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::rwELFTH issue. 

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Printed by Hazell, Watson, & Viney, Ld., London and Aylesbury. 


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DECEMBER 26th. 1891, 

Augustus Harris's 13tli Annual Drury Lane 








Dramatic Notes 



The Stage 





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Made the Dresses, Uniforms, etc., 


H.M.S. Pinafore, School for Scandal, 

Pirates of Penzance, Lady of Lyons, 

Patience, Fool's Revenge, 

Children's Pinafore, Honeymoon, 

Adrienhe Lecouvreur, Marie Stuart, 

As You Like It, Country Girl, 

Ballad Monger, The Stroller, 

The Pompadour, The Spy, 

Fennell, The Red X^amp, 

Merry Wives of Windsor, That Doctor Cupid, 

Beau Austin, { London Assurance, 

King John, Ktc, etc. 





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In this, the twelfth issue of ** Dramatic Notes/' the 
Editor hopes that there will be found a faithful record of 
the plays produced in the year 1890. It has been again 
his endeavour to notice them according to . their merit, 
and those which are lightly passed over, '^^re works that 
will probably not live in history. The only novelty that 
the Editor has been able to introduce is a list of English 
plays produced in Holland and Belgium during the past 
year — their production being worthy of note as having 
been a fresh departure by foreign managers. 

C H. 

N.B. — " Dramatic Notes " was for some time edited by Austin 

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Dr. O. KELLY, L.R.C.P. Edln.. Sept., »90, says he believes it is the 
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without the injurious effects of the ordinary Corset EVEN WHEN Tlf^ — 



The COVNTESS OF SUFFOLK. Aug. M, •90, says j " I think them 
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*• SALO^r,** May, *9a.— ** It is the Queen of Corsets. They are delightfblly 
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Dramatic Notes. 


As is usual during the first month of the year the productions 
at the Theatres were not of very great importance. 

2nd. William Gilbert, father of the well-known dramatic 
writer, died on this date, Mr. W. Gilbert was the author of 
" Margaret Meadows," from which Mary Warner was dramatized 
by Tom Taylor. He had also written several poetical and other 

4th. Violet Cameron appeared as the Prince in Cinderella at 
Her Majesty's. 

Sth. Sam Whittaker, comedian, of the Strand Theatre, died. 

5th. Death, at 91, Euston Road, of Westland Marston, LL.D., 
Dramatic Poet, born at Boston, Lincolnshire in 1820. His first 
work The Patricians DauglUery a five-act drama he published in 
1 84 1. This was followed by The Heart and the Worlds 1847, 
and Ann Blake^ 1852, Among other well known works of his 
were A Lif^s Ransom^ Borough Politics^ A Hard Struggle^ Pure 
Goldy The Wife^s Portrait, Donna Diana, The Favourite of Fortune, 
Haymarket 1866 ; Hero of Romance, Haymarket 1867 ; Life for 
Life, Lyceum 1868 ; and Under Fire, Vaudeville 1886. He had 
some share in Trevanion ; or, The False Position, He also wrote 
some novels and poems. Was buried at Highgate Cemetery. 

6th. Cutting of the Baddeley Cake at Drury Lane by James 
Fernandez, Master of the Drury Lane Fund, who made an 
excellent speech. Augustus Harris invited nearly two thousand 
guests to supper. 

6th. Death of James Rodgers, proprietor of Prince of Wales's 
Theatre, Birmingham. Was the son of an officer, and at 1 7 years 
of age made his first appearance as Lance Linwood, in The Dream 
at Sea. Toured extensively in the provinces, was well received in 
London, and was at one time co-lessee with Walter Montgomery 

A Sinless Secret — Tra-La-La Tosca. cjah., 1890. 

of the Haymarket. Purchased the Prince of Wales's, Birmingham, 
in 1866, and it bore the reputation of being one of the best 
managed houses. He was familiarly known as "Gentleman 
Rodgers," and was a great favourite. Was buried in King's 
Norton Churchyard. 

7th. Comedy. {Matinee.) A Sinless Secret. — By Frank Lindo. 
It did not bear out the promise of the author's former efforts, and 
proved to be crude in construction, and slightly bombastic in 
language. It was the old story of a wife losing her husband's 
confidence through her concealing from him the fact that the 
man she was meeting clandestinely was her own father, a spy, 
and everything that was bad. On the same afternoon a sad little 
play Mademoiselle de Lira^ by Mrs. G. Thompson and Kate 
Sinclair, was well rendered by the joint authoresses, the latter 
particularly distinguishing herself in an inginue part Total 
destruction of the Th^Atre de la Bourse, Brussels, by fire. 

9th. Royalty. Tra-La-La Tosca, — It is generally admitted 
that Mr. Bumand is at his happiest when burlesquing some well- 
known play, and his skit on La Tosca, was one of his finest 
efforts. He had most humorously seized upon those situations 
which were best suited for travestie, and parodied them in the 
most felicitous manner. Thus the opening church scene is 
transferred into " Nel-Museo Kensintonia," hung with the most 
atrocious " pot-boilers," and Count Cameradossi, a photographer is 
interviewed by Angelotti, who is escaping from tiie peelerini for 
being found in a gambling saloon. La Tosca comes in, and 
is jealous, because she fancies she hears a voice which Cameradossi 
explains as being that of a cat, and says — 

" The very place for cats is a Mew-seum," 

and on her insisting that some lady-love of his is hidden in the 

'* Cher chez le femme." 

he replies — 

" Mais cher chez, cher chez done, ma chh-e^ chez moi," 

and in the true spirit of burlesque, makes La Tosca entreat him 
to render the picture of which she is jealous, ugly. After her 
departure Scarpia enters with his myrmidons (whose faces are 
made up after the manner of the "white-eyed Kaffir") and 
because Jemmi Rino will not answer his questions, orders 
them to 

" Take him to a Board School building I Go ! 
Off to the house that Jerry built ! 

Fm fond of torture as you are aware, . ., , , C^ c\c\cs\c> 
And slowly you will learn what's taught '0^^^^^^^^ 

Jam., 1890.] Tra-La-La Tosca. 

In the State Concert Room in the Palazzo, Miss Liddon had a 
clever scene in which she gave a very amusing burlesque imitation 
of Rose Leclercq as the Queen of Naples ; and Scarpia works on 
the jealousy of La Tosca with a huge fan. What was probably 
the best situation was the " Studio Obscuro di Conte Camera- 
dossi," in which the Count is supposed to undergo the torture in 
the billiard-room, and Scarpia says — 

'' Give him his cue 
And then hell speak— if not, put on a screw." 

and the unfortunate count is to be subjected to Boulanger's March 
played on an organ and whistled by street boys ; to an " amateur 
imitation of Henry Irving, with a recitation ; " to listen to the 
reading of the whole Parnell Commission ; all the letters on 
Bi-metallism ; and have his head filled. with puzzles and acrostics, 
the result of which was that after La Tosca had spoken, the 
Count staggered in, drawn out to represent an enormously tall 
figure of Henry Irving as Robert Landry after coming out of 
the Bastille, and the body of Angelotti was brought in as a 
5th of November Guy Fawkes, The killing of Scarpia is 
supposed to take place in the " Camera Segreta del Caffe 
Romano Nello Strando." The Baron wooed Flora after the 
most grotesque fashion, and finally she stabbed him with a 
huge bill that the waiter had presented for payment, and before 
she left his supposed corpse reverently covered the face with a 
dish cover! Cameradossi's execution took place on the "Bastione 
del Castel Angelo d'Islintonia," where he was done to death by 
being " taken off" by ten photographers at once, and La Tosca 
jumped from the ramparts followed by the peelerini shouting 
" yoicks gone away " like huntsmen after a pack in full cry. 
The close of the burlesque was brought about by Mr. Arthur 
Roberts appearing in evening dress made up as Mr. Hare of 
the Garrick Theatre. On the first representation Mr. Roberts 
did not know his lines, or at least did not give them as set down 
in the text, and there were, therefore, loud expressions of dis- 
approval at the close of the evening, not at Mr. Bumand (who 
was most cordially received), but at the delinquent actor. Later, 
Mr. Roberts gave the humorous lines in their integrity, and at 
the same time, a very amusing representation of Scarpia. Miss 
Margaret Ayrtoun was almost too faithful a copy of Mrs. Bernard 
Beere, and was sometimes so realistic in her agony as to miss the 
burlesque side ; but it was a clever performance. Miss Agnes 
Delaporte was specially bright and lively as Cameradossi. Miss 
Laura Hansen was a sparkling Angelotti. Mr. George Prior 

8 Marjorie — Across Her Path. [Jan., 1890. 

gave a clever travestie of the original as Spiacroni. Florian 
Pascal's music might have been a little more lively. 

nth. St. George's Hall. The Sword of Damocles. — Farce 
adapted from the German by Philip Darwin, and Worcester Fight 
"dramatic episode" by Maurice Dalton and Earnest Genet. 
Neither likely to be seen again. 

nth. Intelligence received in England of the death of Philip 
Beck, a young and promising actor. He died by his own hand, 
December 24th, 1889. 

1 2th. Death of Mrs. FitzGeorge, wife of the Duke of Cambridge, 
after a long and painful illness at her house in Queen Street, 
Mayfair, aged 74. The deceased lady was, as Miss Farebrother, 
an accomplished and favourite actress and dancer. She was a 
member of the Vestris company at the Lyceum in 1848, and 
appeared in Planch^'s extravaganzas. Was buried in Kensal 
Green Cemetery. 

1 8th. Prince of Wales. Marjorie. — Was put on its trial at 
this same theatre on July i8th, 1890 {see Dramatic Notes of 
that date). On its fresh production the principal alterations in 
the book consisted in the Earl being caught in his own trap and 
married to Cicely, and in Marjorie's clever ruse whereby she 
obtained the freedom of Wilfred, the Lady Alicia pairing off 
with Gosric. The book had been generally written up, some 
fresh business being introduced in the third act, on the approval 
of which opinion was divided. Phyllis Broughton, however, was 
very bright and amusing, and H. Monkhouse and Madame Amadi 
were excellent in their comedy. Camille d'Arville gained the 
honour of the evening, for Agnes Huntington disappointed every- 
one, and Hayden Coffin was not quite up to the mark in the last 
act. Walter Slaughter's music was tuneful and bright On 
Monday, January 27th, Miss Huntingdon resigned the part of 
Wilfred, which was filled for three nights by T. A. Shale, and 
subsequently by Joseph Tapley. 

2 1st. Terry's. Across Her Path, — In Miss Irish's play, Barbara 
Dale is a young woman who, having a convict brother, marries a 
man devotedly attached to her, she not caring one iota for him, 
merely that his name and position may shield her should the 
unfortunate little family occurrence crop up. Later, when affection 
has come after marriage and she has learnt to love the man who 
worships her, and who would in a moment forgive her conceal- 
ment of the objectionable relative, Barbara takes an evening walk 
in the garden with a rejected suitor, who knows all about her 
brother and has spitefully resolved that her husband shall know 

Jan., X890.] Taming of the Shrew, 9 

as much as he does. Further, he leads the poor husband to 
believe that Barbara was not all that she should have been in 
past days, and Barbara still keeps the secret about this wretched 
brother, the divulgence of which would explain everything ; and 
goes off in a cab at a moment's notice with an old servant, leaving 
husband, home and all, to resume her career as a successful novel 
writer. There is no occasion to say much about the former 
lover's repentance when he is in the last stages of consumption, 
and of the missing Barbara's whereabouts being discovered 
through the style of another novel she has written ! What we 
have to look at is that all sympathy with the heroine is destroyed 
by her selfishness and folly. Her guarding her secret is only to 
preserve her own comfort, and her running away and hiding is 
simply inexplicable. Miss Annie Irish's dialogue was so good, 
and her drawing of one or two of the characters (in particular 
Lady Bassett and Elspeth Carmichael, both played to perfection 
by Miss Le Thidre and Mrs. E. H. Brooke), was so clever and 
original, that all those who saw the piece could only regret that 
the authoress had wasted good labour on a silly plot. Miss Irish 
must g^ard against becoming almost pedantic in her delivery, 
otherwise her acting was sincere and intelligent Henry 
Pagden was fairly good as Jasper Leigh, the vindictive lover, 
and Miss T. Roma imparted just the right amount of hauteur 
to the most objectionably proud Frances Seveme. Oscar Adye 
did not shine as Sir Adrian Severne. 

23Td. Lyceum. — looth night of The Dead Heart 
23 rd. Comedy. Taming of the Shrew. — Mr. Benson was 
fortunate in having such a good-natured audience as was present 
on the first representation of Shakespeare's comedy ; but even their 
patience was exhausted at last, when the young manager clowned 
to such an extent as to produce the effect of a pantomime rally. 
Mr. Benson had quite mistaken the character of Petruchio. 
Shakespeare intended him to be a gentleman, merry, and light- 
hearted, but, at the same time, firm of purpose, and so strong- 
minded as to be able to cope with, and overcome the domineering, 
spoilt Katherina. The lady, too, should be womanly, not the 
cross-grained vixen that Mrs. Benson made of her. Of the 
whole cast, only Walter Shaw, Stephen Phillips, and to a small 
extent G. R. Weir deserved favourable mention ; the rest 
were amateurish in the extreme. The mounting of the piece was 
everything that could be desired, but this did not compensate for 
poor acting, nor did it disarm criticism. Christopher Sly was 
omitted, probably with advantage. 

10 CyriPs Success — The Best Man Wins. Uaw., 1890. 

25th. Criterion. CyriCs Success, — Was revived here, but only 
ran about a fortnight. It was first produced at the Globe Theatre, 
November 28th, 1868, when W. H. Vernon made his dibut 
and played Cyril Cuthbert ; John Clark, Matthew Pincher ; 
David Fisher, Major Treherne ; Maggie Brennan, the Hon. 
Frederick Titeboy ; Charles Warner, Viscount Glycerine ; Miss 
Henrade, Mrs. Cuthbert ; Mrs. Stevens, Miss Grannett ; Fanny 
Hughes, Mrs. Singleton Bliss. The piece, though artificial, 
was long considered as H. J. Byron's best achievement in pure 
comedy, and contains some of the author's brightest and most 
witty dialogue. On the occasion of its latest revival, all the 
sparkle seemed to have disappeared, the jokes fell flat and there 
was such an air of unreality about the whole performance that 
the audience listened apathetically, and left the theatre as though 
they considered an evening had been wasted. And it must be 
confessed that the result was almost entirely due to the actors 
and actresses, only two of whom. Miss E. Brunton (a sister of 
Mrs. Kendal), as Miss Grannett, and Arthur Elwood as 
Major Treherne, appeared to enter completely into the spirit of 
the play. Leonard Boyne as the hero was only really good 
in the club scene. David James as Pincher, the journalist, 
quite missed the cynicism of the character, but redeemed himself 
somewhat in the last act. Miss F. Frances was a colourless 
Hon. Fred Titeboy. Olga Brandon played Mrs. Cuthbert in 
far too lachrymose a vein, and Miss Compton, though attractive- 
looking, was anything but a fascinating Mrs. Singleton Bliss. 
Two small parts, the Viscount Glycerine of G. Stanton, and the 
Pepper of G. B. Phillips were effectively rendered. 

26th. Death of Helen Mathews after much suffering, was 
universally esteemed, and especially in the profession in which 
she had made her mark. Ida in The Two Roses, on the revival 
at the Lyceum, and Vere Herbert in Moths she played at a 
few hours* notice. She joined Henry Irving's company on an 
American tour, and subsequently appeared in England in a round 
of Shaksperian heroines. 

27th. Novelty. The Best Man Wins. — A clever and amus- 
ing farce by Mark Melford, tells of two foster-brothers, who, 
both loving the same girl, are so unselfish as each to plead the 
cause of the other, and in order to induce the young lady to 
decide, the parson is called in, who settles the matter by winning 
the prize himself. In it the author and James Woodbridge were 
good. On the same night Kleptomania was revived^^Ai^he 
author, Mark Melford, in his original part. ^ 

Feb., 1890.J Dr, Bill. 1 1 

28th. Ladbroke Hall. All a Mistake. — Comedietta by 
Mrs. Newton Phillips. 

31st Chelsea Town Hall. — Miss Rosina Filippi, who had 
already shown a poetical tendency in her children's pantomime, 
Little Goody Two Shoes ^ produced here a fairy sketch entitled An 
Idyll of New Year's Eve^ which was graceful in sentiment and 
design, but too thin for the general public's acceptance. As it 
was made the medium for the wearing of some very pretty dresses, 
marshalling in review as it did the various months of the year, etc., 
it might find favour with amateurs for home representation. The 
music was pretty, and by Amy Elsie Horrocks. 



1st. Avenue. Dr, Bill. — Mr George Alexander commenced 
his managership propitiously, for seldom, if ever, has a risky French 
play been better adapted than this one. Mr. Aide contrived to 
retain all the fun of Dr. Jo-Jo, and yet make it wholesome. Dr. 
William Brown at the age of thirty-five has married and settled 
down, and having a competency declines to practice. He has 
good reasons ; in the past he has been known as Dr. Bill, the 
favourite medico of ballerinas, burlesque actresses and ladies of 
that type, and been a persona grata at petits soupersy dramatic 
balls, etc. So he does not wish to meet again his old acquaint- 
ances, but fate is too strong for him ; his father-in-law, Firman, 
looks upon idleness as the root of all evil, and so he has a brass 
plate stuck on his son-in-law's door, sends out circulars, writes to 
the Pall Mally that Dr. Brown was the unknown medical gentle- 
man who rendered such assistance to a lady who met with an 
accident in Hyde Park ; and does his best to bring the doctor 
into notoriety. And he succeeds, for the first patient is Miss 
Fauntleroy, a lively lady who, recalling the escapades of Doctor 
Bill, induces him to take part in his own drawing-room in an 
eccentric "Kangaroo Dance." Then Mrs. Horton, an opposite 
neighbour, (married to a jealous Inspector of Police,) imbued with 
a spirit of mischief, induces Louisa Brown to allow her husband 
the doctor to be sent for to attend Mrs. Horton, who is persuaded 
he will " like all the men " flirt with her. She does not know 
Doctor Brown, and so when George Webster, sent with a message 

12 The Tidal Hour — A Noble Brother, [Feb., 1890. 

from the doctor, announces himself as the medical man, being 
already smitten with the lady, he, in lieu of feeling her pulse, 
squeezes her hand, etc., and being ordered to give a prescription, 
is discovered by the hand -writing to be the sender of a handsome 
bouquet. From this arise all sorts of misconceptions ; Mrs. Brown 
is sent for to find her husband, as she supposes in flagrante 
delicto^ and being shut up in a dark room with Webster, soundly 
boxes his ears. The real Dr. Brown arrives and is pushed into 
another dark room with his mother-in-law. Papa-in-law Firman 
is taken by the jealous Horton for the disturber of his domestic 
peace, and in the third act Dr. Brown is likely to be charged, not 
only with having written the prescription containing ingredients 
enough to poison a whole family, but also with being the man 
who picked the pocket of the lady who met with the accident, 
the man who pretended to assist her having done so. Not for an 
instant does the fun of the piece flag ; the last act was infinitely 
better than might have been expected after such an excellent one 
as the second. Fanny Brough was inimitable in her mock heroics 
of despair, F. Terry was scarcely light enough in his touch, but 
then the character was out of his line. Mr. Chevalier a little over- 
elaborated his part, but was decidedly droll. Benjamin Webster 
was very funny as an empty-headed young fop, and G. Capel, 
clever as the victim of the green eyed monster. Elizabeth Robins 
was natural and attractive as the loving Louisa Brown, and Marie 
Linden did much in the small part of a spying waiting-maid. 
Later March 15th, Mr. Alexander himself assumed the character 
of Dr. Bill and made a success of it, as did Edith Kenward, with 
her Kangaroo dance. — Dr. Bill was preceded by Foots Mate^ 
Fred. W. Broughton's one-act comedy, originally produced at 
Toole^s Theatre, December 12th, 1889. On this occasion the 
cast was a good one. Mary Kingsley was womanly and dignified, 
as Mary Egerton ; Nutcombe Gould firm, as Arthur Egerton ; and 
Frederick Terry very good, as the Earl of Somerdale; Gracie 
Murielle, as the very unreal Dorothy, had learnt her lesson well; 
but there was a want of nature and spontaneity. 

1st, Tlie Tidal Hour^ a one- act domestic drama by Rex 
Watney, was played at the VICTORIA HALL, Bayswater, by the 
West London Dramatic Club, and was followed by Noblesse Oblige^ 
a play, written in a prologue and three acts. 

3rd. Op^RA Comique. a Noble Brother, — Mr. Gitten Lons- 
dale commenced a short season with this play, which had been 
successful in the provinces, for which it is better suited than for 
London ; for it is stilted in language and utterly improbable. The 

Feb., X890.] Gringoire — Clarissa, 13 

hero has taken upon himself the guilt of a murder committed by 
his twin brother, has been confined in Sing-Sing (the scene is laid 
in America) for some seventeen years, escapes and wanders the 
country as " Jerry the tramp." Recognized by Harry Travers, a 
villain who has seen him in prison, he is compelled by his tyrant 
to claim as his daughter a girl who has been adopted by some 
rich people, so that Travers may force her into a marriage with 
himself. Jerry, however, has learnt to love the girl, and rather 
than she shall be sacrificed he goes back to finish his term of 
imprisonment. Eventually, of course, the guilty brother on his 
death bed confesses to the crime. Jerry is released, and inherits 
all the deceased's wealth, and Travers is magnanimously allowed 
to go scot free. W. J. Summers proved a quaint and original 
eccentric comedian, and in the third act, where the struggle takes 
place between his affection for his daughter and the horror he 
feels of having to return to prison, showed considerable strength 
and pathos. He was the author of the " comedy-drama," which 
was evidently written by him with regard only to his own special 
powers. Ellen Boucher was pleasing and intelligent as Mona 
Leigh, the tramp's daughter. 

4th. Park Town Hall, Battersea (an excellent little theatre 
for amateurs, by the way), a very poetic version by Miss E. Bessie 
and Mr. S. Herberte- Basing of Gringoire. The work was much 
applauded, and was done great justice to by the author in the 
name part, the authoress as Loyse, and by Mary Bessie as Nicole 
Andry. Mr. Frank Westerton had a good conception of the 
character of Louis XL 

6th. Vaudeville. Clarissa. — Robert Buchanan's version of 
" Clarissa Harlowe " is not the first by several that have been 
produced. He admits that he is much indebted to the French 
dramatization by Dumanoir, Guillard, and Clairville, played " at 
the Gymnase in 1 842." Since then it has been at the Princess's 
in 1846, the adaptors being T. H. Lacy and John Courtney, 
when Charles Mathews (an actor who we all know had not the 
faintest idea of sentiment or romance) was the Lovelace and 
Mrs. Stirling, Clarissa. Then there was Dion Boucicault's 
version, and latest W. G. Wills's, produced at the Theatre Royal, 
Birmingham, December 16, 1889. Mr. Buchanan has given us a 
workmanlike and most interesting play ; his language is appro- 
priate and the introduction of Hetty Belford adds to the strength 
of the drama. There are blemishes, however. There is some- 
thing that is almost too horrible in the first act where Lovelace 
toys with one of his victims (Jenny) and holds out as a reward 

14 Clarissa. [Feb., xSqo. 

to her that if she will aid him in his designs, he will get her her 
situation of waiting maid with Clarissa so that Jenny will be near 
him. Again, that men of position like Sir Harry Tourville and 
Aubrey should pander so openly to Lovelace's brutal instincts is 
brought too much in evidence, as is the scene where these men 
and a couple of infamous women drink success to their patron's 
designs on the hapless heroine. Nor does it seem in accordance 
with the repentance of Belford (the Morden of the novel) that he 
should immediately after his promise to lead a new life slay 
Lovelace, who then dies at Clarissa's feet, she having in a state 
of ecstatic delirium kissed and forgiven her betrayer as her soul 
departs. In the last act, too, there is an almost brutal disregard 
for the feelings of the repentant Hetty, whom by his past conduct 
he has actually driven to the streets, when in her very presence 
Lovelace offers marriage to Clarissa as some, though tardy, 
atonement for the evil he has wrought. Another blemish is the 
frequency with which the name of the Deity is invoked. Mr. 
Buchanan has given us an exquisite character in Clarissa, the soul 
of purity, defiled only in an earthly sense, but a sublime and 
spotless martyr in Heaven's sight, and it is for this reason that I 
should have esteemed his work the more highly had he not so con- 
spicuously brought out the sensuality and animal nature of some 
of his characters. Though in the first act I thought Winifred 
Emery a little cold, scarce showing sufficiently the possession that 
Lovelace had taken of her heart, later she was near perfection ; 
her death scene, though prolonged, was robbed of any sense of 
weariness to the beholder by its exquisite poetry and beauty. 
The actress appeared to be almost transfigured, and to be already 
a denizen of that happier world in which she was so soon to take 
her place for ever. T. B. Thalberg, though very good for so 
young an actor, was neither romantic nor passionate. Such a 
character as Lovelace, a man who can obtain the conquest over 
women of every grade, should be thoroughly captivating towards 
them ; when he tires of his playthings of an hour he might be 
heartless but he should not be cynical. Ella Bannister surprised 
me by her power as Hetty. Her elocution was very faulty, and 
her bursts of emotion were undisciplined, but there was distinct 
evidence of a capability, which study and experience might 
develop into the accomplishment of great things. Thomas Thome 
was earnest and sincere as Belford, a man who has lost faith in 
woman since his sister's disgrace, but whose heart is moved at the 
innocence of Clarissa. Cyril Maude was excellent as Solmes, the 
old lover, intended by her father for Clarissa's husband. Fred 

Feb., 1890.] New Lamps for Old, 1 5 

Thome, Mary CoIIette, and Lily Hanbury also deserve very 
favourable mention. Mr. Hemsley, in the second act, gave a 
capital reproduction of Covent Garden Market as it appeared in 
1749, and the dresses by Nathan & Co., from designs by Karl, 
were handsome and correct. "Clarissa" was so well received 
that it was placed in the evening bill on Saturday, February 8th, 

8th. Terry's. — Miss Cissy Grahame entered on the manage- 
ment of this Theatre and produced Jerome K. Jerome's New Lamps 
for Old^ a satire on the doctrines of Mrs. Mona Caird, with a 
sly poke at Ibsen, and showing the absurdities of yearning for 
one's " affinity." Though very smartly written, the plot was thin. 
Mr. and Mrs. Honeydew have both been perturbed in their minds 
by reading the correspondence on the question of " Is Marriage a 
Failure ? " And so Honeydew listens to the strong-minded 
principles inculcated by Octavia, a married woman, and Elvira 
is won over by the poetic Postlethwaite, a long-haired individual 
who rhapsodizes on the charms of the unattainable, and the two 
pairs elope in the morning to arrive, strange to say, at the same 
hotel, the " Sweetbriar Arms," Swandale-on-Thames. During the 
few hours that elapse prior to dinner, they become very much 
disgusted and bored with their " affinities," and long to return to 
mutual domestic bliss, for Octavia is none other than the wife of 
Postlethwaite, whom she has married and separated from as per 
agreement that a month's notice on either side should dissolve the 
contract Buster, family solicitor to the Honeydews, is anxious 
to figure professionally in a divorce case, and scenting mischief in 
the wind, follows the couples down to their riverside retreat, where 
from his persistent search for evidence he is taken by Jemima, the 
waitress, for a Mormon, and the husband of both the ladies. 
Anxious to hide himself, he takes refuge in what he thinks is a 
cupboard, but which proves to be a dinner lift, which being out 
of order in some way persistently carries him up and down, and 
reveals him to the audience at intervals noting down scraps of con- 
versation he overhears, eating scraps of food he finds in his 
hiding-place, and occasionally uttering smothered scraps of pro- 
fane language as he is whisked up or down. The failure of the 
electric light prevents the complete recognition by each other of 
the various characters, and an amusing third act is provided by 
their all returning in a more or less bedraggled and miserable con- 
dition from their night journey, which they have accomplished in 
all sorts of queer conveyances, Swandale being miles from a station. 
The wretched little Buster is taxed with being a Lothario and 

1 6 Our Boys — The Home Feud, [Feb., 1890 

cause of all the trouble, etc., and goes off, protesting that he wUl 
have no "case " after all ; the poet and his strong-minded Octavia 
agree to re-unite their fortunes, and the curtain falls on Honeydew 
and his wife locked in the fondest of embraces. W. S. Penley 
wonderfully made up as the little high-dried lawyer, Buster, 
created much laughter, but had not as strong a part as is usually 
supplied for him. Bernard Gould was amusing and natural as 
Honeydew. Cissy Grahame was thoroughly artistic as the 
romantic silly Mrs. Honeydew. F. Kerr gave an excellent 
character sketch as the " great Postlethwaite." Gertrude Kingston 
was a little too prononcie as Octavia. W. Lestocq was droll as 
the smug complacent butler Jorkins, who, accepting " tips " from 
master and mistress to conceal their doings from each other, 
pockets his douceurs, and laughs at both. The play was favour- 
ably received. The Parting of the Ways, played on the same 
evening as a first piece, was by Frederick Bowyer and Edwardes 
Sprange, and was not in the happiest vein. Harold Conybeare 
(Yorke Stephens) has been abroad some twenty years, during 
which time Margaret Grey (Miss M. A. Giffard), his betrothed, has 
been true to him, and on his return he renews his vows, yet at 
the same tim-^ he falls in love and asks for the affection of Edith 
Hastings (Helen Leyton), a niece of Margaret's, who is the image 
of what her aunt was when Harold left England. Margaret over- 
hears the confession, and sorrowfully yields up her lover to her 
younger rival. There was nothing very noticeable either in the 
writing or the acting. 

