Joan of Arc was brought out, 
this time at the Gaiety, in which Mr. Roberts played his 
old rdle of Arthur de Richemont, the Constable of France, 
and introduced an excruciatingly comic song, burlesquing 
Lord Randolph Churchill. 

Robertson, J. Forbes. — Mr. Forbes Robertson is 
the son of the well-known art critic and historian, Mr. John 
Forbes Robertson, and was born in London in 1853. After 
some years at Charterhouse, he completed his education in 



178 Rob 

France and Germany, where he also studied painting at 
various art schools, and was in 1870 admitted as a Student 
at the Royal Academy School of Art, London. Here he 
proved a most promising pupil, yet found the work daily 
growing more irksome, and at length determined to cast 
aside brush and palette and become an actor. His dibut 
on the stage was as Chastelard in Marie Stuart at the 
Princess' Theatre (1874), then under the management of 
his friend Mr. Wills. Fairly successful at his first trial, he 
commenced a regular apprenticeship to his new art, under 
Mr. Calvert at Manchester, playing chiefly in Shakespearean 
characters. His first substantial success was in 1876 as 
the Abb6 de Larose in Corrine, which was followed by 
many other excellent impersonations at various theatres. 
In 1883 Mr. Forbes Robertson joined the Bancrofts at the 
Haymarket, where he continued to play leading parts until 
July, 1885. From August of that year until May, 1886, he 
travelled with Miss Mary Anderson's Company in America, 
and after his return to England was engaged by Miss Kate 
Vaughan for a short season of old comedy at the Opera 
Comique. During Miss Mary Anderson's last visit to 
London in 1887, Mr. Forbes Robertson supported her as 
Leontes in the Winter's Tale, and that actress availed 
herself of his artistic powers, and entrusted to him the 
designing of the dresses for that production, many of which • 
were much admired. In 1888 Mr. Forbes Robertson's 
able rendering of Arthur Dimmesdale in The Scarlet Letter 
received very favourable notice, and he was shortly after- 
wards engaged to play the part of Orlando to the Rosalind 
of Miss Wallis at the Shaftesbury. When Mr. John Hare 
opened the Garrick in 1889, Mr. Forbes Robertson played 
with very great power the part of Dunstan Renshaw in 
The Profligate. But he rose to even a higher standard 
when he created Baron Scarpia in La Tosca, and his 
acting in this has been held by competent critics to equal 
in passion, power, and earnestness, Mr. Henry Irving's 
portrayals of similar parts. In the autumn of 1890, Mr. 
Forbes Robertson played in Dream Faces, during the 
run of the piece de risistance, A Pair of Spectacles, in 
which there was no suitable character for him, and 
later in Mr. Pinero's qualified success, Lady Bountiful. Mr. 
Forbes Robertson then made a professional visit to New 



Rob 179 

York, and in the late fall appeared at Proctor's Theatre 
in that city. 

Robins, Elizabeth. — Miss Robins is American by 
birth, and made her first appearance in 1885 at the Boston 
Museum, where she played in a chromatic scale of charac- 
ters that ranged from the deep bass of tragedy to the 
piping soprano of farce, and gained the experience that 
has enabled her to fill her present position. A twelve 
months' tour in the principal States of the Union with 
Messrs. Booth and Barrett completed her dramatical educa- 
tion. But she had travelled too quickly, both mentally and 
physically, and a rest was ordered, whereby a very desirable 
engagement with Mr. Augustin Daly had to be sacrificed. 
On her way to the continent of Europe for a holiday, Miss 
Robins passed through London, where she was offered and 
accepted the role of Mrs. Errol in The Real Little Lord 
Fauntleroy, in succession to Miss Mary Rorke, and her 
sympathetic acting gained her attention and praise. She 
next appeared under Miss Genevieve Ward's management in 
Forget-me-not and Forgotten — a maladroit sequence. Up to 
this time she had not made any very distinct mark in her 
profession, but she was now destined to do so. In July, 
1889, The Pillars of Society was produced at an Opera 
Comique matinee, and Miss Robins' conception of Martha 
Bernick was considered one of the gems of the performance. 
A few months later she achieved further success in Her 
Own Witness, and her emotional tenderness in a difficult 
part was very striking. In February, 1890, she was engaged 
at the Avenue for a part in Dr. Bill, and appeared in several 
mutinies, and in Punchinello particularly, distinguished her- 
self by her sympathetic performance. Later on as Liza in 
The Sixth Commandment, at the Shaftesbury, she added to 
her reputation. But her most important success was in 
April, 1 89 1, when, in conjunction with Miss Marion Lea, 
she produced Ibsen's play of Hedda Gabler, first at a series 
of matinees and later on for evening performances at the 
Vaudeville. In this her creation of Hedda was so subtle 
and powerful that it extorted praise for the actress from 
the most pronounced opponents of the dramatist, and in 
the words of one critic, "almost convinced one that such a 
woman could exist, and behave as Hedda was made to do 
in the play." This was high praise from the Philistines. 



i8o Roe 

It is pleasant to know that the enterprise of the two young 
ladies was a complete success, and that on all sides they 
received praise, encouragement, and inducement to perse- 
vere. Offers of engagement now poured in, and to prove 
her claim to the possession of infinite variety. Miss Robins 
made a startling transition from the subtleties of Ibsen to 
the vagaries of Adelphi melodrama, playing the lead in 
The Trumpet Call wntW September, 1891, when she passed 
to the Opera Comique to create the leading part in An 
American. Happily it is her intention, when time and 
opportunity serve, to repeat the experiment which she and 
Miss Marion Lea have so successfully initiated, of exploiting 
new dramas. 

Roe, BaSSett. — After having gained considerable 
experience in the provinces, supporting Messrs. Barry 
Sullivan, William Creswick, and other masters of Shake- 
spearean drama, Mr. Bassett Roe made his London debut 
at the Grand in March, 1886, as Richmond, Duke of 
Gloucester in Jane Shore, and in the February following 
played Uncle Jonas in The Dark Secret, first at the 
Standard and subsequently at the Olympic. In July he 
joined Miss Grace Hawthorne's Company at the Princess' 
Theatre, where he remained till December, 1888, when he 
was engaged by Miss Wallis, at the Shaftesbury, to play 
Beauseant in The Lady of Lyofis. In June, 1889, he returned 
to the Princess' to create Sir Ralph Minto, a new type of 
villain, in The True Heart, and a character part in Master 
and Man. Mr. Bassett Roe's next appearance was in Mr. 
Robert Buchanan's beautiful Greek play, The Bride of 
Love, which, produced at a special matinde, was speedily 
transferred to the boards of the Lyric. In the autumn 
of 1890 he undertook the part of Sir Philip Kingston in 
The English Rose, and his creation of that character was a 
masterly study. At the conclusion of that melodrama he 
appeared at the Princess' in Fate and Fortune, and acted 
admirably as Major Coffin in Arrah-na-Pogue which fol- 
lowed. Mr. Bassett Roe has also played with great 
success in very many matinees, and was at one time a 
prominent member of the Pastoral Players. 

Rorke, Kate. (Mrs. E. W. Gardiner.) — Miss Kate 
Rorke was educated at the Convent of Notre Dame in 
London, and began her professional career when quite a 



RoR i8i 

child, her success being the result of a long and conscien- 
tious apprenticeship in the practical school of her art. She 
first appeared at the old Court Theatre in 1878 under Mr. 
Hare's management, as one of the quartette of school girls 
in Olivia, which led to an engagement at the Haymarket, 
under the Bancrofts, to play a similar character in School. 
Here Mr. Charles Wyndham saw her, and engaged her for 
five years, and she was identified with many a Criterion 
triumph, in Piccadilly, the provinces, and America. On the 
termination of her agreement, she secured a fine emotional 
part as Lucy Preston in The Silver Shield, and then joined 
Mr. Thomas Thorne at the Vaudeville, where she created 
the title role in Sophia, and thereby raised herself to a very 
high rank in her profession. Sophia ran for four hundred 
nights, thanks in no small degree to her exquisite acting ; 
all London flocking to witness her embodiment of the fresh 
young innocent English girl of a past century. She next 
played the juvenile lead in Joseph's Sweetheart, and after 
three years at the Vaudeville, accepted an engagement with 
Mr. Hare to play Leslie Brudenell in The Profligate, and 
afterwards appeared as Mrs. Goldfinch in A Pair of Spec- 
tacles, and in Lady Bountiful. During her professional 
career Miss Kate Rorke has only been under three manage- 
ments, those of Mr. Charles Wyndham, Mr. Thomas Thorne, 
and Mr. John Hare. Miss Kate Rorke, who is now appear- 
ing in School at the Garrick, is the wife of Mr. Gardiner, 
the well-known actor. 

Rorke, Mary. (Mrs. Frank St. Aubyn.) — Miss Mary 
Rorke is a sister of Miss Kate Rorke, and was born at 
Westminster. She comes of a theatrical family, her mother 
having been well known on the stage as Miss Whithall, 
whilst by descent she is connected with Nelly Moore and 
Miss Harriett Melon, who became Duchess of St. Albans. 
Miss Rorke's father, now a picture frame maker, was 
once on the boards and played with Edmund Kean. When 
she reached a suitable age he offered her the choice of two 
careers, the stage or painting. She chose the former, and 
he then said he would allow her a couple of years in which 
to make a mark, and if she failed to do so within that 
period, she would have to take up some other pursuit. 
Her first appearance was in a sort of extravaganza at the 
Princess's in 1874, where she played the part of a cat. 



i82 Ros 

After three weeks the manager noticed the earnestness and 
energy with which she deHneated the varying phases and 
emotions of feline existence, and in appreciation thereof 
gifted her with speech to the extent of one line. She next 
obtained an engagement under Miss Marie Litton at the 
Court Theatre, and played a small part in Calypso, in which 
she was lucky enough to enlist the interest of Mr. Doyne, 
the stage manager, who introduced her to Mr. Charles 
Kelly. This gentleman was fitting out a stock company 
of the old-fashioned description to open at Croydon, and 
Miss Rorke was engaged for general utility, but ultimately 
rose to the juvenile lead. She then went to Liverpool and 
obtained an opening at the Prince of Wales' Theatre, where 
she enjoyed a wide and varied experience, which was of 
the greatest educational advantage to her. Returning to 
London she played, first at the Court, under the manage- 
ment of Mr. Hare, and then at the Haymarket. A tour as 
Galatea followed, and led to an engagement at the Criterion 
under Mr. Charles Wyndham, and here she stayed five 
years, varied only by a visit to the United States. Since 
then she has appeared in a series of Adelphi and Princess's 
productions. Her favourite character is that of Dearest in 
Little Lord Fauntleroy , which she played for an afternoon 
season at the Opera Comique, and during which she also 
appeared every evening in Adelphi melodrama, a truly for- 
midable physical task. Miss Rorke has only once attempted 
Shakespeare, on that occasion she made a handsome and 
interesting Queen Elizabeth in Mr. Richard Mansfield's 
revival of Richard ILL. at the Globe. In the autumn of 
1890 she played the lead in The English Rose at the Adelphi, 
in which house she succeeded to Miss Jessie Millward's 
place. 

Rose, Annie. (Mrs. Horace Nevill.) — Miss Annie 
Rose, who has so long, so gracefully, and so piquantly 
filled the part of the Duchess of Fayensburg in La Cigale, 
made her debut at the Gaiety in 1879, ^-^d was next seen in 
pantomime at Covent Garden and Drury Lane. Her first 
pronounced success was at the Royalty in 1883, in The 
Merry Duchess, and the next year she joined Mr. Lawrence 
Barrett's Company during his tenancy of the Lyceum. In 
1888 Miss Rose played Pauline in The Lady of Lyons at an 
Olympic matinde, being supported by Mr. Forbes Robertson, 



Ros 183 

and in October following assisted at the opening of the 
Shaftesbury Theatre, taking the part of Celia in As You 
Like It — a very creditable performance. In July, 1889, she 
essayed Lady Teazle at a Vaudeville matinee of The School 
for Scandal, and in April of the following year created 
Helen Jellicoe in Dick Venables, and proved herself a very 
charming ingenue. Later on she played the part of Nancy 
Blenkarn in The Middleman during Mr. Willard's tenancy 
of the Shaftesbury. Her steady progress in her profession 
led to an engagement at the Lyric, in which she has proved 
singularly loyal to the management during the phenomenal 
run of La Cigale. 

Roselle, Amy. (Mrs. Dacre.) — Miss Amy Roselle 
was born at Glastonbury, where her father was connected 
with the scholastic profession, but after her successful 
appearances on the stage in conjunction with her brother 
Percy Roselle (who was known as the "Infant Phe- 
nomenon"), he entered into theatrical management on the 
strength of the intellectual capital represented by his two 
clever and precocious children, who had made a con- 
siderable reputation by their impersonations in pantomime 
at Drury Lane, and in burlesques of Shakespearean plays. 
Miss Roselle's grown up debiit was made at Exeter, after 
■which she travelled the provinces with Mr. E. A. Sothern. 
She was the youngest Lady Teazle on record, having acted 
that part when only fifteen years old. Leaving Mr. 
Sothern's Company, she supported Samuel Phelps and 
Creswick in such parts as Portia, Desdemona, and Ophelia, 
and played all the standard female leads in dramatic litera- 
ture. In 1872 she paid a visit to America. Three years 
later she was the original Mary Melrose in Our Boys, at 
the Vaudeville, and played the part for three years, and 
followed it by appearing for two more as Dora in Diplomacy. 
But more important than these efforts were her celebrated 
Esther Eccles in Caste (of which Mr. Clement Scott wrote 
in The Telegraph that it was the finest ever seen), her 
equally powerful Cynisca when she supported Miss Mary 
Anderson in Pygmalioti and Galatea, and her impersonations 
of Mrs. Blythe in The Colonel and Lady Constance in King 
John. After her marriage with Mr. Dacre Miss Amy Roselle 
appeared with him in The Silver Shield and Harvest, in 
which she made two genuine successes as Alma Blake and 



184 Row 

Beruda. In 1887 she and her husband started on a provin- 
cial tour, which lasted for two years, playing in many 
popular productions, and in 1889 she created the title role 
in Esther Sandras. In the same year she made a startling 
departure by appearing at the Empire Music Hall and 
reciting poems from Tennyson and other poets. Early in 
i8go Mr. and Mrs. Dacre gave a series of recitations at 
the Prince's Hall, Piccadilly, and also appeared for a short 
season in the provinces, until the former was called to 
London for The Royal Oak, at Drury Lane. In October 
they sailed for America, and on their return in i8gi Miss 
Roselle signed an agreement with Mr. Irving by which her 
services are retained for the Lyceum Theatre. 

Rowe, Louise. — Miss Rowe comes of a Cornish 
family, and is a native of Redruth — a town that has been 
singularly prolific in producing operatic artistes. Miss Rowe 
was first heard in The Three Towns, and her powerful voice 
and fine presence assured her a gratifying reception. She 
then obtained an engagement with Mr. D'Oyly Carte, and 
made her dibut in one of his provincial companies as 
Phcebe in The Yeomen of the Guard. She was so suc- 
cessful that a four years' agreement for her exclusive 
services ^was offered and accepted. With but short inter- 
vals for rest Miss Rowe continued steadily at work, 
appearing as Tessa in The Gondoliers and Pitti Sing in 
The Mikado. When The Nautch Girl was produced at the 
Savoy, Miss Rowe made a very successful Banyan, and 
was also retained to understudy Miss Jessie Bond, in the 
absence of whom, a little later, she assumed the part of 
Chinna Loofa for a time with success. Miss Rowe's ad- 
vancement in her profession has been as rapid as it has 
been well deserved. 

Rutland, Ruth. (Mrs. W. H. Crossland.) — 
Although from her earliest years Miss Ruth Rutland had a 
great desire to be an actress, the realisation of it was long 
deferred, for family prejudices would not permit of the step 
being taken, and her energies found vent in nursing the 
sick and Hospital work, in both of which she was much 
interested. And so she grew up, was married, and became 
the mother of a family, without ever having crossed the 
threshold of the dramatic world ; although she became 
expert in the art of entertaining by getting up concerts, 



Sau 185 

bazaars, fancy fairs, and dances for charitable purposes, in 
which she was particularly successful. About four years 
ago Miss Rutland had the misfortune to lose her eldest son 
at sea, whereby her nervous system was so completely 
shattered that it was suggested to her husband she should 
now be encouraged to go on the stage, in the hope that she 
might derive relief from the occupation so afforded, and 
under these conditions Miss Rutland became a member of 
Mr. Mark Melford's Kleptomania Company in August, 
1888, and played for fifteen months in the provinces. 
Her London dibut was made in November, 1889. Early 
in i8go she appeared in Nixie at Terry's, and afterwards 
at the Globe. She was then engaged by Mr. Darnley for 
the part of Mrs. Sterndale in The Solicitor, which was 
produced at Liverpool. When Miss Melnotte introduced 
the play to a London audience at Toole's, Miss Rutland 
became a member of her Company, and her humorous 
acting with Mr. Kaye was distinctly one of the features of 
the piece. She subsequently appeared in The Two Recruits, 
and on the termination of the season transferred her services 
to Mr. Willie Edouin, and appeared at the Strand in Private 
Enquiry, Tu7~ned Up, Daggers Drawn, and other produc- 
tions. Miss Rutland is married to a gentleman who is an 
architect by profession, which has brought her into constant 
association with art and artists. 

Saumarez, CiSSie. — Miss Saumarez was born at 
Bath in 1870. At a very early age she evinced such talent 
for singing that her parents determined to cultivate her 
voice, and she was thoroughly taught, her studies being 
completed under Signor Pieraccini. Her first public appear- 
ance was in 1886 at the Bath Saloon, Torquay, where she 
achieved a pronounced success, and continued for some 
time to sing on the concert platform. At last, anxious to 
gain a footing on the Lyric stage, she accepted a small part 
in Dorothy, and made her London debut in that opera, and 
after understudying Phyllis for some time was promoted 
to the part, and played it till the end of the run. Her 
success led to an engagement to understudy in Mr. 
D'Oyly Carte's Company at the Savoy, and she also 
appeared in his provincial company as Casilda and later 
as Gianetta in The Gondoliers. Upon Miss Palliser's 
translation to Cambridge Circus, Miss Saumarez succeeded 



I 86 Sax 

to the important role of Gianetta at the Savoy, and played 
it successfully for a considerable time. Upon the produc- 
tion of The Nautch Girl Miss Saumarez was cast for the 
part of Suttee, in which she is appearing- at the time of 
writing. 