I ith. Criterion. Our Boys. — Was revived with every success. 
David James, Perkyn Middlewick, a part that he plays to perfec- 
tion ; Leonard Boyne was fairly good as his son Charles ; E. W. 
Gardiner's Talbot Champneys was at once original and clever ; 
Arthur Elwood was an aristocratic Sir Geoffery Champneys ; and 
Olga Brandon and Fanny Francis were pleasing as Mary Melrose 
and Violet. 

14th. Comedy. {Matinie.) The Home Feud, — Original play in 
three acts, by Walter Frith, altogether too sketchy, and in places 
too talky. There is, however, sufficient in the original idea on 
which the play is based for the foundation of a good drama. 
Captain Hargreaves, having temporarily lost his sight in Egypt, 
is saved from death and nursed back to health by Helen Joliffe, 
and they fall in love with each other, but without any mutual 
confession. The soldier goes to Germany for treatment, and his 
sight is restored, and immediately on his return he enters and 
declares his love for Helen. He has made a mistake) however. 

PcB., 1890.] Isalda — My Brother's Sister, 17 

for he has proposed to Louise Brunton, a scheming woman with a 
past, who, to escape from poverty and dependence, is determined 
to entrap the well-to-do soldier if she can, and she succeeds, for 
Hargreaves weds her. She has already been married to John 
Beilby, a thorough scamp and forger, but she imagines him to 
be dead. He re-appears, but as his wife is determined not to 
lose the position she has fought for, she makes an appointment 
with him for the dead of night, and he is to enter by the con- 
servatory, when she will shoot him down as though he were a 
burglar. She fires and misses. Beilby snatches the revolver 
from her, and as she is attempting to escape, draws upon her, 
and she falls dead — a sudden ending — leaving to the audience 
to conjecture what they will as to the future of the various 
characters. Gertrude Kingston was hard and jerky as Louise 
Brunton ; Nutcombe Gould sympathetic as Captain Hargreaves ; 
May Whitty was a very sweet Helen Joliffe ; and William Herbert 
manly and honest as an unselfish, honourable brother to the scamp 
John Beilby, effectively played by Scott Buist Eva Moore was 
natural and unaffected in an inginue part. 

14th. Toole's. Isalda. — Poetical play, in one act and in 
blank verse, by Fred Horner, was seen for the first time. It 
proved to be decidedly tragic, and in marked contrast to the 
other Item of the programme, The Bungalow^ which reached its 
iSOth performance. Don Antonio, a feudal lord of the borders 
of Spain, has brought before him one Isalda, a girl who is accused 
of being one of a band of smugglers who cross into France. Don 
Antonio has seen and loved her, and promises to pardon her (for 
she is condemned to death for infringement of the law) if she 
will be his. Isalda, however, is betrothed to a Comte Henri 
Delauriferes, a French feudal lord, and it is to meet him that she 
so frequently crosses the frontier. The Count appears and de- 
mands her release, but Don Antonio behaves in such a dastardly 
manner that the Count forces him to a duel there and then. 
Don Antonio is mortally wounded, but does not die till he has 
signed a " passport through the lines " enabling the lovers to 
escape. The dresses were picturesque, and the parts were capably 
filled by Bassett Roe, Don Antonio ; Matthew Brodie, the Count ; 
and Vane Featherstone, Isalda. The author had to bow his 
acknowledgments in response to a hearty call. 

15 th. Gaiety. {Matinee,) My Brotlut^s Sister {Only in fim) 
— Was enthusiastically received. Originally produced at the 
Prince's Theatre, Manchester, September 3rd, 1888. The piece 
enabled Miss Minnie Palmer to assume the character of a shoe- 


1 8 Les Cloches de Comeville — Quicksands, ci-'kb., 1890. 

black, a little "help/* a society dame full of espiiglerie and 
mischief, and a dashing young naval cadet ; and in these im- 
personations she acted, sang, and danced with her accustomed 
grace, vivacity, and charm. Herbert Sparling was an original 
and humorous Waldcoffer Grosserby ; C. W. Allison and George 
Bemage gave capital character sketches of Mr. Parker and Officer 

1 6th. Died Mrs. Vyner Robinson (Miss Florence Plowden), 
aged 38 ; was a pupil of Mrs. Stirling, and had long engagements 
under Mr. Hare at the old Court Theatre, and under the Bancrofts 
at the old Prince of Wales's. Retired from the stage in i88i, 
and taught elocution and gave dramatic recitals up to the time 
of her death. 

1 7th. Op6ra Comique. Les Cloches de Corneville. — Was revived 
at the Op^ra Comique. Though Mr. Shiel Barry had played the 
part of Gaspard, the miser, some 3,000 times, he never " held the 
house " more completely than he did on this revival. Charles 
Ashford, the original Gobo, was also excellent ; Tom Paulton 
quaint as The Baillie. Helen Capet, as Germaine, sang true, but 
her voice required training. Marian Erie, as Serpolette, acquitted 
herself remarkably well. 

1 8th. Comedy. {Matinee) Tabithds Courtship. — By Eva and 
Florence Bright ; wanted severe pruning. The characters are not 
at all badly drawn, and there is a good spice of humour running 
through the little play. By the clever contrivance of one Charlie 
Mordant ; an old professor of natural history, and a lady of a 
certain age with a weakness for poodles, are brought to decide 
on entering into matrimony, though but for his plotting they 
would never have dreamt of it. Cecil Thombury as the professor, 
and Florence Bright as an ingenue decidedly scored. 

1 8th. Comedy. (Matinee) Quicksands, — Comedy drama in 
four acts, by Charlotte E. Morland, adapted from Mrs. Lovett 
Cameron's novel, " A Devout Lover." Might at least claim origfi- 
nality in its final scene, but the dialogue was generally common- 
place, and the work, though in many places interesting and having 
grip, was to a certain extent crude. The plot turns on the 
generous (in one sense) self-denial of a man, who marries a 
woman he does not love in order to save a woman that he does, 
and who in her turn sacrifices her life to save her rivars. Walter 
Russell as Matthew Dane, Laurence Cautley as Geoffi-ey Liston, 
and Gilbert Yorke (a very young actor) as Albert Trichet, were 
particularly good. Edgar Smart as Miles Faulkner, and Ivan 
Watson (in a dual r6le) were worthy of praise* Florence Bright 

Feb., 1890.] All Abroad— A Pair of Spectacles. 19 

as a frank sensible English girl, Dulcie Halliday, was clever ; 
Elizabeth Robins was impressive in the strongly emotional 
character of Rose de Brefour. The authoress would have done 
wisely not to have appeared as Angel Halliday. 

19th. Death of E. T. Smale, long connected with the Criterion 

2 1st. Prince of Wales's. All Abroad. — Operetta, by 
Arthur Law ; music by A, J. Caldicott ; Mr. Bunting, Fred 
Wood ; Charles, Templar Saxe ; Winkles, Albert James ; 
Mrs. Bunting, Amy Abbott ; Jeannette, Florence Darley. 

22nd. Garrick. a Pair of Spectacles. — Sydney Grundy, when 
he was unanimously called before the curtain at the close of 
A Pair of Spectacles^ too modestly gave the credit of the 
excellence of the piece to MM. Labiche and Delacour, whose 
play, Les Petits Oiseaux^ Mr. Grundy had adapted. Delightful as 
the original is, it would not have achieved such a brilliant success 
had it not been for the adaptor's charming dialogue and the true 
humanity displayed in the various characters under their English 
guise. Benjamin Goldfinch, in the opening, is the cheeriest and 
kindliest of men. He is possessed of means, is married to a young 
wife who doats on him, has a son that is all he could wish, is 
beloved by his tenants, his tradespeople, and his servants. These 
three latter classes, perhaps, take some advantage of his easy good- 
nature, and impose on him to a certain extent ; they plead piteous 
tales, and are not pressed for their rent ; they overcharge him, and 
his immediate servitors have too easy a time of it. But what 
matters this to Benjamin } His only wish is to see everyone happy, 
so far as he can secure that end. He looks upon himself but as a 
steward of his wealth, and so he is rewarded. Unexpectedly, his 
brother Gregory appears upon the scene. He is the very opposite, 
a self-made man. He is worth ;f 200,000, which he boasts has 
been accumulated through his never having trusted anyone, given 
nothing in charity, believed in no tale of woe or distress ; and 
when kindly Benjamin speaks to him of some suffering creature, 
he answers always in his north country accent, " I know that mon, 
he cooms fra Sheffield." A discharged coachman of Benjamin's 
has written from St Giles's craving assistance. Gregory declares 
he is an impostor ; the two brothers go together to find out the 
truth, and alas! Gregory is right. In his perturbation at the 
discovery, Benjamin breaks his spectacles and borrows his 
brother's, and from that moment he looks through them with his 
brother's sense. He returns, and, at once mistrustful of everyone, 
he weighs everything that comes into the house, he puts everything 

20 A Pair of Spectacles. [Feb., 1890. 

under lock and key. His old bootmaker he discovers puts bad 
leather in his boots, his old butler drinks his brandy, and — worst 
of all — he searches his wife's escritoire for letters which he believes 
she has received from a curate whom he has hitherto respected ; 
but he believes in his brother. From a genial, happy creature 
Benjamin is transformed into a hard, suspicious being, who will 
not save his oldest friend from possible ruin, though he could 
well spare the cash that would avert the downfall. Just then, the 
failure of a bank leads people to suppose that Benjamin himself 
is ruined, and he at once discovers how wrong he has been in his 
surmises. His young wife offers to sell her diamonds; the packet 
of love-letters he has discovered are his own written to her that 
she has so treasured. His tenants come forward and pay their back 
rents ; his nephew tenders to him the only valuable he possesses ; 
his old friend, whom he had refused to help, presses on him quite a 
little fortune ; he learns that the old butler, who wishes to remain 
with him without wages, is trustworthy ; and — most wonderful of 
all — the hard-hearted brother Gregory brings out a deed of 
partnership for him to sign. For Gregory has learnt his lesson. 
His son Dick, whom he had sent forth penniless to fight the world, 
is not the prosperous barrister he imagined, but steeped in debt, 
and has been actually arrested in his father's presence, and 
Gregory's heart has been softened by the spontaneous kindness of 
everyone to the man who had earned their gratitude by his 
nobility of nature and hitherto unceasing charity. If the drama of 
the present day is to educate and to raise the moral standard of 
an audience, surely A Pair of Spectacles should do so, for there is 
no preachee-preachee. It is deeply interesting, and there is in it 
so much humour as to make one smile and laugh, while leaving 
its best impression. Mr. Hare's acting was beyond praise ; indeed 
it was not acting, it was nature itself — so cheery and happy in 
his belief, so miserable while struggling against his new-formed 
suspicions, and once more so truly contented when, recovering his 
own spectacles that have been mended, he with them recovers his 
belief in goodness. Little behind him was Charles Groves, as the 
grasping, suspicious ironmaster, Gregory, as hard as the metal 
in which he deals ; so confident in his own acuteness, and yet so 
wofully mistaken. It was an excellent performance, not the 
least exaggerated in treatment or appearance, and yet in such 
clever contrast to a brother so opposite to him in every way. 
Rudge Harding as Percy was a manly young fellow, and Sydney 
Brough as Dick played with great tact. F. H. Knight gave a 
remarkably good rendering of the canny but true-hearted old 

F«B., 1890.] Dream Faces — Tra-La-La Tosca. 21 

bootmaker, Bartholomew. Kate Rorke was a very sweet young 
wife. Blanche Horlock occasionally dropped her voice so much 
as to be almost inaudible. The other parts left nothing to be 
desired in their representation. 

22nd. GarricK. Dream Faces. — ^When first produced in 
London at Terry's Theatre, Nov. ist, 1888, Dream Faces was so 
highly spoken of that it was fully expected it would form part of 
an evening bill almost immediately. Its reception at the Garrick 
Theatre fully justified the verdict then passed on it It is a 
charming little work. Robert is an individual who, up to the 
opening of the play has been everything undesirable. Engaged 
as a young fellow years before to Margaret, he deserted her to 
marry another woman, whom he treated no better. His wife dies 
— leaves a child, Lucy, that Margaret, true to the memory of her 
first love, adopts and brings up as her niece. The girl grows up 
and is betrothed to Philip, when Robert, who has not forsaken his 
evil courses, and desperately pressed for money, comes to demand 
a loan of Margaret, under the threat that if not granted he will 
claim his child Margaret will not afford him assistance, but 
pleads that the girl, who has twined herself round her very heart- 
strings, shall remain with her. Robert persists in the enforcement 
of his claim — at any rate he will see his daughter. This is con- 
sented to on one condition — he shall announce himself a friend of 
Lucy's father, whom she has all along supposed to be dead. 
From Lucy he learns that she has been ever brought up to revere 
his memory, and has always pictured him as the best and noblest 
of men. He also learns that for years past he has been living on 
the bounty of Margaret, she having made him the allowance which 
he thought he inherited. His better nature prevails ; he beholds 
himself the ungrateful, selfish being that he has been. Kissing his 
child he gives her into Margaret's arms, and goes forth repent- 
ant, and with the determination to lead a better and a purer life in 
the future. It forms an exquisitely touching picture. Forbes 
Robertson, both as the devil-may-care, hardened criminal and as 
the man brought back to a sense of his shame and the noble 
purity and self-sacrifice of the woman who has loved him all her 
life, held his audience completely, while Carlotta Addison's pathos 
and tenderness moved them to tears. Blanche Horlock was sweet 
and ingenuous, and Sydney Brough true and easy. 

22nd. Last performance of Tra-La-La Tosca at the Royalty. 
And on this date died Leopold Lewis, adaptor of The Bells^ The 
Wandering Jew y etc;, aged 62. He was seized with an epileptic 
fit on the 2 1st, and died from the effects of it He had long been 

22 As You Like It. [FkB., 1890. 

supported by Mr. Henry Irving, who continued the munificent 
allowance to his widow. 

24th. St. James's. As You Like It. — No Rosalind that has 
yet stepped the boards has ever quite satisfied us, but Mrs. Lang- 
try's delineation of one of Shakespeare's most charming and most 
difficult characters may take fair rank. As Ganymede there was, 
perhaps, not sufficient of " a swashing and martial outside," that 
should have been assumed with the doublet and cross-gartered 
hose in which Mrs. Langtry appeared ; it was a little too feminine 
not to have betrayed the sex to even a lover, blinded by his own 
passion, but it was very bright and joyous, full of arch coquetry, 
longing fondness, and dainty charm. It was the embodiment of 
a consuming love, living on its own fire and taking fresh life from 
every verse and missive that Rosalind reads ; and surely never did 
Rosalind conjure more sweetly and coaxingly for the success of a 
play than did Mrs. Langtry in speaking the Epilogue. But long 
before the words were spoken the success was assured, and the 
new manageress of the St James's could not but be well content 
with the prospects of her season. The play was produced under 
the direction of the Hon. Lewis Wingfield ; and it is, there- 
fore, perchance due to his guidance that the clown and the 
philosopher appeared to have changed characters ; in lieu of the 
lightsome, merry Touchstone, chuckling at his own quips, and 
oft fooling his hearers with his quaint wordings, we had in Charles 
Sugden almost a cynic, who laid down the law in a didactic 
manner ; and whereas Jaques tells us that he loves " melancholy 
better than laughing," that he is "wrapped in a most humorous 
sadness," we had in Arthur Bourchier a light-hearted railing 
philosopher, who mocked blithesomely at the follies of his fellows. 
It must be admitted, however, that the " Seven Ages " speech was 
delivered with excellent point, even with the new reading of the 
character. Lawrence Cautley was just such a romantic youth as 
the lovesick Orlando should be ; he was picturesque in appearance, 
impassioned in his love scenes, and with that spice of wonder at 
his own folly in wooing Ganymede that made the folly the more 
acceptable. The Adam of F. Everill and the Sylvius of Matthew 
Brodie were excellent — the latter specially noticeable for the pure 
delivery of the text ; and he had a pleasing Phoebe in Miss 
Beatrice Lamb. Marion Lea's Audrey was the best that has been 
seen for years ; her open-mouthed and wide-open-eyed bucolic 
admiration of Touchstone and his fair, and yet to her incompre- 
hensible, periods were above praise Amy McNeil played with 
much vivacity and grace as Celia. Mention should aJso be made 

March, 189a] The Man 0' Airiie — Meadow Sweet. 23 

of Roydon Erlynne as Corin, a sterling performance ; and of 
Charles Fulton for his kindly dignity as the banished Duke. 
Ager Grover as Amiens led the music, and sang his solo well ; the 
chorus was efficient, but I must confess I was a little startled at 
Mr. Wingfield's introduction of the shepherdesses in the Forest of 
Arden, and their taking part in the music. The restoration of the 
Masque of Hymen with Violet Armbruster who, spoke her lines 
well, as Hymen, no one could cavil at, nor at the morris dance in 
celebration of the nuptials. 



1st Park Town Hall, Battersea. Queer Lodgers.— OM-diCt 
farce, by Alfred A. Wilmot 

3rd Grand. {Revival.) The Man d Airiie.— ^y W. G. Wills; 
was oiginally produced at the Princess's, July 20th, 1867, and 
reproduced at the Hay market in 1876. It is a somewhat lachry- 
mose play, turning on the sorrows of James Harebell, a poet of 
the Burns type, who, deceived by the falseness of a friend, and 
harrowed by the loss of his wife, is supposed to drown himself, 
but really wanders forth into the world a harmless imbecile, 
returning after some twenty years to die at the foot of the statue 
that had been erected in appreciation of his merits as a poet and 
a man of genius. It, however, afforded Hermann Vezin an 
excellent opportunity for the display of his remarkable powers, 
but the excess of the Scotch dialect, which is almost incomprehen- 
sible to general audiences, will always prove a bar to The Man d 
Airiie taking any great hold on Southern audiences. Mr. Vezin's 
pupil, Olive Stettith, showed great promise as Mary Harebell. 

5th. Annie Irish played Julie de Noirville, in A Man^s Shadow, 
at the Haymarket. 

5th. Vaudeville. Meadow Sweet. — One-act comedy by "Terra 
Cotta." If this be the first dramatic attempt of Miss Provost (for 
that I am informed is " Terra Cotta's " real name), the young 
lady may be congratulated. The tone of her little play is healthy, 
the sentiment poetic, and the humour unforced. Some of the dia- 
logue, too, is bright Benjamin Barnes, a genial, sturdy old farmer, 
determines that his son John shall hold his head high in the world ; 
so he gives him a good education, and gets him a clerkship in a 
London bonk. Margery Meadows is a sweet, unaffected girl (her 

Hamlet [March, 1890. 

pet name gives the title to the play), who had been brought 
up with her cousin -John, and when he leaves for the great city 
they are engaged. There must have been some natural taint in 
John's disposition, or he would hardly in a year or two have 
developed into such an unmitigated cad. When he comes home 
for a holiday he is thoroughly ashamed of the old farmhouse, of his 
honest old father, and lets Margery understand that his aspirations 
are far too high to wed with such a lowly maid as she is. He is 
full of his grand friends, the Topliffs, brother and sister, who 
have come down to spend the day. To them he makes all sorts 
of excuses for the boorishness of his father, the homeliness of the 
farm and his surroundings. He has only lowered himself com- 
pletely in their esteem, however, for they are gentle in the truest 
sense of the word ; they are disgusted with his meanness, and 
when he proposes to Julia she administers to him such a rebuff 
as must penetrate even his thick hide of self-complacency and 
conceit Fred Topliflf (F. Gillmore) is so smitten with the 
grace and natural freshness of Margery, that he at once lays siege 
to her, and the curtain falls on a pretty picture of a hope that 
the girl, who has discovered that the idol she set up is but of 
the commonest clay, will soon be comforted and rewarded with 
an honest man's love. Ella Bannister, as Margery Meadows, 
was rather too emphatic in the expression of her emotion. Lily 
Hanbury was excellent as the outspoken Julia Topliff. Cyril 
Maude (John) thoroughly carried out the author's conception of a 
mean-spirited contemptible fellow; and F. Thorne, as a shrewd old 
farm servant (Jokel), was very amusing. Meadow Sweet should 
be in request for amateurs, for all the parts are good. 

6th. Globe. Hamlet — Numerous as were the shortcomings of 
Mr. Benson's Hamlet, they were in a measure redeemed by the 
conscientiousness and evident study bestowed upon the text by 
an actor who was young enough to amend his faults, and who 
will in all probability, with more experience, give us a perform- 
ance that is at least not disappointing as this was. To begin 
with, though we have warrant that Hamlet's appearance had 
much chan^nd since his father's death, and that he was careless of 
his dress, there was no reason why Mr. Benson should have been 
so slovenly in his apparel and should have presented such an 
unpicturesque figure. Then he had an unfortunate habit of 
laying the stress too frequently on the wrong word, thus 
destroying the rhythm of the lines — he was at times, essentially 
modern (notably in the scene with the players), and at others he 
ranted. His best scenes were those with Ophelia and with his 

March 1890.] The Favourite of the King — A Double Dose, 25 

mother — the love he felt for the one and the filial affection for the 
other were convincing, and touched his audience ; but, taken as a 
whole, the performance was one of promise only — interesting, but 
unimaginative, and without the matured power to embody the 
actor's conception. Much of the business introduced was novel, 
but unsatisfactory — the fall of Polonius into Gertrude's closet, in 
/ler sight and that of Hamlet, belied the lines ; the stamping on 
the picture of the King was effective, but rather claptrappy. The 
bringing in of Ophelia's body (in the person of Mrs. Benson herself) 
on the bier, and subsequently bearing it to the grave, was carrying 
realism a little too far. The Ghost of Stephen Phillips was one 
of the best, if not the best, that has been seen for years ; it was 
impressive and dignified, and his elocution of the highest order. 
G. F. Black's Polonius was good, though a little wanting in humour. 
The Horatio of Otho Stuart was very commendable. G. R. Weirs 
First Gravedigger was racy, and Athol Forde, as his assistant, ably 
seconded him. Charles Cartwright's Claudius was a great disap- 
pointment, but the actor had just recovered from a most serious 
illness, which had enforced a long absence from the stage. Mrs. 
F. R. Benson was a weak, unsympathetic Ophelia. The Gertrude 
of Ada Ferrar was that of a true artist ; it was full of dignity and 
grace, her lines were admirably delivered, but she looked decidedly 
too young for the character, though remarkably handsome. 

nth. Comedy. {Matinee.) The Favourite of the King, — 
Original historical play in four acts, by F. S. Boas and Jocelyn 
Brandon. This was in blank verse, and though there were 
moments when the authors appeared to have struck the true 
keynote, the melody too soon faded away and was lost The 
plot turned on the assassination of the Duke of Bucking[ham by 
Felton, out of revenge for unrequited services. The principal 
female character was that of Helen Aston, to whom, when plain 
George Villiers, the Duke had plighted troth, and who, when he 
deserted her for Lady Manners, vowed an undying hatred, but 
towards the close tried to save his life. The cast was a good 
one. Royce Carleton, in quite a new line of character, was an 
impassioned lover as the Duke. Bassett Roe was most effective 
as the astrologer. Doctor Lamb. Dorothy Dene was the Helen 
Aston ; and Annie Rose showed great improvement, and was 
a lovable Lady Manners. Louise Moodie's Lady Villiers was a 
sterling performance. Mrs. Carson played Cecilia, a coquettish 
lady-in-waiting, with charming brightness and spontaneity. 