Saxe, Templar. (Mr. Edercain.) — There are few 
more vivacious actors on the London lyric stage than Mr. 
Templar Saxe, whose mother was the late Lady di Capel 
Broke, and whose father is Mr. Eaton Edercain, barrister- 
at-law. In 1879, when a boy of fourteen Mr. Templar Saxe 
began acting in amateur theatricals at the Theatre Molidre, 
Brussels, and played there subsequently a great deal in 
English, German and French plays until 1885, when he 
made his professional dibiit at a matinie at the Comedy 
Theatre, London, in The Berkshire Regiinent. Soon after- 
wards Madame Lemmens Sherrington urged him to sing at 
concerts and at drawing-room gatherings, and the very 
favourable press notices he received led him to seek an en- 
gagement with the German Reeds, of whose well-known 
company he became a member in November, 1887. In 1889 
the late Carl Rosa engaged him to play the title role at the 
matinees of Paul Jones, as he feared Miss Agnes Huntington 
would not be equal to more than six performances a week, 
and also to take a small part in that opera, and he subse- 
quently appeared for that lady some twenty-five times with 
marked success. During the run of that piece Mr. Templar 
Saxe also created the characters of Tito Palastro in John 
Smith, and Charles in All Abroad, which merry operettas, in 
turn, formed the lever de rideau before Paul Jones. In 
September, 1890, having meanwhile acted as understudy to 
Mr. Hayden Coffin at the Prince of Wales' Theatre, he started 
for a ten months' tour with the Carl Rosa Light Opera Com- 
pany as their leading baritone in Marjorie. On his return to 
London, Mr. Wyndham at once secured him for the role of 
Bertie in Miss Decima, an excellent part until cut down 
because of "Mrs. Grundy." Mr. Templar Saxe has also 
created juvenile leads in other operettas, and was connected 
with the production of The Favourite of the King, in which 
his singing of a serenade made quite a sensation in musical 
circles. Mr. Templar Saxe was educated at Brussels and 
holds the degree of Bachelor of Philosophy and Letters of 
that University, and was also for a time a student at Bonn. 



Sco 187 

He married, in 1889, Miss Annie Schuberth, and is the 
father of a very bonny boy. 

ScOVel, Chevalier. (Edward Brooks Scovel). — 
This excellent tenor is an American by birth, and was 
born at Detroit, Michigan, in 1853. His father was a 
doctor, and he himself was originally intended for the pro- 
fession of medicine. Having graduated at the University 
of Michigan, he followed the usual career of a medical 
student — even to that variation which includes post-obits in 
addition to post-mortems. The result was that at twenty- 
two years of age the future tenore rohusto found himself an 
impecunious orphan. Being gifted by nature with a fine 
voice and a sturdy frame, which at that time turned the 
scales at 22 stone, he determined first to reduce his bulk by 
limiting his diet to six apples a day, and then to turn his 
rare musical gifts to account. He was successful in both, 
and worked his way to the operatic stage via the church 
choir of St. Thomas', New York, where he met Miss 
Marcia Ouseley, a daughter of Judge Roosevelt, and heiress 
to the Roosevelt dollars — which ran into a startling array 
of "oughts." To this lady he was married in 1877, and 
is now the father of two children. After his marriage he 
quitted the musical profession for a period ; but having 
previously stipulated- that he should be free to follow his 
musical career, six months later he moved to Milan, 
where he studied under Signor Lamperti and Laone 
Geraldoni, to whom he says he is indebted for the produc- 
tion of his high notes and for the method of enunciation 
which so distinguishes his singing. In 1885 The Chevalier 
made his operatic ddbut in Italy, supporting Madame Nor- 
dica in La Traviata. Together the two compatriots passed 
safely through the fiery furnace of a Milanese audience, and 
Queen Margherita conferred upon him the title he bears, 
in recognition of his talents. He is also a Chevalier of 
Spain, the ex-Queen Isabella having personally invested 
him with the white cross of Isabella Catholica, and 
requested him to always bear the title of Chevalier then 
conferred upon him. In 1886 he joined the Carl Rosa 
Company in England, and sang in Faust, Lohengrin, and 
Carmen. Unfortunately a disagreement with the manage- 
ment occurred, which resulted in a suit at law, and the 
Chevalier having to pay ;^6oo damages. He next returned 



i88 Sed 

to America, and passed to the Boston Ideals, remaining 
with them till 1890, when he was engaged to support Miss 
Emma Juch at a salary of £2° ^ night for four nights a 
week. He was then secured by Mr. Horace Sedger for the 
Lyric, where he made his London dibut in the opera of 
La Cigale, on a salary of seventy guineas a week, and 
ten per cent, of the net profits, equal to an income of over 
;^8,ooo a year, and probably the largest ever earned on the 
light opera stage. Mr. Scovel often tells how on one visit 
to Monte Carlo he broke the bank and found himself the 
winner of ;^6o,qoo in sixteen days. He can still show a 
set of diamond studs that he bought for himself, but the 
remainder of his winnings were lost on the Paris Bourse 
almost as quickly as they were gained. 

Sedger, Horace. — During the latter part of the 
time that Mr. Edgar Bruce ran his theatre, the Prince of 
Wales', on his own account, Mr. Sedger was associated 
with him. In 1886, wishing to retire from the cares of 
management, he leased the theatre to Mr. Sedger for 
twenty-one years. Mr. Sedger then arranged with Mr. 
George Edwardes to find him a company and an opera, 
while he supplied the theatre, staff, gas, band, and what is 
known as "the locals." On these terms Dorothy, which 
was then being played at the Gaiety, was moved to the 
Prince of Wales', and there for the first time made a real 
success. Mr. Leslie, who was then Mr. Edwardes' account- 
ant, seeing how well Dorothy was shaping, bought out Mr. 
Edwardes, and became a partner with Mr. Sedger till the 
Lyric was built, when he transferred the opera to that theatre. 
Meanwhile Mr. Sedger entered into a new arrangement with 
the Carl Rosa Company and produced Paul Jones. This was 
followed by Marjorie and Maid Marion, which gave way to 
the novelty of a musical play without words entitled L' Enfant 
Prodigue, which Mr. Charles Lauri, jun., introduced from 
Paris. In July, 1891, the Prince of Wales' Company was 
reconstructed and re-registered as "limited," with a capital 
of ;^40,ooo in £,1 shares, and paid 20 % for the first half 
year. In the summer of 1889 Mr. Sedger became lessee of the 
Lyric, and opened management there with La Cigale. This 
opera was originally much longer and had to be very care- 
fully "carpentered." In this difficult task Mr. Sedger was 
much aided by his clever stage manager and brother-in-law, 



Shi 189 

Mr. Charles Harris, and by Mr. Ivan Caryll (under whose 
able direction the orchestra gained a great reputation), 
but especially by his wife, who despite ill-health never 
wearied, and her taste and experience, gained during ten 
years' connection with Drury Lane, were of immense value. 
In order to obtain a tenor for La Cigale, Mr. Sedger paid 
a visit to America and began negotiations with the Chevalier 
Scovel. All things were satisfactorily arranged except the 
detail of the Chevalier's beard, which he positively refused 
to cut off. In despair Mr. Sedger wired to his colleague 
in London, "Scovel won't shave," and received the charac- 
teristic reply, "Engage him, hair and all." In consequence, 
the period of action in La Cigale had to be put back a 
hundred years in order to admit of a hirsute hero — a 
change which also necessitated a vast amount of other 
alterations in the scenery and mounting. 

Shine, John Lloyd Joseph Aloysius. — 

This clever low comedian and quondam successful stage 
manager, commenced his professional career at Man- 
chester in 1875, and after two years of hard study, joined 
a stock company, which included in its ranks Samuel 
Phelps and Adelaide Neilson. Mr. Shine next accepted an 
offer from Mr. Charles Reade to play Jacky in his drama 
of Never Too Late to Mend in the provinces, which led 
to a London engagement. In the metropolis he speedily 
became a great favourite. In 1883 he joined another gen- 
tleman and took the Globe Theatre, where he produced The 
Glass of Fashion and other pieces. This venture resulted 
in a deficit of ;^io,ooo, and, with subsequent losses on 
various touring lectures, and on nitrate and other shares, 
necessitated his going through the Bankruptcy Court in 
1891. It was as far back as 1885 that he first turned his 
attention to responsible management, and produced a 
drama of his own at the Theatre Royal, Birmingham. He 
has since undertaken the management of the Globe, Gaiety, 
Empire, and other London houses. After making a brilliant 
hit as Georget in Civil War at the Gaiety in 1887, the Gatti 
brothers secured him for the Adelphi, where he played in 
The Union Jack as the merriest of Jack Tars, and with Miss 
Clara Jecks as his "lass" scored one of his greatest suc- 
cesses. Since then the "Comedy courting" of these two 
clever artistes has won for them a distinct reputation in 



igo Sny 

that line. They have appeared together in The Silver Falls, 
Harbour Lights, London Day by Day, and The English Rose, 
in which, as Sergeant .O'Reilly of the Irish constabulary, 
Mr. Shine was particularly "on the spot." In January, 
1891, he appeared m Joan of Arc at the Opera Comique, of 
which burlesque he was joint author, but four months later 
vacated the throne of France to play at the Avenue in The 
Henrietta, in which he again obtained a part well suited to 
his powers. This was followed by a tour in the provinces, 
during which he drew ;^30 a week. 

Snyder, Lenore. — Miss Snyder, like half-a-dozen 
other prima donnas whose names rise to the lips, is an 
American, and was born in Indianopolis, in 1870, where her 
education was supervised by Karl Barns, a German pro- 
fessor, and Alexander ErnestinofF, an exiled Russian. Before 
her fifteenth year she was singing in President Harrison's 
Presbyterian church, and her gift of song soon suggested 
that she should turn it to a more practical account, and 
she assisted in a series of charity performances of The 
Pirates of Penzance. This led first to an engagement by a 
Philadelphian manager, who was passing through the town 
and happened to hear her, and then to an opening at New 
York, where she met Mr. D'Oyly Carte, who engaged her 
for one of his companies. After a series of performances 
in America she came to England. When The Nautch Girl 
■was produced she was allotted the leading part of Beebee, 
in which she made a satisfactory ddbut before a London 
audience. Miss Snyder has sung in every one of the Gilbert- 
Sullivan operas, and was for a year in Mr. D'Oyly Carte's 
provincial company. She comes of a very strict Presbyterian 
family, and had never been at a theatrical performance 
before she attended one professionally. She prefers English 
audiences to American ones. In England she finds people 
applaud before they hear ; in America they want to hear 
first, and then applaud if they are pleased. Moreover, an 
American does not forgive any mistake on the part of the 
performer, but asserts his displeasure, whilst the English- 
man is more courteous and better-natured if a slip occurs. 

Standing", Herbert. — Mr. Herbert Standingbelongs 
to a Quaker family, and is a brother of Mr. F. H. Celli, 
the well-known baritone singer, and also of Mr. William 
Carleton, now one of America's favourite actors. Mr. 



St. igi 

Standing possesses an excellent tenor voice, and when he 
commenced his theatrical career was pressed by Sir Arthur 
(then Dr.) Sullivan to adopt the lyric stage, but fortunately 
for comedy, resisted the blandishments of opera. A Lon- 
doner by birth, having been born at Peckham in 1846, Mr. 
Standing made his dibut at the Queen's Theatre, Long 
Acre, as Langford in Still Waters Run Deep, the part of 
Hawkesley being played by Mr. Charles Wyndham, under 
whose management in after years he was destined to achieve 
so many brilliant successes. Then came a provincial tour, 
which was followed by a three years' engagement at the 
Princess's Theatre. After this, in November, 1871, Mr. 
Standing moved to the Lyceum, there to create the original 
part of Christian in the memorable production of The Bells. 
Some unimportant engagements followed, ere he became a 
member of the Criterion Company, where he remained until 
1884. During that time he played Sir Peter Wagstaflfe in 
Pink Dominoes, John Penryn in Truth, and Captain Mac- 
Manus in Betsey. Since that time he has steadily increased 
his reputation by the various characters he has depicted at 
different West End theatres. In the autumn of 1890 he 
was cast for Major Belgrave in A Million of Money at Drury 
Lane ; and in May in the following year, in The Late 
Lamented at the Court, played the part of Major Joseph 
Marshall, whose ill-timed attack of West Indian ague 
caused the long-suffering Stuart Crosse such acute anguish. 
When that play was moved to the Strand, Mr. Standing 
and Mr. F. Cape were the only two of the original cast 
that followed its fortunes to its new sphere of action. 

St. Ange, Josephine. — Miss St. Ange was educated 
for the operatic stage, but had the severe misfortune to lose 
her voice from over-singing. Her first appearance was as 
Siebel in Faust, at the Crystal Palace. When her vocal 
career was cut short, she turned her attention to the drama, 
and obtained an engagement at the Lyceum under Mrs. 
Bateman. She then toured with Mr. Charles Wyndham's 
Company, and more recently appeared as Lady Umfraville 
in The Middleman, at the Shaftesbury Theatre, and in The 
Sixth Commandment, under Miss Wallis's management. 

Stanley, Lenora Alma. (Mrs. Stuart de Garmo 
Porter.) — Miss Stanley was born in 1860, and is the 
daughter of Stuart Stanley, who was at one time a captain 



192 Sta 

in the body guard of the ill-fated Maximilian, Emperor of 
Mexico. She was born at St. Heliers, Jersey, and first 
appeared at the Hull Theatre in 1873, in Lucrezia Borgia, 
with Miss Genevieve Ward, and in pantomime. She was 
then engaged by Mr. John Hollingshead to appear at the 
Cremorne Gardens, after w^hich she toured the provinces 
in Madame Angot. In 1876 she became a subordinate 
member of the Gaiety Company, when that ever memorable 
quartette, Nelly Farren, Kate Vaughan, Edward Terry, 
and E. W. Royce, were at the height of their fame. After 
this she filled a series of engagements at Sanger's, the 
Olympic, Folly, and Royalty Theatres, with several pro- 
vincial tours alternating. In 1880 she married and went 
to America with a company, under contract with a gen- 
tleman bearing the ominous name of M. B. Leavett. 
But there was something wrong in the management, 
and very shortly salaries were reduced, and it became 
a case of leave it or lump it. Miss Stanley decided to do 
the former, and soon found other work. In 1883 she 
returned to London and appeared at the Adelphi and some 
East End Theatres. The next year she played with Miss 
Kate Vaughan in Cinderella, at the Alhambra. In 1884 
she returned to America to appear at the Third Avenue 
Theatre in New York, after which she married again and 
toured the States from the Atlantic to the Pacific. In 1886 
she was home once more, and joined Mr. Conway's Old 
English Comedy Company, after which she appeared at 
the Strand, and then accompanied the Pepita Company into 
the provinces, and later on appeared in that Comic Opera 
at Toole's Theatre. She next passed to light and farcical 
comedy, and made an unusually rapid progress in public 
favour. In conjunction with Mr. W. S. Penley, she fairly 
astonished her audiences by the vigour of her acting in 
JEsop's Fables at the Comedy, the striking contrast between 
her magnificent physical development and Mr. Penley's puny 
proportions being certainly a startling if not a very noble 
appeal to the comic sense. In 1890 Miss Stanley succeeded 
Miss Fanny Brough as Mrs. Horton in Dr. Bill, at the 
Avenue. In October, i8go, she transferred her services to 
the Gaiety management, and in Carmen up to Data proved 
herself a decided acquisition to the cast. In the autumn 
of 1891 she appeared \a Joan of Arc, when it was revived 



St. 193 

at the Gaiety in September. In the summer of the same 
year Miss Stanley obtained a divorce from her husband, 
but a httle later the Queen's Proctor intervened and the 
decree nisi was rescinded. 

St. Cyr, Mi mi. — Miss St. Cyr's career affords a fine 
example of how much may be achieved by self-effort. jThe 
daughter of a Roman Catholic family of the strictest views, 
her childhood was spent in an atmosphere of austerity 
against which her inherent spirit rebelled, until the point 
of actual mutiny was reached when incarceration in a 
convent — where an elder sister already resided — became 
imminent. At this crisis in her life Miss St. Cyr ran 
away from home, being at that time fifteen years and nine 
months of age. She had so far premeditated the step as 
to have posted an application to Mr. Farnie, then at the 
Strand Theatre, asking for an engagement, to which she 
received a reply requesting her to attend in person. She 
did so, and the interview resulted in her being rewarded 
by a small singing part in Manola. Her earliest intention 
was to join the lyric stage, but Signer Randegger (under 
whose wife she commenced to study, and with whom 
she speedily contracted a friendship), whilst praising the 
quality and sweetness of her voice, pronounced it not 
sufficiently strong for operatic work. So Miss St. Cyr 
decided to abandon that ambition, and proceeded to fit 
herself for a purely dramatic career by studying elocution 
under Miss Le Thi^re. For some years she had to content 
herself with small parts, and appeared in La Mascotte at 
the Comedy, Falka at the Avenue, Paul Jones at the Prince 
of Wales', and other similar productions. Fortunately in 
the course of her profession she was brought under the 
observation of Mr. John D'Auban, whose quick eye at 
once detected in her that natural grace of movement 
from which great danseuses are moulded. Pleased with her 
ability, he took many opportunities of pushing her forward 
in small ways, but at the same time impressed on her the 
necessity of study. It will scarcely be believed that up to 
this date Miss St. Cyr had never been taught dancing at 
all ! But two years ago she set to work with resolution 
and industry to train herself, and was compensated by the 
part of La Frivolini in La Cigale. The opportunity was 
not altogether a favourable one, for in the first place her 

N 



194 Ste 

original dance was a waltz, whereas Miss St. Cyr excels 
more in tarantella and voluptuous measure ; and in the 
second place her turn came on too late, when the audience 
was somewhat satiated with several previous dances. But 
all these drawbacks were vanquished, and her performance 
proved one of the most successful points in an opera that 
was all successes. On the 300th night of La Cigale Miss 
St. Cyr introduced a Spanish Castanet dance in lieu of the 
waltz, and immediately hit the popular taste ; but the 
public that, evening after evening, insisted on an encore 
little guessed how severe was the physical strain entailed, 
or how Miss St. Cyr had for six weeks previously practised 
two hours every day under Mr. D'Auban's martinet eye, 
not to mention long and serious rehearsals at home, where 
a prodigiously solemn grey parrot irreverently commented 
on her endeavours, and a tall and stately Japanese lily 
merely acknowledged them with a cold stare. Happily 
appreciation was found at the hands of a public who knows 
how to recognise talent and reward ability. 