15 th. Surrey. A Double Dose, — Farce by Arthur Shirley. 
Merry, and cleverly written. 

26 Miss Cinderella — Guinevere. [March, 1890, 

15th. Died John Maclean, of paralysis, in London, aged 55. 
Universally loved, esteemed, and respected. First appeared at 
the Theatre Royal, Plymouth, in 1859. First London appearance 
at the Surrey as Peter Purcell in TAe Idiot of the Mountain. 
Was subsequently engaged at the New Surrey and Princess's. 
Joined John HoUingshead's Gaiety Company in 1868, and 
remained with it eleven years. Was a member of Miss Mary 
Anderson's Company at the Lyceum, and was highly valued by 
the late Mr. and Mrs. Charles Kean, when he was with them 
during their last provincial tour. Was a distinguished Mason. 
Buried at Paddington Cemetery. 

15th. Avenue. Miss Cinderella. — One-act comedietta, by 
W. R. Walkes. By no means a good piece ; but it enabled Nut- 
combe Gould to appear to advantage as Mr. Wriothesley, F.R.S., 
an old gentleman whose thoughts are constantly fixed on the 
origin of the jelly-fish and other strange denizens of the deep. 
He has been dragooned into a second marriage with a most 
objectionable lady, who makes a Cinderella of his daughter 
Margery, in order to advance the interests of her own child 
Hester, the spiteful sister of the fairy tale. But her plottings 
come to nought, for Margery's charms have secured her a lover 
in Lord Raemore, the handsome young prince that the artful 
mother hoped she had hooked for her fair but disagreeable 
daughter. Laura Graves played Margery with considerable 
charm and ingenuousness ; Benjamin Webster was Lord Raemore ; 
Mrs. Leston, Mrs. Wriothesley ; and Miss Lillie Young, Hester. — 
On this date Frank Kemble Cooper assumed the part of Frank 
Granville, the hero in London Day by Day^ at the Adelphi, with 
great success. 

1 5th. Last night of Jack and the Beanstalk — pantomime at 
Drury Lane Theatre. 

17th. Drury Lane. — Benefit of the Royal General Theatri- 
cal Fund. The programme consisted of the first act of Dr. Bill, 
with the Avenue Company. My Aunts Advice, with E. S. and 
Mrs. Willard, Herbert Waring, and Violet Armbruster. The duel 
scene from The Dead Heart, Henry Irving, S. B. Bancroft, and 
Arthur Stirling. Fourth act of 'Twixt Axe and Crown, Matthew 
Brodie, Louis Calvert, Arthur Bourchier, Walter Gay, Amy 
McNeil, Marion Lea, and Mrs. Langtry. A selection from the 
pantomime, Jack and the Beanstalk, and a scene of The Ballad-- 
monger, by the Haymarket Company. The usual long list of 

19th. KiLBURN Town Hall. Guinevere. — Comedy opera in 

March, 1890.1 MtSS TofPlboy, 2J 

two acts, written by Stanley Stevens, music by Henry T. Pringuer. 
The libretto of this was bright and amusing, written on the lines 
of W. S. Gilbert's method, and the music was deserving of the 
very highest praise. It was a skit on competitive examinations, 
King Littlego having determined that his daughter Guinevere 
shall be given to the man who passes highest. It was worthy of 
being placed in an evening bill. Kate Johnstone specially 
distinguished herself as the heroine, and Henry Baker was very 
humorous as Small. 

20th. Vaudeville. {Matinee.) Miss Tomboy. — Sir John 
Vanbrugh's The Relapse ; or^ Virtue in Danger^ is announced in a 
life of the author as " being the Sequel of The Fool in Fashion*' 
and was first played at Drury Lane in 1696 with Gibber as 
Lord Foppington. The Sir George Matcham of the present play 
was then called Coupler. An adaptation of the play was made 
by the actor Lee, and under the title of T/te Man of Quality was 
produced at Coven t Garden in 1773; and in 1777 Richard 
Brinsley Sheridan formed on it another play, entitled A Trip to 
Scarborough^ which was acted in that year at Drury Lane. In 
1 846, The Relapse was played at the Olympic, with Walter Lacy 
as Lord Foppington, Mrs. Walter Lacy as Miss Hoyden, and 
Leigh Murray as Loveless. It was seen at the Strand in 1850. 
John Hollingshead's version, also named The Man of Quality^ was 
done at the Gaiety, May 7th, 1870, with Alfred Wigan as Lord 
Foppington, and Nellie Farren as Miss Hoyden, and the late 
John Maclean was Sir Tunbelly Clumsy. I think Mrs. Cross was 
the original Hoyden. Mrs. Jordan was also great in the part, 
and Mrs. Abington played the character in Sheridan's adaptation. 
In this version Mr. Buchanan did away completely with the 
objectionable characters, and the intrigue of Loveless and 
Berinthia. He said in a footnote " that the vein of heartlessness 
so characteristic of an artificial period has been abandoned 
altogether" (in this I scarce agree, witness the characters of 
Foppington and Tom Fashion), and had written almost entirely 
fresh dialogue. His very great improvement, however, was that 
he had transformed the vicious Miss Hoyden into a thoughtless, 
sunny, and impulsive '* tomboy," who romps and kisses and owns 
to a sweetheart or two, but is guileless all the while. Of course, 
with the excision of the characters of Loveless and Berinthia goes 
"the relapse from virtue on the former's part" The play now 
turns on the selfishness of Lord Foppington, who refuses his 
younger brother, Tom Fashion, any assistance. Tom's valet, Lory, 
by spying and eavesdropping, discovers that a marriage has been 

28 Miss Tomboy. [March, 1890. 

arranged by Sir George Matcham, a professional "coupler," 
between my Lord and Miss Fanny Hoyden, a wealthy heiress of 
some seventeen summers. The prospective bridegroom is un- 
known to his intended spouse and her belongings, and so Lory 
suggests that his master shall steal a march on his brother, 
purloin the letter of introduction, and go down to Brambletree 
House, introduce himself as Lord Foppington, and win the bride. 
Fashion consents, arrives, and is duly honoured by Sir Tunbelly 
Clumsy, Fanny's stepfather, as the peer he expected, and quickly 
wins the heart of the girl. Troubles come on him suddenly, for 
Lory intercepts a messenger announcing the speedy coming of 
the real Lord. Fashion puts a bold face on it, and warns Clumsy 
that the man who is at hand is none other than young Fashion, 
who is trying to pass himself off as the nobleman. So when 
Lord Foppington appears, Sir Tunbelly determines to "roast" 
him, plays on him all manner of tricks, and Fanny pretends to be 
insane until the poor lord fancies he has got into a lunatic 
asylum. He is locked up in the strong room as an impostor, 
but is brought out to be confronted with Sir George Matcham, 
who soon proves his identity. In the meantime Tom Fashion 
has persuaded the parson, the Rev. Mr. Quiverwit, to marry him 
secretly to the very willing Fanny Hoyden, Tom first confessing 
to her who he really is ; and when his imposture is discovered, 
he and his new-made wife throw themselves on Sir Tunbelly 's 
mercy. As he finds that Lord Foppington would not consent to 
wed Fanny at any price (for there is a salutary doubt as to the 
legality of the marriage ceremony she has gone through). Sir 
Tunbelly forgives the young couple, and the curtain falls on a 
merry dance of Sir Roger de Coverley. The success of the piece 
was due to Winifred Emery. No one, I am sure, gave her credit 
for the power to so naturally delineate the high spirit and 
mischief- loving fun of the " Tomboy," who loves kissing, but 
without any arriire pens^e of harm or of there being anything 
unmaidenly in it. Hoydenish, full of antics, and frolicsome she 
might be, but with it all she was a lady and a pure little maiden. 
Frank Gillmore was also successful as Tom Fashion ; his imitation 
of the manners of his vain coxcomb of a brother was excellent, 
and in his own proper character he was easy and yet full of a 
rollicking, happy-go-lucky temperament, but one in which the sense 
of chivalry was not forgotten. Tom Thome had caught the tone 
of the fop. Fred Thome was good as the fox-hunting, hard- 
drinking country squire ; Cyril Maude subtle as the valet Lory, 
and F. Grove did well as the sycophantic Rev. Mr. Quiverwit. 

March, isgo.] Attdromeda — Lady Lavington. 29 

Miss Tomboy is not the most cleverly written of Mr. Buchanan's 
plays, but he was called for at the end of the piece. It was 
placed in the evening bill, May 5th. 

22nd. Henry Young, actor, died, aged J 6. 
22nd. Mr. Wyndham reappeared in London after his most 
successful American tour, and revived at the Criterion Robertson's 
comedy, David Garrick — Charles Wyndham and Mary Moore, 
of course, appearing in the name rdle and as Ada Ingot The 
only very noticeable change in the cast was, that William Farren 
played Simon Ingot, of whom he made a more refined and 
polished character, with perhaps advantage to the play. His 
performance was much applauded. 

24th. The Stadt Theatre, Bromberg, totally destroyed by fire, 
which commenced at 1.30 p.m. The building was in ruins by 
3 o'clock. 

24th. Surrey. Hand in Hand. — Four-act drama, by Edward 
Darbey. First time in London. 

24th. Vaudeville. (Matinee.) Andromeda, — A one-act Greek 
tragedy, by Rose Seaton, was far too sombre and without that 
power which would compensate for its mournful tone. Some of 
the lines were excellent, and were well delivered by the authoress, 
who filled the title rSle. Of Number Two^ which the author, 
Harry Croft Hiller, informed the public it took him three years 
to complete, it was impossible to bestow any praise whatever. It 
was incomprehensible in plot, and the only thing that could be 
gathered was that an Irishman, Mr. Larry O'Larrigan (well played 
by Fred Shepherd), was a matrimonial fortune-hunter, although 
with two women Hying, with whom he had already gone through 
the ceremony of marriage. Venie Bennett, Charles Medwin, 
and George Hughes did all they could with their respective 

24th. Ladbroke Hall. Lady Lovington ; or^ A Soiree Dra- 
matique, — By "George Villars," the nom de plume of a lady of title ; 
was played by Madame Madge Inglis's pupils in a manner that 
reflected the highest credit on their instructress. The story of 
the play, though slight, is entertaining, and the dialogue is full 
of sparkle. A stage lover in an amateur performance is so 
bewitched by the perfections of the lady with whom he is acting, 
and whom he has long admired, that he proposes in reality, and 
another young lady who imagines her swain faithless, is reconciled 
to him on learning that the ardent avowal she has overheard is 
only addressed to a dummy at a rehearsal. Digitized by GoOqIc 

25th. Adelphi. {Matinee) Jess, — In its then form (a 

30 Pedigree, [ICasch, 1890. 

dramatisation, by J. J. Bisgood and Eweretta Lawrence, of Rider 
Haggard's novel of the same name) would certainly not have 
done to place in the evening bill. It must be reconstructed. In 
the play Jess is made to murder Frank MuUer, after we have all 
along been led to believe that Jantze, the Hottentot, will revenge 
himself on the slayer of his mother and father. Jantze was a 
very powerful performance on the part of Athol Forde. As a 
matter of record the cast is given. Silas Croft, J. D. Beveridge, 
excellently rendered ; John Niel, T. B. Thalberg ; Frank MuUer, 
Charles Dalton, vividly played ; Hans Coetzer, Julian Cross, 
amusing and clever ; Carolus, J. Clulow ; Jan, Gilbert Yorke ; 
Monte, Mr. Jerram ; Hendrik, Mr. Calvert ; Mrs. Neville, Miss 
St. Ange ; Bessie Croft, Helen Forsyth, very winsome ; Jess, 
Eweretta Lawrence, wanting in strength. 

28th. Toole's. {Matime) Pedigree. — ^A three-act comedy by 
C. C. Bowring and F. H. Court, did not display much originality, 
but was made amusing by the excellence of the acting. Sir Jabez 
Blair (Edward Righton), a purse-proud, vulgar, retired soapboiler, 
who worships the aristocracy, is determined that his daughter Nora 
shall marry rank, and wishes her to accept the Hon. Guy Spavin 
(Compton Coutts). Nora (Sylvia Grey), however, is determined 
on choosing Captain John Pollard (Luigi Lablache). The father 
objecting, they call in the aid of their friend, Sydney Calthorpe 
(Yorke Stephens), a quick-witted barrister, who enlists to help 
them, his own lady-love, a bright actress, Kitty Clifton (Vane 
Featherston), who passes herself off as a French Countess, makes 
old Blair fall desperately in love with her, and at last propose ; 
and amongst them all the conspirators concoct a scheme that 
Captain Pollard shall be introduced as an Indian Rajah. He 
appears in that capacity to be so struck by Nora's charms that 
he proposes for her hand to old Blair, who is delighted that his 
daughter should become a Ranee. Then they turn on him, and 
threaten to make him the laughing-stock of all his friends by 
exposing the impostures that have been practised upon him, and 
so he consents to Nora's and Pollard's marriage. Lawrance 
d'Orsay, as Lord Martingale, an antiquated beau ; Robertha 
Erskine, as Mrs. Fitzpatrick, an Irish lady, who boasts of her 
" pedigree " and connections ; her daughter Diana (Eva Moore), 
and a pair of sweethearts, Robert (E. M. Robson) and Jane (Mary 
Jocdyn), who, as servant and soubrettey bicker and coo alternately 
— made up an excellent cast The success, however, was due to 
Miss Featherston, who was inimitable, and the life and soul of the 
play. Sylvia Grey showed great promise as an actress. 

ApRtt,i89o.) For Her ChUtTs Sake — The Gavotte, 31 

29th. Lyceum. (MatitUe.) Henry IV. (First Part). — Acted by 
the Irving Amateur Dramatic Company. Benjamin Webster, a 
dashing Prince Hal ; Miss Webster bright as Lady Percy. The 
amateurs generally good. 

29th. Terry's. For Her Child's Sake. — First time in evening 
bill. The " dramatic episode " must have been one of Sir Charles 
Young's juvenile efforts, for it is altogether artificial in sentiment 
and very weak. Geraldine (Helen Leyton) has, during her mother's 
absence, become engaged to Aubrey Verschoyle (J. Nelson). On 
the return of Mrs. Ormonde (Miss Giffard), she will not then listen 
to the idea of the marriage, and we learn that Stephen Ormonde 
(Oscar Adye) has many years before deserted his wife and eloped 
with Aubrey's mother, and has been the cause of the elder 
Verschoyle's death. Mrs. Ormonde has never forgiven the wrong 
done her, and has always led her daughter to suppose that her 
father was dead. Her husband reappears, and is so penitent that 
at length Mrs. Ormonde, " for her child's sake," not only withdraws 
her objections, but for her own, we suppose, takes the reformed 
sinner to her arms. The best drawn character was that of old 
Mr. Marsham, Geraldine's grandfather, excellently acted by 
A Ellis. 



istn Stein WAY Hall. The Gavotte. — A very pretty and bright 
little piece, adapted from the French by Minnie Bell. Two girls, 
one Dora (Mrs. William Greet), rather sedate, the other Sylvia 
(Sylvia Grey), a happy madcap, leave the ball-room to go to their 
rooms just when the gavotte in which they hoped to join, strikes 
up. Sylvia induces her sister to join in it, and then they talk of 
husbands and partners and flirtations and various things interesting 
to young ladies in their first season, and then before they take 
their bedroom candlesticks Sylvia must have a last waltz. The 
dialogue was so ^ smart " and natural, and the dancing so good, 
and the acting so easy and truthful, that the trifle was pronounced 
a decided hit Minnie Bell appeared to great advantage in a dia- 
logue. Is Madame at Home ? and also recited remarkably well. 

1st Theatre Royal, Darlington. — The scenery in the flies 
caught fire, but happily the flames were soon extinguished. 

3rd Haymarket. a Village Priest. — ^There was more dis- 
cussion over Mr. Grundy's latest ^ork dian over any play that 

32 A Village Priest capril,x89o. 

has been produced for some years ; for he set the thinking play- 
goers two problems to solve. The most important one was : Could 
it be right under any circumstances for a priest to betray the 
secret of the Confessional ? The other : Could so sternly just 
a man be found as Armand d'Ar^ay, who, from a rigid sense of 
duty, separates himself from the girl he adores, brings to light the 
adultery of her mother, shatters the reputation of his own father, 
whose memory he has always revered, and might, but for the 
generosity and self-sacrifice of the innocent man who has suffered, 
crush the fond delusions of his own mother as to the probity, honour, 
and affection of her deceased husband. And the sad part of it is, 
that the priest's betrayal of his sacred trust is to no purpose ; the 
innocent man, out of gratitude to the woman who has sheltered his 
daughter, returns to finish his term of imprisonment ; the lovers are 
separated, and the guilty woman's sin is made known to all but one. 
Yet Mr. Grundy gave us such noble sentiments, drew such grand 
characters, and put into their mouths such exquisite language, that 
the play could not but interest and add to his reputation. The 
French play, by MM. Busnach and Carwin, from which A Village 
Priest is taken, has, as the author states, only " suggested *' his 
work. It was played at the Chateau d'Eau, October I2th, 1889, 
and in its French guise, a half-mad creature, La Terreuse, shoots 
down the seducer of her mistress to save her master's honour ; and 
the judge, to shield it, descends to the meanness of so summing-up 
against the innocent gamekeeper as to ensure his condemnation. 
In Mr. Grundy's play the Judge d'Argay is made a monster of 
baseness, he has carried on an intrigue with the Comtes3e de 
Tr^meillan, the wife of his greatest friend ; he (presumably because 
the intrigue has been discovered) murders that friend, and then 
from the bench sentences the innocent gamekeeper, Jean Torquenie, 
as the murderer, pointing out as the motive that Jean had dis- 
covered that his wife had been faithless to him with his master 
the Count. The judge is stricken down with paralysis on the day 
he has condemned Jean, and on his deathbed reveals the truth to 
the Ahhi Dubois. This is all supposed to take place some years 
before the opening of the play. Then Jean has escaped from 
prison — having done so from a longing to see his child Jeanie — 
and he, not knowing who lives in a certain house, but only that 
it is the home of a rising young advocate, comes to beg of him 
to take up his cause and prove his innocence. Armand d'Argay 
is at first indignant at the reflection cast upon the memory of his 
father, but Torquenie's earnestness impresses him ; the idea that 
his upright father may have erred in judgment haunts him ; he 

April, f89o.] -Oiir* Venables, 33 

hunts up the law reports, catechizes the clerk of the court who w 
present, and at length, by the mere accidental discovery of a 
cipher correspondence in an odd volume of " The Vicar of 
Wakefield," his father's character is revealed to him in a new and 
hateful light This does not prevent his persistence in endeavour- 
ing to repair the evil, and clear the innocent man, though he 
knows it will part him from Marguerite. He taxes the Comtesse 
de Tr^meillan with her past sin, and he goes to the AbW to 
implore his help. He is certain the AbW knows the truth from 
his goodness and his manner to Torquenie ; he even entreats the 
priest to betray the secret of the Confessional. His importunity, 
the pity for the convict, arouse a fearful struggle in the Abba's 
breast. In the solitude of his chamber he wrestles with himself, 
until a ray of moonlight thrown upon the volume of Holy Writ 
decides him. He reads there that which he interprets as a voice from 
Heaven, and the next day he gives up his priestly office, and utters 
the words that prove Torquenie's innocence. There can be no 
union between Armand and Marguerite, the future of the latter will 
be devoted to the comfort of her guilty but penitent mother. But 
what is to be the fate of Madame d'Argay as a truly good and pure 
woman, whose one happiness in her blind state is the memory of 
the man whom she has worshipped as everything that is upright 
and pure ? Is her short remainder of life to be one of unutterable 
misery ? No, Jean Torquenie, in his nobility of soul, prevents this. 
His character has been vindicated in the eyes of his child, who now 
loves him as much as, before she knew the truth, she shuddered at 
him — that child has been cared for by Madame d'Argay, and so, 
to save his daughter's benefactress, he returns to complete his 
sentence, and will let the world still believe him guilty. The 
character of the convict was grandly played by Mr. Fernandez ; 
and the Abb^ Dubois of Mr. Tree was the most perfect realization 
of a village priest, so kindly in all his dealings, so severe on 
himself, and yet so touching in his miserable struggle, and so 
determined when he has discovered the path that he thinks he 
should take. Fred Terry's was also a very fine performance, earnest, 
vivid, and most natural. Mrs. Tree has never done anything s^ 
well as in the part of Marguerite, it was tender and human ; and 
Miss Norreys was also admirable. The piece was exquisitely put 
on the stage ; it was worth a visit, if only to see the Abba's 
garden with its blossoming apple tree and wealth of flowers, over 
the welfare of which their owner watches with such loving care. 

5th. Shaftesbury. Dick VenabUs. — Drama in four acts, by 
Arthur Law. Mr. Law's new play was one full of the roost 


34 ^ick Venables. [April, 1890. 

extraordinary coincidences and improbabilities ; and though, of 
course, written with a view to afford scope for Mr. Willard to 
appear as Dick Venables — a hardened, resolute, quick-witted 
criminal— did not give him, after all, a character in which he could 
shine as he had done in many other plays. Mrs. Lisle (Olga 
Brandon) the heroine, has taken up her abode on the borders of 
Wildmoor, on which also the convict prison is established. Now 
this, one would imagine, would be the very last place she would 
have chosen for a residence, as she is no other than the wife of 
Dick Venables, a noted criminal, and, as she has led with him 
the most miserable of lives, anything that would recall him to 
her memory must be at least unpleasant. Venables is supposed 
to be dead, and so Mrs. Lisle is at liberty to accept the offer of 
Captain Lankester (Arthur Elwood) the newly appointed governor 
of the prison, who has never up to that time told his love, but 
who now opportunely appears. Just as inopportunely, almost 
immediately, Dick Venables turns up, in the midst of a hue and 
cry ; he has escaped from Wildmoor, makes for Mrs, Lisle's, kills 
a warder who tries to capture him, and creeps into the house. 
He is, of course, delighted to find his wife ; she is in mortal 
dread of him, and, working on her fears, he makes her pass him 
off as her brother, Charles Kirby, then absent with his ship. In 
this character, he boldly shakes hands with Captain Lankester, is 
introduced to Lady Jellicoe (Mrs. Canninge) and her reverend 
husband (Alfred Bishop), whose favourite pursuits appear to be 
birdnesting and pocketing everything he can lay his hands upon ; 
and, in fact, he is an amiable kleptomaniac, introduced to bring 
about the final catastrophe. Venables' identity is nearly dis- 
covered, however, and he has to exercise his greatest astuteness 
in keeping out of the way of Helen Jellicoe (Annie Rose), for she 
is clandestinely engaged to the real Kirby (Henry V. Esmond), 
and would at once betray the counterfeit. Then there is Dr. 
Paganstecher (E. W. Garden), a gentleman whose passion is 
keeping ;^ 5 0,000 worth of precious stones in a bureau, and who 
entrusts the secret of their whereabouts to Peters, his valet — a 
man whom he has taken without a character, but on the faith of 
his ** bumps," for the Doctor is a devout believer in phrenology. 
Peters is a criminal, and immediately recognizes Venables as a 
" pal," and insists on his stealing the jewels, so that Peters may 
not be suspected, and they are to share the proceeds. Venables 
does steal the casket, and hides it in an old mill. The Archdeacon, 
with his magpie propensities, watches him, and when he is gone, 
carries off the treasure, and takes it home to hide it under a 

April, 1890.] The Sentry. 35 

laurel bush. All the characters are assembled in the garden at 
the rectory, when Captain Lankester discovers from a photograph 
that the Archdeacon has purloined, that the supposed Kirby is no 
other than Venables, but for Mrs. Lisle's sake promises not to 
betray him. Then the real Kirby suddenly arrives. Venables 
brazens it out at first, and makes his wife disown her brother^ but 
his identity is proved by Helen Jellicoe, and the climax is brought 
about by Peters, who, thinking that Venables has taken the 
jewels and resold them to their owner, without intending to divide 
the "swag," denounces his quondam associate. Venables rushes 
on his accomplice to stab him, but Peters is too quick for him, and 
mortally wounds Venables, who dies in the arms of his ill-treated 
wife, for whom he does then show some human feeling, and at 
the same time chuckles that he has cheated the gallows. Miss 
Olga Brandon made another advance in her profession as one of 
our best emotional actresses. E. S. Willard, in a powerful and 
artistic manner, displayed the innate savagery of the man with the 
devil-may-care hardihood of the self-possessed criminal. Annie 
Rose was a very delightful inghiue, Alfred Bishop, Mr. Garden 
and Mr. Cane (Peters) were worthy of better parts. 

5 th. Lyric. The Sentry, — New musical vaudeville, in one act, 
written by Felix Remo and Malcolm Watson ; music by Ivan 
Caryll, The music of this was bright, and the story amusing, 
turning on the adventures of Tim O'Brian (John Le Hay), who, 
getting into trouble with his commanding officer. Colonel Petti- 
grew (Frank Wood) enlists the good offices of his sweetheart 
P^gy (Maud Holland). She pleads his cause with the amorous 
officer, and is discovered by his stately wife (Adelaide Newton). 
Two other characters, PoUie Burchett (Alice Geoffreys), and the 
sergeant-major (F. L. Scates) added to the attractions of a 
pleasant little first piece. Marie Tempest made her reappearance 
after her indisposition, as Kitty Carroll, in The Red Hussar, 

7th. The new Richmond Theatre was opened under the 
direction of Horace Lennard. It is a commodious and elegant 
building, newly decorated in a tcisteful manner, and forms a 
portion of what used to be the Castle Hotel, Richmond. The 
theatre is 90 feet long, 40 feet wide, and 28 feet high; the 
stage 42 feet by 25 feet; and is provided with good dressing- 
rooms. The seats of the auditorium are handsomely upholstered, 
and are very comfortable ; and there are numerous exits. After 
the National Anthem had been sung by Bertha Colnaghi and the 
company, Mrs. Langtry delivered a prologue, written for the 
occasion by Frederick Bingham, in which happy reference was 

36 Domestic Economy — Nixie. [Apiul,i89o. 

made to the great actors who had appeared on the boards of the 
old Richmond Theatre. This was followed by Horace Lennard's 
screaming farce, Namesakes (played more than a thousand times 
by Toole's Company) ; and in it Messrs. Lawrance d'Orsay, 
Reuben Inch, Wotty Brunton (original character), and Misses 
Minnie Inch and Susie Vaughan appeared. After various in- 
cidentals, vocal and instrumental, by Nellie Ganthony, Amy 
Roselle (who recited Clement Scott's "Woman and the Law" 
and "Brahma's Paradise"), and Messrs. Henry Pyatt, Templar 
Saxe, John Radcliffe, and Harry Nicholls, the curtain drew up on 
Bardell v. Pickwick^ in which some of the best known members of 
the profession appeared. In the evening Jim the Penman was 
played, with Lady Monckton and Arthur Dacre in their original 

7th. Comedy. Domestic Economy. — I wrote the following for 
The Stage : " But that Burnand has turned Tom Smith from a 
soldier into the steward of a vessel, there is little change in the 
plot of this favourite farce. The operetta is distinguished by that 
happy vein of humour that runs through Mr. Burnand's latest 
adaptations, but not altogether to such an extent — nor does 
Mr. Solomon's music appear quite as catching as in some of his 
former attempts in the same line, though it is very tuneful and 
quaint ; and, as usual, the orchestration in particular is suggestive 
of the action. The most notable numbers are * Shut your eyes,' 
a duet for Mrs. Grimley and Joey ; * With a ho,' a punning solo 
for Crumley ; his duet, * Haven't a notion what/ with Mrs. 
Crumley ; an excellent number for Crumley, * When I was in the 
Militia,' and Joey's solo, which gained an encore, * Father's gone 
out, Mother's gone out." W. Lugg as Tom Smith has the most 
difficult song to render, a sort of medley, the burden of which is 
'Steward,' and to which he did full justice. Alice Yorke and 
Mary Clover join in a trio with Mr. Dagnall, and it went well — 
the gentleman throwing himself completely into his part ; but 
the honours of the evening fell to Alma Stanley and Master 
S. Solomon. The increased orchestra was conducted by Edward 
Solomon. The operetta was favourably received, though not 
enthusiastically. Pink Dominos^ which precedes it, continues to 
provoke roars of laughter." 

7th. Marriage of Annie Hughes (Annie Hughes Cass) to 
Nicholas Devereux, at St Mary's, Cadogan Street 

7th. Terry's. {Matinee) Nixie. — Three-act play. Of this The 
Observer said : " It was by no means a happy thought to provide 
for the employment of a clever child-actress, like little Miss Lucy 

April. 1890.] Harbour Ltgkls—Camival Time. 37 

Webling, in so strained and unhealthy a romance as that which 
Mrs. Burnett, in collaboration with Mr. Stephen Townsend, has 
constructed by way of framework for the figures and motive of her 
familiar story, Edithds Burglar. Editha, it may be remembered, 
was a decidedly precocious and deadly didactic little girl, who by 
her ingenuous but argumentative prattle convinces a would-be 
burglar of the error of his ways. Editha now becomes Nixie, the 
eight-year-old daughter of a weak-minded mother, who at the time 
of the burglary is meditating an elopement with a scoundrel named 
Belasys, notwithstanding the fact that before her marriage, and 
when she was the most innocent of schoolgirls, this same Belasys 
nearly accomplished her seduction. Nixie does not, of course, 
appear in the first act, which sets forth the childish simplicity of 
her mother and the rascality of her mother's married lover. The 
child's opportunity — which is very clumsily introduced — comes at 
the end of the play, when by a piece of odd strategy Belasys hires 
a burglar to help him carry off Nixie's half- consenting mamma. It 
is then that Nixie's conversational powers overcome the evil 
designs, not only of the '* minion," but of the superior villain, who 
overhears what the good little girl has to say, and is suddenly 
brought to see the error of his wa}rs. All this fails to strike us as 
a true or pleasant sketch of the influence exerted by innocent 
childhood ; but praise may at least be cordially given to the 
rendering of the unreal characters and situations by the company. 
Besides little Miss Webling's intelligent delivery of Nixie's lines, 
Helen Forsyth's winning embodiment of the childish mother 
(Kitty), and Mr. Waller's powerful rendering of Belasys deserve 
special note, whilst excellent work is also done by W. Herbert 
(Bryan Lawrence) and Mr. Julian Cross (Bill Hutchens)." The 
play was produced for a series of matinees. 

7th. New Theatre Royal, Angel Road, Edmonton. — 
Opened under the lesseeship and management of Mrs. Hall (Miss 
Mabel Hayes) with Sims and Pettitt's Harbour Lights. The act 
drop, by Telbin, and much of the scenery came from the Olympic 

7th. St. George's Hall. Carnival Time. — For the Elaster 
novelty at St George's Hall, a new piece by Malcolm Watson, set 
to music by Comey Grain, was tried, and was much liked, for the 
lyrics were pleasing, the music flowing and harmonious, and the 
whole bright and lively. Alfred Reid had a capital part as 
Benjamin Braid, a retired London tradesman, who goes through a 
number of adventures in Spain, and loses his heart to a beauteous 
and bewitching widow, Dofla Carmen (Fanny Holland), and 

38 April Showers — The Prince and the Pauper, capril, 1890. 

they were ably assisted by Kate Tully, Avalon Collard, and J. C. 
Mackay. Tommy at College^ Corney Grain's new musical sketch, 
was one of the merriest and wittiest he had ever written. 

9th. Comedy. April Showers. — Three-act comedy by Messrs. 
Romer and Bellamy. First of a series of Wednesday and 
Saturday matinees. This piece was originally tried at a fpiatinie at 
Terry's Theatre, January 24th, 1889, and the plot was given 
in Dramatic Notes of last year. Walter Everard and Maude 
Millett resumed on the revival the characters of Charlie Clincher 
and Miss Lawrence, Nutcombe Gould played Lord Lacy ; Reeves 
Smith, Frank Lacy ; E. Dagnall, Clincher Senior ; Emily Brunton, 
Mrs. Lawrence ; Annie Hughes, Miss Lacy. — The same afternoon 
was produced — 

Released, — One-act drama by Charles H. Dickinson. This 
proved to be but a dreary piece, without originality, and with but 
one situation that could be called a strong one. The action 
s supposed to take place in Paris in 1 848, during the Revolution. 
Marie is looked upon by the world as the unmarried daughter of 
Madame Lasalle. Under this supposition she is courted by 
Captain Paul Valette. She is, however, the wife of Victor 
Ldroux, a swindler, who has passed five years at the galleys. He 
ecscapes, however, and returns to his mother's house, demands 
a sum of money, and insists on his wife accompanying him to 
America, to act as a decoy in a gambling hell he means to 
establish. As, however, the two women threaten to denounce him 
as a leader in the Revolution, Victor leaves the house, to re-enter 
it again almost immediately, mortally wounded by a shot from the 
soldiery who have recognized him. As he dies, and his wife is 
thus " released," she may, we imagine, look forward to union with 
Captain Valette. Bassett Roe drew a forcible picture of an 
unscrupulous ruffian, Victor L^roux, and his death scene was well 
conceived. Miss Emmerson as Marie Lasalle was hysterical, and 
carried conviction neither as to her love nor her despair, and her 
dress was quite out of character. Ada Neilson was dignified as 
Madame Lasalle. Hetty Dene as Nanette was a pert and pretty 
soubrette, Luigi Lablache was manly as Captain Paul Valette, 
and Julian Cross made the small part of Corporal Geoi^es stand 
out in bold relief. 

1 2th. Gaiety. {Matinee) The Prince and the Pauper. — Adapted 
by Mrs. Oscar Beringer, as a play in four acts, from Mark Twain's 
story of the same name. Those who had not read the book, 
found some little difficulty in following the play, from the confusion 
arising from the fact that Vera Beringer was not able to completely 

APRIL, X890.] Nixie, 39 

" double " the parts, and was compelled to call in the aid of 
Master Alfred Field-Fisher; the young lady and gentleman 
changing places and appearing each of them as the poor boy and 
the Prince. Tom Canty, the pauper, is frightfully ill-used by his 
drunken father, John Canty. He strays away from home and 
arrives at the gate of Westminster Palace ; there he is brutally 
driven back by the sentry, but Exiward Prince of Wales, who is in 
the courtyard, causes him to be admitted, and to him Tom dilates 
on the pleasures of bathing in the river, the manufacture of mud 
pies and such-like joys. The studious boy-prince is fascinated by 
the freedom of such an existence, and makes Tom change coats 
with him. The Prince then goes out, forgetting the change in his 
appearance, upbraids the sentry, and, as the Prince of Wales, 
threatens him with punishment. He is jeered at and hustled away 
by the crowd, and eventually is found by Mrs. Canty, who takes 
him for her own boy. John Canty comes on the scene, and is 
nearly strangling him for running away, when Miles Hendon, a 
kind-hearted poor gentleman, takes his part, and a brawl ensuing, 
all are locked up in the Fleet Prison. There the Prince announces 
himself in his proper character, and Hendon after humouring him 
for a time, at length is led to believe in the truth of his story. In 
the meantime Tom Canty has been treated as the veritable heir to 
the throne ; his insistences that he is only Tom Canty are treated 
by the courtiers, and even by his father, Henry VHI., as mental 
hallucinations. The Prince and Hendon escape from prison, and 
arrive at Westminster just in time to prevent the coronation 
of Tom Canty as King of England (for Henry has died), the 
Prince being able to prove his identity by the production of the 
Great Seal of England, which had been entrusted to him by his 
late father, and which the lad had hidden away behind a suit of 
Milanese armour. Grown-up people scarcely approved of such a 
very strong tax on their imagination, and children, who so enjoyed 
Lord Fauntleroy scarcely understood the play or could reconcile it 
with what they knew of English history. Vera Beringer was best 
in the prison scene, but was for the most part affected and stagey. 
W. H. Vernon was the very fac-simile of Holbein's pictures of the 
uxorious king, and thoroughly illustrated the petulance and 
irritability joined with the sovereign power of the ailing monarch. 
F. H. Macklin was excellent as the generous, kindly Miles Hendon, 
who shelters the lad, and saves him from being scourged, taking 
on himself the punishment. The John Canty of J. G. Taylor was 
a very powerful performance, Edmund Gurney as the Earl 
of Hertford, Ernest Hendrie as Lord St. John, and Annie Irish 

40 She Stoops to Conquer, [April, 1890. 

as the unhappy and ill-treated Mrs. Canty^-deserved favourable 

12th. Shaftesbury. — A change took place in the cast of 
The Middleman at a matinee performance at this date. Olga 
Brandon appeared as Mary Blenkarn ; Annie Rose as Nancy ; 
Mrs. Canninge as Mrs. Chandler, and Alfred Bishop as Joseph 

14th. Ladbroke Hall. All a Mistake. — One-act comedietta, 
by Mrs. Newton Phillips, a weak attempt at making capital out of 
a presumed heart-disease, through which the doctor proposes to 
his patient. 

14th. Park Town Hall, Battersea. Fickle Fortune, — One- 
act drama by Charles D. Steel, produced by the Pickwick D.C. 

iSth. Vaudeville. {Matinee) She Stoops to Conquer. — ^The 
following appeared in The Sunday Times : " In the race for revival 
Thomas Thorne got a start of Mr. Wyndham. Truth to tell, this 
production appears to lack the spirit that artistic rivalry should 
have prompted, and the performance was certainly dull. Merri- 
ment and characters were wanting, and Goldsmith's essentially 
mirthful comedy dragged its five acts slowly and depressingly 
through the afternoon. Thomas Thorne seemed ill at ease as 
Tony Lumpkin, and could not get hold of the fun of the character, 
though he performed the conventional antics. Winifred Emery's 
Kate Hardcastle was charmingly girlish and graceful, and Mr. 
Kemble and Mrs. Billington were admirable exponents of the 
characters of Mr. and Mrs. Hardcastle. Fred Thome's Diggory 
was amusing, but the performances of Messrs Thalberg and Frank 
Gillmore as Young Marlow and Hastings, and Ella Bannister as 
Miss Neville, call for no particular comment." 

ISth. Globe. — looth performance of A Midsummer Nights 

1 6th. Adelphl London Day by Day. — Final performance. 

1 6th. Op£ra COMIQUE. {Matinee) Juanna. — Tragedy by W. 
G. Wills, revived. It was originally produced at the (old) Court 
Theatre, May 7th, 1881. Forbes Robertson was the Don Carlos 
de Narcisso ; Wilson Barrett, Friar John ; G. M. Anson, Friar 
Philip ; Madame Modjeska Juana Esteban ; Ada Ward, Clara 
Perez. The play was then produced as Juana^ and was in four 
acts ; it obtained but a succks d'estime. It was produced in its 
present form, in three acts, at the Alexandra Theatre, Liverpool, 
in October 1881, under the title of The Ordeal; the only 
notable change being that the walling-up of Friar John as a 
punishment for the murder of which he accuses himself is done 

April, 1890.] Cmse and Co. 41 

away with. Frances Ivor, who, on May 24th, 1888, achieved a 
decided success as Mathilde Aerts in Midnight ; or^ The Wood- 
carver of Bruges^ enhanced her reputation as Juanna Esteban in 
the play under notice. Her performance was not altogether a 
great one, but in the tragic scenes and in her madness, the actress 
manifested considerable power ; it was a want of passionate love, 
in the first act particularly, that marred her representation as a 
whole. Adrienne Dairolles was disappointing as Clara Perez. 
She was too vixenish, and did not bring into prominence the 
allurements of the syren. Leonard Outram carefully illustrated 
the depth of the love he bore the woman for whom he risked his 
life ; but the best-played part was that of Friar Philip, rendered 
with a racy humour, and at the same time quaint sententiousness, 
by Sam Johnson. Ivan Watson was good as Pedro, a Modus-like 

1 6th. Fire at the Theatre Royal, Birkenhead. No very 
extensive damage done. 

1 6th. Death of Charles Bull, author of The French Doctor^ Love 
in a Lodge^ and several comediettas. 

17th. Prince of Wales's. {Matinee.) Cerise and Co. — Mrs. 
Musgrave's farcical comedy contained very clever lines and some 
amusing situations, but it will have to be pulled together if it is 
to make such a reputation as Our Flat achieved. It has no plot to 
speak of, but is simply a skit on ladies of title associating them- 
selves with mercantile concerns. Lady Kilkenny is the Madame 
Cerise, a fashionable milliner, who, to start her business, borrows 
;£^i,ooo from Lord Adolphus Perfect, anything but a perfect 
lord, for he not only exacts an extortionate interest, but actually 
obtains the money he advances from a kind-hearted American, 
Mr. Penguine Vanderbone, under the plea that it is to assist a 
necessitous lady. Vanderbone is on a visit to Europe with his 
mother and cousin. Miss Virginia Sutch, a wealthy heiress, who is 
not taken with the craze for marrying into an aristocratic family, 
but wishes to find a true-hearted man, with some " grit ** in him, 
which she does in Mr. Styleman, an impecunious journalist. He 
is employed by Madame Cerise to write some puffing articles on 
her establishment; to make these more fetching he engages a 
photographer to take views of the show-room, and unluckily 
Vanderbone is caught in one of the pictures flirting with the 
pretty manageress. Miss Blunt This brings about a complication, 
which of course is eventually cleared up, in the marriage of 
Vanderbone with Madame Cerise (Lady Kilkenny) and Miss 
Sutch with Styleman. Myra Kemble was pleasant as Lady 

42 The Unendraper — The Green Bushes, [April, 1890. 

Kilkenny ; Lottie Venne, clever, as she always is, as the American 
heiress, Miss Sutch. Sylvia Grey as Miss Prettyman, with just a 
soupfon of a sauce, and an amusing flirtation with Barlow, an 
amorous page, who spends his pocket money on sweeties for her 
(John Le Hay), and Eric Lewis as Mr. Styleman, all did their 
best. Emily Thome made her first appearance since her return 
from Australia as Mrs. Obadiah Vanderbone, a "shoddy" American 
millionaire, and played the part well. 

1 7th. Death of John Bamett, composer of The Mountain Sylphy 
1834 ; Fair Rosamond^ 1836 ; Farinelli^ 1839 ; ^^^ also author of 
The Pet of the Petticoats^ The Carnival of Naples^ Before Breakfast^ 
Mr. Mallett, and Win and Wear Her^ etc. Was director of the 
Olympic Theatre under Madame Vestris's management, 1832, 
In 1839 married a daughter of the violoncellist, Robert Lindley. 
Was born July isth, 1802. 

1 7th. Comedy. {Matinie) — There was nothing very novel in 
The Linendraper. Benjamin Bazin, a retired shopman, the linen- 
draper (E. Righton), trusts to his butler. Lush (Frank Wood), to 
teach him " etiquette," and Lush, through intercepting a telegram, 
imagines from the information contained in it that Sarah, the 
housemaid, is Bazin's daughter. Sarah (Cicely Richards) believes 
that her master is her father, and her outpourings of romantic 
filial affection are taken by him for a warmer love. Elinor March, 
(Vane Featherston), who has been adopted by Bazin, refuses 
Captain Harold de Broke (Scott Buist), because she imagines her 
union with him will bring ruin on her benefactor ; but eventually 
the mistaken notion she has conceived through the wiles of Mrs. 
Maitland (Susie Vaughan) is got rid of, and she is made happy. 
The applause that was accorded was due entirely to the acting of 
Messrs. Righton, Scott Buist, and Frank Wood, and Misses Cicely 
Richards and Vane Featherston. Walter McEwen was original 
and clever in the part of Reginald Maitland, a naturalist who 
discovers that his love for the pursuit of moths and butterflies will 
not altogether shut out the tender passion. 

1 8th. Victoria Hall, Bayswater. Simon the Smith; or, A 
Mediceval Strike. — Comic operatic romance. Book by E. W. 
Bowles and music by Louis N. Parker and Merton Clark, played 
by the "Folly" Amateur Dramatic Company. An absurdly 
extravagant piece of work. 

19th. Adelphi. Revival of The Green Bushes. — Buckstone's 
once favourite drama ; but the play was not received with quite 
the enthusiasm that we imagine the Messrs. Gatti expected 
Tastes have changed, and the wild improbabilities of travelling 

aprii^xSqo.] London Assurance — Delicate Ground, 43 

showmen figuring among " Redsldns," and taking to themselves 
squaws as wives ; and an American Indian Princess suddenly 
developing into a French Countess, with all the distinction and 
manner of a grande dame^ — are incidents not accepted as readily as 
they were some years aga For purposes of record the cast of 
the principals is given elsewhere. The hit of the evening was 
made by Kate James, as Nelly O'Neil, and the small part of 
Dennis, the blacksmith, was remarkably well played by Marshall 
Moore. Bruce Smith, the artist, received a special call for the 
beauty of his scene, a street in Dublin by night, in act iil 

2 1 St. Gaiety. — ^Meyer Lutz' Annual Matinee : A Mere BUnd, 
Little Jack Sheppard — Nellie Farren title rdk ; Fred Leslie, Jona- 
than Wild ; Minshull, Blueskin ; Marion Hood, Winifred Wood. 
Second act of burlesque, Ruy Blas^ and varied programme. 

22nd Avenue. {Malin/e.) London Assurance. — F. H. Mack- 
lin. Sir Harcourt Courtly ; Charles Groves, Max Harkaway ; Yorke 
Stephens, Charles Courtly ; Charles Dodsworth, Spanker ; Sidney 
Valentine, Dazzle ; Mrs. F. H. Macklin, Lady Gay Spanker ; 
Kate Rorke, Grace Harkaway ; Lottie Venne, Pert 

22nd. Shaftesbury. Tie Violin Players. — ^Another adapta- 
tion, in one act, by Alfred Berlyn, of Francois Copp^'s Le Luthier 
de Crhnone^ in which Alfred Bishop played Ferrari ; E. S. 
Willard, Phillipo ; A. Elwood, Sandro ; and Olga Brandon, 
Giannina. Neither the acting nor the piece could be very highly 

23 rd. Criterion. {Matinee) DelicaU Ground, Trying It On, 
and Why Women Weep. — On this occasion Charles Wyndham 
showed his audiences that he could not only follow in the footsteps 
of Charles Mathews, but in some respects could keep pace with him 
in the race. The programme contained three light comediettas. In 
two of these Mr. Wyndham enacted the principal parts, so we will 
refer to them first In Charles Dance's Delicate Ground, as 
Citizen Sangfroid, Mr. Wyndham was true to the character. He 
was always cool, calm, and collected ; as Sangfroid he was playing 
a game to win back the love of a thoughtless wife, but, with all his 
assumed coolness, he took care to convey to her that he really loved 
and valued her. Citizen Sangfroid was one of Charles Mathews' 
favourite characters — in his rapidity of deliverance Mr. Wyndham 
does not equal the great original, but in truth and earnestness he 
certainly surpasses him. Mary Moore's Pauline showed powers 
for which we had scarcely given her credit ; the pettishness, the 
little vanities and weaknesses of the wife, who, loving her husband, 
did not wish to let him know the hold he had on her affections^ 

44 7%^ Cabinet Minister, [April 1890. 

were cleverly displayed. Geoi^e Giddens, as Alphonse de 
Grandier, was not only amusing, but apt in illustrating how a 
man can be weak in his words and empty-headed, and yet 
preserve all the characteristics of a gentleman. — Trying It On^ 
William Droughts farce, gave Mr. Wyndham an opportunity of 
contrasting his powers as a rattle, with the character that we had 
seen him in in the preceding piece. As Potts he was full of fun 
and go, and caried the absurdity along most successfully. W. Guise 
as the plodding Mr. Jobstock, and S. Hewson as the rather dull- 
pated Mr. Tittlebat, did justice to their characters. Miss FfoUiott 
Paget was a handsome Mrs. Jobstock ; E. Leyshon attractive as 
Fanny ; and E. Penrose filled the rdle of Lucy, the maid. — Why 
Women Weep had already been seen at the Criterion. F. Emery 
resumed his character of Arthur Chandos, and George Giddens 
was again the amusing waiter, Fritz ; C. Crofton was a little tame as 
Frank Dudley. E. Leyshon missed her opportunity as Madge, 
and F. Frances was not quite in touch with the part of Dora. 

23 rd. Court. The Cabinet Minister. — Even the brilliancy of 
Mr. Pinero's dialogue — and he has not yet written any so brilliant 
in its pungent satire and quick repartee— could prevent some 
expressions of disapprobation when the curtain fell on The 
Cabinet Minister. The fact was, that the audience was puzzled, 
Had they sat out a farce, which was merely to ridicule the follies 
of modern society ? — or was it a comedy in which they were to feel 
interested as representing the troubles and anxieties that even 
those in the higher walks of life must suffer? Some of the 
episodes were so thoroughly farcical, whilst on the other hand the 
distresses of the unhappy Lady Twombley were so real, as almost 
to make one weep. Then there were so many characters that were 
mere sketches, clever indeed, but that seemed to require elaborat- 
ing before one could feel that they were realities. The plot is of 
the slightest, and should certainly not have been spread over more 
than three acts. Sir Julian Twombley is the Cabinet Minister, 
but a disappointed one. He is anything but wealthy, is harassed 
for money, and finds a comfort and soothing of his troubles by 
playing on the flute at all sorts of odd times. His lot is none 
the happier, in that his wife, to keep up appearances and to 
launch her son and daughter well in life by prosperous marriages, 
has become deeply involved in debt, and is in the power of the 
Hon. Mrs. Gaylustre (really a fashionable milliner), and the 
unmitigated little snob of a broker, Joseph Lebanon. These two 
force themselves into society under the aegis of Lady Twombley's 
introduction, compel her to obtain them an invitation to one of 

apru, 1890.] Othello, 45 

her great relative's houses in Scotland, where they are guilty of 
all sorts of offences against good breeding. Eventually Lebanon, 
by threats, induces his victim to purloin an official letter relating 
to a canal that is to be constructed in India, that he may use his 
information to speculate on the Stock Exchange Fortunately, 
Sir Julian Twombley has had some suspicions, he has manu- 
factured a letter the contents of which are in direct opposition to 
the intentions of the Government He tells his wife this, when 
she, in an agony of mind, confesses what she has done. She 
immediately takes advantage of her knowledge of the truth, tele- 
graphs to her stockbroker to buy shares, and thus makes such a 
fortune as clears off all their liabilities, and enables their domestic 
barque to anchor in calm water, and the play winds up with a 
wild dancing of the " strathspey." People are used to laugh at Mrs. 
John Wood's eccentric humour ; in this piece they not only had 
many opportunities for doing so, but of seeing her in another 
light, that of a woman driven almost distracted by her cares and 
worries, and were no doubt surprised that this clever actress can 
so powerfully delineate an almost new line of character. Arthur 
Cecil was truly excellent as the well meaning, not too brilliant, 
state official ; and Brandon Thomas made his mark as a High- 
land laird, of huge stature, vast wealth, and of few words, and 
completely under the control of his mother. Lady Macphail (a 
talkative dame well played by Mrs. Edmund Phelps). Rosina 
Filippi gave a clever rendering of the sly, pushing Hon. Mrs. 
Gaylustre. E. Allan Aynesworth was fresh and original as a 
young man of the present day, and Florence Tanner as a reigning 
belle Herbert Waring, as an unpolished Colonial, ai)d Miss Le 
Thi^re as one of the leaders of society, were all good ; in fact, the 
cast generally acquitted themselves well. To Weedon Grossmith, 
however, must be awarded the palm for his novelty of treatment 
of the usurer Lebanon. It was a thoroughly natural performance, 
without any apparent straining for effect ; and yet the effect came 
in his every word and action, and though many could but say 
that they had met such a one in real life, no such picture has yet 
been seen on the stage. 