Stephens, Yorke. — The subject of this sketch is a 
Londoner, and commenced life in a solicitor's office in the 
city. Although he possessed very considerable histrionic 
powers, and had distinguished himself on the amateur stage, 
the idea of deserting the legal profession did not occur to 
him for some time. It was only when he sustained a finan- 
cial loss through an unhappy investment that he determined 
to try and retrieve his fortunes on the boards, and was 
tempted to do this by an offer which Miss Jenny Lee 
made him to join a provincial company then under her 
management. In the following year (1879) he obtained his 
first London engagement to play a small part in The Work- 
shop of Bacchus, when that drama was produced at the 
Olympic. He next appeared in Midge at the Royalty, in 
which he did so well that Miss Litton secured him for a 
part in As You Like It at the Imperial, and on Mr. Kyrle 
Bellew's retirement from the company in the following year, 
Mr. Yorke Stephens took his place. Subsequently he visited 
America, under contract with Mr. McCullum, and at the 
Madison Square Theatre, New York, in Hajel Kerke, made 
his first transatlantic success, and one which led to his 
remaining in the United States for three years. Returning 
to England in 1884, he appeared as Gilbert Vaughan in 



St, 195 

Called Back, and played in On 'Change during the whole 
of its long run. In collaboration with Austin Stannus (Miss 
Clo Graves, the authoress of Nitocris), Mr. Yorke Stevens 
wrote The Skeleton, which was produced at the Vaudeville 
in 1887, and is the author of several other dramatic works. 
In i8go he appeared with great success in Sweet Na-Jicy at 
the Royalty, and in November of the same year in Sunlight 
and Shadow at the Avenue, and remained a member of Mr. 
Alexander's company during the run of that play at the 
St. James' Theatre. More recently Mr. Yorke Stephens 
played in The Henrietta, and also appeared in 1891 in 
several matinees. 

St. John, Florence. (Mrs. Margaret Florence 
Duplany.) — Miss St. John began her dramatic experiences 
early in life. When quite a child, living with her mother 
at Plymouth, there happened to be in the neighbourhood a 
gentleman of considerable means, who for the sake of 
diversion invested in a second-hand diorama. Having 
possessed himself of which, he next required someone to 
sing appropriate ballads during its exhibition. Miss St. 
John enjoyed a local reputation for her sweet voice, and 
being at the time home for her holidays from a school in 
London, offered to sing. Success crowned her efforts, and 
in addition to this, the life so fascinated her that she refused 
to return to school, and when the gentleman grew tired 
of his plaything and passed it on to a company, she decided 
to remain with them on a salary, which was in theory thirty 
shillings, but came down in practice to perilously near 
thirty pence. At last one evening the seven persons con- 
nected with the entertainment found themselves pandering 
to a paltry half-a-crown in the pit, so the diorama per- 
formance was discontinued. Some time after this Miss 
St. John was married to Mr. St. John, an officer in the Navy, 
when she was only fourteen years and seven months old. 
Her parents were so incensed at this that they refused her 
return to their house for a time. Unhappily, Mr. St. John 
-was in a consumption, and the pinch of poverty was soon 
felt. In these straits, the young wife sought and obtained 
an engagement at a Hall on a salary of twelve shillings a 
week, and on this supported herself and her husband until 
her parents forgave her. Many were the vicissitudes and 
disheartening the experiences Miss St. John subsequently 



196 Sto 

encountered, but the turn of the tide came at length, and 
she obtained a trial in Durand's Opera Company, and in 
the next two years appeared in thirty-two operas. It was 
during this period that Mr. Alexander Henderson heard 
her and engaged her to sing Germaine in Les Cloches de 
Comeville in the provinces. Her first London appearance 
was in 1879, in Madame Favart, and she made a most 
favourable impression by her singing and acting, playing in 
the opera for nearly two years. After this she married 
Mons. Marius, the well-known actor, and appeared with 
him in 1882 at the Avenue. Several years of success 
in London and the provinces followed, and in 1887 she 
returned to the Avenue to play in Madame Favart. In 
1888 she joined the Gaiety, and took the part of Marguerite 
in Faust up to Date. She then visited America, where she 
experienced an enthusiastic reception, and on her return to 
England in 1890, opened in the provinces with Carmen up 
to Data, and re-appeared in that burlesque at the Gaiety 
in October, 1890, and after its London termination in the 
summer of 1891 went round the provinces with it. Miss 
Florence St. John has been well entitled the Patti of the 
comic opera stage. She possesses a beautiful mezzo- 
soprano voice, which is as fresh now as it was twelve 
years ago. She is an ideal burlesque actress, and the 
struggling young wife, who once supported a sick husband 
by slaving for the meagre pittance of twelve shillings a 
week, now draws a salary in London of ;£^3,5oo a year, 
whilst in America her services commanded ;^ioo a week. 
The Prime Minister of England is not so well paid. 

Storey, Fred. — Mr. Storey was born in 1861, and 
comes of a family of artists, many of whom have been suc- 
cessful exhibitors at the Royal Academy. When fourteen 
years old he made his first appearance on the boards, at 
the Prince of Wales' Theatre, in a part the histrionic possi- 
bilities of which were unduly narrowed to the arbitrary 
limit of seven speaking words. After fulfilling several 
equally unimportant engagements, his ambition prompted 
him to seek notoriety in some other way, and he determined 
to utilise the marvellous flexibility of limb with which nature 
had endowed him, and for some years was seen as an 
eccentric dancer, and also in general utility, appearing 
during that time chiefly in the provinces, and nearly 



SUG 197 

always at music halls. At length his chance came, and in 
the pantomime of Mother Goose he made a distinct mark, 
which ultimately secured him London engagements for The 
Lights o' London, Little Em'ly, Rip Van Winkle, and Lalla 
Rookh. He now experienced the promptings of a holy 
ambition, and obedient to the voice of conscience, tried 
management in the provinces. Alas ! the ambition was 
vaulting, and o'erlept itself. Hence financial disaster and 
reversion to the subordinate ranks for a year. Then a new 
desire possessed Mr. Storey, who seized his brush and 
painted all the scenery for hidiana, and painted it excellently 
well. He furthermore stage-managed the play during its run 
at the Avenue. Then he returned for a time to the provinces, 
until he joined the Gaiety Company, and became a feature 
of it by his extraordinary feats of feet flourishing and leg 
lifting in Little Jack Sheppard, Esmeralda, and Ruy Bias. 
He was also understudy for Mr. Fred Leslie, whose part he 
assumed on occasions with success. In the autumn of 
1890 Mr. Fred Storey accompanied Miss Nellie Farren to 
Australia. 

Sugden, Charles. — Mr. Charles Sugden was born 
at Cambridge in 1850, and after leaving school entered 
Merton College, Oxford, where he was a contemporary of 
Lord Randolph Churchill. His mother's marriage with 
Mr. George Neville (Mr. Fred. Gartside) having brought 
him into connection with dramatic circles, Mr. Sugden 
determined to follow a theatrical career, and made his 
first appearance on the stage in 1869, assuming the nom-de- 
thddtre of Charles Neville, which he was known by until 
1887. The field of action was Brighton, and in the com- 
prehensive course of general utility he once actually played 
the part of a clown for a week ! His London debut was 
made at the Globe in 187 1, and one of his earliest successes 
was as Steerforth in Little Em'ly, a character that suited 
him admirably. In 1876 he succeeded Mr. Charles Warner 
in the role of Charles Middlewick in Our Boys, during its 
original production, and he continued at the Vaudeville till 
the end of the run. For the next twelve years he continued 
to increase his reputation by the successful impersonation 
of many parts in many plays, till in 1887 he made a depar- 
ture from his professional line, and appeared in a domestic 
drama under the management of Mr. Justice Hannen. In 



igS Tap 

this cause cilebre the Earl of Desart was the successful 
plaintiff, and after the decree nisi Mr. Sugden was married 
to Lady Desart at the British Embassy in Paris, and for a 
time retired into private life. In May, 1891, he had again 
to appear in Court as defendant in divorce proceedings in 
which Mrs. Sugden, the plaintiff, obtained the verdict. 
Only two months prior to this he had obtained his discharge 
in bankruptcy, when Mr. Registrar Linklater remarked that 
actors lived in an imaginary and unreal world, and that 
it was hopeless to expect them to be endowed with the same 
amount of commercial skill as ordinary traders. Be that 
as it may, some actors contrive to get hold of some very 
real goods on very real credit, and the only unreality 
seems to be connected with their promise to pay. In May, 
1888, Mr. Sugden entered into an engagement with Miss 
Edith Woodworth and Mr. Edgar Bruce, and appeared in 
Bootle's Baby at the Globe. In September of the same year 
he desired to transfer his services to Miss Agnes Hewitt, 
when she re-opened the Olympic with The Ticket-of-Leave 
Man. Miss Wentworth, with whom he was under contract, 
obtained an injunction restraining him from doing so, but 
Mr. Sugden scouted this solemn prohibition, and duly played 
the part allotted to him. This daring act subjected him 
once more to a mauvais quart d'heure in the adjacent Courts 
of Justice, but he escaped actual incarceration. In 1890 
Mr. Charles Sugden appeared at the St. James' Theatre in 
Esther Sandraz, under Mrs. Langtry's management, and in 
the following April played Judge Brack in Hedda Gabler. 

Tapley, Joseph. — Mr. Joseph Tapley was educated 
at Merchant Tailors' School, and as a boy was accustomed 
to sing at festivals and the big dinners given by City Cor- 
porations. Some ten years ago he secured a scholarship 
at the National Training School of Music, and after four 
years of study there, and at the Royal Academy of Music, 
made his dibut in January, 1885, at St. James' Theatre in 
As You Like It, having in the previous summer won great 
praise for his acting in the same comedy when it was pro- 
duced in the beautiful grounds of Lady Archibald Campbell's 
house, near Bushey. Mr. Tapley next obtained various 
engagements in light opera, and in 1887 created the part of 
Francis in Mynheer Jan at the Comedy. In the following 
April he sang in Madame Favart at the Avenue, and re- 



Tem 199 

mained at that theatre until August, 1889, his chief successes 
being in The Old Guard, Nadgy, and Lancelot the Lovely. 
He then migrated to the Prince of Wales' Theatre to create 
Wilfred in Marj'orie, but adjourned to the Avenue when 
The Field of the Cloth of Gold was produced there in 
February, 1890. When that theatre closed its doors on 
comic opera, Mr. Tapley returned to the Prince of Wales' 
and resumed his old part in Marjorie, and on its termina- 
tion played the role of Philip de Bellegarde in Captain 
Thirkse, which followed. 

Tempest, Marie. — Miss Tempest, who was born 
in 1862, first adopted the stage name of Etherington, and 
it is said she borrowed her second nom de thdatre from her 
godmother, Lady Vane Tempest. She was educated at a 
convent in Belgium, and passed the early years of her life 
very seriously. A visit to Paris, when she was quite a 
young girl, introduced her to the musical world there, and 
she studied under French teachers ; and finding herself 
endowed by nature with a fine voice, returned to England, 
and entered as a student at the Royal Academy of Music. 
When very young she was married to Mr. Izard, the son of 
an auctioneer in the city. Her first appearance on the 
stage was at the Comedy Theatre, and in February, 1887, 
she succeeded to the impersonation of Dorothy in the opera 
of that name, and soon rose like a star on the horizon, and 
found a host of worshippers. With her advent Dorothy 
seemed to obtain a new lease of life. Her salary speedily 
grew to £i2,o a week, and Mr. H. J. Leslie made his fortune 
by the tardily appreciated beauties of a piece that had 
wasted many years in the bilboes of unrecognised merit. 
Out of its profits the Lyric Theatre was built, and here 
opera and actress were transferred from the Prince of 
Wales'. Dorothy died hard from sheer old age, and was 
succeeded by Doris, which, despite its magnificent mount- 
ing, failed to catch on. Then came The Red Hussar, with 
Miss Marie Tempest as Kitty Carroll, and her portrait in a 
bizarre uniform on every hoarding in London. The sensa- 
tional divorce case with which this actress's name is 
associated is fresh in the memory of all. The Lessee and 
Manager of the Lyric was cast as co-respondent, and a jury 
of Miss Tempest's fellow countrymen assessed her husband's 
damages at the startling equivalent of ;^5,ooo. Miss 



200 Tem 

Tempest, after a short retirement, sported the famihar red 
jacket and continuations, and was almost repeating the 
tale of her former triumphs when the opera was brought to 
an unaccountably sudden close, and the house shut up. 
Since then Miss Marie Tempest has appeared in America. 

Temple, Richard. (Richard Cobb.) — in 1869 the 
first opera was produced at the Crystal Palace, and on 
that occasion Mr. Richard Temple made his ddbui, being at 
that time just twenty-one. The effort proved so successful 
that he determined to study in Italy, but the death of 
his father, a stockbroker in the city, in whose office Mr. 
Richard Temple was for a time, necessitated his return 
to England a few months later, and obliged him to at once 
seek an engagement. This he soon obtained in a small 
country company, and sang for the next seven years chiefly 
in the provinces, but occasionally in London and at the 
Crystal Palace. In 1877 he tried the management of the 
Philharmonic at Islington, with not very successful results. 
He then joined Mr. D'Oyly Carte's Company for a part in 
The Sorcerer, when that gentleman opened his management 
at the Opera Comique, and was the original Dick Deadeye 
in H.M.S. Pinafore, and also appeared for five months in 
Patience, which followed. When Mr. D'Oyly Carte removed 
to the Savoy (where Patience ran for sixteen months more) 
Mr. Temple remained at the Opera Comique, but rejoined 
the Savoy Company on the production of The Pirates of 
Penzance, and played the rdle of the Pirate King. He 
subsequently took part in all the Gilbert-Sullivan operas 
produced, till i88g, when he declined the ofl^er of a part in 
The Gondoliers, and for a time withdrew from the London 
stage. In the autumn of 1890 Mr. Temple took Gounod's 
comic opera. The Monk Doctor, on tour. Amongst his 
many excellent impersonations, the most popular has been 
his delightful rendering of The Mikado — a creation which 
stamped him as an actor of the highest ability. 

Terriss, Ellaline. — This young inginue actress is 
the daughter of Mr. William Terriss, and was born at the 
Falkland Islands in 1872. She made a very sudden dibut 
on St. Valentine's Day, 1888, assuming at a summary 
notice the character of Mary Herbert, in Cupid's Messenger, 
owing to the illness of Miss Freake. So well did she play 
the part, and such elocutionary skill did she exhibit, that 



Ter 20 I 

she gained unstinted applause from the audience, and the 
commendation of her manager, Mr. Beerbohm-Tree. Mr. 
Charles Wyndham, 'recognising her talent, booked her for a 
three years' engagement, and she soon had an opportunity 
of distinguishing herself, when, in Miss Mary Moore's 
absence, she essayed the great part of Ada Ingot, in David 
Garrick. She also appeared successfully in several matinSes 
during the same year, notably in a revival of The Two Roses, 
when her acting as Lotty was tender and natural. In 1889 
(Mr. Wyndham being interested in the Strand Theatre) she 
acted in ^sop's Fables there, and also in The Beggar, in 
which she carried off the honours of the piece. In the 
autumn of 1890 Miss Terriss appeared in the revival of 
Truth at the Criterion, and in 1891 in Wild Oats, in which 
she was entrusted with the character of Jenny Gammon, 
and showed undoubted dramatic instinct. When Arrah- 
na-Pogue was revived at the Princess's in September, Miss 
Terriss was allotted a leading part. 

Terriss, William. (William Lewin). — "Handsome 
Terriss," as an admiring female clientele has termed him, 
was born in the last month of the year 1849, and is the 
youngest of three brothers, one of whom is now a doctor, 
and the other a colonel in the army. His father was the 
late Mr. George Lewin, a barrister, and through him Mr. 
Terriss can claim kindred with the Earl of Zetland, whilst 
on his mother's side he is connected with the aristocracy of 
literature, she being a niece of Mr. George Grote, the 
historian of Greece. At one time a blue-coat boy, young 
Terriss finished his education partly at Windermere College 
and partly at Bruce Castle School, and soon after the death 
of his father (which occurred when he was only fourteen 
years old) entered the navy as a middy. When seventeen 
he came in for a little money, and retired from the service 
to spend it. He next entered on the duties of a tea planter 
in Chittagong, but, finding the life far too monotonous, 
threw it up. On his return voyage to Calcutta, the ship 
he sailed in was lost in the Hooghley, and ten days of 
terrible exposure to the broiling sun, on the inhospitable 
shore of Holy Gunga, followed, before the wretched sur- 
vivors of the wreck were taken off" by a passing vessel, and 
conveyed safely to England. Here Mr. Terris entered, as 
an apprentice, the engineering works of Mr. Penn at Green- 



202 TeR 

vvich, but the life was distasteful to him, and in the autumn 
of 1869, at his brothers' suggestion, he turned his thoughts 
to the stage, and obtained an engagement at the Prince ot 
Wales' Theatre, Birmingham, drawing the munificent salary 
of eighteen shillings a week. This was, however, hardly 
good enough, and, with a coolness that was delightfully 
refreshing, he incontinently offered his services to the Ban- 
crofts, and withal so perseveringly that at length they gave 
him a small part in Society. After two years on the stage 
his roving disposition compelled him to once again shake 
the dust of London from his feet, and start for the Falkland 
Islands, there to try his hand at sheep farming. Arrived 
at Monte Video, he found that town in a state of siege, and 
the rest of his journey had therefore to be made in a coast- 
ing schooner. Six months in Les Malonines satisfied him 
that he had not received a call for that particular avocation, 
and he shipped on board a Swedish whaler to return to 
England. Off Gibraltar the ship was lost in a fearful gale, 
and the crew took to their boats, and were exposed to the 
fury of the elements for two days before they were picked 
up, more dead than alive, by a passing steamer and landed 
at Falmouth. Coming to London, Mr. Terriss determined 
to resume his stage career, and obtained an engagement 
under Mr. F. B. Chatterton to play at Drury Lane. But 
the charms of a wilder life once more induced him to sail for 
America in 187 1 — this time to try his hand at horse breeding 
in Kentucky. This scheme did not succeed, and he returned 
to London, and settled down once more to the dramatic 
profession, which he has not since deserted. After appear- 
ing at various theatres, his opportunity came for making 
a mark as an actor, when he played the part of Squire 
Thornhill in The Squire. Since then the quondam sailor 
has made no entries in his "log" but those which show a 
prosperous voyage with a breeze a-stern, and he has 
achieved a series of successes in the many characters he 
has since impersonated. He was for some time a member 
of the Lyceum Company, after which he accepted an offer 
from the Gatti Brothers to play the lead at the Adelphi, 
where he continued until 1889, when he made a professional 
visit to America. While in the States he was attracted by a 
play called Paul Kauvar, and hurried home to get it produced 
at Drury Lane by Sir Augustus Harris. He played the title 



Ter 203 

role himself, but the drama did not satisfy the critical taste 
of London audiences, and in the autumn of 1890 Mr. Terriss 
returned to the fold of the Lyceum, there to play Hayston 
of Bucklaw in Ravenswood, with all his accustomed vigour 
and intensity. Mr. Terriss, with his well-known soft hat, 
ulster coat, and tweed suit, is a favourite with all who are 
brought within his influence. Yet he is never seen at those 
society gatherings where most of his confreres do love to 
congregate. He does not care for club life or social reunions, 
but prefers a quiet evening with a friend and a cigar. Mr. 
Terriss lives in the Avenue, Bedford Park, and in the 
drawing-room of his pretty house stands a large loving cup, 
the gift of Mr. Henry Irving, Miss Ellen Terry, and other 
of his personal friends at the Lyceum. Like his wife (who 
sings delightfully) he is devoted to music. Ha is a good 
shot and a capital horseman. 