17th. Globe. Othello, — Mr. Benson's company. The lessee as 
the Moor ; Charles Cartwright, lago ; Ross, Cassio ; Mrs. Benson, 
Desdemona ; Rose Mellor, Emilia. Of this the Observer said : — 
Frank Benson has won much credit for his courage in including 
the rdle of Othello amongst the series of Shakespearean imperson- 
ations which he has just brought to a close at the Globe. It is 
no doubt a brave thing for a young actor of Mr. Benson's very 

46 Changes — Esther Sandraz, cMay.iSqo. 

limited histrionic resources to undertake a task which tries the 
mature powers of the most experienced tragedian ; but whether 
it is bravery of a kind that merits commendation is another 
question. Whether it be praiseworthy or not, however, Mr. 
Benson's bold confidence in his own abilities is certainly impres- 
sive, and there are plenty of useful lessons to be learned from 
the spectacle that he presented when, following longo intervallo 
Signor Salvini's reading of the Moor's jealous rage, he turned a 
strong man's passion into a weak woman's hysteria. He left us 
in doubt whether he less suggested the Othello of Shakespeare by 
his loud cries of forcible-feeble frenzy or by his lackadaisical 
whispers of distress ; and if the " promise " conventionally 
attributed to such inept efforts of ambition is to be claimed on 
behalf of this impersonation it can only be on the grounds of its 
limitation to a couple of performances. Much may be forgiven 
to an experiment which is only once to be repeated. For the 
rest, the support secured by the young manager was careful, if 
little more, except perhaps in the case of Stephen Philips's really 
dignified Duke, and Mr. Cartwright's intelligent, albeit modern 
and melodramatic, lago." 

25 th. Toole's. {Matinee), C/tanges. — A three-act comedy, 
written by John Aylmer, was produced, but as the piece will 
probably never be heard of again — it was so weak and the 
dialogue so puerile — there is no occasion to dilate on it Walter 
Arnauld as a page, and Mary Collette as a bright, impulsive young 
lady, were the only two in the cast worthy of mention. 

26th. Globe. — Last night of Mr. Benson's season. A Midsum- 
mer Night's Dream was played ; and the manager received an 

28th. Grand. Mary Stuart — Mrs. Bandmann Palmer ap- 
peared in the title rdle. 



1st. KiLBURN Town Hall. Daisy. — Comedy opera, by F. 
Grove Palmer ; music by Henry J. Wood. 

3rd. St. James's. Esther Sandraz. — This was referred to in 
Dramatic Notes of last year, the play having been produced at 
the Prince of Wales's Theatre, on June i ith, with Amy Roselle in 
the title rdle. The special features of the present performance 

May, is^o.] Louis XL — A Miser, 47 

were the excellent acting of Marion Lea, F. Everill, Charles 
Calvert, and H. De Lange. Charles Sugden was cold and un- 
impassioned, Arthur Bourchier earnest and impressive. Mrs. 
Langtry was unequal, and was at her best in the tragic and 
contemptuous passages. After a time Violet Armbruster appeared 
as Blanche in place of Miss Williams. Esther - Sandraz^ which 
was accorded a most favourable reception, was preceded by 
The Tiger^ a musical farce, adapted by F. C. Bumand, from 
Taming a Tiger^ and set to music by Edward Solomon. It met 
with unqualified disapproval — for the libretto was poor in fun, 
and the music not what we generally have from the composer. 
Charles Colnaghi, a well-known amateur, who made his professional 
dibut as Philip Fuller, did his best to save the fortunes of the 

3rd. Lyceum. {Matinee) — Louis XL was revived, and W. 
Terriss reappeared here and made a picturesque Nemours. 

Sth. Club Theatre, Bedford Park. A Sicilian LdylL — 
Original pastoral play by John Todhunter. Possessed considerable 
merit, though his flowing and vigorous lines were only done justice 
to by Amaryllis, Florence Farr (Mrs. Edward Emery), whose ex- 
perience enabled her to cope with the delivery of blank verse, 
though Lily Linfield delivered them with archness and piquancy. 
As Thestylis, she danced with the abandon of a very Bacchante, 
and gained a well-deserved encore. Alcander, a mountain shepherd, 
who conquers the aversion of Amaryllis to wedded life by sheer 
force of will, was vigorously portrayed by H. M. Paget ; and John 
Smith as Daphnis, another shepherd, who is at first enamoured of 
the hard-hearted Amaryllis, but is consoled by Thestylis, to whom 
he transfers his affection, spoke his lines well. A more accurate 
judgment would have been formed of A Sicilian Ldyll had 
Mr. Todhunter provided a few printed copies of his work. The 
incidental music was composed by Bertram Luard Selby, and 
was melodious ; and the very appropriate choruses were efficiently 
rendered by Mrs. Campbell Perugini, Misses Christine and Janet 
Connell, William Allen, etc.. The picturesque processions and 
dances were cleverly arranged by Miss Linfield, more particularly 
bearing in mind the circumscribed space at her command. Mr. 
Lys Baldry, who designed the artistic costumes and properties, 
and painted most of the tasteful scenery, deserved great credit for 
the production. 

5th. Globe. A Miser. — One-act drama by Julian Cross ; was 
played for the first time in London. There was considerable 
literary merit on the part of the author, who filled the title rdle 

48 Theodora — Rachel CMay, 1890. 

as Gabriel Brandon. The plot was flimsy, and consisted in the 
endeavours of Harold, a nephew, to get the miser confined in a 
madhouse, a conspiracy which is defeated by the opportune 
return of Gabriel Brandon's son, Philip, supposed to have been 
drowned at sea. On this evening Nixie^ transferred from Terry's, 
was the principal item in the programme. 

5th. Princess's. Theodora. — Is a play that was written specially 
for Madame Bernhardt ; it is one in which she is great, because 
she is a great actress, but it is not a good play, though a showy 
one. For the critical to enjoy it the heroine must be impersonated 
by an artist of the first rank — for she has to show us how a girl 
who began life in the circus could so bewitch an Emperor as to 
become his consort ; and who after she wore the diadem could 
still delight in mingling with her former companions ; who, whilst 
being the ruling power of the state, could risk all in her wild, mad 
passion for a young Greek ; a woman who can wind her husband 
round her finger, who is as iron to her enemies but as wax to her 
lover, to save whom she will in cold blood pierce to the heart 
with a bodkin taken from her hair, an unfortunate creature, who 
might under the agony of the torture betray his fellow conspirator. 
Grace Hawthorne had already filled the part with considerable 
success in the provinces, and though she could not altogether 
look the character or rise to the heights of grandeur that it 
requires, succeeded in rendering it a capable performance, and 
one far greater than was anticipated. Leonard Boyne was at 
his best when confessing how unwittingly he had betrayed his 
fellow conspirators. Charles Cartwright's rendering of Marcellus 
left nothing to be desired ; his great scene when beseeching 
Theodora to put an end to him was most effective. W. H. Ver- 
non was to the letter the crafty, superstitious, and craven Emperor. 
George W. Cockburn, Marie Stuart, and Dolores Drummond, were 
good. The piece was splendidly staged, the dresses were of the 
costliest description, and the mounting altogether lavish, so that 
as a spectacle alone Theodora managed to attract large audiences 
for some considerable time. Mr. Buchanan's version is a good 
one, but though his allowing the Empress to poison herself and so 
die with Andreas, afforded a tableau and a scene for the heroine, 
I doubt whether it was as effective as the curtain falling on the 
supposition that she would suffer from the silken bowstring, as 
in the original. When Miss Hawthorne took the play on tour 
again Fuller Mellish was highly successful in the character of 
Andreas. ^ 

7th. Haymarket. {Matinee.) Rachel— I^'^'^&im^^V^Xx^, 

May. iSgo.] A Modem Marriage. 49 

by Clo Graves ; introduced Laura Villiers in the title rSle, and 
though the actress was not equal to the exigencies of the 
character, there were glimpses of power and at times almost 
genius, particularly in the final moments of the death scene, 
where the dead actress is supposed to roll down some steps. 
The story upon which the piece is founded appeared in Hood's 
Comic Annual under the title of "Death and Rachel," and tells 
of the despair of the great French actress when she discovers that 
her fate is sealed, and that she has only a few more hours to live. 
— ^The event of the afternoon was the appearance of Julia Neilson 
as Clarice in Gilbert's play, Co^nedy and Tragedy. Those who 
had formed a high opinion of the young actress's capacities were 
not disappointed. Miss Neilson fairly surpassed every expecta- 
tion, whether as simulating the " comedy," or in her agony of the 
'* tragedy," and took the position of the coming actress of the day. 
Fred Terry was a distinguished and impassioned d'Aulnay, and 
Lewis Waller dignified and cool as the Due d'Orl^ans. 

8th. Sale at Messrs. Foster's Gallery, 54, Pall Mall, of the 
theatrical properties, etc., used under the Bancroft management 
at the Haymarket and old Prince of Wales's Theatres. 

8th. Comedy. {Matinee) A Modern Marriage — Play in four 
acts by Neville Doone ; turned out to be but a very* crude work, 
with a totally unnecessary fourth act, and written at times in a 
very slipshod manner. Walter Trevor (Royce Carleton) is an 
adventurer who has obtained the post of secretary to Sir Richard 
Arlingford (J. Beauchamp). He is also a Russian spy. He steals 
important despatches ; abstracts the one particular document, and 
puts the remainder in the pocket of Henry Edwards's coat, and, 
to cast suspicion on him, leaves an envelope addressed to the 
latter in the bureau from which the papers have been abstracted. 
Edwards (Lewis Waller) is an artist with whom Lilian is in love ; 
he has just been accepted, but, of course, being charged with his 
crime, he leaves England and is supposed to die in Russia. 
Lilian (Alma Murray) at the instance of her father, marries 
Walter Trevor, now Lord Dacre. Edwards suddenly reappears 
and taxes Trevor not only with having stolen the despatches, but 
also with having, by false evidence, assumed his (Edwards's) title 
and estates. Trevor braves it out, feeling sure that nothing will 
be done to him on account of his wife. His career is ended by 
his accomplice, John Middleton (Julian Cross), whose daughter he 
has betrayed, but in his dying moments he utters words that 
induce Lilian to believe that Edward has shot him. The fourth 
act is used to clear up this mistake, and is only redeemed by an 


50 She Stoops to Conquer — Paul Kauvar. [May, 1890. 

excellent love scene, most unconventionally and naturally played 
by C. Kent (Major Sportington), and Ellaline Terriss (Eva Urling- 
ford). Lady Blessington was a ridiculous character, who sets a 
canine pet above the whole human species, but was made almost 
possible by Robertha Erskine. The universal opinion was, that 
the acting of the remainder of the principals was worthy of the 
greatest praise. 

loth. Criterion. {RevivaL) She Stoops to Conquer. — 
Charles Wyndham knows his audience so well that the fact 
in a measure accounts for his fresh departure in the general 
acting of Goldsmith's time-honoured comedy. The patrons of 
the Criterion prefer to laugh ; they, as a rule, like everything 
taken in a lively, rattling manner ; and so young Marlow's 
bashfulness was made almost farcical in its hesitation and ultra 
shyness. Hardcastle, as represented by W. Blakeley, instead of 
being a sententious, well-informed, and rather stately character, 
was a fatuous old gentleman who, being made the butt of his 
young visitors, became a laughing-stock ; and the Tony Lumpkin 
of Mr. Giddens was a mischievous rattlepated youth, not by any 
means obtuse, but rather cunning than otherwise, and, notwith- 
standing his association with pot-house companions, retaining the 
manners of a gentleman. The Mrs. Hardcastle of Miss Victor 
was most in accordance with tradition — still a vain silly lady, 
wrapped up in her cubbish offspring and blind to his faults. 
The Miss Hardcastle of Mary Moore was ladylike, but a little 
wanting in the coquetry and dash of the character. W. Draycott 
was fairly good as Hastings, and Eleanor Leyshon attractive as 
Miss Neville. The Diggory of S. Valentine was good. A number 
of " gags " were introduced which were quite unnecessary, and the 
play was reduced to three acts, with tableau curtains to allow 
for the changes of scene, which were effected with marvellous 
rapidity. Old playgoers scarcely approved of the new reading. 
The mounting of the piece was very handsome. — She Stoops to Con- 
quer was preceded by A. C. Troughton's comedietta. Living Too 
Fasty which was only noticeable for the efficient manner in which 
the character of Julia was represented by Miss F. Frances, 
loth. Lyceum. — The Bells revived in evening bill. 
1 2th. Drury Lane. Paul Kauvar. — Mr. Steele Macka/s 
drama, which is said to have had a four years' continuous suc- 
cessful run in America, was received with much enthusiasm on its 
opening performance in this country — due principally to the 
excellence of the acting of three of the principals. The language 
is grandiloquent, and there is one great weakness in the drawing 

May, 1890.] Poul Kouvar. 51 

of the heroine, who, loving a man sufficiently well to marry him 
secretly, should yet desert him to follow the fortunes of her 
father. The scene is laid in France in 1794, the time of the 
Revolution. Honore Albert Maxime, Due de Beaumont, a 
Royalist, has, under the assumed name of George Leblanc, been 
sheltered with his daughter, Diane, from the persecution of the 
Revolutionary Tribunal, by Paul Kauvar, " painter and patriot." 
The young artist has so won the heart of the fair aristocrat that 
she marries him secretly, for she dreads the anger of her proud 
father should he hear of her misalliance^ as he would think it. 
Masquerading as a Jacobin is the Marquis de Vaux, known as 
Gouroc. He is also in love with Diane, and, with a view to 
separate her from Kauvar, his bosom friend, he leads the Duke to 
suspect the latter of a design to betray him. The Duke informs 
his host of his intention of leaving his roof — of course taking his 
daughter with him. Kauvar suggests that nowhere else will they 
be so safe, and that, at least, Diane should not be put to the 
dangers attending flight, and that she should remain. The Duke 
insists ; so, in his capacity of " President of the Revolutionary 
Section of Fraternity," Kauvar signs two passes, one for the Duke 
alone, the other for his daughter also. Diane is to decide 
whether she will go or stay, and she, who is supposed to love her 
husband to idolatry, decides to leave him and go with her father. 
Worn out and wearied with anxiety and excitement, Kauvar 
hurriedly signs a warrant for arrest, the name in which is illegible. 
This is compassed by the Marquis — for just as the Duke and 
Diane are leaving, the former is arrested, and at once brands 
Kauvar as having betrayed him. The second act takes place in 
the " Large Hall in the Prison of the Conciergerie." The Duke 
is tried and condemned to the guillotine. The Marquis promises 
he shall be saved if Diane will consent to become his wife. She 
yields, determining to do away with herself once her father has 
escaped. Paul Kauvar appears, and is informed by the Marquis 
of the fate awaiting the Duke, and so the unhappy husband, to 
prove how groundless are the suspicions entertained against him, 
tells his supposed friend of his marriage, commits his wife to his 
care, and, assuming the cloak of the Duke, answers to the name, 
and goes forth for execution. In the third act we are taken to 
the " Headquarters of the Royalists in La Vendue." The Duke 
and his daughter have found refuge with General Delaroche, the 
commander of the Royalist forces, and in attendance on them is 
the Marquis. He thinks the time ripe for gaining his long- 
cherished desire ; he proposes for the hand of Diane, and her 

52 . Paul Kauvar, [May, 1890. 

father at once commands his daughter to accept him. But in the 
meantime Diane has learnt how Kauvar (who is not seen in this 
act at all) has saved her father's life, and how he also has escaped, 
for his place has, in turn, been taken by a good priest, the Abb^ 
St. Cyr ; and how Kauvar now holds a command in the Revolution- 
ary troops. She confesses to her marriage with Kauvar. This 
infuriates her father, who at once casts her off, heaping contumely 
on her for her treason to her order in wedding with a ^^ sans 
mlotte!* This changes Diane from a weak and suppliant woman 
into a grand, self-reliant creature. She upbraids her father for his 
want of generosity to one who has proved himself so noble, and in 
her turn casts off her father, and rushes away, determined to 
discover her husband and follow his fortunes and that of his party. 
In the fourth act, in a mSl^e between the Republicans and the 
Royalists. Kauvar is taken prisoner, and is brought before 
General Delaroche. As no quarter is given, Paul is to be shot, but 
he has behaved so bravely, and is so bold and earnest in manner, 
that the General wishes to save his life. He induces him to tell 
his name and to speak of his past, and eventually liberates him on his 
parole that he will not bear arms against the King. Just then the 
headquarters are carried by storm by the Republicans. They 
proceed to wreck the building, and drag forth from their hiding- 
places the Duke, Diane, and the Marquis. The latter*s treachery 
in obtaining the warrant is proved by Dodolphe Potin, and he is 
supposed to be torn to pieces by the mob as a spy and a traitor 
to their cause, whilst the lives of the Duke and Diane are saved 
by the entry of General Kleterre, who announces that Robespierre 
is dead, and that the Reign of Terror is at an end. The Duke 
heartily accepts Kauvar as his son-in-law, and the curtain falls. 
The part of Paul Kauvar is of that romantic order which is well 
suited to W. Terriss, and he certainly held the house. Miss Millward 
has her one grand opportunity in the third act, and the actress 
fully availed herself of it. Mr. Henry Neville was the polished 
yet contemptuous noble as the Due de Beaumont. Arthur 
Stirling was genial yet impressive as General Delaroche. Ernest 
Hendrie acted to the life as Carrac, one of those bloodthirsty 
fiends that the Revolution produced. Herbert Lewin (young Mr. 
Terriss) spoke his lines remarkably well. The comic element 
was quite safe in the hands of such clever representatives as 
Victor Stevens and Edith Bruce ; and Mrs. Clifton as Scarlotte 
was a true type of the sanguinary hag. Paul Kauvar was 
preceded by the farce of The Married Rake^ in which Victor 
Stevens as Mr, Flighty successfully bore the brunt of being a 

may,i890w] In Love — As Large as Life, 55 

gentleman who, in punishment for his flirtations with a fair lady 
at Richmond, is in his turn tricked into the belief that his wife is 
receiving letters and the attentions of a gallant officer. 

1 3th. Terry's. {Matinee,) — Two new pieces were played : /;/ 
Love^ a comedietta (author unannounced), though with occasional 
flashes of humour and smart dialogue, was generally weak. A 
young fellow who is loved by an artless and very charming girl, 
disregards the treasure he may possess, and wants a woman who 
can shine in every way. He is brought to his senses by the girl's 
sister-in-law, who assumes to be a perfect paragon, but makes 
herself hateful by the airs and graces she gives herself. This 
part, Amabel Burton, was well played by Irene Rickards, who 
also sang nicely. — ^The trifle preceded As Large as Life^ a new 
farcical piece in three acts by Arthur Shirley. The author has 
captured remarkably funny ideas, but must rewrite his piece, for 
it hung fire lamentably at times ; with fresher dialogue and the 
situations brought closer together it would be very amusing. An 
impecunious artist, Mulready Splurge, for want of a model makes 
sketches of his opposite neighbour, Ulysses Tinkler, a harmless 
fellow in love with Elsie Bimble. These sketches he develops 
in three characters — all with the same face. The one represents 
a lion-tamer, the other a celebrated actress at the " El Dorado," 
and the third a private gentleman. The canvasses are given as 
security to a landlord for an unpaid hotel bill. He disposes of 
two of them — the actress to a silly little fop who is in love with 
her ; the other to a fascinating widow, Mrs. Morency (well played 
by Adrienne DairoUes), who purchases it to hang in her drawing- 
room as the portrait of her husband, and so put a stop to the 
attentions of Ruccio and Graccio, two Corsicans who persecute 
her with attentions. These parts are cleverly written and were 
very drolly acted by Messrs. Henry Bedford and Ivan Watson. 
Joshua Bimble, from seeing the picture of the private gentleman, 
is led to believe that it is Splurge, whose relatives wish to bring 
about a match with Elsie. Mrs. Splurge, with her baby, comes 
in search of her truant lord, and recounts her sorrows to Bimble, 
so that when the latter tries to pay his addresses to Elsie, he is 
looked upon as a married man who has deserted his wife. At 
Mrs. Morenc/s, when the picture of the " lion-tamer " is seen, 
poor Tinkler is present at a party, and the artful widow makes 
him own to being her husband, and he is regarded by Bimble as a 
bigamist, and is challenged by both Corsicans. Fleeing from them 
he takes refuge in the Zoological Gardens, and meets the little 
silly fop, who takes him for the beautiful actress masquerading 

54 The Barrister — A Convicts Wife, [Way, i-s^o. 

in men's clothes, the actress being really Tinkler's twin sister, a 
virtuous matron, who closely resembles him. The Corsicans in 
pursuit come upon Tinkler and throw him into the bear-pit, from 
which he is happily rescued, and after his trials — Splurge having 
explained away how the unfortunate Tinkler has had his face 
made unwarrantable use of — is the means of his being accepted 
•by Bimble for Elsie. The character of Tinkler was one that 
Charles Hawtrey or Mr. Glenney would have revelled in — but as 
an apology was made for Mr. Kersley that he was suffering from 
a severe cold, etc., 'his shortcomings were forgiven. 

iSth. Death of Brinsley Sheridan — proprietor of the Theatre 
Royal, Warrington, and an actor well known in the provinces 
— aged SS. He played Soft Tommy Shuttleworth, in Grelleys 
Money^ more than 3,000 times. 

1 6th. Lyric Theatre. — Horace Sedger acquired a long lease, 
and entered into possession of this theatre 

17th. Royalty. — The Barrister, by J. H. Darnley and 
G. Manville Fenn, revived under Miss Violet Melnotte's manage- 
ment. And on the same night F. W. Broughton's comedietta, 
The Bailiff, was seen for the first time in London. In it a rather 
cruel practical joke is played by Benjamin Grattan (R. Medlicott) 
on his brother Daniel (Walter McEwen). Benjamin, having been 
assisted by Daniel some years before to emigrate to Australia, 
returns, and pretends to be the "bailiff" in possession, whereas 
he has really come to relieve his brother's necessities and repay 
his former kindness. Henry Bedford afterwards played Benjamin 
Grattan with great humour. 

1 9th. Lyceum. — Louis XL placed in evening bill 

1 9th. Grand. A Convicts Wife ; or, The Romance of Mar- 
riage. — The four-act drama, by W. Sapte, Jun., was originally 
tried at the Prince of Wales's Theatre, London, on Friday after- 
noon, May 31st, 1889. The plot of the play, then entitled 
Marah, was fully given in DRAMATIC Notes of that year. It 
has since that date been strengthened, and was certainly well 
received by the Islington audiences. In the revival Mrs. B. M. 
De Solla (Mrs. Grey), Miss M. Schubert (Marguerite Cordaix), 
and Ivan Watson (Bougeron) most satisfactorily resumed their 
original characters. The remainder of the cast was as follows : 
Florence West (Lilian Grey), Mrs. C. L. Carson (Winifred, a 
bright performance), J. H. Barnes (Geoffrey Blount, R.N.), Lewis 
Waller (Paul Gamant, powerfully played), Scott Buist (Harvey 
Holmes, good), Willie Drew (Jack Brande, cleverly acted), C. H. 
Thombury (Mr. Hunt), and Milton Buist (Waiter). 

May, 1890.] My Mother. 55 

20th. Toole's. {Matinee) My Mother, — Original farce, in three 
acts, by Amy Steinberg. Like many farcical comedies the strength 
of this one lay in its first act, which was remarkably clever. Amy 
Darlington (an assumed name) is a captivating young widow, who 
has been mairied to an old gentleman of the name of Turner, 
who has left her Job Turner, a hulking son by his first marriage, 
and considerably older than herself. He is an idle, shiftless 
fellow, gfiven to betting, boxing, and who will insist on calling 
her "Mother." Adonis Featherfield, a young lawyer, is a widower, 
and his late wife has left him a stout, middle-aged daughter, 
F^licit^ Blobbs, who calls him " Papa." The respective relicts speak 
of their incubi, for they are nightmares to both, as mere children 
— for Amy and Adonis are thinking of trying the matrimonial 
lottery again, and both dread that either should come to the 
knowledge of their being burdened with such grown-up terrors. 
They are stopping at the house of Sir Dallas Dallas, when 
F^licit^, of whom Adonis is in salutary dread, follows him up. 
F^Iicit^ is romantic ; she has once met a Captain Compass, and 
imagines he is in love with her. Adonis has kept up the delusion 
to quiet her by writing her letters as though from Compass. If 
he marries before F^licitd, he will lose a great portion of his first 
wife's fortune. He knows the stepdaughter will throw every 
obstacle in the way of his union, when a happy thought strikes 
his friend, Tom Meredith — Why not get somebody to impersonate 
Captain Compass ? He has been away for years ; he must have 
altered considerably in appearance, and F^licit6 is so anxious to 
get married that she will not be too particular. The conspirators 
think the plan a good one, and each set about finding a man. 
Meredith, by a bribe, secures Dennis McCarthy, an Irish sailor, 
to pass himself off as the absent Compass ; but, unfortunately, 
Adonis at the same time gets hold of Job Turner, who has come 
to get some money out of his mother, and induces him to assume 
the name of Compass. Then come a series of complications. 
Mrs. Darlington is obliged to introduce Job as her guardian. 
Adonis speaks of Fdicit^ as his mother-in-law. Dennis McCarthy 
has married the widow of a Captain Compass, and she, hearing 
that some one is setting her cap at her husband, mistakes Amy 
for the culprit, and has a scene with her, and it becomes at first 
a most amusing game of cross purposes, but then, as we have said, 
the fun is exhausted. Of course it results in Amy and Adonis 
having to confess that they have deceived each other as to 
the ages of their respective children, to whom they have even 
sent toys, and F^licit^ consoles herself with Job Turner, who, in 

$6 Tiffins Revenges — The Wrong Door. [May, 1890. 

consideration of her handsome fortune, fathers the letters she has 
received, and which he said he wrote under the name of Compass. 
The acting was good — better than the dialogue, some of which 
might have been more polished. Vane Featherston as Amy 
Darlington was sprightly and coquettish. Eva Eden, a pert 
Mary Jane, and Joan Vanderbilt attractive as Florence. Elsie 
Chester was excellent as the irate Mrs. Compass, and secured 
emphatic rounds of applause on her exits. Amy Steinberg was 
amusing as the stout and pettish F^licit^. Yorke Stephens made 
every line tell as Adonis Featherfield, and James Nelson was 
smart and ready as Tom Meredith. J. B. Seare was a genial 
Sir Dallas Dallas ; Henry Bedford was thoroughly humorous and 
original as Job Turner ; and Harry Monkhouse was a rollicking 
sly Irish sailor as Dennis McCarthy. The authoress was called. 
— On the same afternoon was played for the first time Timers 
Revenges, a one-act piece, by W. Edwardes-Sprange. Vera Vassa- 
liski has been led to suppose that Prince Alexis Neirska had 
betrayed her sister and been the cause of the death of her father 
as an exile in Siberia. These suspicions have been instilled into 
her by Paul Petrovitch, who wishes to gain her for himself. Vera 
fascinates the Prince, but in doing so falls in love herself. Gerald 
Leigh is the good genius of the piece ; he discovers that Paul is 
a Nihilist, and at the same time a police spy ; and the escape 
from Siberia of Michael Boralak (Vera's father) and his return 
completely fix the crimes on Paul. Vera and the Prince are 
supposed to be united, and Leigh pairs off with the fascinating 
Sophie d'Esterre. Oscar Adye was earnest and a good lover ; 
A. Ellis was rather too obvious a villain as Petrovitch ; Sutton 
Vane was dignified as the old Michael Boralak; and James Nelson 
animated and yet shrewd as Gerald Leigh ; Marie Illington played 
Vera Vassaliski in a feeling and artistic manner ; Elsie Chester 
was a kindly and courteous lady as the Countess Berstal. 

2 1 St. Comedy. (Matinee,) The Wrong Door. — Farcical comedy, 
by Ina Leon Cassilis. This was written as an amusing satire on 
the Church, the Stage, and fourth estate, and the principal com- 
plications arise through mistakes being made in callers on the 
editors of journals of directly opposite interests, and a vivacious 
actress being mistaken for a sedate lady of the same name. 
Charles Landon, Ernest Hendrie, Fanny Robertson, and Agnes 
Thomas ably supported the piece, in which there was some smart 

2 1 St. Avenue. {Matinee:) The Grandsire. — Was originally 
produced at Terry's Theatre, May 15th, 1889. ig(i5tf«y Dramatic 

BiAY, 1890.] The Bride of Love, 57 

Notes of that year.) George Alexander revived the play here, 
himself appearing as the old sailor, Francois Legoez ; and though 
the assumption of such a character was naturally most difficult, 
Mr. Alexander triumphed and displayed great feeling and truth 
to nature in the agonized craving of the old man once more to 
behold his idolized grandson. Nutcombe Gould was excellent as 
Jacquemin. Benjamin Webster suited well the part of Pierre, 
and Carlotta Leclercq was effective as Marie- Anne Marie 
Linden was a charming Janik, — On the same day a very brightly 
written duologue, entitled The Will and the Way ^hy Justin Huntly 
McCarthy, was tried for the first time, and proved so amusing and 
so well played by Elizabeth Robins as Sybil Wisdom, and by 
Benjamin Webster as Stanley Grant, that it was at once put in 
the evening bill. It only tells of a young lady who, determined 
to prevent her love from keeping, as she fancies, an appointment 
with a rival, puts back the clock. She need have had no fears, 
however, for he was but anxious to get away and return with a 
Japanese fan, on which is painted a love scene that he hoped 
might enable him to declare his passion with greater ease. 

2 1st New Lamps for Old. Hundredth performance. Alfred 
Bishop appeared as Postlethwaite in place of F. Kerr. 

2 1 St. Adelphi. {Matinee) The Bride of Lave, — Save in one 
character, Mr. Buchanan has turned to excellent account the 
beautiful legend of Eros and Psyche. It was a hazardous 
experiment, this endeavour to submit to playgoers, too prone 
now-a-days to turn everything into ridicule, so ethereal a subject ; 
but by his poetic verse and dramatic treatment, the author 
commanded the interest and respect of an unusually critical 
audience. The legend has been frequently dramatized, notably 
in ballet form by Moli^re, and has been the foundation of 
burlesque and extravaganza, but Mr. Buchanan's method is new 
and original. Aphrodite, jealously incensed at the neglect shown 
her altars in Cyprus and the almost worship bestowed on Psyche, 
through her oracle proclaims that the daughter of Methonos shall 
be chained to the Rock of Sacrifice to be devoured by a sea- 
monster. Eros, eldest born of Aphrodite, is beguiled by his 
henchman, Zephyros, into gazing down the mountain, and beholds 
Psyche. The god who has implanted love in every human 
breast has never yet himself felt its power — his soul is at once 
inflamed. He rescues Psyche from the rock, and bears her away 
to the Garden of Love. Unalloyed happiness is theirs for a time, 
but envy and jealousy destroy it. Psyche's sisters, Hyla and 
Creusa, taunt her that she knows not who is her lord. Up to 

58 The Bride of Love, [May, 1890. 

this time she has refrained from asking, bh'ssful in her ignorance, 
but now she presses Eros to grant her a last request, and he 
swears by *' Styx and Acheron " to comply. She questions him 
as to who he is. In an agony of grief he is compelled, by his 
oath, to answer, for by the laws of Olympus it is written that — 

** Should a god reveal himself 
In godlike guise, or name his heavenly name 
To one of morttil birth, that mortal's eve 
Never shall look upon the light again. 

Psydie is stricken blind as Eros vanishes and is lost to her for 
ever. Aphrodite rejoices in the punishment of her rival, but her 
maternal love is so great that it conquers her hatred, when she 
beholds the agony of her son. Immortal, he cannot die, yet the 
endless future is to be to him one of heartbroken misery ; sway 
as he will the destiny of others, he cannot influence his own 
loveless life. Zephyros, feigning the loved voice of Eros, entices 
Psyche to the mountain top, where abide the deities. Sightless, 
she follows, until once more she finds herself clasped in the 
embraces of her lover. But that embrace to her is death. Eros 
prays the gods that she may be restored to him, " Give me back 
the soul which ye have taken from me. Say, ye gods, that love 
shall conquer death.*' Aphrodite petitions Zeus that Psyche may 
be made immortal. Their prayers are granted. Psyche returns 
to life, this time immortal, with the words — 

" Eros, my love, where art thou ? 
A cloud of brightness — Light — and thou within it, 
My Lord— My Master." 

The discordant note that was struck in an otherwise exquisite 
allegory, is in the drawing of Zephyros, servant to Eros ; his 
character was so specially modem and mundane. And exception 
might, perhaps, be slightly taken to the mortal and spiteful 
attributes of the sisters in the Garden of Love — a paradise — 
when Psyche, through Eros' power, has given to them Lycas and 
Atalantos, the men they had long loved, but who had hitherto 
been insensible to passion for them. The scene in which the 
several kings sue for Psyche's hand in Cyprus is powerfully 
written, and affords scope for good delivery, of which advantage 
in most cases was taken. Ada Cavendish, in her long retirement 
from the boards, had lost none of her dramatic power, and her 
return to her profession was cordially welcomed. Harriett Jay, 
for whom the part of Psyche had been written, after the first few 
lines delivered the text with sympathetic grace and true poetic 
feeling. T. B. Thalberg commenced weakly, hurrying his utter- 

MxT,i89o-] Judah. 59 

ance in a lamentable manner. This was evidently from extreme 
nervousness, for he gradually improved, and in his last scenes left 
little to be desired. Lionel Rignold was not altogether to blame 
that he made of Zephyros a cockney attendant on his master. 

2 1 St. Shaftesbury. Judah, — It would, at first sight, seem 
almost extravagance of praise to state that never was a more 
complete artistic success achieved by author and actors than 
attended the production of Judah. And yet such was the case. 
It was a new departure, bringing before us a woman who, really 
an impostor, yet half believes in her own semi-miraculous powers, 
and winning her back to uprightness through her great love for 
a fellow creature whom she also reveres ; and that that same 
fellow creature, an enthusiastic mystical dreamer, pure in mind 
and soul, can be so influenced by his almost idolatry for the 
woman, as, although a minister of religion, to perjure himself to 
save her good name. Besides these, we have such varied types 
in the other characters ; in Professor Jopp, who believes in 
nothing that he cannot mathematically prove, and in Mr. Prall, 
who is so weak and credulous as to believe in anything and 
everytiiing ; in his son, Juxon Prall, who believes in himself, and 
himself only, and treats with corresponding contempt all those 
with whom he comes in contact ; in Mr. Dethic, who, a mean, 
pitiful scamp, makes "the world his oyster," and forces his 
daughter to a life of deceit, and in Lady Eve, a dreaming, con- 
sumptive girl, who, knowing her life can be but a short one, does 
her best to conceal the ravages that disease is making on her, so as 
to console the broken-hearted father whose one pet lamb she is. 
And the fortunes of these characters are so cleverly woven 
tc^ether as to appear naturally to influence each other's lives. 
Yet there is but little so-called plot. Vashti Dethic has earned 
a reputation for almost miraculous cures^ — brought about by 
supposed sanctity of life and self-imposed long fasts. Hearing of 
these cures, as drowning men catch at straws, the Earl of Asgarby 
invites her and her father to take up their residence at his castle, 
for her to try her powers on his daughter Eve, the last of his 
children left him, and who seems likely to follow in their footsteps. 
His friend, Professor Jopp, being appealed to, will only sanction 
the proceeding on the condition that he and his daughter, Sophie, 
are to be allowed the strictest surveillance of Vashti Dethic 
during the twenty-one days' fast, which she says she must undergo 
prior to attempting a cure. The girl is shut up in an old portion 
of the castle. Needless to say, her fast is but a sham. Her 
father supplies her with food, but, the Professor's suspicions being 

6o Judah, [BiAT 1890. 

aroused, is at length prevented doing so. He has obtained a 
duplicate key and is endeavouring to convey her provisions ; he 
has liberated his daughter for a time, when the fraud is on the 
eve of discovery. Judah Llewellyn, who almost worships Vashti, 
as too pure for this world, overhears the conversation between 
father and daughter, but though he then learns what a fraud 
Vashti is, his overpowering love for her compels him to screen 
hen When questioned on his oath by the Professor he solemnly 
states that Vashti has not left her room, and that she has had no 
food whilst immured in it. A year passes. He is true to her, 
and they are to be married. The Earl of Asgarby, grateful for 
the beneficial effects produced on Lady Eve's health by her 
constant association with Vashti, and in recognition of the earnest 
and good work that Llewellyn has done amongst the poor in 
the neighbouring city, has provided for their future. A church 
is to be built for the young minister and to be well endowed. 
Llewellyn's conscience will give him no peace. The words 
"liar," "perjurer" are ever ringing in his ears. And so he 
refuses the church and its emolument He supports and cheers 
the erring woman who is to be his wife, so that she confesses 
herself to be the impostor she is, and then he, in his turn, exposes 
his own falsehood to those around him. He is going to leave the 
scene of his former labours, and with Vashti work out their 
redemption in a new world, but is persuaded by his influential 
friends to remain amongst them and to toil on, to live down the 
past, and recommence his good work amid those who know of 
his backsliding. E. S. Willard had, before this, been seen in 
powerful and varied characters, but in none had he shown such a 
depth of passion, of intense love, and overwhelming remorse. 
Olga Brandon had to play the sad rdle of Vashti in its melancholy 
earnestness. There is but little brightness in her life, for even 
her love for Llewellyn and his return of her affection is shadowed 
by the sense of her own unworthiness and the knowledge that 
she has caused him to sin. But Miss Brandon understood what 
she had undertaken, and made of the performance a great and 
fascinating one. Sant Matthews, with his cold, calculating 
outward manner, as Professor Jopp, was an excellent study ; the 
more so that he revealed an innate goodness of heart to those 
who did not try to deceive him. His scene with Dethic (admirably 
played by Royce Carleton) where he speaks his mind to the 
smooth-spoken scoundrel, was one of the best. Mr. Jones has 
never written such excellent comedy scenes as those between 
Juxon Prall and Sophie Jopp, but it myst be admitted that in 

May. 1890.] A Riverside Story, 61 

less clever hands than those to whom they were entrusted they 
would have missed much of their point. One other performance 
must be noticed, that of Bessie Hatton ; it was so human and 
tender. There were but two scenes in the play : " The Tapestry 
Room at Asgarby Castle," and "The Terrace and old Norman 
Keep ; " but they were triumphs of stage production. Vashti 
Dethic was afterwards played by Annie Hill (under-study), Miss 
Calhoun, and Winifred Emery — these two latter, though on differ- 
ent lines, were exquisite performances. 

22nd. Haymarket. {Matinee,) A Riverside Story. — I wrote 
the following for The Stage : " Partiality for our own bantlings 
often blinds us to the imperfections in them that are so patent to 
others. This, we suppose, must be pleaded as the excuse for 
Mrs. Bancroft, who, by dragging out to two long and, it must be 
confessed, wearisome acts, a story that should have been told in, 
at the outside, three-quarters of an hour, almost entirely destroyed 
its poetry and attractiveness. Strange that the authoress who 
for so long a time controlled a theatre with such skill, and that 
Mr. Bancroft, who possesses such judgment that he is called on 
to arbitrate in cases of dispute, and who stage-managed on this 
occasion, could not have discovered the error that had been made. 
Though the plot itself is as old as the hills, and has been used 
before, Mrs. Bancroft is supposed to have been inspired to 
dramatize the subject from an actual occurrence which took place 
at Broadstairs, and which she mentions in her ' Reminiscences.' 
As it stands now, Tom Harrington, a young boat-builder, is 
engaged to Alice, a coquettish, weak girl, who does not know her 
own mind. She listens to the false pleadings of Harold Brandon, 
who persuades her to elope with him, and, after a time, deserts 
her. Susie Leyton, the village schoolmistress, has long loved 
Tom, and comforts him in his sorrow ; and nobly pleads the cause 
of the girl who has jilted him. So when Alice returns to her 
friends with her baby, and is driven out by them, Tom, though 
he swears he will never look upon her face again, has her installed 
in the cottage in which they were to have lived had they been 
married, and when she dies, tells Susie, who has been their good 
angel, to bring the baby to him. Mrs. Bancroft has introduced 
Harold's mother, Lady Carlton, who, a visitor in the neighbour- 
hood, takes a great interest in the blind Mrs. Harrington. A 
gipsy fortune-teller, Mother Sibby (cleverly played by Robertha 
Erskine) ; a guzzling, selfish yokel, Joe Evans, that George 
Giddens contrived to make amusing ; and a number of noisy, 
chattering, and mostly spiteful girls, amongst whom Kate Phillips 

62 Gretna Green — Queen*s Counsel, [BfAT.x89o. 

as an outspoken vixen, Polly, and Mary Collette as Kitty, who at 
least possessed some heart, were thoroughly satisfactory. Leonard 
Boyne, though giving a powerful rendering of the heart-broken, 
miserable man, driven to drink by his wrongs, dragged his scenes 
and prolonged his agony far too much, Annie Hughes fell into 
the same error, an error that, should this clever young actress 
continue to follow her profession, she must guard against, as in 
pathetic scenes it has been growing upon her of late. Kate 
Rorke's was a very sweet and womanly performance, and true to 
nature. There was a little too much of the great lady at times 
in Rose Leclercq ; it amounted to condescension, which should 
never appear in true kindness to an inferior in station, but the 
actress was excellent in the scene when she discovers that it is 
her own idolized son who has brought about all the wretchedness 
and misery. Mrs. E. H. Brooke, too, was good and natural as 
the afflicted Mrs. Harrington. Bright, honest-looking Sydney 
Brough should not have been cast for the scoundrel, Harold 
Brandon. His manner of love-making was so sincere and 
apparently true-hearted, that one could not picture to oneself his 
ever betraying a girl who put her trust in him. Some of the 
dialogue was well written, and Mrs. Bancroft was called for at 
the close of the play, but I doubt whether a usual evening 
audience would have paid her a like compliment. — On the same 
afternoon was played T/ie Up Train, adapted from En Wagon by 
C. T. Colnaghi, and played by the author, Eustace Ponsonby, 
and by Lottie Venne. 

22nd. Opera Comique. Gretna Green. — By T. Murray 
Wood and Dr. Storer ; reproduced. The changes in the cast 
were that William Hogarth played Robin Bates, but only fairly. 
Villa Knox, a young singer new to England, made a favourable 
impression as Phyllis Ferns. A new character, that of Peter 
Pong, a wandering singer, had been introduced, and, though a 
little out of place, C. Collette made much fun out of it. 

22nd. Op6ra Comique. Mesmerism, — A poor farce by Caryll 

24th. Comedy. Queen's Counsel. — Proved to be anything but a 
happy adaptation of Sardou's Les Pommes du Voisin. James 
Mortimer has made of it a three-act " farce " so called ; but farces 
are supposed to make one laugh — this was tedious, and made 
one weary. Joseph Twitterton (E. M. Robson), after many years 
of exemplary conduct, suddenly, and for the haziest of reasons 
determines to pose as a gay Lothario, and with this view per- 
sistently follows Katarina (Marie Lewes), who for some equally 

May, 1890.] Adoption— The New Wing. 63 

incomprehensible reason is masquerading in male attire, a fact 
which Twitterton has ascertained. In the course of his pursuit 
Twitterton is led to believe that he has committed murder, and 
finally baked Katarina in an oven ! Mr. Robson was at times 
very droll, and Miss Lewes managed to get through a very risky 
part in a manner worthy of a far better one. She looked and 
acted well W. Lugg as an Irish landlord was clever and 
humorous. — Lydia Cowell was excellent as Sally Smart in The 
Clockniaker^s Haty which was played as a first piece. 

26th. Toole's. Adoption. — A new " matrimonial mixture by 
Richard Henry." This amusing curtain-raiser, " founded on a story 
by the same authors, published in Ally Sloper^s Christmas story," 
has more than a spice of Gilbertian humour in it. But clever as it 
is, if one of those who appeared in it had been " out of the 
picture " the success would scarcely have been so well assured. 
As it was, it went screamingly from start to finish. Blockle, 
brother and sister (Compton Coutts and Cicely Richards), are 
wealthy philanthropists of a certain age. Having, through the 
agency of a patent pill amassed a fojtune from an easily gulled 
public, duty and inclination point out that some of their wealth 
should be returned to the public in Charity. The opportunity 
offers itself. Constantia and Theodosius (Marie Illington and 
Reginald Stockton), having been engaged for five years, and 
seeing no prospect of their marriage, advertise for some benevolent 
creature to adopt them. The Blockles answer the advertisement, 
with the result that Barnabas falls in love with Constantia, and 
Barbara with Theodosius ; and the two young things who are to 
the world so loving, but who have really got heartily sick of their 
long engagement, and nag at each other perpetually in private, 
are only too glad to seize the chance of wealthy marriages. A 
great deal of fun is caused by the bashful love of the two seniors, 
and quite as much by the maid and manservant, Clumber and 
Whisker (Alfred Balfour and Mary Jocelyn), who both, in their 
hearts, hope to win respectively their master and mistress, but, 
finding they are unsuccessful, comfortably pair off together. 
Adoption was so well acted all round that it would be unjust to 
single out any one of the cast. The piece was very well 

27th. Strand. (Mating) The New Wing, — Farcical comedy 
by H. Arthur Kennedy, was very uneven ; at times the dialogue 
and situations were genuinely funny, but at others the action 
became dull to depression. There was one thing to be said for it, 
the second act was better than the first, and the third did not in 

64 The New Wing, [BiUy, 1890. 

any measure fall off. General Singleside is an old warrior, who 
has determined to build " a new wing " to his mansion from his 
own designs ; but to assist him he has determined to call to his 
aid Sir Edward Strangeways, Bart., who before he came to the 
title and property was a rising architect. At the same time, the 
General hopes to obtain in him a husband for his ward, Flossie 
Trivett The Baronet has been struck with Hester Singleside, 
whom he has seen at a theatre, but hearing of her advanced 
notions on Socialism, etc., he determines to find out for himself 
whether she would quite suit his ideas of a wife. As the " new 
wing" is being built, one George Slab is employed there, and so 
for a consideration, this workman, a type of the laziest of his 
class, agrees to pass the Baronet off as his brother " Bill," who is 
assisting him. This gives Sir Edward plenty of opportunities of 
meeting Hester, who soon loses her heart to the good-looking 
young workman. In the meantime, as the General has never 
seen Sir Edward, on the arrival of Bobbie Button, Flossie's lover, 
with a view to a stolen interview, he is immediately mistaken by 
the General for the Baronet, and is carried off to view the new 
building. Sir Edward fortunately telling Bobbie who he is, and 
priming him with the necessary professional knowledge. Jobbings, 
another architect, who wishes to be employed, eventually discovers 
the conspiracy, and betrays the conspirators, but by this time their 
end is gained, for the Baronet has won Hester, who gives up her 
notions about " equality," owing to George Slab's conduct. She 
can do anything with her father, and George has been asked (with 
his pseudo brother) to dinner. He gets tipsy, smokes in the 
drawing-room, and commits other enormities — and the General 
consents to Flossie's marriage with Bobbie Button, the most 
serious charge against whom is that he possesses ;^ 1,500 a year 
made out of " anti-corrosive soap." F. Gillmore was frank, natural, 
and sunny. Herbert Ross clever as the nervous Bobbie, and 
Charles CoUette made plenty of capital out of the character of the 
bibulous, sponging George Slab ; Athol Forde had a certain 
amount of dignity as the General, and Eardley Turner was good 
as the sneaking Jobbings ; Mrs. Henry Leigh, as Priscilla Singleside, 
a maiden lady of a certain age, a would-be authoress, with a 
weakness for reading her effusions to anyone who will be patient 
enough to listen to them, was amusing. Ada Barton was fairly 
bright as Flossie Trivett. Gertrude Lovell has much to learn ; 
her sprightliness and attempted archness were affected and 
mannered. In more experienced hands much might have been 
made of Hester Singleside. — On the same afternoon was also 

May, 1890.] Wanted a Wife. 65 

produced, for the first time, a new one-act piece by the same 
author, A Throw of the Dice. This was an extraordinary h'ttle 
composition, that carried us back to the invasion of Britain in the 
days of Domitian. Caradoc and Mona are two slaves to Agricola^ 
who is suddenly recalled to Rome. The night before he leaves, 
he plays deep with Lucius ^milius, and loses to him thirty 
sestertia. As a pledge he leaves with him one or other of the 
slaves, that he may take away with him. They have been brought 
up together from childhood, and love each other, but Mona, who 
is a trifle of a coquette, will not confess her love till they are likely 
to be separated. The parting appears imminent Which of them 
is to go with iEmilius to Rome ? Lucius will decide by " a throw 
of the dice," when, happily for the young people, a letter arrives 
from Agricola, repaying Lucius the sum due to him, and giving 
freedom to Caradoc and Mona. There were some good lines in 
an otherwise thin play, and they were well spoken by Leonard 
Outram and Oswald Yorke ; but Gertrude Lovell did not avail 
herself of her opportunities, and was very amateurish. 

28th. Terry's. {Matinee) Wanted a Wife. — The following 
appeared in The Observer : " Mr. J. H. Darnley's new farcical 
comedy proved to be very wild work indeed. The playgoer who 
could follow to his own contentment the bewildering cross 
purposes of its plot, and the extremely crooked answers of its 
dialogue, must be either exceptionally quick of perception or un- 
usually easy to satisfy with a minimum of intelligible dramatic 
motive and sequence. The dramatis personm^ prominent amongst 
whom are three married couples, are for ever rushing breathless on 
to the stage or hurriedly leaving it upon one another's approach. 
If they were taking part in a steeple-chase or an obstacle race they 
could hardly be more rapid or more excited in their movements ; 
and if only theatrical success depended upon agility the triumph 
of Yorke Stephens and his comrades would have been secure. 
Unluckily, however, London theatre-goers have a fancy for asking 
when they are introduced to a prolonged farcical rally of this kind 
what it is all about ; and • to this question Mr. Darnley's most 
tolerant critic could hardly give a satisfactory answer. All one 
can understand is, that under an eccentric will of the kind often 
made upon the stage, but seldom proved anywhere else, three 
husbands may benefit largely if they show to the executors that 
they are living happily with their respective wives. Of these 
provisional legatees one has lost sight of his spouse for months, 
though when he b^ins his search for her they are both in the 
same hotel ; and efforts not less complicated than sinister are 


66 Head or Heart — In a Day. [May.iSpow 

made to keep these two apart, and also to sow dissension between 
the other pairs of married folk. These efforts result in one of the 
husbands, very droUy played by Arthur Williams, being accused 
of bigamy, and they lead to mutual misunderstandings generally. 
But they afford few opportunities for comic acting, and they 
exhaust the spectators almost as much as the performers, amongst 
whom Rose Bearing, Mr. McEwen, and H. Eversfield may be 
specially praised, in addition to the energetic comedians already 

29th. Comedy. (Matinee.) — Two very bright little operettas 
were produced. The music of both was composed by Martyn 
van Lennep, and proved tuneful and graceful. In the former the 
orchestration was scholarly, but the composer would have done 
better to allow some one else to conduct. The libretto of Head or 
Heart, by Arthur Chapman, was in every way acceptable, though 
simply telling of a young Royalist in the time of the French 
Revolution, who finds that he is mistaken as to the identity of 
the young woman with whom he is to be forced into a marriage 
to save his head, and that she is in fact a very charming young 
person. These two parts were excellently filled by Templar Saxe 
(who is becoming a really good actor), and Annie Schuberth, 
both singing with great charm. B. P. Scare was dryly humorous 
as Francois. Walter Parke's libretto of The Dear Departed 
was quaint and droll. The story is very slight, though founded 
on Le Clou aux Maris, Mr. Saxe and Miss Schuberth sang 
with taste and expression some very pretty numbers set down 
for them, and Florence Marryatt was a clever Cassandra 

29th. Vaudeville. (Matinee), — Lucy Buckstone, an actress 
that should always have an engagement in London, took a 
benefit, when Married Life was played with a remarkably good 
cast, Ellen Terry appearing as a waiting-maid. A feature of the 
afternoon was the appearance of Creston Clarke (son of J. S. Clarke) 
* as Hamlet. In the closet scene he showed great promise. An 
address, written by R. Reece, was charmingly delivered by 
Eleanor Bufton. 

30th. Terry's. {Matinie) In a Day,—Uxs. Augusta Webber's 
poetic drama has not sufficient fibre for representation. It is 
more than gracefully written, and will be ever enjoyed in the 
study. Miss Davies Webster made a promising London d^but as 
the slave Klydone. Matthew Brodie, one of the few young actors 
who understands the delivery of blank verse, was a more than 
competent Myron ; and Stephen Phillips (who will be remembered 

Juki, 1890.] The Artful Dodge — A Buried Talent 67 

as a member of Mr. Benson's Globe company) was^ acceptable as 

31st. Lyceum. Olivia. — Revived on the 27 th, and played 
during the week ; formed the programme of this, the last night 
of Mr. Irving's season, and the occasion of Ellen Terry's benefit. 