Terry, Edward O'Connor. — Mr. Terry is a 

Londoner by birth, and was born in 1844. Having arrived 
at young man's estate he entered a city office, and experi- 
enced the neutralisation of intellectual force and freedom 
fitly symbolised by the goose quill and ruler. The life was 
so uncongenial to him that before he reached his twentieth 
year he sought, and found, his proper sphere of action on 
the stage. His first attempt was of an amateur character, 
and he impersonated Lowry Looby in Eily O'Connor at the 
Mechanics' Institute, Christchurch, Hants. This was in 
1863. He then joined a "fit up" company, and played in 
the Isle of Wight, after which he was engaged for a stock 
season at Woolwich and Rochester, which was brought to 
a sudden close by the absconding of the manager. A jour- 
ney to Guernsey did not prove more fortunate, for bogus 
managers were as plentiful as blackberries in those days, 
and he was here brought into contact with a fine ripe 
specimen of the class. He next turned his steps northward, 
but only to be burnt out at Sheffield. Then he crossed to 
the Isle of Man, where he played with Henry Irving. After 
this the fortunes of life began to bring him into contact with 
many theatrical stars touring the provinces, from a study 
of whom he learnt much, and he succeeded in making 
a hit at Belfast in Catching an Heiress. He then turned 
his attention to Shakespearean comedy, and played Touch- 
stone and Dogberry with G. V. Brooke and Sothern. His 



204 Ter 

eight months' stay there culminated in a success in The 
Octoroon. He then played for a similar period at Plymouth, 
after which he obtained a special engagement at Leeds, 
which was the first indication of his upward progress. This 
was followed by a summons to Manchester, to assist in 
Shakespearean comed}', and his success was noticed in the 
London Morning Post. Here also he took part in his first 
burlesque, but this departure was cut short by his going to 
London, where he made his dibut at the Surrey Theatre in 
1867, in A Cure for the Fidgets. But his reputation as a 
Shakespearean actor followed him, and he was soon playing 
the Gravedigger in Hamlet in the autumn, and assisting 
the Yokes in their first pantomime appearance at the same 
house in the winter. During the next year he went to the 
Strand, then under Miss Ada Swanborough's management, 
and took root and grew and flourished for nine years, in 
the numerous burlesques and comedies produced there ; 
and his eccentric humour, his clever singing and dancing, 
and his unique powers of facial expression, soon carried 
him to the front. From the Strand he transferred his 
services to the Gaiety, where he became one of the 
famous quartette composed of Nelly Farren, Kate Vaughan, 
Royce and himself. He remained here six years, varying 
his London appearances with an annual country tour, and 
then adjourned to the Olympic for a short season, whilst 
his own theatre was being built. This he christened 
after himself, and opened with The Churchwarden, which 
ran one hundred and twelve nights. The Woman Hater 
followed and enjoyed a similar lease of popularity, and then 
came that phenomenally successful comedy. Sweet Lavender, 
which achieved a first run of over nine hundred nights. 
Out of Dick Phenyl Mr. Edward Terry cleared a fortune of 
;^5o,Qoo, whilst his author, Mr. Pinero, received a fourth 
of that sum. Mr. Terry is a good citizen, who has proved 
himself mindful of the responsibilities of real life by the 
energy with which he carries out the duties of a Guardian 
of the Richmond Board, and also those of Churchwarden. 
In 1889 he was elected Grand Treasurer of Freemasons, of 
which body he is an old and distinguished member. In the 
same year he was invited to read before the Church Con- 
gress a paper on the relations of Church to Stage, and the 
broad and lofty view he took of the subject created a great 



Ter 205 

amount of serious public discussion, and without doubt 
elevated the actor's calling in the minds of those many 
prejudiced people who never grasp more than one side of a 
question. Mr. Terry is a Tory, and will perhaps be found 
among the combatants when the next General Election 
comes. Some little time ago he was offered a Conservative 
candidature in Ireland, but refused, as his great desire is 
to be an M.P. for an English constituency. In the spring 
of 1890 Mr. Terry's health broke down under the strain of 
Sweet Lavender, and compelled him to let his theatre for a 
time, and seek relaxation from his onerous duties in a visit 
to India. Everywhere in the East he and his wife were 
received with open arms, and during their travels experi- 
enced similar honour and hospitality, from the highest of 
the land, to that enjoyed by Charles Mathews in a previous 
decade. On their return to England, laden with the golden 
opinions of Anglo-Indians, Mr. Terry (his theatre being still 
occupied) starred the provinces until September, 1890, when 
he re-opened in London with Sweet Lavender, and assumed 
his original part of Dick Phenyl. This was followed by 
Arthur Law's elaborate and complicated farce Culprits, 
which was a dead failure, and Mr. Terry boldly said so, and 
withdrew it after nine days, shutting up the theatre until 
the Rocket could be produced. The opening night of the 
autumn season of 1891 found Mr. Terry ready with a piece 
by Mr. Pinero, entitled The Times; and each of the 
audience, at the close of the performance, was presented 
by the author with a copy of the play neatly bound in book 
form. However the new Copyright Act may work out in 
practice, for the present, at any rate, it will give the general 
reader the benefit of something fresh in the way of current 
literature ; and tried by the literary test it will be curious 
to see how our dramatists fare under this new phase of 
criticism. Mr. Terry is married to a lady whose christian 
name, by a curious coincidence, is Ellen, and is the father 
of a large family. He is no connection of the other Terry 
family. 

Terry, Ellen. (Mrs. Warden.) — Miss Ellen Terry was 
born at Coventry on the 27th February, 1848, and when she 
was eight years old made her first appeal to that world "in 
front" which has since accorded to her by acclamation the 
Queenship of the English stage. To Charles Kean belongs 



2o6 Ter 

the honour of having brought her out, during his Shakes- 
pearean revivals of 1858, and she made her ddbut in the 
part of Mamillius in Winter's Tale. "Go play Mamillius," 
says King Leontes to his son, as he dismisses him in the 
first act. The words are nov^r capable of a wider reading 
than when they were spoken thirty and three years ago ! 
Miss Ellen Terry's next appearance at the Princess' was in 
the part of Prince Arthur in King John. Some years later 
she joined Mr. Chute's Bristol Company, and acted in 
conjunction with Madge Robertson, Henrietta Hodson, 
Kate Bishop, and other artistes, who subsequently rose to 
the greatest prominence in the profession. From i860 to 
1862 Miss Terry was travelling with an "Entertainment," 
and the next year appeared at the Royalty and Haymarket 
Theatres. In 1864 she was married, and retired from the 
stage for a time. In 1867 she reappeared for a few months 
and played in The Double Marriage, at the new Queen's 
Theatre, and in December undertook the part of Katherine 
in Taming of the Shrew., when for the first time she acted 
in company with Mr. Henry Irving. In 1868 she again 
withdrew from her profession, after a short but brilliant 
season, and it was six years before she emerged from her 
retirement to assume the part of Philippa Chester in Mr. 
Charles Reade's Wandering Heir, at the Prince of Wales' 
Theatre. She next joined Mr. and Mrs. Bancroft's company 
at the Prince of Wales', and subsequently played at the 
Court. On the 30th December, 1878, she made her first 
appearance in Mr. Henry Irving's company at the Lyceum, 
where for thirteen successive seasons she has filled the 
leading place. The period between 1878 and 1891 is one 
of brilliancy without a parallel on the modern British stage, 
and has resulted in an uninterrupted series of triumphs 
w^hich have raised the Lyceum Theatre to the leading place 
of entertainment in London. On the 26th April, 1889, when 
Mr. Irving had the honour of being commanded by the 
Prince of Waleg to appear before the Queen and Royal 
Family at Sandringham, Miss Terry acted the part of 
Portia in The Merchant of Venice, and was presented to 
Her Majesty, who graciously complimented her. It is not 
necessary here to more than recapitulate a few of the parts 
in which Miss Terry has displayed her incomparable talent, 
amongst which Ophelia, Desdemona, Portia, Lady Macbeth, 



Ter 207 

Olivia, Beatrice, Marguerite, and Nance Oldfield stand out 
prominently ; or to add yet another description to the thou- 
sands which have already appeared in tribute to her grace 
and genius. Miss Terry lives at No. 22 Barkston Gardens, 
Earl's Court, with her son and daughter. Her study, in 
which she has thought out her later conceptions, is a cosy 
room, papered in olive green. Upon the bookshelves may 
be seen the works of Shakespeare, Shelley, Sterne, Dickens, 
Bulwer Lytton, Byron, Scott, Longfellow, Tennyson, and 
Macaulay, which sufficiently indicate the breadth of her 
literary tastes. She is an early riser, a courteous corres- 
pondent, and a charming hostess. A personal fascination 
of manner and sweetness of speech are her distinguishing 
characteristics. She devotes her afternoons to rest, for she 
finds emotional parts very trying, and that each night's 
performance requires the special physical preparation which 
is only obtained by repose and quiet. At six o'clock she 
dines and then drives to the theatre. It is perhaps this 
constant locomotion on wheels that has induced her to lend 
her patronage to the Lady's Cycling Club, of which she is 
lady President. Miss Terry uses her pen very skilfully, and 
in an article which she contributed to Ha'penny-paperdom, 
from amongst a great deal of entertaining and instructive 
reading, the following excerpts may be permitted. She 
avers that she can turn deadly pale before her looking-glass 
with as much ease as she can sit down to dinner, and states 
that the greatest professional difficulty she experienced was 
the management of her hands on the stage, and that it 
took long and patient practice to obtain mastery over them. 
Miss Terry has been twice married, and her second husband, 
Mr. Wardell (well known in the profession as an actor and 
stage manager, by his stage name of Charles Kelly), died 
in 1885. Miss Terry is the mother of two children — a 
grown-up daughter, who has recently entered the dramatic ' 
profession under the name of Ailsa Craig, and Gordon Craig 
(Edward Wardell), who was born in 1872, and made his 
dibut in 1889 at the Lyceum Theatre in The Dead Heart. 

Terry, Fred. — Mr. Fred Terry is a North Londoner 
by birth, and was educated, first at a school at Netting 
Hill, and later became a pupil at Dr. Quine's, where Mr. 
Fred Leslie, of the Gaiety, was one of his school fellows. 
Mr. Terry then went to Geneva in order to acquire a know- 



2o8 Ter 

ledge of French, which he now speaks with great fluency. 
When sixteen he obtained a walking part in Money at the 
Haymarket Theatre, at that time under the managements of 
the Bancrofts, and some three months later made his speak- 
ing debut in the character of Bertie Fitzurse in New Men 
and Old Acres at the Crystal Palace, in which his sister. 
Miss Ellen Terry, played the part of Lillian Vavasour. This 
led to Mrs. Chippendale giving him an engagement to play 
in old English comedies, during a tour which occupied 
eighteen months. Then came a short country round with 
his brother-in-law, the late Mr. Charles Kelly, and sub- 
sequently one for two years with Miss Marie de Grey. 
After this the Gatti Brothers secured him to play the lead 
in the first provincial tour of In the Ranks. Shortly after 
this, his sister. Miss Ellen Terry, obtained for him the 
part of Sebastian in Twelfth Night at the Lyceum, which 
was followed by engagements with Miss Fortescue, Mr. 
Edgar Bruce, and Mrs. Langtry. Mr. Terry next visited 
America, and soon after his return to London played in 
Frou-Frou. The year 1888 found him engaged for the part 
of Eugene Lambert in The Pompadour, and later on he 
appeared in the very clever dual character of the twin 
brothers, George and Gerard Anstruther, in Marina at the 
Gaiety. In 1889 he created the part of Olivier Deschamps 
in Esther Sandraz, and played the Dauphin in King John at 
the Crystal Palace. In i8go Mr. Terry was the original 
Dr. Bill in the comedy of that name, but left during the run 
of the piece to assume the part of Armand D'Argay in The 
Village Priest at the Haymarket, after which he appeared 
as Gilbert Vaughan in Called Back, a character in which he 
made a distinct rise in the profession, and subsequently as 
John Christison in The Dancing Girl. During the run of 
that original play of modern English life, he became engaged 
to the brilliant young actress, Miss Julia Neilson, whom he 
married early in October. 

Terry, Marion, — Miss Marion Terry, who was born 
in 1856, is the only unmarried sister of the brilliant quar- 
tette consisting of Kate (Mrs. Lewis), Ellen (Mrs. Wardell), 
Florence (Mrs. Morris), and herself. Of her sisters she 
most nearly resembles Ellen Terry, the similarity in voice 
and feature between the pair being remarkable, whilst they 
are the only two now seen upon the stage. Miss Marion 



Ter 



2og 



Terry has two brothers, Mr. Fred Terry, the well-known 
Haymarket actor, and Mr. Charles Terry, a provincial 
actor-manager, and father of Minnie Terry. Miss Marion 
Terry made her first appearance in 1873 as Ophelia in 
Hamlet at the Crystal Palace, and the next year made her 
London debut at the Olympic, playing Hero in Much Ado 
about Nothing. She then passed to Miss Swanborough's 
management at the Strand, to appear in Old Sailors and 
Weak Women. Thereafter her natural talent and the 
glamour of her name soon carried her to the front, and 
she was in a short time playing juvenile lead, both in 
London and the provinces, and proving herself one of 
the very best emotional actresses of the day. In 1876 
she was engaged at the Haymarket, where she played 
Dorothy in Dan'l Druce, and also in Pygmalion and Galatea, 
The Palace of Truth, and other Gilbertian plays. In 1878 
she was at the Court, and for a time took her sister Ellen's 
part in the title rdle of Olivia. Following this came The 
Two Orphans at the Olympic. In 1886 she was struck 
down by a long and severe illness, but happily recovered, 
and in January, 1887, her reappearance in Hard Hit at 
the Haymarket was the occasion of a sympathetic and 
gratifying reception from the public. That same year she 
gave a most excellent study of Olga Morakoff, in The Red 
Lamp, and was sweet and womanly as Loyse in The Ballad 
Monger. In 1888 she appeared in Partners, and this was 
followed by her exquisite assumption of Dearest in The 
Real Little Lord Fauntleroy, at the Opera Comique. Miss 
Marion Terry's more recent appearances have been in 
Sunlight and Shadow at the Avenue, in which her sympa- 
thetic and powerful acting won universal praise^ and in 
The Idler and Moliere at the St. James', where she is now 
appearing. 

Terry, Minnie. — This clever little lady was born in 
1882, and is the daughter of Mr. Charles Terry. There is 
no more talented exponent of children's parts upon the 
modern stage, and Miss Minnie will assuredly inherit the 
mantles of her aunts Ellen and Marion, who, in the absence 
of her ability to read the parts she undertook, used to teach 
them to her by ear and the force of patient repetition. 
Miss Minnie Terry's first appearance was as Gretchen, in 
Part7iers, at the Haymarket, in which her aunt Marion was 

o 



2IO Tho 

close at hand to comfort, cheer, and support her. She 
next achieved a signal success by her acting in A White Lie 
at the Court, but a yet more remarkable performance was 
her creation of Suzanne in A Man's Shadow, at the Hay- 
market, in September, 1889. Shortly after this her health 
began to suffer, and in May, 1890, she was ordered a long 
rest by her doctor. Regaining her strength during the 
summer. Miss Minnie reappeared on the boards in the 
autumn, starring in Barbara, Meg's Diversion, and Editha's 
Burglar, in Mr. Charles Terry's Comedy Co. at Brighton. 

Thomas, Brandon. — Mr. Brandon Thomas is a 
Yorkshireman and hails from Hull, where as a lad he 
entered a timber merchant's office. But a business life had 
no charms for him, and having sipped the delights of ama- 
teur theatricals, he pined to become an actor. His father 
positively refused to permit this, and in his despair he 
enlisted in a crack regiment, but was very glad to be pur- 
chased out six weeks later ! After many tribulations he 
obtained an engagement at the Court Theatre and made 
his debut in 1879 as Sandy in The Queen's Shilling. When 
Mr. Hare became joint lessee of St. James' Theatre with 
Mr. Kendal, Mr. Thomas migrated to that theatre, and 
remained there playing small parts until July, 1885, going 
into the provinces each summer to undertake the lead in 
various companies. He then accompanied Miss Rosina 
Vokes to America, where he made a mark in character 
parts and comedy. Returning to London in 1886, he played 
in Harvest, succeeding to Mr. Bancroft's original character 
of Tressider. In 1888 his creation of Geoffrey Wedderburn 
in Sweet Lavender, and his cleverly-finished portrait of the 
family solicitor in The Real Little Lord Fauntleroy , increased 
his reputation as a sound actor. In 1890 he joined the 
Court Theatre, impersonating a raw Scotchman with excel- 
lent effect in The Cabinet Minister, and was also seen there 
in The Volcano, which followed it. Mr. Thomas is a clever 
dramatist, and, in collaboration with Mr. B. C. Stephenson, 
wrote Comrades. He is also the sole author of A Highland 
Legacy, The Colour Sergeant, The Gold Craze, and The 
Lancashire Sailor, which was the first piece of the triple 
programme which Mr. Edwardes found so successful, and 
produced first at Terry's and then at the Shaftesbury Theatre 
during the summer of 1891. In London drawing rooms 



ThO 211 

Mr. Thomas has achieved a reputation for his quaint 
renderings of negro melodies and his pathetic dialogue 
sketches, whilst at the Bohemian meetings of the Scottish 
Volunteers (of which corps he is an active member), he is 
invariably called upon to sing his great song, "Tommy 
Atkins." In 1888 Mr. Brandon Thomas married Miss Lever- 
son, the only daughter of a wealthy diamond merchant. 

Thompson, Lydia. (Mrs. Alexander Henderson.) 
— There is no better known English actress on the 
stage than Miss Lydia Thompson, who has appeared before 
a greater variety of audiences than any one except Sarah 
Bernhardt. She first earned a reputation as a dancer in 
fairy spectacle and burlesque, and as far back as 1852 made 
her debui as a danseuse in the ballet at Her Majesty's Theatre. 
The following year she commenced her dramatic career in 
pantomime at the Haymarket. In 1856 she toured Europe 
and has since visited all its capital cities, in some of which 
she was serenaded by torchlight, whilst in America she 
reigns supreme in the hearts of that large section who go 
the burlesque ticket. The bootblacks of Cincinnati sub- 
scribed their dimes, and presented her with a silver laurel 
wreath, which touched her heart more deeply than anything 
else. In Australia she is no less a favourite, and Calcutta 
still raves about her. She is in fact a cosmopolitan of the 
■widest experience. In 1859 she went to the St. James', 
where she played in pantomime and burlesque. Her next 
engagement was at the Lyceum in the burlesque of The 
Forty Thieves, and thereafter she played in turn at all the 
London Theatres, soon establishing her character as the 
burlesque queen of that period. She has been most suc- 
cessful in stage management, not only in London and the 
EngHsh provinces, but also abroad. Hers was the first 
English management that ever took a complete organisa- 
tion to America, to which continent she introduced many 
celebrated London artistes. It is a long time since Miss 
Lydia Thompson has been seen on the metropolitan stage, 
but her connection by marriage, Miss Violet Cameron, 
upholds the family reputation on the modern burlesque 
boards. 

Thome, Emily. — Miss Emily Thorne may be said 
to be saturated with stage associations and sympathies. 
H^r sister. Miss Sarah Thorne, conducts the Theatre Royal 



212 ThO 

at Margate — a veritable nursery for young talent ; her 
brother Thomas has for twenty years and more directed 
the destinies of the Vaudeville ; and she claims a similar 
kinship to Messrs. Fred and George Thorne. Miss Emily 
Thome's first appearance was at the Strand, as Sally 
Scraggs in Stage Struck. She then obtained a regular 
engagement at the Theatre Royal, Manchester, where she 
played with Alfred Wigan in The First Night, her success 
in which induced Mr. Chambers to specially write up for 
her the part of Allan-a-Dale, in the pantomime of Robin 
Hood. Her next important part was that of Pippo in the 
burlesque of The Maid and the Magpie, after which she 
joined Mr. Chute's Bristol Company. Amongst her per- 
formances at this time were Oberon in A Midsummer 
Night's Dream — Mrs. Kendal, then Madge Robertson, 
taking the part of Puck — and Cerisette in The Dead 
Heart, with Mr. Benjamin Webster, who was so pleased 
with her ability that he offered her a three years' engage- 
ment at the Adelphi, which she accepted, and made her 
first appearance there at Easter, 1859, in The Fair One -with 
the Golden Locks — Mr. J. L. Toole and Mrs. Mellon being 
in the cast. In 1861 Mr. Boucicault's Irish Dramas 
invaded the boards, and Miss Thorne asked to be released 
from her engagement. She then went to America, where 
she remained seven years, starring in almost every city in 
the United States and Canada. Returning to London in 
1869, she played Pochahontas in La Belle Sauvage at the 
St. James' Theatre for over fifty nights during the indis- 
position of Mrs. John Wood, after which she was selected 
by Mr. W. S. Gilbert for the part of Mrs. Rawdon in 
Ought We to Visit Her? at the Royalty, where she remained 
till the season terminated. She then passed to the Criterion, 
where her principal success was in Girofli-Girofla, and next 
appeared at the Haymarket with Mr. J. B. Buckstone, 
playing Widow Green in The Love Chase, Mrs. De Boots 
in The Widow Hunt, and a round of characters with Mr. 
E. A. Sothern. The following season she was seen as the 
Nurse in Romeo and Juliet, Mrs. Candour in The School for 
Scandal, and Audrey in As You Like it. Then came a 
pleasant association with that kindest of managers, Mr. J. S. 
Clarke, which led to an engagement by Mr. J. L. Toole, 
with whom she remained ten years — the happiest in ^11 



Tho 213 

her career. A desire to visit America to be present at 
her daughter's wedding obliged Miss Thorne to ask for 
a release from her engagement. On her return to England 
in 1891 she joined Miss Grahame's management, appearing 
in conjunction with Mr. Penley in The Judge. In 1891 
she joined her brother Mr. Thomas Thornes's Company, 
being specially selected by Mr. Jerome K. Jerome for her 
original part of Mrs. RoUitt in Woodbarrow Farm, in which 
sweet and charming character she made a great success. 
Miss Emily Thorne is the mother of Mr. Frank Gillmore, 
a rising young actor who is often en evidence. 

Thorne, Fred. — From his earliest years Mr. Fred 
Thorne was connected with the stage, for in the entire 
range of infantile roles there is scarcely one which he has 
not played. With many celebrated "stars" has he been 
associated, one of whom he particularly remembers. 
This was Ira Aldridge, a noted negro tragedian, whose 
sombre personality in murder scenes used to terrify the 
toddling child. Mr. Fred Thorne is brother, as all the 
world knows, to Messrs. George and Thomas Thorne and 
Mdlles. Emily and Sarah Thorne. His father, Richard 
Thorne, was for some years manager of the Pavilion 
Theatre, and also, at various times, of some half-dozen 
provincial ones. It is a curious fact that when Mr. Fred 
Thorne came to a reasoning age he had a positive aversion 
to the stage, and never experienced any attack of foot- 
lights fever. Several other professions were proposed for 
him, but he was somehow forced back into the family one, 
and in time grew to love it, and to wonder how it was he 
did not do so from the first. At the age of seventeen he 
was prompter at the Theatre Royal, Edinburgh, and hard 
work it was in those old stock days, with new stars coming 
round with the regularity of evening planets, and with 
celestial profusion, and entailing a constant change of 
bill and its concomitant rehearsals. A little later he joined 
Mr. Wybert Rousby, playing principally in Newport, Man- 
chester, and Jersey. His first important engagement was 
as first low comedian at the Alexandra Theatre, Liverpool, 
and there he soon became a great favourite, remaining 
three years under the management. At the age of twenty- 
five he accepted an offer to go to the States, to play 
Fluellen in Henry V., a character in which he had been 



214 Tho 

very successful at Liverpool. From America he went to 
Australia, where he remained five years. His enormous 
popularity there was illustrated by the bumper benefit given 
him before his departure. On his return home he joined 
his brother Mr. Thomas Thome's management at the 
Vaudeville, where he has for many years been stage 
manager, though from time to time he appeared tempo- 
rarily at Drury Lane, the Adelphi, and other leading London 
houses. It would be difficult to give a list of all his Vaude- 
ville characters, but of late years his impersonations in 
The Mormons^ Held by the Enemy, The Monk's Room, 
Handsome Is as Handsome Does, The Poet, That Dr. Citpid, 
and Clarissa will be fresh in the memory of most pla3'goers. 
Early in 1891 Mr. Fred Thorne was seen as Colonel Jack 
Dexter in Woodbarrow Farm, which gave scope to his 
artistic powers of unforced humour, and as James in 
Confusion. In the autumn he joined Mr. Edward Terry to 
play in Mr. Pinero's new piece. 

Thorne, George. — Mr. George Thome is the 
youngest son of the late Mr. Richard Thorne, and was born 
in 1855. When two years old, Robson, the famous come- 
dian of that day, introduced him to the boards, in the play 
of Medea, at the Theatre Royal, Margate. Thirteen years 
later he joined his sister's, Miss Sarah Thome's, Company, 
and remained with her three years ; after which he secured 
an engagement at Leeds, followed by another at Dublin. 
In 1876 he accepted an offer to star for five months at 
Calcutta. Whilst in India the company performed for a 
week at the private theatre of one of the Rajahs, during 
the marriage festivities of that potentate's eldest son. Mr. 
Thorne describes this unique place of entertainment as 
superbly decorated, and complete in every detail, whilst the 
w^edding scenes were gorgeous beyond description. In 
collaboration with Mr. G. Palmer, Mr. Thome has proved 
successful as a pantomime writer. In 1884 he joined one 
of Mr. D'Oyly Carte's repertoire companies, playing both 
in England and America, and it is understood that he 
remains with it till Christmas, 1892. While in Scotland 
last summer the company had the honour of playing, by 
special command, before the Queen at Balmoral. Her 
Majesty, with her invariable courtesy, conversed with the 
principal members of the company, and assured them of 



Tho 215 

the pleasure their acting had afforded her. Of his many 
excellent impersonations, Mr. Thome has undertaken that 
of Nat GosHng in The Flying Scud more than 1,000 times. 
His favourite roles, however, are those of Bunthorne and 
Ko-Ko, and he has acted in these two characters on more 
than 1,500 occasions. 

Thorne, Thomas. — The genial lessee and manager 
of the Vaudeville Theatre was born in 1841, and comes of 
a family connected for three generations with the stage. 
His father, Mr. Richard Thorne, was for many years lessee 
of the Theatre Royal, Margate (which is now managed by 
Miss Sarah Thorne), and later of the old London Pavilion, 
while Mr. Thomas Thome's son has also been seen at the 
prosperous little house in the Strand. Mr. Thome's first 
effort on the boards was a rather unfortunate one at War- 
rington in 1857. By a stupid blunder on his part he rushed 
on to the stage at the wrong time, and caused dire confu- 
sion, which raised a prejudice against him as a "fluffer" in 
the company. But he soon lived this down, and after four 
years of hard study in the provinces signed an agreement 
to play at the National Standard Theatre, Shoreditch. But 
the very day that he was to have made his London ddbut 
the Prince Consort died (December 14, 1861), and Mr. 
Thorne regarded the immediate closing of the theatre as 
so evil an omen that he was with difficulty dissuaded from 
throwing up the profession. After this abortive engage- 
ment at the Standard he joined the Surrey, where Samuel 
Phelps was then acting, and remained there two years. 
This was followed by a six years' engagement at the Strand, 
and in 1870, in conjunction with the late Harry Montague 
and Mr. David James, he opened management with The 
Two Roses at the Vaudeville, where he has since enjoyed a 
great number of legitimate successes and kept together the 
best stock company in London. The Vaudeville revivals 
of The School fpr Scandal, The Road to Ruin and The Rivals 
have been the finest this generation has seen. The keystone 
of success has been found in acting, and not in scenery 
and gay costumes. Our Boys made three large fortunes 
— one for the writer, ;^20,ooo for David James, and 
;^30,ooo for Thomas Thorne — and its prosperous career of 
over four years heads the list of long runs on the English 
stage; while Confusion and Sophia drew crowded houses 



2i6 Tho 

for eighteen and thirteen months respectively. Mr. Thome 
is devoted to boating, and has on several occasions pulled 
from Oxford to Teddington in company with Messrs. 
Charles Warner, Barnes, and Fernandez — a quartette as 
representative of the profession, and of boon companionship, 
as could well be selected. In the autumn Mr. Thorne 
generally manages to get away for a holiday to Switzerland, 
or for a walking tour in Normandy or some other part of the 
French coast. He is an ardent disciple of Izaak Walton, and 
also a lawn tennis player of some ability. Mr. Thorne lives 
at St. John's Wood, hidden away in the midst of big trees 
and shrubs, and surrounded by a garden which forms a 
playground for his children. His study is generally littered 
with manuscripts of plays submitted for his acceptance or 
criticism, whilst the walls are covered with prints and 
paintings which illustrate two centuries of the English 
stage, and include portraits of most of the great masters 
of the drama. 

Thornton, Frank. — Five years before Mr. Thornton 
vacated his stool in a merchant's office in the city, he used to 
give evening entertainments in the suburbs, and was fre- 
quently assisted at them by George Grossmith, Richard 
Temple, Arthur Roberts, and others, who, like himself, after- 
wards adopted the stage as a profession. His first dramatic 
engagement, which lasted seven years, was with Mr. D'Oyly 
Carte, during the first three of which he continued at his 
post in the city, as he was unwilling to throw up one pro- 
fession till he had established himself in another. Finding 
the strain too severe he shared for a time an apartment in 
Wych Street with another fellow, where he retired for a 
recuperative nap daily — after the fashion of Box and Cox. It 
was as the foreman in The Trial by Jtiry that Mr. Thornton 
appeared on the stage, playing that part first at the Aquarium 
and afterwards at the Opera Comique, and became later 
understudy for the parts of Sir Joseph Porter and Dick 
Deadeye in H.M.S. Pinafore. He then created the part of 
Major Murgatroyd in Patience, and at the conclusion of 
that play the management tendered him the compliment of a 
benefit. In 1883 he toured as the Lord Chancellor with 
lolanthe, and in the following year Mr. D'Oyly Carte 
arranged with him to produce Princess Ida at the Fifth 
Avenue Theatre, New York. After Mr. Thornton's return 



Tho 217 

to London he acquired the Australian rights in The Private 
Secretary, and opened with it at Sydney in July, 1885, and 
was several times called for during the evening. An actor 
in Australia always goes on the stage "with a hand," as 
the aborigines give every stranger of note a welcome, and 
then sit in silent judgment on him till the end of the piece. 
Not so in America, where audiences, if pleased, do not wait 
to the end to signify their approval. At the conclusion of 
this -successful tour, which occupied fifteen months, Mr. 
Thornton played a part in Dorothy, and stage-managed the 
first tour of that delightful opera. In September, 1888, 
he again visited Australia, where he toured for two years 
with Sweet Lavender, Mamma, and The Private Secretary, 
and was next seen on the London stage as the Grand 
Vizier in The Nautch Girl. 

Thornycroft, Violet. — Miss Thornycroft com- 
menced her dramatic career in 1889 under the management 
of Miss Sarah Thorne, and played all sorts of parts from 
farce to Shakespeare. She then joined Mr. Yorke Stephens, 
and in his pleasant company gained provincial experience. 
Unfortunately the illness of her father cut short her career, 
and for some time after this she was only able to appear in 
special short engagements ; but later on she returned to 
her work in the country, and played the lead in A Man's 
Shadow. She then took out a small venture of her own, 
which proved both an artistic and a pecuniary success. 
Her London debut was at the Globe in July, 1890, when 
she essayed the part of Isadora in a matinde of Vera with 
much success, especially in the love scenes. Miss Violet 
Melnotte next engaged her to create the principal part of 
Violet Fane in The Two Recruits. Unfortunately the piece 
failed to attract, but Miss Thornycroft's individual acting 
was as charming as her personal appearance. After a 
short engagement for a sympathetic part in The Solicitor, 
Miss Thornycroft was next seen in Our Regiment, in which 
her creation of the part of Maud Ellaby pointed the steady 
progress she had made in her art. When Mr. Toole re- 
turned to his little house Miss Thornycroft's occupation 
there was gone, and she accepted a temporary engagement 
to play the lead at the opening of the new Metropole Theatre 
at Birkenhead, where she assumed a part originally created 
by Miss Fanny Brough. 