2nd. Drury Lane. Mr. Augustus Harris lent the theatre for 
the benefit of the widow of the late E. L. Blanchard, journalist 
and dramatic critic, for so jnany years pantomime writer for Old 
Drury. Mr. Jonas Levy, the well known litterateur originated the 
idea of the benefit Mr. Blanchard 's amusing old farce. The Artful 
Dodge^ was played by Arthur Williams (Demosthenes Dodge), 
assisted by a willing cast Managers or representatives from 
most of the principal theatres kindly gave their services, after 
which the lines written specially for the occasion by Mr. Blanchard's 
old friend Clement Scott, and which were much admired, were 
delivered by Misses Wallis, Alma Murray, Carlotta Addison, 
Carlotta Leclercq, Rose Leclercq, Hudspeth, Victor, Kate Phillips, 
Mary Rorke, Kate Rorke, and little Minnie Terry. At the close of 
the address Minnie Terry placed a wreath and bouquet at the 
foot of Mr. Blanchard's portrait 

4th. Death of Mr. F. M. T. Vokes, father of the well-known 
Vokes family, by a strange coincidence the same date of the 
month, and hour of the day, as his son, Fred Vokes, died in 

5th. Vaudeville. {Matinee) A Buried Talent, — Written in 
one act ; was a charming I\ae play, and will bring its author, Louis 
N. Parker, into notice. It tells a simple but most sympathetic 
story. Maris (Ben Greet) is an old composer who has done some 
excellent work, but who will not allow it to be heard in public. 
The director of the theatre endeavours to induce him to part with 
one of his operas, but Maris will not be persuaded. One of his 
pupils^ Pietro (Bassett Roe), purloins the score, and passes it off 
as his own. It is to be played, when the prima donna throws up 
her part, and Pietro, driven into a corner, is obliged to confess his 
theft to Maris's young wife Stella (Mrs. Patrick Campbell), that 
she may consent to fill the principal rdle. Maris is led to believe 
that his wife is faithless, and is in an agony of despair, when she 
returns, tells him of the magnificent success of his opera, and how 

68 Sowing and Reaping — Nerves. cjuhe, 1890. 

she has from the stage told the audience whose work it really 

was. A Buried Talent was most excellently played. On the 

same afternoon was produced a " cavalier incident," in one act, by 

Agatha and Archibald Hodgson, entitled In Olden Days — slight 

but pretty ; and Picking up the Pieces^ a sketch by Julian Sturgis. 

5th. Criterion. Sowing and Reaping, — "Proverb," in two 

acts. The author of this clever and most amusing piece, Mr. C. 

Vernon, did not wish for the criticisms of the Press on its first 

. production. And this led the lessee, Mr. Charles Wyndham, into 

' a correspondence with the editors of various newspapers on the 

subject. The play was placed in the evening bill on July 5th, 

under which date it will be found noticed. 

7th. Comedy. Nerves, — Taken fr^jm Les Femmes Nerveuses^ 
the three-act comedy of Blum and Toch^ ; was seen at the Royalty 
in March last year. Comyns Carr freely adapted the French work, 
giving us a very amusing play, containing much witty dialogue, 
with a total absence of anything objectionable, and also characters 
that were English, not French people disguised as English ones. 
In this harum-scarum present life of ours, ladies do suffer — or fancy 
they do, which amounts to the same thing — from nerves. Mrs. 
Armitage does so, and becomes furious at the phlegmatic tem- 
perament of her husband which takes everything so calmly. As 
nothing will rouse him she tries extreme measures. She deli- 
berately writes a letter that will compromise her to the bearer 
of a name picked haphazard from the directory. The name is 
that of Hippolyte Caramel, a little confectioner, who is already 
engaged to Madame Zephyr Elaine, a well-to-do and good-looking 
milliner, and hence arise all the complications that ensue. Mrs. 
Buxom Brittle's nerves produce in her a nagging, perpetually 
lecturing state ; she is everything tha*: is objectionable in a mother- 
in-law, but her husband, inured tocher attacks by long usage, 
philosophically smokes and takes refuge in his club. In the 
development of the story, the usual absurd complications and 
mistakes that are inseparable from farcical comedy arise and are 
cleared away. Charles Hawtrey and Maud Millett, Messrs. 
Righton and Kemble, Sophie Larkin and Lottie Venne, were 
admirable; and it was a pity that Lydia Cowell had not more to 
do. Nerves^ of which, by the way, the first act was pure comedy, 
was favourably received. 

9th. Lyric. The Bride of Love, — Robert Buchanan's poetical 
play produced at this theatre, with the following changes in the 
cast: Eridon, Laura Linden; Cupidon, Emmie Bowman; Zephyros, 
Ernest Hendrie; Euphrosyne, Miss Luna; Creusa, Ada Ferrar. A 

juM£,i89o.] Casting the Boomerang — The Hurly-Burly, 69 

new prol(^ue was written by the author, and was admirably 
delivered by Harriet Jay. 

9th. Opera Comique. Joan; or. The Brigands of Bluegoria, — 
Comic opera by Robert Martin, music by Ernest Ford — performed 
by amateurs. 

loth. Lyceum. Casting t/te Boomerang. — Eccentric comedy in 
four acts, by Augustin Daly, who elected to commence his fourth 
visit to London, with the production in which his company made 
their first appearance in this country at Toole's Theatre, July 19th, 
1884. The play is by no means the best in their repertoire ; it 
is taken from Franz von Schonthan's Schwabenstreich^ and made 
a great reputation in America under the primary title of Seven- 
twenty-eight. Another version of the German, by Herman 
Hendriks, entitled. The Hurly-Burly ; or^ Number Seven-twenty- 
eighty vf^s produced at the Globe, June 21st, 1884, and some 
little friction arose as to the two versions. Of the one now under 
notice, I may explain that 728 is the number of a picture of a 
lady and a dog which has been hung in a public gallery. A real 
live English lord (for the scene is laid in America) is most anxious 
to discover tne original of the portrait, and employs Signor 
Tamborini (Frederick Bond) to do so. Floss (Ada Rehan), who 
is the coquettish original, plays off the lord's anxiety against her 
true love, Courtney Corliss (John Drew). " Casting the boomerang" 
is an expression used to convey that at least one of the great 
follies that we commit in our lives, is, like the Australian weapon, 
sure to come back to us, sometimes causing considerable mischief. 
Launcelot Bargiss's (James Lewis) " boomerang " is the idea that 
he is a poet and literary star, in which delusion he is encouraged 
by his wife and Professor Gasleigh (Charles Leclercq), an out-at- 
elbows publisher, who fattens on his credulity. Under the pretext 
that it is necessary for his success that he should stay in New 
York, Bargiss leaves his comfortable country home with his family 
and comes to the great city, where, seduced by its pleasures, the 
old gentleman, under the pretence that he is at work all night in 
his study, sallies forth with the professor, and is at length dis- 
covered with his own son-in-law, Hollyhock (George Clarke), 
behind the scenes of the opera, whence they are unearthed and 
brought back in disgrace by Mrs. Bargiss and Dora (Adelaide 
Prince), one of his daughters. Mrs. Bargiss (Mrs. G. H. Gilbert) 
has thrown her " boomerang " in getting all the sonnets that her 
husband sent her in their courting days printed and bound up, 
under the impression that they are original productions of Bargiss's 
muse, whereas the humbug has simply culled the best specimens 

70 Twelfth Night — Romeo and Juliet. Uume^iSqo. 

from well-known poets, and to save himself from ridicule has to 
buy up the whole edition. Instead of being anxious about the 
lady, it turns out that the lord wishes to find the owner of the 
dog, with a view to purchasing it. John Drew, James Lewis, 
Charles Leclercq, Mrs. G. H. Gilbert, and Ada Rehan resumed 
their original parts, and all acted in the inimitable manner these 
several clever actors possess. As old friends and favourites they 
were more than warmly greeted. Frederick Bond was most clever 
and amusing ; Adelaide Prince pretty and engaging ; and Kitty 
Cheatham proved to be one of the merriest and brightest little 
songstresses and dancers that I had seen for some time. The 
season opened quite auspiciously. 

1 2th. Royal General Theatrical Fund Dinner at the H6tel 
M^tropole. Mr. Leopold de Rothschild, chairman of the forty- 
fifth anniversary, proposed the toast of the evening, to which 
Mr. T. C. Burleigh responded, the subscriptions amounting to 
;^2,070, the largest sum yet collected. Luscombe Searelle 
proposed the drama, for which Mr. Henry Arthur Jones replied. 
Mr. S. B. Bancroft proposed the health of the chairman, and Mr. 
Walter Pallant proposed the toast of the musical artists, coupling 
it with the name of Mr. Ganz, for which, in the latter's absence, 
Mr. Maybrick replied. 

1 2th. Vaudeville. {Matinee). A Peoples Hero. — Drama in 
four acts, by W. Howell-Poole, founded on Ouida's novel, 
" Tricotrin " — a free adaptation, not altogether devoid of merit, in 
which the author played the hero, here named Lioncoeur. 

1 2th. Twelfth Night,^ — In an open air performance given of 
this play, Miss Bessie was a winning Viola, Alexes Leighton 
excellent as the Countess Olivia, and Mary Bessie specially bright 
as Maria — ^her laugh was so merry and natural. Sidney Herberte- 
Basing as Malvolio, John Le Hay as the clown excellent, and T. J. 
Lambourne as Sir Andrew Aguecheek, was acceptable. 

14th. St. George's Hall. — Corney Grain's new musical 
sketch, Tlie Society Peepslww for 1890. 

17th. Comedy. Romeo and Juliet, — I wrote the following 
for The Stage : " Under the management of W. B. Moore this 
theatre reopened its doors for the London d^but of Adelaide Moore. 
It is the ambition of almost every actress who wishes to be 
reckoned as taking a front rank in her profession to appear as 
Pauline, Julia, or Juliet ; but how few ever satisfactorily fill the 
latter beautiful rdle — that of * an innocent Italian child, enjoying 
with an exquisitely simple honesty the first passion of love,' and 
transformed by that very love, and the obstacles that hinder its 

jiw»,x89o.] Romeo and Juliet 7 1 

fulfilment into a woman and a heroine, who will face death even 
to rejoin the man to whom she has given her whole soul ! Where 
the right cue is not touched, the innocent archness in the balcony 
scene becomes the coquetry of a woman used to love affairsr — the 
endearments lavished on the nurse to drag from her her story, 
become the almost fretful wheedlings of a petted and spoilt child. 
In the scene in Juliet's chamber, again, how difficult it is for the 
actress to properly suggest the situation ! Adelaide Moore in 
each case conveyed the wrong impression. To her must be 
granted an evidently intelligent and deep desire to interpret 
correctly the text, in which she is letter perfect, but the actress 
has not the power. There is a peculiarity in her delivery which 
mars the lines, a want of that true ring that should carry conviction 
of her changing moods. Though possessed of considerable 
natural gifts, the features do not express her feelings, nor has 
Miss Moore yet learnt the grace of posture which adds such 
charm to a performance. Could anything have enabled her to 
realize Shakespeare's heroine, it would have been the firm support 
afforded her by Otis Skinner as Romeo. It must be admitted 
that a very little more romance in his acting would have been an 
improvement, that his love was rather the deep, earnest affection 
of a man of the age of Othello (a part which, by the way, we 
should much like to see him undertake), than the headlong passion 
of a youthful Italian. Otherwise his was a truly impassioned 
performance, replete with intellectual outcomings, and with several 
original points. His was the success of the evening, and a well 
deserved one. The Mercutio of Mark Quinton was distinctly 
good ; his delivery of the Queen Mab speech admirable, though 
his gestures were a little too frequent and restless ; but he made 
amends in his death scene, which exactly hit the mark and 
brought him an emphatic call. George F. Black's Capulet was 
distinguished by his very clear enunciation and due attention to 
metre, but he threw rather too much energy into the rating of his 
daughter. John Nesbitt was an impressive Friar Laurence, but 
was rather monotonous in his delivery. Edwin Wilde was good 
as the fiery Tybalt, and G. B. Phillips delightfully stolid as Peter. 
J. F. Graham scored as the Apothecary, his misery and starvation 
were real, and were not, as is too often the case, made ludicrous. 
A word of praise must be allotted to S. C. Henry (Paris) and to 
John Humphries (Benvolio) ; Moreton Baker should have made 
more of Balthasar — though a small part it has its opportunity. 
The Nurse of Mrs. Charies Calvert left little to be desired ; it was 
fond and foolish, yet racy. The play, which had been divided into 

72 As You Like li — The Dangers of London. [June, 189a 

six acts, instead of five as usually done— one entire act being 
devoted to the balcony — was arranged for twenty-one scenes, all 
all of which were most deftly managed by Mr. Hugh Moss, who 
directed the production. The tabkaux were effective, the costumes 
rich, and the scene painters had provided some beautiful pictures. 
W. Ozmond had arranged a graceful dance in Capulet's house. 
In fact, as far as the production was concerned, nothing was 
wanting to bring about a success ; but we fear that the heroine 
so far failed in eliciting the sympathies of her audience, that a 
very considerable portion of it adopted the American fashion of 
quietly stealing away by degrees, so that the curtain fell at last 
on the stalls half-empty, and to a dead silence 

17th. Miss Fanny Josephs (Mrs. Frances Adelaide Wombwell) 
died at Margate, aged 48, having been for some years manageress 
of the Prince of Wales's Theatre, Liverpool. Made her first 
appearance in London at Sadler's Wells, Sept. 8th, i860, as Celia 
in As You Like It In 1861 began her successful career as a 
burlesque actress at the Strand. Played Lord Woodbine, in The 
Flying Scud^ on the opening night, Oct 6th, 1866, of the Holborn 
Theatre, of which she became manageress in 1868, opening with 

The Postboy. Was subsequently a member of the Globe and 
Prince of Wales's Companies, at the latter theatre she became a 
great favourite. Was at the Olympic in 1876, at the Criterion in 

1877, and leased and managed the Olympic Theatre from July 

1879 for a time. No lady or actress was more universally loved 

and respected. She lies buried in Brompton Cemetery. 

17th. Ladbroke Hall. Duskie, — One-act comedy by Mrs. 

G. Thompson and Kate Sinclair ; same evening Men and Wonten, 

one-act comedy by Frank Lindo. 

17th. Miss Mary Anderson married to Mr. F. Antonio de 

Navarro, of New York, at the Roman Catholic Church of St. 

Mary, Holly Place, Hampstead. The ceremony was strictly 


19th. Haymarket. (Matin/e.) — Mrs. Erving Winslow, an 

American lady, accomplished in a most able manner the reading 

of Ibsen's play, An Enemy of the People, 

23rd. Alhambra. Salandra, — Ballet by Casati, music by 


23rd. Surrey. The Dangers of London. — Four-act drama, by 

F. A. Scudamore. This had been frequently done in the provinces 

with success, and was as fully appreciated in London. Powerfully 

written and cleverly constructed, with plenty of sensation scenes, 

among which the discovery of a crime through the agency of 

Juke, 1890.] Art and Love — Punchinello. 73 

the phonograph, the temporary blinding of the hero, and a raft in 
mid-ocean, formed conspicuous features. 

23rd. Pavilion. Work and Wages, Five-act sensational drama 
by William Bourne. First time in London. 

24th. Avenue. {Matinee) Art and Lave. — One-act comedy, 
by A. W. Dubourg. The author endeavoured, in not too happy a 
manner, to illustrate the line of Pauline Viardot, which he quotes, 
**/i? suis femme^ et je suis artiste*^ and to show the struggle that 
goes on in the nature of a woman, who, having gained fame and 
renown as an actress, leaves the stage to marry into comfortable 
circumstances, and, while loving her husband, looks back with 
regret on her former triumphs, and compares unfavourably the 
homage she receives from the society in which she mixes with the 
plaudits that greeted her nightly appearances, Lucy, a former 
actress, has married Henry, the son of a wealthy manufacturer. 
His family are straitlaced, and object to anything relating to the 
stage, but they accept Lucy on the understanding that she must 
sever herself from all her old associations. This means that she 
must see no more of Mr. Jackson, an old actor, who has really 
brought her up and trained her, so that she attained a high 
position on the boards. Mr. Jackson, not knowing that his 
former pupil is the mistress of the house, calls with a view of 
securing her patronage for a performance. When he recognizes 
her, he upbraids her for her seeming forgetfulness of those who 
were good to her in necessitous times. Lucy explains matters, 
and they are reconciled, and become once more as they were in 
the past — almost father and daughter — when Harry enters, and 
informs her that by a reverse of fortune he is ruined. Lucy is 
able to comfort and sustain him by showing that, through the 
exercise of the art which he and his have so despised, she can earn 
sufficient to keep him and his parents until such time as fortune 
shall shine on them again, and Harry recognizes the poor old 
player, Jackson, as a friend and equal. The dialogue was inflated 
for the most part, and the subject a somewhat hackneyed one, but 
Miss Wallis did all that was possible with the part of Lucy. 
Arthur Stirling was a good exponent of the old school of actor, 
Mr. Jackson ; and Mr. Basing did fairly well in the not very 
congenial character of Harry. — On the same afternoon PuncMnello, 
one-act play by Dr. Dabbs. A charmingly poetical work, expressed 
in blank verse of high character. Sad, perhaps, but very human 
and natural. Nina, a columbine, has been wooed by Roly under 
the semblance of a poor student His brother. Lord Reverie, a 
gallant of the Court (the period is that of the licentious Charles II.), 

74 Nancy and Co, Uum, 1890. 

comes with evil designs on Nina, but is so impressed with 
her purity and innocence, that he becomes the staunch friend of 
herself and her guardian and devoted lover, Oliver Retherdon, who, 
though now appearing as a clown and jester, is in reality a 
baronet, proscribed for having joined Cromwell in the past. Nina 
learns the baseness of her lover, Roly, for he never intended 
marriage. She is already consumptive, and the shock kills her ; 
not violently, but gently, she fades away, forgiving the man who 
has broken her heart, and pillowed on the breast of poor Oliver, 
who has been so true to her. Elizabeth Robins was exquisitely 
tender as the betrayed girl, Nina. W. H. Vernon, as Oliver 
Retherdon, was true and noble-hearted. Bassett Roe's perform- 
ance of Lord Reverie was vigorous, yet well balanced ; and Mr. 
Webster, besides acting well as Roly Reverie, sang a serenade 
with most perfect taste and expression. 

24th. Lyceum. Nancy and Co. — Augustin Daly's version of 
Julius Rosen's Halbe Dichter was first seen in London at the 
Strand, July 7th, 1886. It has never been considered one of the 
best pieces in the talented " Daly " company's repertoire. For all 
that-r-thanks to the way in which they play into each other's hands, 
and the clever drawing of at least two of the characters — the skit, 
though thin, is very amusing. Ebenezer Griffing (James Lewis) 
is an old gentleman, who, though very partial to a pretty face (as 
exemplified by his accepting photographs of the " new girl " Betsy, 
the fascinating help in his household, brilliantly played by Miss 
Cheatham), poses as a strict moralist. He is watching over the 
doings of Kiefe O'Kiefe (John Drew) to see whether he is worthy 
to mate with Oriana (Edith Crane). Judge of old Griffings 
confirmation of his own dogma that " no men reform " when 
O'Kiefe is carried off by Nancy Brasher to her hotel, where she 
has given herself out as Mrs. O'Kiefe. The fact is, she has 
written a play, and O'Kiefe has collaborated with her, and she is 
seized with a desire to be present at its first performance. 
Naturally she should go under the protection of her good-natured 
husband Tippy (very naturally played by Burr Mackintosh), but 
she has told him nothing of her writing, and insists that O'Kiefe 
shall keep the secret until after the opening representation, when, 
if a success, he may tell all. Complications of every sort arise, 
which are cleared away by the fortunate reception of the joint 
work. Ada Rehan, who had been the life and soul throughout, 
when the announcement came gave us one of those exquisite 
touches that so mark her capabilities. The success assured, it 
flashes upon Nancy how badly she has behaved to her devoted, 

juME, 1890.] Macbeth — Elaine — Your Wife, 75 

honest, and blundering husband, and the agony she must have 
caused his loving heart when he thought she had run away from 
him, and her burst of grief and self-condemnation was so heartful 
as to deeply touch her audience. James Lewis, John Drew, and 
Mrs. Gilbert (Mrs. Huldah Dangery) were excellent in their 
original parts. Frederick Bond was very amusing as the " dude " 
Stockslow, with an inane chuckle. Two new recruits (at least as 
far as their appearance in London is concerned) were Edith Crane 
and Isabel Irving (Daisy Griffing) both very pretty and engaging 
actresses. Nancy and Co. had a fortnight's run out of the short 
period the Daly Company was with us. 

25 th. The recital oi Macbeth by Henry Irving and Ellen Terry, 
at the St. James's Hall, was well attended, and thoroughly 
appreciated. The time occupied was just two hours. The 
murder and the witches' scenes created the greatest enthusiasm, 
and considerable surprise is expressed at the lasting power of Mr. 
Irving, who, after the arduous task of representing almost all the 
characters but one, and keeping them so marvellously distinct, 
could throw such vigour into the closing scene with Macduff. 

26th. Mr. and. Mrs. Kendal were much fdted at a "home- 
welcoming " accorded them at the H6tel M^tropole. Mr. Kendal 
spoke most gratefully of the kindness he had experienced at the 
hands of our American cousins, whom he and Mrs. Kendal would 
shortly again re-visit professionally. 

26th« Fred Homer's tenancy of Toole's Theatre came to an 
end, and Tke Bungalow was played for the last time in a scene of 
much enthusiasm, the popular manager being heartily greeted on 
his appearing at the end of the evening. 

26th. KiLBURN Town Hall. Elaine. — A daintily written 
one-act play, by Royston Keith. The author, who himself took 
the part of his hero. Jack Steele, tells of the young fellow being 
engaged to Elaine Groyn. He has to go abroad, and is supposed 
to be lost in a shipwreck. Nothing is heard about him for eight 
years, when a letter, announcing his return, arrives. Elaine has 
gone blind, and has adopted a little girl, Muriel (cleverly played 
by Bessie Thompson), and teaches her to call her Mother. 
Muriel thinks that on account of her blindness she should release 
Jack from his engagement, and he, knowing that she is not 
married, yet thinks that Muriel is her child. The misconceptions 
are cleared away through the little girl. The part of Elaine 
was sympathetically filled by Mrs. Thompson. 

26th. St. James's. Your Wife. — ^A three-act farcical comedy. 
If not the actual play of Prite Mot ta Fetnme, by Maurice 

^6 Your Wife — Old Friends. Quke, 1890. 

Desvalli^res, the idea has been often used for production in 
English, sometimes for better, sometimes for worse. Mr. Justin 
McCarthy was only able to accomplish the latter, for he exhausted 
himself in the first act, and gave us nothing fresh or particularly 
enlivening in the last two. We have only the old story of a 
scapegrace, Jack Daryl (A. Bourchier), who, in order that he may 
obtain necessary supplies from a suspicious uncle, Appleton 
Crabbe (F. Everill) passes himself off, by letter, as a husband and 
father. Uncle Crabbe, unexpectedly returning from Africa with 
the reputation of an explorer (cheaply earned, by-the-way, for he 
is a bit of a humbug), insists on seeing Mrs. Daryl and her 
offspring. In his dilemma. Jack borrows Amy (Edith Chester), 
the wife of his friend Tom Verity (Ernest Lawford), who, rather 
simple and very good-natured, lends himself to the deception until 
his sluggish temperament is roused to jealousy by the attentions 
which, as every married man should do, Jack pays to Amy. 
Jack, being really but secretly engaged to Lucy, Crabbe's 
daughter, the old gentleman is much scandalized by noticing that 
their heads are often a great deal too close together. Josephine 
(Adrienne Dairolles) Mrs. Verity's bontUy who has charge of the 
supposititious baby, finds in Arminius Appenberg (H. de Lange) a 
former lover, who had deserted her, and who is also supposed 
to be a second Stanley, but without foundation. These two 
did all that was possible to redeem the shortcomings of the play 
itself, and were very successful. Arthur Bourchier did not shine in 
what may be called a " Wyndham " part Edith Chester and Annie 
Irish were neither of them light enough. F. Everill was thoroughly 
amusing, and Ernest Lawford was not only droll, but humorous ; 
a little more experience, and he will do great things in this line. 
Your Wife was preceded on the same evening by Old Friends^ 
a play in one act by Lady Violet Greville. In one sense Lady 
Greville's very pretty, but rather sad, play reminds one of Barbara^ 
and other productions in which an elder sister sacrifices herself to 
secure the happiness of a younger. For ten long years Alice 
(Annie Irish) has waited for Dick Fitzroy (Laurence Cautley). 
When he returns he sees in Dolly the reproduction of the picture 
of the love he has carried in his breast, whilst the original has 
from waiting and anxiety somewhat faded. She is the sweeter 
and the better woman, but with love's blindness he does not see 
this, and so transfers his affections, and his suit is accepted by the 
madcap Dolly, and certainly too easily by the peppery father, 
Captain Mowbray (Gilbert Farquhar). All the characters were 
excellent played, and materially helped to secure the call awarded 

juHB. 1890.] Cyrene. yy 

to the authoress. Mr. Arthur Bourchier, who commenced his 
managerial career with the above plays, had certainly engaged a 
good company, but he did not utilize their talents to the best 
advantage, as events proved. 