2i8 Too 

Toole, John Laurence.— This Prince of Low 
Comedians, who is the worthiest successor on the modern 
London stage to Wright and Buckstone, is the second son 
of the late Mr. James Toole, who for many years filled the 
appointment of Civic Toast Master, and was born within 
the sound of Bow Bells on March 12th, 1830, and edu- 
cated at the City of London School, where he was dis- 
tinguished by his powers of elocution. At the age of twenty 
he entered a wine merchant's office, but his tastes in life 
not being in accord with the quality of spirits dominant 
therein, he spent the greater part of his time at the City 
Histrionic Club, whose members frequently gave perform- 
ances at the Walworth Institute and other similar places. 
On one of these occasions Charles Dickens was present, 
and was so delighted with the young city clerk's acting that 
he strongly advised him to adopt the stage for his profes- 
sion. Acting on this good advice, John Toole left his desk 
and made his first appearance at the old Theatre at Ipswich, 
where a greater master than he, the great Garrick, first 
donned the buskin and ascended the stage. This ddbutwas 
in 1852, but the late Mr. Blanchard used to aver that he 
saw Mr. Toole make his real dibut when he came upon him 
one day, a chubby lad of six summers, in a farmyard at 
Erith, delighting a group of rustics. With pinafore tucked 
up and hat at the back of his head, he was taking off their 
country ways and mimicking the sounds of the farmyard in 
the drollest and most self-confident manner. After the 
Ipswich engagement ended, Mr. Toole gained experience, 
first under Charles Dillon at the Queen's Theatre, Dublin, 
and then at Belfast, Edinburgh and Glasgow. After this 
he opened his career on the London stage in 1854, at the 
St. James' Theatre, where he played the part of Pepys in 
The King's Rivals, and Weazle in My Friend the Major. 
At this time his old friend and manager Charles Dillon took 
the Lyceum, and invited Mr. Toole to join his company 
during his season there, which he did for a time, but when 
Mr. Webster opened the Adelphi he migrated to that house, 
and played the first comedian leads in the plays produced 
there. In 1874 Mr. Toole starred the United States, having 
by this time achieved for himself a great reputation, and 
on his return to London joined for a while the Gaiety 
Theatre Company. Five years later he became lessee of 



Tya 2ig 

the Folly Theatre, and he laid out a very large sum of 
money in reconstructing,, enlarging and decorating it, and 
changed its name to that of Toole's Theatre. These altera- 
tions completed, he started on a career of management, 
which during the last decade has always filled his house, 
and made for its owner fame and fortune. In 1888 Mr. 
Toole suffered a severe domestic affliction by the death of 
his gifted daughter. Miss Florence Toole, which was 
followed in a few months by that of his wife. Mr. Toole's 
perfect comedian's face is too well known to require de- 
scription here. His gray, twinkling eyes watch contem- 
poraneous life closely, and his fertile brain draws inspiration 
from the world around him. His acting is marked by a 
fidelity to life, which is predominant in every character he 
portrays, whether it be in the broad region of farce or in 
those more important parts where tears and laughter find 
alternate abode. Funny on the stage beyond comparison, 
he is equally so off its boards, and has fathered more jokes 
and witticisms than a dozen volumes could record. In 
private life he is kind and very warm-hearted, asd in his 
vast circle of friends, which include all classes of society 
from Royalty downwards, he has not a truer one than his 
brother actor Mr. Henry Irving. Following the fashion, 
Mr. Toole published in 1888 his reminiscences, which are 
as interesting as they are amusing. In February, 1890, 
Mr. Toole sailed for the Antipodes, where in his tour he 
met with such royal receptions that he extended it till 
the spring of 1891. On his return to London Ibsenism was 
all the rage, and Mr. Toole produced Ibsen's Ghost, and was 
ridiculously amusing in the double part of Ibsen and the 
old grandfather, while Miss Irene Vanbrough as Thea was 
a life-like reproduction of Miss Marion Lea in Hedda Gabler. 
To further keep up with the times Mr. Toole produced a play 
without words, entitled Ici on (ne) parte (pas) Frangaise, 
in which as Spriggins, with whitened face and black skull 
cap, he made the ever green old farce as funny as of yore. 
TyarS, Frank. — A native of Kent, Mr. Tyars entered 
the dramatic profession when twenty-two years of age, and 
made his first appearance on the stage at the Standard 
Theatre, Bishopsgate, in 1870. For the next six years he 
played but little in London, being engaged chiefly in pro 
vincial stock companies, but in September, 1876, he joined 



220 UlM 

Drury Lane Theatre and played in Richard III. and Macbeth. 
In the following year he was secured by Mrs. Bateman to 
play at the Lyceum the part of Dorval in The Lyons Mail, 
with Mr. Henry Irving in the double parts of Joseph 
Lesurque and Dubosc, and played it with such success that 
he was retained by her till she resigned her tenancy of that 
theatre in 1878. From that time Mr. Tyars has been seen 
in nearly every piece produced there by Mr. Henry Irving, 
and has also accompanied him on many of his tours. 

Ulmar, Geraldine (Mrs. Ivan Caryll).— This Ameri- 
can actress was born at Boston, U. S. A. , in 1862, and belongs 
to a leading family in that city. She early developed a 
most precocious talent for music, singing as soon as she 
could speak, and beginning the serious study of her art at 
the early age of nine. At seventeen she commenced her 
operatic career in the Boston Ideal Opera Company, with 
which she remained for six years as leading soprano, im- 
personating a variety of characters throughout the length 
and breadth of the United States. She then joined Mr. 
D'Oyly Carte's English Opera Company at New York, in 
the autumn of 1885, to play in The Mikado. After a suc- 
cessful season of eight months she accompanied the troupe 
to England, and thence to Berlin, remaining with it till 
1886, when she was offered the part of Rose Maybud in 
Ruddigore, at the Savoy. For the next four years Miss 
Ulmar continued as the leading lady at the headquarters 
of Gilbert-Sullivan Opera, playing in resuscitated pieces 
until the production of The Yeomen of the Guard, in which 
she created the part of Elsie, which certainly suited her. 
When The Gondoliers was produced in 1889, she was cast 
for Gianetta, and shared the honours of the lead with Jessie 
Bond. In July, 1890, she severed her connection with the 
Savoy, and after a rest of some months reappeared in La 
Cigale at the Lyric, in which she proved herself no ordinary 
artiste, but one who brought all the best traditions of the 
Light Comedy Savoy school into her new sphere of action, 
and added to them a dramatic power and earnestness that 
stamped her as a greater actress than had been suspected. 
There is no more fascinating artiste on the stage than 
Miss Ulmar, whose charming features, irresistible smile, 
and graceful dancing are rendered the more engaging by 
the spirit and abandon of her acting. Photographs and 



Van 221 

parrots are her personal weaknesses ; examples of the 
former literally cover the walls of her rooms, whilst on the 
threshold of her domicile a talented representative of Polly- 
nesia, gifted with a fine vocabulary of proper names and 
trite observations, passes inconsequent remarks on her 
visitors. On Easter Monday, 1891, Miss Ulmar was 
married to Mr. Ivan Caryll, the Musical Director at the 
Lyric Theatre, and a native of Belgium. 

Vanbrugh, Violet. (Miss Barnes.) — Miss Van- 
brugh is the daughter , of the late Reverend Reginald 
Barnes, a Prebendary of Exeter Cathedral, and a personal 
friend of General Gordon. In fact, it was at Mr. Barnes' 
house that the latter spent his last few days in England 
previous to starting on his fatal expedition to pacify the 
Soudan. In March, 1888, Miss Vanbrugh made a charm- 
ing Kitty Maitland in The Don, at Toole's Theatre, and in 
the autumn essayed a higher flight by appearing as Ophelia, 
at Margate. The next year she had a fine opportunity for 
the display of her high spirits, in a matinie of The Begum's 
Diamonds, and made a dashing grande dame as Lady 
Gillingham in The Weaker Sex. She then accompanied 
Mr. and Mrs. Kendal in their trip to America. 

Vaug'han, Kate. (Hon. Mrs. Wellesley.) — No one 
has ever enjoyed such a popularity as a danseuse as Miss 
Kate Vaughan since her first appearance at the Gaiety, 
where she invented, exploited, and brought to perfection 
the decorous, but absolutely delightful fashion of dancing 
in long skirts, which has so happily superseded the style of 
pirouetting in undress that was previously in vogue. Miss 
Kate Vaughan's maiden name was Candelon. She was a 
pupil of Mrs. Conquest of the old Grecian Theatre, and 
commenced her career on the Music Hall stage, being 
associated with her sister, Miss Susie Vaughan, in giving 
"sketches" under the management of Mr. W. Maynard, 
and also as a member of the Vaughan Dancing Troupe. 
So highly did she distinguish herself in this combination, 
that it was not long before she was translated to a higher 
sphere, and was a member of Miss Litton's Company at 
the Court Theatre in 1872. Ultimately she ascended the 
throne of the Terpsichorean Province of the London stage. 
In the full flush of this particular career she suddenly- 
determined to emancipate herself from burlesque, and 



222 VaU 

pursue instead a purely histrionic course of old comedy. 
That she was equally successful in it is now a matter 
of history, and her Lady Teazle and Miss Hardcastle were 
as delightful as any the modern stage has seen. In March, 
1887, her Peg Woffington in Masks and Faces (when Mr. 
Fernandez played Triplet), proved her a mistress of light 
and delicate acting, and in this character, with its incom- 
parable minuet, she was at her best. She was for some 
time associated with Mr. H. B. Conway m the management 
of the Conway-Vaughan English Comedy Company, which 
made such a triumphant provincial progress ; and in 1887 
took the Opera Comique, and opened in London with 
the same class of plays. During the last four years she 
has been less often seen in the metropolis than her many 
devotees could wish. In August, 1890, she left town to 
tour in the provinces again. Miss Kate Vaughan possesses 
a beauty which is statuesque and a loveliness that is real ; 
her eyes melt and sparkle, and in her dainty dresses, in old 
English Comedy, she looks for all the world like a rare 
piece of delicate Dresden china endowed with life, and wth 
the brightest, merriest spirits and most captivating smiles. 
She lives at Merton Abbey, in Surrey, and her husband. 
Colonel the Hon. Arthur Wellesley, is a brother of Lord 
Cowley. 

Vaughan, Susie. (Mrs. Price.) — it has been Miss 
Susie Vaughan's privilege and also her misfortune to be 
sister to Miss Kate Vaughan, who has so completely 
irradiated with splendour the name of Vaughan, that it 
places anyone else bearing the same patronymic at a certain 
disadvantage, and this is not fair upon the subject of this 
sketch, who would certainly have made the family cognomen 
famous without any adventitious aid. Miss Susie Vaughan 
began life when she was fifteen years old at the Music 
Halls, and later, with immense difficulty, procured an 
engagement for one week in the front row of the Covent 
Garden Ballet, in the opera of Travatore. She was glad to 
discard this line and migrate to the Surrey Theatre, then 
under Mr. William Holland's management, where she was 
very soon allotted leading business with Mr. James Fer- 
nandez and Mr. William Creswick. This was a grand 
opening for the clever young girl, and she played every- 
thing in the way of legitimate and sensational drama, and 



Ven 233 

during- the winter season boy and girl parts in pantomime. 
Leaving the transpontine stage, she journeyed to Notting- 
ham for a year, and then returned to London to play her 
first old woman's part in Nita's First, at the Novelty, in 
which she was so happily suited that for a long time she 
kept to this line of character. She next toufed with 
Solomon's Opera, Polly, then played for a brief season 
at the Empire, and after this joined Mr. J. L. Shine's 
travelling Company. When her sister Kate opened at the 
Opera Comique, she went there to assist her, and played 
Kitty Clive in Masks and Faces. Then came a winter at 
Birmingham, and the Herculean task of pulling a stock 
company through pantomime by her own unsupported 
endeavours, which she naively remarks "was difficult." 
Returning to London, she played in The Barrister at the 
Comedy, after which Mr. Edouin retained her till 1888, 
and during her engagement with him she appeared at the 
Royalty and Strand. In 1889 she appeared in Merry 
Margate and Tenterhooks, in 1890 in The Solicitor at 
Toole's Theatre, in which her finished and natural acting 
was quite a leading feature, and in 1891 at the Court 
Theatre. Miss Susie Vaughan does not care for pantomime 
(although she has been so successful in it) nor for bur- 
lesque, but prefers comedy. She refused a very good 
off^er to accompany Miss Lydia Thompson to America and 
Australia, simply because the repertoire was a burlesque 
one. Miss Susie Vaughan was married in March, 1890, to 
Mr. Price. 

Venne, LottiG. — There is no smarter soubrette than 
Miss Lottie Venne on the London stage. She carries into 
the economy of her professional life the spirit of that once 
popular song, "I am so Volatile." She first appeared in 
1869 at Nottingham, and in the provinces at the age of 
sixteen, and was eighteen years old when she made her 
London debut at the Holborn Theatre. She then passed to 
the Court to play in The Happy Land in 1873, after which 
she was engaged by Miss Swanborough at the Strand 
Theatre, where she remained four years. Miss Venne next 
migrated to the Royalty, where her principal mark was the 
creation of Amy Jones in the farce of Crutch and Toothpick. 
But this success faded before the triumph oi Betsy, and it is 
doubtful whether any such amusing "chambermaid" has 



224 



Ver 



ever appealed to the risibility of a London audience. Betsy 
ran for sixteen months, after which Miss Venne was seen at 
the Gaiety, Comedy, and Court Theatres, at the last of 
which she made a genuine hit in The Parvenu. Amongst 
her more recent efforts, her impersonation of Mrs. Chet- 
wynd in Young Mrs. Winthrop in the provinces, and Mrs. 
Poskett in The Magistrate at the Court, whilst Mrs. John 
Wood was taking her holiday, stand distinctly out, though 
they must yield the precedence to her wonderful pastel 
of Rose Columbier, the india-rubber girl in The Arabian 
Nights. In October, 1890, Miss Venne was playing a 
three-figure innings in Nerves at the Comedy Theatre, and 
in the following year secured another chambermaid part 
in Jane, in which she was highly successful, and this 
was followed by her capital representation of Mrs. Spring- 
field in Husband and Wife, produced at the same theatre 
in July, 1891. 

Vernon, ^V. H. — It was in i860, at the Adelphi 
Theatre, Liverpool, that Mr. Vernon began his professional 
career, and it was not till eight years later that he made 
his London debut in Cyril's Success. In 1877 Mr. Vernon 
first played the character of Sir Geoffrey Heriott in Mammon, 
which he still considers to be his strongest impersonation, 
and with that piece made a successful tour in the United 
States in 1881. In the following year, having returned to 
England, he became associated with Miss Genevieve Ward, 
and appeared exclusively under her management for the 
next seven years, travelling during that time over some 
46,000 miles, and acting in every important town in America 
and the Antipodes. His London reappearance after this 
trip round the world, was at the Court, in The Weaker Sex 
(1889), and in the same year he took part in a revival of 
Ibsen's Pillars of Society, which play he first introduced to 
an English audience some nine years before. After a short 
season with Miss Grace Hawthorne at the Princess's, where 
he played Justinian to that lady's Theodora, he took up 
the part of Geoffrey Wedderburn in Sweet Lavender, and 
remained at Terry's Theatre till the end of that delightful 
play. In 1891 Mr. Vernon was seen in The Henrietta, and 
in numerous matinees, before he left England in November 
with Miss Genevieve Ward for a six months' tour of South 
African towns. 



Vez 225 

Vezin, Hermann.- — This distinguished member of 
the dramatic profession was born at Philadelphia in 1830. 
His father was a German, whilst his mother was of French 
extraction, but both at this time were naturalised Ameri- 
cans. Mr. Vezin, when Hermann was quite a child, 
moved to Hanover, where as a very successful merchant he 
soon amassed a fortune, but after his death it was all swept 
away by a failure in the business. When sixteen years of 
age Hermann was sent to the University at Pennsylvania, 
where he graduated, first as a B.A. , and later obtained his 
degree of M.A. In 1850 he left for England, possessed 
with what his father termed an insane desire to become an 
actor, and within the next six months was playing small 
parts in Mr. and Mrs. Kean's Company at York. After a 
few months with them Mr. Kean gave him an opening in 
a play he was then producing at the Princess' Theatre, 
London. At the close of that engagement Mr. Vezin 
obtained various others, chiefly in the provinces, till in 1857, 
having made some considerable reputation for himself, he 
determined to star the United States, and was everywhere 
well received ; nor was his professional success clouded by 
any reproaches on the part of his relations. In 1863 Mr. 
Hermann Vezin married that most accomplished actress 
Mrs. Charles Young [nee Jane Thompson), and the follow- 
ing year they acted Donna Diana at the Princess' Theatre, 
London, which Mr. Westland Marston specially wrote for 
them. Since then Mr. Vezin has played in numerous 
characters, which have borne the impress of an artistic and 
cultivated mind, and of that nameless something which 
makes an audience feel that it is a true master of his art 
who is before them. In February, 1889, Mr. Irving suffered 
from loss of voice, and was obliged to absent himself for a 
week during the famous revival of Macbeth at the Lyceum, 
and Mr. Hermann Vezin consented to play the character, 
and was presented by Mr. Irving with a splendid diamond 
ring and a cheque for one hundred guineas. Mr. Hermann 
Vezin's Recitals at the St. James' Hall have received the 
highest possible praise, and he drew for these an honorarium 
of ;^30 each. His high position in the profession was 
suitably indicated by his being selected to respond for the 
Drama, when that toast was first given a few years ago 
at the annual Royal Academy Banquet. 

p 



226 Vic 

Victor, Mary Anne. — Miss Victor comes of a 
talented famil)'. Her mother was Miss Henry of the Covent 
Garden and Haymarket Theatres ; three of her uncles were 
on the stage, namely George and James Horncastle, both 
well known under Madame Vestris' management, and 
Horatio Lloyd, the celebrated Scotch comedian ; moreover, 
the late Michael Watson, the popular composer and poet, 
was her brother. Miss Victor began her professional career 
early in life, playing, when quite a child, the round of Shakes- 
pearean characters with Macready, Phelps, Charles Kean, 
and Miss Helen Faucit, and receiving the liberal education 
that such association afforded. Her early appearances 
were at Drury Lane and Sadler's Wells' Theatres, after 
which she did a good deal of country work. She was next 
engaged by Mr. W. H. Swanborough for the Strand, and 
made her grown-up dibui in Byron's burlesque of The Lady 
of Lyons at that theatre, remaining some time under the 
management. She then joined Mr. Conquest at the Grecian, 
where she became a great favourite, and continued several 
seasons. On the theatre changing hands. Miss Victor 
passed to Drury Lane, where she played in Pluck, Freedom, 
The Sailor and his Lass, the pantomime of Cinderella, 
and other productions, after which she appeared at Her 
Majesty's and the Haymarket. In the intervals of these en- 
gagements Miss Victor supported Edward Wright, Charles 
Mathews, Barry Sullivan, and Charles Dillon, during several 
starring tours in the provinces. In 1886 Miss Melnotte 
secured her services for the Comedy, and in 1887 she played 
at the Globe. In the autumn of the latter year she 
accepted an engagement from Mr. Terry and remained 
with him two years, sharing in the productions of The 
Churchwarden, A Woman Hater, and Sweet Lavender, in 
which she created the part of Mrs. Gillfillian. In 1890 
Miss Victor was engaged by Mr. Charles Wyndham for 
two years, and played Mrs. Hardcastle in She Stoops to 
Conquer, Mrs. Charity Smith in Sowing and Reaping, Mrs. 
Buck in Welcoine, Little Stranger, and Mrs. Breezley 
Fizzle in Dearest Mamma, all with her usual ability and 
keen perception of the comic side of life. During 1891 
she appeared in Husband and Wife, and on the production 
of Miss Decima was allotted a leading part in that success- 
ful comedy opera. 



Wad 227 

Wadman, Miss. — Miss Wadman was originally 
intended for the English opera stage, but in order to gain 
experience of the boards accepted an opening at the Gaiety, 
where she made her dihut in a small part, in The Evasive 
Reply, in 1878. She consistently followed the excellent 
advice given her by a friend, " refuse nothing," and always 
kept herself before the public, in small or large parts, and 
in burlesque, comic opera, operetta, comedy, or even 
tragedy. So liberal-minded and accommodating an artiste 
was well worth retaining, and she stayed at the Gaiety for 
two-and-a-half years. In 1881 she went to the Globe, and 
shortly afterwards to the Royalty under Miss Lydia Thomp- 
son. From thence she passed to the Avenue, to share the 
honours of Stisanfie with such companions as Florence St. 
John, M. Marius, and Fred Leslie. The Comedy Theatre 
and the ever fresh Falka next claimed her, and this was 
followed by an eight month's country tour. In the autumn 
of 1885 she returned to the metropolis, and appeared at the 
Empire and Avenue Theatres, and then returned to the 
provinces. The National Theatre now opened its doors to 
her, and she was allotted a part in Drury Lane pantomime 
by Mr. Augustus Harris, but the work, with its constant 
afternoon performances, was too hard, and she was glad to 
return again to country breezes and Falka. Later on she 
undertook Pepita, and introduced it, after its successful pro- 
vincial tour, to a London audience at Toole's Theatre. Her 
next London appearance was as Yvonne in Paul Jones, in 
which, despite the dazzling splendour of the star with whom 
she was associated, she won golden opinions. Miss Wadman 
is a remarkable example of a successful self-made actress, 
who by sheer hard work and sound common sense has made 
her way into the first ranks of her profession. 

Waller, Lewis. (Mr. W. W. Lewis.) — This actor 
made his first appearance on the stage at Toole's Theatre 
in 1883, and continued to play juvenile leads with Mr. J. L. 
Toole's Company for the next year. He then toured the 
provinces in Called Back, and his excellent rendering of 
Gilbert Vaughan, the leading character, led Madame Mod- 
jeska to engage him to play Orlando to her Rosalind. 
On that actress's return to America he joined Mr. Henry 
Neville's management, and appeared as Jim Dalton in the 
time-honoured Ticket-of-Leave Man. This was followed by 



228 Wal 

a provincial tour with Dark Days, On Mr. Lewis Waller's 
return to London he appeared at the Strand, and subse- 
quently joined Miss Kate Vaughan for old comedy parts at 
the Opera Comique. Then came a short engagement with 
Mrs. Brown-Potter at the Gaiety, followed by a season at 
the St. James' under Messrs. Hare and Kendal's manage- 
ment, during which he appeared as Lord Arden in The 
Wife's Secret, and as the Due de Bligny in The Iron Master. 
Mr. Lewis Waller afterwards again played at that theatre 
during Mr. Rutland Harrington's tenancy. His subse- 
quent successes led to an engagement with Mr. Wilson 
Barrett, and then to one with Mr. Hare, under whose 
management he appeared at the Garrick in The Profligate, 
and as Cavaradossi in La Tosca, a character considered by 
many critics to be his finest conception. For the next three 
months Mr. Lewis Waller appeared at matinees only, till 
he obtained an engagement at the Shaftesbury in The Sixth 
Commandment, which was followed by a part in The 
Pharisee. Mr. Lewis Waller then joined Mrs. Langtry to 
play in Lady Barter, and subsequently appeared at the 
Avenue in The Henrietta, and more recently in Handfast at 
the Shaftesbury, and later under Mr. H. A. Jones' author- 
management at the Avenue. 

Wallis, Ellen. (Mrs. Lancaster.) — Miss Wallis was 
born in 1856, and was educated at a boarding school, very 
soon after leaving which she determined to enter on a 
dramatic career, and her first appearance was at the 
Standard Theatre on the occasion of Mr. Creswick's benefit. 
She then made her ddhut at the Queen's Theatre, Long 
Acre, in 1872, playing Marguerite de Montcalm in Montcalm. 
The distinct ability she displayed led to an engagement 
with Mr. Chatterton at Drury Lane for three years, and 
here she made a decided success as Cleopatra. This was 
followed by Amy Robsart in 1873, and the heroine in 
Richard Cceur de Lion in 1874. Miss Wallis also appeared 
as Juliet, Mrs. Ford, Imogen, Ophelia, and Desdemona 
during her stay at Drury Lane. She then determined to 
undergo a course of experience in the provinces, and 
travelled for two years through the chief cities of England, 
Ireland, and Scotland, playing a round of classical roles. 
About this time she was married to Mr. Lancaster, a gentle- 
man then residing at Manchester. At his request she 



War 229 

retired from the boards for twelve months, but at the end 
of that time again starred the Provinces, and later accepted 
an engagement at Drury Lane, where she appeared as 
Hermione in Winter's Tale, and other principal roles. In 
1889 the Shaftesbury Theatre was opened, of which Mr. 
Lancaster is the proprietor, and he first undertook the 
management and produced As You Like It and The Lady of 
Lyons, in which Miss Wallis played the leads. The new 
theatre was then leased to Messrs. Lart and Willard, 
Miss Wallis adjourning to the Grand, Islington, to play 
in Ninon and Adrienne Lecourveur, which were followed 
by As Vote Like It and The Taming of the Shrew in the 
provinces. It was not until October, 1890, that she was 
able to reappear at the Shaftesbury, where she produced 
The Sixth Commattdment, by Robert Buchanan i but not 
even a bowing of the head to the Moloch of criticism, and 
a ruthless cutting and telescoping, could save it being 
broken. It was followed in the middle of November by The 
Pharisee, a new play written by Miss Wallis and Mr. 
Malcolm Watson in collaboration, which was one of the 
few artistically successful productions of the season. 

Ward, Genevieve. (ComtessedeGuerbel.) — Miss 
Ward is the daughter of the late Colonel Samuel Ward. 
Her mother was a daughter of Gideon Lee, a mayor of 
New York city (where Miss Ward was born), and was a lady 
of high artistic attainments. When she removed with her 
child to Paris, her salon was a rallying point for the 
aristocracy of intellect, and Horace Vernet, Balzac, Alfred 
de Musset, and kindred spirits were frequently to be met 
there. Miss Ward early in life attracted the attention of a 
young Russian nobleman. Count Constantine de Guerbel, 
but by an extraordinary train of events, she parted with 
him for ever at the marriage altar. Shortly afterwards she 
gave herself diligently to art and assumed the stage name 
of Madame de Guerrabella, preparatory to her d^but on the 
lyric stage. She first sang in England at the Philharmonic 
concerts in Hanover Square, and later on at Her Majesty's 
Opera with Titiens and other celebrated artistes. She then 
went to Cuba to star those tropical latitudes, and there lost 
her voice though overwork. An operatic career being now 
closed to her, she turned her attention to teaching singing 
at New York, but her artistic nature soon revolted against 



230 War 

such drudgery, and she commenced to study for the dra- 
matic stage. After six months in New York she came to 
London in 1873, intent on a ddbut in tragedy. But a well- 
known theatrical agent told her that tragedy was, in West- 
tern phrase, "played out," and only physical development 
was in demand ! The first offer she received was for 
pantomime, and the next for farce ! Both were declined 
with dignity and indignation. Then through the kind 
offices of Mr. Lewis Wingfield she obtained a hearing for 
a recital of Macbeth, which led to an engagement at Man- 
chester, where she made her debzit as Lady Macbeth, followed 
by Constance. She then starred Dublin as Media, Adrienne, 
and Lucrezia Borgia. At this time she discarded the stage 
name of Madame de Guerrabella, under which she had 
hitherto appeared in public, and re-assumed her maiden 
one. Coming to London in 1874 ^^'^ °^^ friend, Mr. G. A. 
Sala, assisted her with an introduction, and she obtained an 
engagement to succeed Miss Wallis, who was leaving 
the Adelphi, and shortly afterwards appeared at Drury 
Lane. Her reputation being now established, she was 
able to arrange a tour in Shakespearean drama. She 
next went to Paris to study French tragedy and comedy 
under Regnier. Returning to England she played with 
Mr. Charles Calvert's company in Henry VIII., and then 
took a company of her own to play in America. This 
tour finished she was again back in London, where she 
now entered upon stage management, and opened at the 
Lyceqm with Palgrave Simpson's Zillah. This play failed, 
but Forget-me-not, which followed, was a veritable triumph. 
The character of Stephanie, a Frenchwoman of high life, 
suited her admirably, and she gave one of the most power- 
ful and artistic pieces of acting which the present generation 
has seen. She toured America with Forget-me-not, and 
then opened the Olympic with The Quee7i's Favourite. 
This was followed by two years' incessant professional 
travel in Australia and the Colonies, during which she 
covered a distance of 50,000 miles ! Further provincial and 
American tours, with a few appearances at the Lyceum in 
1888, filled up her career from 1886 to 1890, in the autumn 
of which latter year she created the lead in The Struggle 
for Life at the Avenue. Miss Genevieve Ward awakens 
reminiscences of the great Ristori, whom she closely resem- 



War 231 

bles in personal appearance, and with whom she contracted 
a warm friendship. For the rest she is best described in the 
poet Long-fellow's eulogistic words — "She is the greatest 
actress I have ever seen, and quite the most artistically 
faultless. " 

Warner, Charles. (Mr. Lickfold.) — The son of a 
successful provincial actor, Mr. Charles Warner was born 
at Kensington in 1846, and educated at Westbury College. 
When seventeen his father placed him with his uncle, an 
architect, but after a year the lad ran away, and joined a 
stock company of actors at Hanley, in Staffordshire, and 
first appeared on the boards in a piece entitled The 
Bras Rouge. He was soon promoted to the impersonation 
of some thirteen parts a week, and drew a salary of eighteen 
shillings. When this engagement came to an end, Mr. 
Warner underwent the ordinary vicissitudes which in those 
good old days fell to the lot of a young actor. After seek- 
ing experience in the provinces, he came to London, where 
his fortunes did not improve, and wandered from theatre 
to theatre, playing minor parts, and making no mark. But 
all things come to him who waits, and his opportunity 
came at last, when he was cast for Charley Burridge in The 
Dairy Farm. Mr. Bateman, after seeing his acting in that 
comedy, secured him to play Jingle in Albery's adaptation 
of Pickwick, in which he succeeded no less a personage 
than Mr. Henry Irving. He next played for three years in 
Shakespearean drama at Drury Lane with Samuel Phelps, 
and to the great tragedian's kind help and sterling friend- 
ship attributes much of his subsequent success. His next 
engagement was at Sadler's Wells, there to undertake 
those Shakespearean leads which he had been carefully 
studying at the National Theatre. Although Mr. Warner 
has made a distinct mark as a tragedian, it is rather in 
such characters as Harry Dornton in The Road to Ruin, 
Tom Robertson in Never too Late to Mend, and, particularly, 
as Coupeau in Drink (a character he has played an extraor- 
dinary number of times), that he has achieved his greatest 
and most popular triumphs, and has shown himself to be 
the finest exponent of man's evil passions on the modern 
stage. Yet such is his versatiHty, that his original creation 
of Charles Middlewick in Our Boys is one of his greatest 
successes, and as Charles Surface in The School for Scandal 



232 War 

he has few equals. In September, 1890, he returned from 
a long- Australian tour (during which he cleared a profit of 
;£" 10,000), to fulfil an engagement at Drury Lane, where he 
appeared as Harry Dunstable in A Million of Money ^ which 
play, it will be remembered, suddenly collapsed when moved 
to Covent Garden to make room for the pantomime. In 
February, i8gi, Mr. Warner played in Monte Ckristo, but 
returned in July to Drury Lane, to resume his old character 
as Coupeau in Drink ; and in A Sailor's Knot which fol- 
lowed, played the lead with all his accustomed vigour. 
Mr. Warner is a heart-whole actor, who completely loses 
himself in the character he is impersonating, whilst his 
exhuberant spirits ever carry the audience along with him 
in sympathy. He is the father of Miss Grace Warnei-, who 
made her debut zX Drury Lane in 1888, prior to accompany- 
ing him to the Antipodes, where she played the lead in 
many of his productions, and sustained the part of Juliet to 
his Romeo. In addition to being a good companion, a 
genuine friend, and a prince in generosity, Mr. Warner is 
a keen sportsman, a straight shot, and a plucky rider in the 
hunting field. 

Warwick, Giulia. — Miss Warwick is of Jewish 
extraction, her father being a German of that faith, and her 
mother an Englishwoman. The daughter was intended 
for the career of a professional pianiste, and at the early 
age of twelve performed at a concert at the Hanover 
Square Rooms. Shortly afterwards it was discovered that 
she possessed a fine soprano voice ; so it was cultivated, 
and she commenced her career in Grand Opera at the 
Crystal Palace, playing Zerlina in Don Giovanni, under the 
late Mr. Carl Rosa's management, and following it with 
leading roles in The Bohemian Girl and Fidelio. After this 
she devoted herself for a time to the Concert platform and 
Oratorio work, but this proved distasteful, and so she 
returned to the boards, accepting an off'er to play Constance 
in The Sorcerer, at the Opera Comique. Later on she was 
promoted to the part of Aline in the same piece. She then 
returned to Mr. Carl Rosa's management for nearly four 
years. Mr. Alexander Henderson next engaged her for the 
title role in Nell Gwyjine, following which she appeared with 
great success in Falka, and continued to play it for two 
and a half years in nearly every town in England. She then 



Web 233 

acted for a short season in Mr. J. L. Shine's company, and 
after leaving- him, sang in Pepita in town and country. 
Then came an engagement at the Avenue to play in The 
Old Guard and Nadgy, but at this theatre she unfortunately 
had a disagreement with the Management, which resulted 
in her severing the connection. Miss Warwick suffers 
tortures from nerves, and confesses that for two weeks 
before the fitful agony of a first night, and for some days 
after it, she endures torments. She is averse to long runs, 
which she considers have a tendency to make the voice hard 
and mechanical. In October, 1890, Miss Warwick was 
engaged to play the lead in The Black Rover at the Globe, 
but her occupation here was gone early in November. 
Since then she has appeared in the provinces with a 
remarkably good company of her own, and recently pro- 
duced a new opera at Leicester. 

Webster, Annie. — Miss Webster is a granddaughter 
of the late Mr. Benjamin Webster, and availed herself of 
her advantages for study in a good school. She came 
prominently into notice in 1887 by her appearance in several 
matinees, notably those of In Danger and The Favourites 
of Fortune, in which her charming girlish freshness and 
simplicity of performance won her much commendation, 
whilst in The Calthorpe Case she showed her versatility by 
playing an old woman's part cleverly and with genuine 
tenderness. In 1889 Miss Webster was engaged by Mr. 
Wilson Barrett, and appeared in Good Old Times and Now- 
a-days. The next year Barren Land, Bootle's Baby, True 
Colours, and Hands Across the Sea afforded her plenty of 
practice and praise. On the production of Lady Bountiful 
in 1891 Mr. Hare engaged her for the part of Amelia, and 
she played the ingenuous little Cockney servant admirably, 
winning, in the opinion of many, the chief honours in the 
play. Upon the revival of A Pair of Spectacles in the May 
following Miss Webster was allotted the part of Lucy 
Lorimer, originally played by Miss Blanche Horlock, and 
also appeared in Dream Faces, and in both added another 
course to the edifice of her rapidly rising reputation. 

Wenman, Thomas Edmund. (Mr. Newman) 

— A native of Manchester, where he was born in 1844, Mr. 
Wenman made his first appearance on the stage at Burnley 
in 1862 as Captain Blenheim in The Rough Diammid. For 



234 Wes 

the next eig'ht years he was engaged in the provinces, and 
had the advantage of acting with several stars, including 
the late Walter Montgomery, Miss Madge Robertson (Mrs. 
Kendal), Miss M. Reinhardt, Miss Helen Faucit, etc. In 
June, 1870, he became a member of the late Mdlle. Beatrice's 
Comedy Company, and during the engagement, which ex- 
tended to June, 1878, appeared in all the principal towns in 
the United Kingdom, and at the Haymarket, Olympic and 
Globe Theatres, London, and established himself as a very 
strong actor. In 1879, when Mr. Hare opened his manage- 
ment of the Court Theatre, he appeared there as Sir John 
Ingram in A Scrap of Paper and Mr. Sulhvan in A Quiet 
Rubber. At the close of his engagement at the Court, Mr. 
Wenman again sought the provinces, and for the next four 
or five years was chiefly engaged travelling with a company 
of his own. In 1886 Mr. Irving engaged him to undertake 
at the Lyceum the part of Burchell in Olivia, in which 
character Mr. Wenman had won many provincial successes. 
Since then his important London appearances have been 
made at that theatre. Of these may here be mentioned 
his Mr. Nupkins in Jingle, Antonio in the Merchant of 
Venice (a part he played also when the Trial Scene 
was given at Sandringham in 1889), Banquo in Macbeth, 
Craigengelt in Ravenswood, and Nathan Oldworthy in 
Nance Oldjield. For this last character he was selected by 
Mr. Irving to support Miss Ellen Terry, for whom the 
comedy was specially placed in the bills during the revival 
of The Corsican Brothers, in which there was no suitable 
part for her. 

^/est, Florence. — Miss West is a living justification 
of that class of young ladies who, by the nature of things, 
take to the stage. As a girl, although singularly successful 
at amateur theatricals, she never had any serious thoughts 
of joining the profession, but little by little the magnetic 
influence of the footlights stole over her, and, after a highly 
satisfactory performance before 900 people at the Kensing- 
ton Town Hall, she determined to make a profession of 
what had hitherto been a pastime. So she wrote to Mr. 
Toole — a perfect stranger — asking his help, and received a 
severe reply, in which the comedian trusted she was not a 
stage-struck damsel. She assured him she was not ; that 
a debut as Juliet had positively no attractions for her; and 



Whi 235 

that all she wanted was to enter the profession by the 
workmen's door. There must have been something sterlingf 
and striking in the style of her letter, for it resulted in her 
engagement at a comfortable salary for the part of Mary 
Belton in Uncle Dick's Darling, and in this she made her 
debut in 1883 and was well received. Miss West next 
played for practice at several matinees, and then went on 
tour with Mr. David James to play Mary Melrose in Our 
Boys. Later on she achieved a substantial success as 
Pauline in Called Back, her acting in the mad scene being 
remarkably powerful, assisted as it was by her expressive 
features and graceful figure. In iSSyshe played MillydeVere 
\n Jack in the Box at the Strand, and was seen to advantage 
at a matinee of In Danger, a piece in which she afterwards 
played with conspicuous success in 1889 ; appearances in 
The Ticket-of-leave Man at the Olympic and The Mystery of 
a Hansom Cab at the Princess' filling up the interval. In 
1890 she helped My Lady Help at the Shaftesbury, but 
found a part more worthy of her powers in The Henrietta 
at the Avenue, in which as Rosa Vanalstyne she was very 
natural and womanly. 

Whitty, May. — This spirited young actress was born 
in Liverpool, her father and grandfather being the founders 
of The Post newspaper in that city. She made her first 
appearance when very young at the Court Theatre at that 
city in 1881. Coming to London she secured an engage- 
ment in Paradise Villa, a curtain raiser produced at the 
Comedy Theatre, where she remained until 1883. In the 
November of this year she accepted an offer from Messrs. 
Hare and Kendal to play small parts and to understudy at 
the St. James'. In January, 1886, desiring a larger field 
for experience, she went on a provincial tour with a fit-up 
company, in which she had some fresh leading part to play 
nearly every evening. She then supported Mr. Charles 
Wyndham during a spring travel, which carried her on 
until her engagement by the Gatti Brothers to play the lead 
in Harbour Lights in the country, afterwards appearing 
in town to take Miss Millward's place when that lady was 
temporarily absent from the Adelphi. In the autumn of 1888 
Miss Whitty migrated to the Globe, then under Mr. Lart's 
management, and in November joined Mr. Richard Mans- 
field's company at the Lyceum, and accompanied him back 



236 WiL 

to the Globe, where, amongst other impersonations, she 
made a charming Miss Neville in She Stoops to Conquer. 
She was next engaged by Mr. Willie Edouin in 1889 to 
play Lucy in Our Flat, and in September assumed 'the 
leading part of Margery, which she played for over a year 
with astonishing spirit and elan. In 1891 she was still at 
the same theatre, playing in Private Inquiry and Our 
Daughters. Miss Whitty has won a genuine reputation as 
a finished comedy actress. She has had many offers to go 
abroad, but prefers for the present to remain in England. 

Willard, Edward Smith.~lt was in the year 
1853 that this most consummate villain of the London stage 
was born into this world of sin and wickedness. Throwing 
up a commercial career at Brighton, he made his first 
appearance when he was sixteen years old on the boards of 
the Theatre Royal, Weymouth, in The Lady of Lyons, on 
Boxing Day, 1869. For the next decade he played with 
various provincial companies, and during that period was 
connected for over three years with Mr. William Duck's 
management. The opportunity to make his mark came to 
him later than it does to most in his profession, for he 
could scarcely be said to be known to fame when, in Sep- 
tember, 1881, he undertook an engagement to play Clifford 
Armytage in The Lights 0' London, at the Princess' Theatre. 
His fine rendering of this character resulted in his waking 
up one morning to find his abilities prominently discussed 
in the London papers. Then came his impersonation of 
Philip Royston in The Romany Rye, which was in turn 
capped by his famous Spider in The Silver King. After 
this he paid a visit to America, and on his return won fresh 
laurels m Jim the Penman at the Haymarket. In 1887 he 
fathomed the lowest abyss of stage scoundrelism, when he 
depicted Dick Dugdale in The Pointsmaii, at the Olympic. 
After that he was engaged by Mr. Hare to assist at the 
opening of the Garrick, but his pride rebelled against 
playing the second lead, and he resigned his post. He 
then determined to undertake stage management, and in 
conjunction with Mr. Lart leased the Shaftesbury Theatre, 
and opened in August, 1889, with a revival of Jim the 
Penman. This he followed by The Middle?nan — a play 
specially written for him by Mr. H. A. Jones ; and in order 
to achieve the acme of realism before producing it, Mr. 



WiL 237 

Willard studied pottery life and local colour and detail at 
Stoke and Worcester. Dick Venables followed, and was 
not so successful, but Judah took London by storm, and 
evoked the highest eulogy from the critical world. The 
mo^/f of the play lent itself to an audacious advertisement, 
and in August, 1890, Mr. Willard filled his house with an 
audience of clergymen, individually invited to pass judg- 
ment on his representation of one of thier own cloth. This 
unique experiment left some people speculating whether 
anyone of the audience collected that afternoon at the 
Shaftesbury, could as successfully rejoin by filling his church 
with actors to listen to a sermon. Judah gave Mr. Willard 
the opportunity of posing as a stage lover. This he did 
with an intensity and tenderness that surprised those con- 
versant with his long career of stage villainy. In the 
autumn of 1890 Mr. Willard took his Company to America 
to exploit his London repertoire, including The Deacon 
and The Violin Maker, in both of which he had appeared 
before leaving the Shaftesbury ; and his success across the 
Atlantic is the first instance on record of an English " star 
actor " occupying the boards of a New York theatre for 
twenty-two consecutive weeks. In 1875 Mr. Willard 
married a lady who had gained for herself some distinction 
on the stage under the name of Miss Emily Waters, and 
who, under the name of Rachel Penn, has written some 
clever little plays — amongst them, Tommy, which was a 
curtain-raiser to The Lights 0' London at the New Olympic. 
Mr. Willard was recalled to England in the spring of 1891 
by his wife's continued ill-health, and did not play in 
London before he started again for America, to open at 
Philadelphia in September with a programme which included 
Ki7ig Lear and a new version of The Scarlet Letter. 

Williams, Arthur. — Thirty years ago this popular 
comedian began an uphill struggle for fame at the Theatre 
Royal, Rochester, where, as walking gent and general 
utility, he played for three nights a week for the humble 
remuneration of half-a-crown. Two years later he obtained 
an engagement at Gravesend, at the nominal salary of 
sixteen shillings weekly, which was generally compounded 
by an offer embracing a very heavy cash discount when 
Saturday night came round. For this modest honorarium 
he was expected to play eighteen to twenty characters a 



238 Woo 

week, to represent all sorts and conditions of men, from 
beggar to king, and to be equalh" ready to enact tragedy, 
comedy, or burlesque. His next engagement was at Dover, 
where the treasury suddenly suspended payment, and he 
had to seek fresh fields and pastures new. In quest whereof 
he walked to London, with but two pence in his pocket, a 
carpet bag under his arm, and hope in his heart. After 
various experiences he joined the Bedford and Northampton 
Circuit. Later on, working south, he played at the Theatre 
Royal, Margate, then under the management of the late 
Mr. Richard Thorne ; after which he became a member of 
a stock company that included the great Sothern. Many 
other provincial engagements followed, till he obtained an 
opening at the St. James' Theatre, London, in December, 
1869. Here his drollery was appreciated, and he made a 
name for himself as Bob Saunders in Formosa. But there 
were still twenty years to be passed before he was to reach 
the top of the tree. It was not until Dorothy, in 1888, that 
he really came prominently to the front. His part in the 
opera was originally circumscribed by thirty lines, but 
"gag" was an "unknown quantity" at the Prince of Wales', 
and at his suggestion he was allowed to expand his part, 
and did so with such admirable skill and humour, that 
Lurcher, unlimited, caught on. Mr. Williams next played 
Diniver m Doris, but it had too much of the Lurcher twang, 
and he was more successful as Corporal Bundy in The Red 
Hussar. His popular career with the Carl Rosa Light 
Opera Company led to an offer from Mr. Edwardes in the 
autumn of i8go to join the St. John-Lonnen contingent 
of the Gaiety, and his make-up as Captain Ziniga was 
admirable. 

Wood, John, Mrs. — Mrs. John Wood's professional 
debut was made at the Southampton Theatre, but it was in 
the United States of America that she first achieved distinc- 
tion. She was born in Liverpool, and is th^ daughter of the 
well-known actor, Henry Vining. Her mother was also an 
actress, and an immense favourite with Surrey audiences. 
Mrs. John Wood's first appearance in London was at the 
Princess' Theatre in i865, when she played the part of 
Miss Miggs in Barnaby Rudge. In 1869 she took the St. 
James' Theatre, and here it was that in La Belle Sauvage 
she acted her famous part of Pocahonatas for two 



Woo 239 

hundred nights, until people began to realise that she 
had solved the problem of making the then (and since) 
notoriously unlucky house pay. Her success was well 
deserved, and she wisely began to cement its elements by 
gathering the best talent around her. She brought together 
such sterling artistes as Lionel Brough, William Farren, 
John Clayton, Henry Marston, Charles Warner, Mrs. 
Hermann Vezin, Lydia Foote, and Sophie Larkin. In 
1873, after creating the part of the heroine in The Wandering 
Heir, she sublet her theatre for a time, but reappeared 
there in 1877, producing The Danischeffs, which proved 
successful. In 1879 her lease terminated, and it was not 
until 1888 that she entered into management again, when, 
in conjunction with Mr. Arthur Chudleigh, she opened the 
New Court Theatre in Sloane Square. Previous to this 
she had played at the Old Court, under the joint manage- 
ment of Messrs. Cecil and Clayton, and won numerous 
successes in farcical comedy of The Magistrate and Dandy 
Dick type, and had also appeared for a short season at 
Toole's Theatre. The New Court commenced with that 
extremely comical farcical comedy. Mamma, in which Mrs. 
John Wood was ably supported by Mr. John Hare, and 
her old manager, Mr. Arthur Cecil. Since then she has 
achieved great results with Aunt Jack and The Cabinet 
Minister, in which latter play she attempted a more serious 
role than any impersonated by her before. In 1891 she 
appeared in The Volcano and The Late Lamented during 
the summer season. Mrs. John Wood is that rara avis 
a lady low comedian. The sound of her voice behind 
the wings is enough to elicit laughter directly the well- 
known accent catches the ear. Her style is forcible and 
almost masculine, and Aunt Jack could not have had a 
more appropriate exponent, or the aggressive mother-in-law 
in Mamma a more perfect representative. Mrs. John Wood 
resides in a pretty red brick house in Cheyne Gardens, 
Chelsea. Her holidays are spent in the Isle of Thanet, in 
a beautiful bungalow close to Birchington-on-Sea, which 
she has christened Dilkoosha, or "Heart's Delight." She 
is devoted to dogs, and divides her affections between a 
Poodle and a St. Bernard. There is likewise a certain 
parrot in the domicile, which lives in a gorgeous cage 
bearing the legend — one that recalls old days — "His 'eart 



240 Wya 

was true to Poll!" Mrs. John Wood is devoted to gardening. 
She has also a quaint idiosyncracy for kite flying — the 
schoolboy kite of course — and is a mistress of the science. 
She is the mother of Miss Florence Wood, a clever young 
actress, w\\o was married in 1890 to Mr. Ralph Lumley, 
the author o{ Aunt Jack. 

Wyatt, Frank. — As a young man Mr. Frank Wyatt 
studied for six years at the Royal Academy Schools, and 
for some time successfully exhibited and sold his pictures. 
Whilst painting occupied him in the day, he added to his 
income by giving evening entertainments, and with the 
experience, success, and self-confidence thus obtained, 
determined to forsake the brush for the drama. His first 
appearance in his new profession was in the one-line part 
of a flunkey in On Bail at the Criterion. Mr. Wyndham, 
when he engaged him, kindly remarked that the usual 
salary given for such characters was fifteen shillings a week, 
but that, in consideration of Mr. Wyatt's extra intelligence, 
he would make it a pound. After some time with Mr. 
Wyndham, Mr. Wyatt migrated to the Strand, and then to 
the Folly, after which he played for two years in America 
with the Hanlon-Lees Combination. Returning to England 
he accepted various engagements under Mr. Irving, Mr. 
Hollingshead, and other London managements, the longest 
of which was one with Miss Violet Melnotte, to whom he 
became otherwise engaged and subsequently married. 
Under her management he appeared as Ravannes in Robert 
Macaire, and also in Ermine, but considered the best part 
he ever played was that of Dick Swiveller in The Old 
Curiosity Shop w^ith Miss Lotta at the Opera Comique. In 
1887 Mr. Wyatt played Karl in Mynheer Jan, but it was not 
until the production of Paul Jones that he gave as Don 
Trocadero as exquisite and finished a piece of acting as the 
season of 1889 witnessed. Unhappily, the career of the 
volatile Governor of the Island of Estrella was prematurely 
cut short by a brutal and unsympathetic attack of gout, and 
consequently he had to retire into private life. His suffer- 
ings evidently aged him, for he presently appeared in The 
Gondoliers as the dearest old Duke of Flaza-Toro imaginable, 
and every inch the celebrated, cultivated, unaffected, well- 
connected nobleman, that the author had in his eye ! In 
The Nautch Girl Mr. Wyatt struggled hard with the unsatis- 



Wyn 241 

factory part of Baboo Currie, and did the best that could 
be done with that thankless character. Mr. Wyatt is pre- 
judiced against the first-night critic, and if, as is possible, 
he joins his wife in stage management, he may adopt his 
friend Mr. Rutland Barrington's views with regard to free 
passes and press invitations. Mr. Wyatt wrote the libretto 
of Galatea, a grand opera first produced by the late Carl 
Rosa, with Miss Marie Roze in the title role. He is the 
author of The Two Recruits, which his wife produced in 
November, 1890, during her tenancy of Toole's Theatre ; 
and this was followed by Our Regiment, also from his pen. 
He is also responsible for a play without words, entitled 
The Pierrot and the Pierrette (music by Jacobi), which was 
brought out at Paris in the autumn of 1891. 

Wyndham, Charles. — Tell it not in Gath, whisper 
it not in the streets of Ascalon — but Charles Wyndham, 
the embyro Criterion light comedian, was in early days 
intended for the ministry ! Accordingly his father, who 
practised as a doctor in London, sent him to a Moravian 
academy in Germany, where, in spiritual partnership with 
a youthful schoolfellow, he founded a Wesleyan Mission 
Chapel. But, alas ! upon returning to London, the pomps 
and vanities of that gay city seduced his allegiance from 
church to stage. Was there ever such demoralisation ! 
His father resolutely opposed this terrible departure in his 
son's sentiments, but, recognising that the ministry was 
now a little thin, decided that he should study medicine. 
The family then removed to Dublin, where Charles began 
to work. But he soon gravitated towards circles more or 
less connected with the drama, and was in danger of for- 
getting his moral resolution, when he found salvation by 
falling desperately in love with a widow. For her fair sake 
he worked furiously, and passed all his examinations with 
flying colours. Sad to narrate, the lady reaped no reward 
for the good influence she had exerted, for faithless Charles 
changing his mind, like many before and after him, "he 
loved, and he rode away"! Sailing for America in 1863 he 
joined the Medical Department of the Federal Army. But 
the stage fever was still in his system, and, making the 
acquaintance of John Wilkes Booth (who two years later 
achieved a hideous notoriety by the assassination of Presi- 
dent Lincoln), he obtained, through his introduction, the 

9 



242 Wyn 

post of walking gent at a small theatre. Shortly afterwards 
he joined Mr. John Wood's Company, and appeared in a 
character in which he had to declaim, " I am drunk with 
love and enthusiasm." Unfortunately — most unfortunately 
— he only got as far as "I am drunk," when an untimely 
fit of stage-fright seized him, and he brought the speech to 
an inappropriate close. The management took him literally 
at his word and discharged him that evening, and the next 
morning the New York Herald somewhat curtly recorded 
that "a Mr. Wyndham represented a young man from South 
America. He had better go there himself." Determined 
never again to face the awful footlights he resumed his 
duties as Brigade Surgeon, and served through the Seven 
Days' and Red River campaigns. But the old intermittent 
fever returned, and in his spare moments he wrote a play. 
In 1865 he threw up the Service and sailed for England, 
where he at once set about producing his drama, and 
obtained a trial at Manchester. The press received it not 
unkindly, and the lessee of the theatre offered to engage 
him at a salary of jQj, a week to share the light comedy 
business, during the winter season, with a certain actor 
named Henry Irving. But Charles Wyndham was ambi- 
tious, and jQ^o a week was his figure ! Repentance followed, 
and later in the year he thankfully accepted fifty Saturday 
shillings to play at Liverpool. In 1866 he made his dihut 
before a London audience at the Royalty, and secured 
immediate favour. Since then the wheels of his chariot 
have rolled smoothly on. In 1869 he revisited America for 
two years, and on his return played at the St. James' 
Theatre. In 1874 he leased the Court Theatre, but while 
always a popular actor, it was not until he undertook the 
management of the Criterion, in 1885, that he set the head- 
stone of success to the edifice of his career, by the sparkling 
brilliancy of his Charles Surface, Dazzle, and other old 
English characters. Two years later he was commanded 
by the Prince of Wales to play David Garrick at Sandring- 
ham, and a few months afterwards acted that play in 
German at Berlin, Moscow, and St. Petersburg, at which 
latter place Mr. Wyndham and Miss Mary Moore were 
twelve times called before the curtain after the second 
act. They also appeared before the Czar, who on that 
occasion presented the manager with a magnificent ring. 



Wyn 243 

Rightly described by his German friends as der gross 
Kiinstler, Mr. Wyndham is the best representative of the 
old school of comedy that the modern stage has ever 
seen. His irresistible "go" never for one moment flags, 
and he infects his colleagues with his own energy and 
spirit. In private life Mr. Wyndham is a fast friend and 
the cheeriest of mortals. His wife is the sister of the 
clever American playwright, Mr. Bronson Howard, whose 
play The Henrietta was seen at the Avenue in 1891. He is 
the father of a son and a daughter, the former of whom 
manages a ranch in Colorado. Mr. Wyndham lives in St. 
John's Wood. His study he calls "The Room of the Past," 
since everything in it reminds him of some incident in his 
career. Here hangs the sword he carried during the Ameri- 
can War, and here are collected a thousand and one 
souvenirs and mementos of triumphs achieved on the battle 
field of the stage. But amongst all these relics one stands 
prominently out. It is a letter of Sothern's addressed 
to Tom Robertson, and is framed and suspended in an 
honoured place on the wall. It records his opinions about 
David Garrick : "The lines," writes Sothern, "go off like 
rockets ! " So they did. So they do — even now. For 
though that great comedian's voice is hushed for- ever, his 
mantle has fallen upon a worthy successor in Charles 
Wyndham. 




Raithby, Lawrence & Co., Limited. London and Leicester. 



The Dramatic Peerage Advertisements. 



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The Dramatic Peerage Advertisements. 



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Tlie Dramatic Peerage Advertisements. 



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