27th. Avenue. {Matinee) Cyrene, — Mr. Calmour enhanced 
his reputation as a poet and a dramatist by his latest work. One 
could not but feel interested in the development of his story, or 
refrain from admiring the strength and beauty of some of his 
lines. The weakness of the whole lay principally in the char- 
acters of Zembra, Gustrell, and Nina, which had little or scarce 
any bearing on the play itself, and to make them of real con- 
sequence required to be considerably strengthened. Due credit, 
however, must be given to John Carter, the alchymist Zembra, 
who lauds the potentiality of the gold he worships, and to the 
discovery of which he devotes his life ; and to Gustrell his pupil 
(F. Hamilton Knight), who, wearied of the fruitless search after 
wealth, turns his attention to the more congenial occupation of 
making love in a bright and airy way to the equally coquettish 
Nina. Mr. Calmour, it was understood, wished to portray in 
Cyrene the conflict between the angels of good and evil that is 
ever raging in a man's breast. His heroine has nursed back to 
moral and physical health the barbarian Prince, Fantea (Henry 
Neville) ; he has been stricken with blindness, but longs for a descrip- 
tion of the woman he has learnt to love. She, in a sportive mood, 
draws a picture of her designing foster-sister, Ciprissa. Moretus, 
the ph3^ician, restores to Fantea his sight, and the Prince, believ- 
ing Ciprissa to be his love, weds her, boldly repulsing Cyrene. 
Learning of the wickedness of Ciprissa, who has taken Brancho 
for her paramour, -Cyrene allows herself to be reported dead, re- 
turns in the garb of her brother Sebastian to be near to comfort 
Fantea. Her gentleness wins him back again to nobler thoughts, 
for he has almost relapsed into his former state of savagery. The 
anxiety and furious passion have, however, once more rendered 
him sightless. His troubles are not increased by this, but lessened, 
for he will have Cyrene to guide him in the future, she revealing 
herself in her own character when Ciprissa is struck dead by 
Brancho, through revenge for a slight put upon him. The author 
was fortunate in securing Marion Terry and Henry Neville — the 
one for her tender womanliness, the other for his impassioned and 
true delivery. Arthur Stirling, too, though a little ponderous, 
understood the value of his lines. Edmund Gurney did good 
service as the vengeful gipsy, Brancho, and that P. J. Kirwan 
should acquit himself well was only to be expected, esteemed as 

78 Papa's Honeymoon. ain«,i89o. 

he IS as an elocutionist The surprise of the afternoon, however, 
was the rendering of the character of Ciprissa by Lilian Hingston, 
a young and unknown actress, who took up the part at the very 
shortest notice (owing to Miss Vane's illness), and who exhibited 
a power and subtlety that were greatly to be admired, and which 
promised greatness in the future. The incidental music, composed 
by John Crook, and a dance arranged by Sylvia Grey (the latter 
encored), were characteristic and graceful. " Karl's " designs for 
the dresses were tastefully carried out by Messrs. Nathan. 

27 th. Criterion. {Matint^e) Papers Honeymoon. — Three-act 
comedy, by Silvain Mayer and W. B. Tarpey. We have, on 
more than one occasion, seen considerable fun extracted from the 
pedicament in which an elderly and uxorious widower is placed, 
when he marries again and keeps the secret of his second nuptials 
from his family. That is what happens to Mr. Benjamin Bush 
(W. Blakeley). He marries Annette, and she insists on the union 
being kept secret lest she should jeopardize a certain legacy that 
may come to her. She is therefore introduced by her husband 
as a governess and companion that he has engaged for his three 
daughters, Ida (Angela Cudmore), Agnes (Ellaline Terris), and 
Lucy (Mabel Hardinge). They treat her in a very de-hauUen- 
bos fashion ; his deceased wife's sister, Amelia Clutterbuck (Miss 
Victor), in an even more cavalier manner. Arthur Hall (George 
Giddens), a former lover of hers, who fancies that he is still 
engaged to her, to keep her in good humour flirts with her, 
clandestinely, for he is afraid that she will betray their connection, 
which would militate against his success with Ida, to whom he is 
now engaged. Miss Clutterbuck is much incensed at his atten- 
tions to Annette (Helen Forsyth), but not so much as at the 
frequent meetings she comes across between her brother-in-law 
and the fascinating newcomer. Played briskly all this would 
have been very amusing if done in one act, but spun out to three, 
it was only a repetition of the same incidents relieved occasionally 
by the humours of Mr. Joseph Sniffle (a character that w^s well 
played by J. G. Grahame), who is a very simple and unsophisticated 
gentleman that has come into a little property and therefore thinks 
it incumbent on himself to find a wife at once. His desire is 
gratified at last by Lucy, who accepts him, Agnes pairing off* with 
Walter Emden (L. Hewson), and the opportune death of Annette's 
guardian permitting her to announce her marriage. Mr. Blakeley 
can scarcely help being funny, and as on him fell the burden of 
the play, he caused considerable laughter. Helen Forsyth and 
the other young ladies in the cast had really little more to do 

juNB, 189a] The Cloven Foot— La LuUe pour la Vie. 79 

than to look pretty ; in this they were bound to acquit themselves 
well, and so far as they could strengthen the characters they did 
so. Miss Victor played very drolly one of those gushing ladies 
of a certain age for which she is so often cast Sydney Valentine 
and Miss E. Vining did well as a pair of highly moral servants 
(Martin and Caroline), whose sensibilities are shocked at. the goings 
on of their elderly master. The comedy may be original, but it 
has a suspiciously French flavour, particularly in one incident, 
which might with advantage have been omitted. This was the 
occasion on which the best known London critics paid for their 
admission and took their seats in the pit, Mr. Charles Wyndham| 
having again wished to prevent any criticism on the first production 
of a play at his theatre. 

30th. Pavilion. Tke Cloven Foot — Play dramatized by 
Janette Steer and F. Mouillot, from M. E. Braddon's novel. 
First time in London. 

30th. Grand. — Mr. Henry Irving and his Lyceum company 
appeared during the week in The Bells to enormous houses ; the 
only regret felt was that there was no part for Ellen Terry. 

Her Majesty's. French plays. — On June 2nd, Mr. Mayer 
commenced a season with La Lutte pour la Vie^ five-act drama 
by Alphonse Daudet, with the following : — MM. Paul Astier, 
Marais ; Vaillant, Devaux ; Chemineau, Noblet ; Antonia Caussade, 
Boui^et ; Conte Adriani, Paul Plan ; Lortigne, Hirch ; Heartebize, 
Lagrange ; Le Notaire, Ricquier ; Due de Bretigny, Seiglet ; First 
Chasseur, Torin ; Second Chasseur, Alphonse ; Un Commissionaire, 
Boudier ; Un Valet, Lorianne ; Un Marchand, Adrien ; Mmes. Paul 
Astier, Maria Antonia, Duchesse de Padovani ; Pasca ; Mar^chale 
de S^leny, Desclauzas ; Esther de S^l^ny, Demarsy ; Lydie Vaillant, 
Darland ; Mme. de Rocandre, Varley ; Mme. de Foder, Auge. — On 
June 9th was produced Paris fin de Siecle^ play in five acts by 
Ernest Blum and Raoul Toch^ ; the cast was as follows : — MM. 
Alfred de Mirandol, Noblet; Marquis de Boissy, Grodet-Lagrange ; 
Roger de Kerjoel, Berguet ; Due de Linares, Paul Plan ; La Faloise 
Num^s ; La Fauchette, Hirch ; Rivolet, Nicolini ; Jules, France ; 
M. des Epiglottes, Renoux ; Un Domestique, Ricquier ; Un Valet, 
Seiglet ; Adrien, Torin ; First Gar5on de Caf^ Debray ; Second 
Gargon de Caf<6, Alphonse ; Mmes. Claire de Chancenay, Sisos ; 
Marquise de Boissy-Godet, Desclauzas ; Berthe, Depoix ; Judith 
Fripier, Darland ; Mme. des Epiglottes, Demarsy ; Mme. de Val 
Chevrette, Varly ; Mme. Fripier, Renard ; Mme. de la Roche qui 
Pleure, Lecuyer; Mme. de la Verpilli^re, Auge ; Albertine, Arbel ; 
Juliette, Lorianne ; Une Femme de Chambre, Davenay ; Une 

8o Jeanne (VArc—A Silician Idyll—Fazio, uuly.iSqo. 

Caissi^re, Miramont — On June 23rd was produced Jeanne d'Arc, 
drama in five acts by Jules Barbier : — Mmes.^ Jeanne d'Arc, 
Sarah Bernhardt ; Iseult, Jane Mea ; Isabelle Romde, Marie 
Grandet ; Mengette, Seylor ; Loys, Andran ; AfJ/., Jacques d'Arc, 
Lacroix ; Lahire, Rebel ; Thebaut, Rosny : Siward, Herbert ; Un 
Viellard, Perrier ; Warwick, Gamier ; Le Roi ; Charles VII., 
Dencubourg; De Thouars, Darmont; Dunois, Darles ; Xaintrailles, 
Cartereau ; Nicolas Loyseleur, Piron ; Pierrelo, Pr(5vost ; Gordon, 
Duberry ; Maitre Jean, Mallet ; Manchon, Jegu ; Jean d*Estivet, 
Lacroix ; Laurent Guesdon, Besson. 



1st St. George's Hall. A Sicilian Idyll. — First produced at 
the Club, Bedford Park, on May 5th of this year, was played again 
here. Professor Todhunter's play treats of the wooing of a 
scornful shepherdess, hitherto deaf to love's blandishments, by a 
persevering and eventually conquering tender of the flocks ; and 
of the lighter loves of another shepherd and shepherdess. Florence 
Farr was again Amaryllis ; Lily Linfield, Thestylis ; and H. M. 
Paget, Alcander. On the present occasion, C. Crofton was 
Daphnis ; Mowbray Marras, W. H. Roe, and Miss C. Connell also 
lent their aid. The chorus of shepherds and shepherdesses con- 
sisted of Mrs. Campbell Perugini, Miss Beaton, and Misses C. and 
J. Connell, and Messrs. W. Allen, Hamilton, Jackson, and Taylor, 
etc The choruses were excellently rendered. The scenery, 
dresses, and groupings, picturesquely furnished by Mr. A. Lys 
Baldry and Messrs. Paget and Harrison, had better scope for 
display, and Lily Linfield could do herself better justice in her 
own dance (which was encored), and in the dances and vintage 
procession arranged by her. Was it absolutely necessary to the 
realism of a- Theocritan pastoral age that some of the ladies' feet 
and the shepherds' limbs should be bare ? 

1st. Strand. {MatifUe) Fazio. — I wrote the following for The 
Stage : " Dean Milman's powerful but gloomy tragedy, in which 
Miss Ivanowa has made her London d^but^ has not been seen in 
the metropolis for some years. Published in 1 8 1 5, it was pro- 
duced without licence at Bath, January i6th, 1 8 1 8, with Conway as 
Fazio, Chatter ley as Bartoldo, and Miss Somerville (Mrs. Bunn) as 
Bianca. The reception accorded it secured for it almost im- 

july,t8<)o,] Fazio. 8 1 

mediate representation at Covent Garden, where the principal 
characters were played by C. Kemble (Fazio), Miss O'Neil 
(Bianca). Mrs. Faucet (Aldabella), and by W. Blanchard as 
Bartoldo. In 1853, at Sadler's Wells, Marston was Fazio ; Miss 
Glynn, Bianca ; Mrs. Brougham, Aldabella ; and A. Younge, 
Bartoldo. Madam Ristori was one of the greatest representatives 
of Bianca, and the character has been a favourite one with Miss 
Wallis. Miss Bateman and Miss Anderson have also appeared in 
it in the provinces. Though a very trying part it has its reward 
in that it enables the actress to embody the representation of the 
most trusting love, almost insane revenge, harrowing remorse, and 
incipient madness. As the play has not been seen for so long 
we may perhaps be allowed briefly to recapitulate the plot 
Fazio, living in humble circumstances with his wife, Bianca, 
discovers that the old miser Bartoldo has died ; and, that he may 
take possession of all his available gold, buries the body in the 
garden and begins a new life of pleasure. He is bewitched by 
the heartless but beautiful Aldabella. Bianca, merely to tear 
him from her rival's arms, denounces him to the council which is 
sitting to inquire as to the disappearance of Bartoldo. The 
unhappy wife, little thinking of the terrible consequences she will 
draw down upon her husband, lets it be understood that he is 
the murderer of the miser — Fazio is condemned to death, and 
then comes her unavailing sorrow and remorse. She pleads even 
to Aldabella to save his life, offering to surrender him to her 
altogether. Fazio is executed. Aldabella is entertaining the 
Duke of Florence and the court, when Bianca enters, charges 
her with being dissolute, and with having taken her husband 
from her, and then dies, Aldabella being sentenced to a life-long 
seclusion in a convent It is daring in a young actress to 
attempt the character of Bianca, but Miss Ivanowa from her 
capabilities was fully justified in doing so. Though said to be of 
Russian birth, there is but the faintest trace of any foreign accent, 
and that but occasionally. Her features are pretty and mobile ; 
her eyes are good, she possesses a very rich and sweet voice, and 
her movements are graceful and unstudied. Miss Ivanowa's 
faults are those which come from inexperience, and should 
disappear with the increased exercise of her profession. She can- 
not quite manage her voice yet, and she is rather abrupt in her 
transitions of emotion. Her love was tender, her regret poignant, 
the scorn for her rival bitterly expressed, and her dying moments 
pathetic. Lewis Waller proved himself a master in the delivery 
of blank verse, in this case none too easy, and acted with fervour 


82 Vera — Illusion. uly, 1890. 

and strength. Mrs. Bennett, unused, perhaps, to so small a house 
as the Strand, was a little too emphatic, and a trifle hard ; there 
vas a want of seductiveness, and she had forgotten the reference 
in the text to her * jetty locks,' for her hair was fair. Julian Cross 
was duly impressive and dignified as the Duke of Florence ; 
John Carter good as Bartoldo, and Henrietta Cross pleasing as 
Clara. K. Gran spoke his lines well." 

1st. Death of W. Oliver Cromwell, manager of the Alexandra 
Theatre, Sheffield. 

1st. Globe. (Matin/e.) Vera. — By Ellis Smith. The author 
could not be complimented on his work, for a more crude, sketchy 
piece had not been seen for some time. Its greatest merit was 
its brevity, for it only played one and three-quarter hours. The 
author shows us " Russian life " under its most debased aspect. 
Vera de Saviloff* (Madame de Nauca^e), we can infer to have 
been a favourite of the Czar, and though the mother of a grown 
up son is still an intriguante. She has deserted her son Feodor 
(Alfred B. Cross) when he was a baby ; he returns to Russia on 
his attaining manhood to assert his claims to his estates. His 
papers are stolen by Leon d'Arblay (Cecil M. York), who 
endeavours to pass himself off* as the rightful Shapiroff*. To 
further his ends he makes love to Vera, who accepts his pretended 
affection, and is eventually horrified to find, as she imagines for 
a time, that she has permitted the addresses of her own son, an 
unpleasant feature in any play, and too much dwelt on in this. 
An intriguing minister of police, Baron Alexis (Edmund Gurney), 
who, to revenge a slight put upon him by Vera, tries to get 
everybody sent to Siberia ; and some rather good love scenes 
between Isadora (Violet Thomycroft) and Feodor (well played by 
the representatives) make up a disagreeable story. Madame de 
Naucaze should have chosen a better play for her reappearance in 
London ; the actress did more than justice to her character, a 
repulsive one in itself, and should be capable of great things, her 
handsome stage presence fitting her well for many parts. Edmund 
Gurney and Cecil M. York helped the play to some extent 

3rd. Strand. {Matinee.) Illusion. — Three-act play, by Pierre 
Leclercq. There was so much to interest one in Mr. Leclercq's 
first play, A Love Story, that it was generally hoped that this, his 
later production, would exceed the former in beauty and power. 
We were doomed to disappointment, for Illusion is infinitely more 
artificial, and has only real strength in its last act We have 
that frequent weakness of concealment, whereby a man wrecks 
his own life and that of his wife for no adequate motive. We 

July. 1890,] Illusion, 83 

have a husband, after an absence of only seven days, not being 
recognized by his wife, and we go over and over the same ground 
of a woman first believing and then distrusting her husband, 
though she vows she will not credit anything to his disparage- 
ment Una (Marion Lea) has eloped with John Revellin (Lewis 
Waller) to escape a marriage with- Mr. Eyres Higginson (G. Foss), 
a rich and elderly suitor, that her father, Mr. Lullworth (W. H. 
Vernon), a selfish, brutal scamp, wishes to force upon her. 
Finding that she has foiled his designs, and is married, Lullworth 
revenges himself by plainly telling his daughter that, all the time 
her husband is pretending such devotion to her, he is still 
enthralled by a notorious courtesan, "La Faneuse" (Rose Leclercq), 
with the result that he separates the Revellins. John has to sail 
for America, but induces his brother Joseph (H. Amcliffe) to take 
his place. A collision occurs, and John is supposed to have been 
drowned. He remains in hiding for a week, and then visits his 
wife in the character of Joseph, and she actually does not re- 
cognize him, though he assumes no disgfuise whatever ! Presently 
he reveals himself, and she believes his protestations of innocence, 
and promises to be patient until he can explain. Her father, 
however, is anxious to induce her to obtain a divorce, and 
presently informs her that John Revellin is actually at the house 
of her fancied rival. Una follows him there, and in the grounds 
she poses as one of the statues, and then overhears the interview 
between her husband and La Faneuse. From it she learns that 
La Faneuse is the wife of Lullworth, and her own mother, who, 
when she left her home, deserted her child ; that Revellin has 
been trying to reform her, and persuade her to leave the life of 
infamy she has been leading. La Faneuse has always retained 
a love for the memory of Una — has constantly kept herself 
informed of her doings, and when she hears that she is to be 
married to Revellin, puts herself in communication with him. In 
a really exquisite scene she confesses the horrors of her past 
mis-spent existence, and vows to amend it. She parts with all 
her wealth, and determines to enter a religious house and live a 
life of expiation. In this scene Rose Leclercq completely held 
the house by her pathetic rendering of the shame and remorse of 
the repentant woman, and gave a most perfect touch of nature in 
lowering the veil before she ventured to kiss the pure lips of her 
child, lest her own sullied ones should bring contamination by 
their actual' touch. Marion Lea was spasmodic and hysterical ; 
allowances, however, must .be made for her nervousness, for she 
gave the matinie^ and the character was a difficult one, but it was 

84 The Solicitor. CJuly, 1890. 

only occasionally we had a glimpse of that of which the young 
actress is capable. Lewis Waller did his best with a very thank- 
less part, and redeemed much that was weak in it W. H. Vernon 
was to the life an unprincipled selfish creature, whose only object 
in life is his own pleasure and gratification. Ivan Watson was 
excellent as a fire-eating madly jealous Frenchman, the Count 
de Buci ; Louise Gourlay, very clever as a waiting maid ; 
C. Ramsay, amusing as a cockney serving lad ; and Lawrance 
D*Orsay well represented an old roiid^ the Earl of Bramber. The 
dialogue was often very good. 

3rd. Toole's. The Solicitor. — Mr. Darnley's most amusing 
farce had its trial trip at the Court, Liverpool, on Monday, 
May 5th of this year. The situations are intensely funny, though 
wildly improbable ; but then we do not expect probabilities when 
we are asked to see a farce. The great Jove is said to have 
nodded at times, and, therefore, we may pardon a staid lawyer 
(Brandon) if, after having dined freely, he is induced to drive a 
hansom, whose owner has left it unattended. In farce, what 
more natural than than Brandon's first fare is his own wife, and 
that on arriving at her destination she is kissed by a soldier } 
Then the enraged husband is next hailed by a pair of burglars, 
who threaten him with a revolver unless he drives them and the 
"swag" they have just carried off from Colonel Sterndale's 
quarters. In the natural course of things Brandon is engaged by 
the genuine cabman's daughter, Mary Kingston, to defend her 
father, who has been taken up for aiding the escape of the 
burglars in his cab. Mary is very pretty, and excites the ad- 
miration of Colonel Sterndale and Captain Midhurst, and they 
both go on different excuses to 7, Vere Street, Kensington, where 
she lives, and where they are discovered by their respective wives. 
Brandon also turns up there, for it is the house to which he drove 
his wife, and there he finds her again. This time she has come 
by appointment to meet the swell mobsman, Peter Flagan, alias 
Percy Fitzgerald, to endeavour to recover her diamonds, which 
were stolen from her when she was on her way to raise money 
on them to pay debts which she had incurred unknown to her 
lord and master. Of course, the soldier is there again, for he is 
courting Mary Kingston. He falls into the error that she is 
encouraging the attentions of the "cracksman." Brandon re- 
cognizes Flagan as one of the thieves he drove on the eventful 
night, but as he is already nearly distracted with the fear that his 
escapade will become known, and his professional reputation 
ruined — he dare not give the fellow up to justice. Everything 

July, 1890.] Kit Marlowe. 85 

comes right at last. The soldier turns out to be Mrs. Brandon's 
brother ; he in turn discovers that Mary is faithful. Mrs. Stem- 
dale and Mrs. Midhurst, after threatening divorce in a very 
amusing scene in the third act, forgive their husbands ; the 
Colonel's plate is recovered, the cabman is acquitted, and Mrs. 
Brandon gets the whip hand of her husband through his indis- 
cretion, and all ends happily, except for Flagan and his " pal," 
who are likely to pay for their light-fingered proceedings. Mr. 
Damley wove together all these embroglios in a most ingenious 
way, gave us some smart dialogue, and Miss Violet Melnotte, 
who opened her season at Toole's with the play, had got together 
a capital company. John Tresahar never flagged for one moment, 
and his comic despair at the network of compromising circum- 
stances which enwrapped him was a remarkably good piece of 
acting. Susie Vaughan, too, was most diverting. Ruth Rutland 
was an imposing Mrs, Stemdale. Graham Wentworth was easy 
and polished. These four were in the original cast. F. Kaye 
was now the Colonel Stemdale, a little, grey-haired, frisky lady- 
killer, quaint and amusing. A. B. Francis was fresh and natural 
as Lieutenant Arlington. Lawrance d'Orsay was not quite what 
an orderly should be. Henry Bedford was genuinely comic as 
Peter Flagan. Blanche Wolseley was an attractive Mrs. Midhurst 
The part of Mary Kingston was played in a charmingly unaffected 
manner by Clara Ellison, who made quite a hit. Delia Carlyle 
was smart and pert as a soubrette. The author received a double 
call. — The Solicitor was preceded by Fred. W. Broughton's pretty 
comedietta, The Bailiffs lately seen at the Royalty. Henry Bed- 
ford (Benjamin), H. W. Brame (Daniel), A. B. Francis (Frank), 
Irene Rickards (Minnie Grattan). 

4th. Shaftesbury. {Matinee.) — Performance in aid of the 
Marlowe Memorial, which is to be erected at Canterbury, his 
native place and where he was educated. Kit Marlowe^ one-act 
play, by W. L. Courtney, written on the hero of the afternoon, is 
not without literary merit, but is devoid of incident until the 
dramatist is stabbed to death by Francis Archer, landlord of the 
Red Lion, Deptford, one of Marlowe's favourite haunts. Archer 
resents Nan's love for Marlowe, and kills him out of jealousy, 
poor Kit regretting in his dying moments that he will not live to 
see the fruition of his hopes to become one of the mighty writers 
of the age. Arthur Bourchier had evidently studied the character 
of the roystering, thoughtless, yet poetic Marlowe, and his death 
scene was worthy of praise. Annie Irish made much of the part 
of Nan. — There was also played, for the first time in England. 

86 Vanity of Vanities — Sowing and Reaping, [July, 1890. 

Miss Hoyderis Husband^ Augustin Daly's version of Sheridan's 
Trip to Scarborough, Though ingeniously embodying in one 
act the principal features of the wooing of Miss Hoyden, the 
piece is much weakened by all the other characters being made 
so much subservient to hers. Nor is there anything very brilliant 
in the manner in which the dialogue was fitted together. Ada 
Rehan has been seen to much greater advantage than as Miss 
Hoyden. Her continuing to nurse her doll after her suitor had 
arrived was certainly out of place. As to the other parts they 
could reflect but little credit on the very best exponents; — The 
concluding piece was a new duologue by Justin Huntly McCarthy, 
entitled Vanity of Vanities, and contained infinitely more plot 
than is generally bestowed on such short pieces. The Princess 
Nicholas is an Englishwoman who has allowed ambition to stifle 
her love for Morris Hastings. So she marries a prince and 
wrecks her lover's life. Her husband dies, but all that wealth 
and station can give her do not make her happy. The two meet 
after five years : she, blasee, and so weary of the world that she 
has determined on committing suicide ; he, on his part, is quite 
willing to give up an existence that has no value for him, so he 
says he will die with her, but, before doing so, he once more 
pours out his love for her. This gives her her one desire, and 
so they come together again, determined to lead better and purer 
lives, and not to live for themselves alone. Vanity of Vanities is 
well written, but gives one the idea of an adaptation, from the 
French sentiment that pervades it Unfortunately, Herbert 
Waring was unable to appear as Morris Hastings, but E. S. 
Willard read his part admirably, and, notwithstanding this dis- 
advantage, May Whitty gave a most expressive rendering of the 
outwardly worldly Princess Nicholas. 

5 th. Criterion. — Sowing aiid Reaping placed in evening bill. 
" For the last three weeks of his season Charles Wyndham placed 
in his evening bill C. Vernon's comedy, upon which, though 
previously played on two occasions at matinies, criticism was 
not invited until Saturday. There was apparently no reason 
why the piece should not have been noticed before — except 
that the matinees were given in the cause of charity, when 
every seat should be of value — for Sowing and Reaping is well 
written and amusing, and points a moral. Were it not that his 
work bears strong evidence of a French origin, we should say 
that the author has been so pleased with The Profligate and 
A Pair of Spectacles that he has taken a portion of the plot 
of the first and the principal character of the second, used them 

July, 1890.] SowfHg and Reaping, 87 

in a comedy vein, introducing some farcical touches, and made of 
the compound something that was bright and fresh, if not original. 
The author impresses on us the precept that, as we sow so shall 
we reap, and that perfect love and confidence on the part of a 
husband will ensure fidelity and the truest affection from a wife. 
Mr. Sampson Paley has cause to imagine that without any 
encouragement on her part, his wife is beset by temptation from 
the attentions of Joseph Shenston. In this he is mistaken. 
Shenston is the most innocent, loyal, and chivalrous of men — 
it is Harry Grahame who is the real culprit Grahame is an 
inveterate male flirt — not really bad, perhaps, but thoughtless of 
the consequences his follies may entail. To forward his design 
on Mrs. Paley, he makes of Shenston his scapegoat To deceive 
him, Grahame pretends that he is in love with Julia, Mrs. Pale/s 
sister. By this deception Grahame brings on himself his fate ; 
for Shenston actually proposes to Julia on his friend's behalf. 
She loves Grahame — she accepts him. He cannot retreat with 
honour, so is forced to accept the situation. They are married. 
Grahame has learnt to love his wife with all his heart, but his 
own conduct in the past with other men's wives, makes him 
frantically suspicious of every man with regard to his own. He 
is racked with jealousy. In a posy of flowers he reads an as- 
signation — in a present from a neighbour he scents a rendezvous 
— ^a signal given by one of his servants to her follower he con- 
strues into one arranged by Julia — he suddenly remembers that 
Shenston has confessed to him that he once loved her, and so he 
suspects his dearest friend, and feeds his suspicions in watching 
their whispered conversations. He catches Dick Hobbs, the 
maid's follower, who tells him his object in coming, and then 
he recognizes what an egregious and wicked fool he has made 
of himself. The bouquet is but one cut by the gardener, the 
present a harmless brace of birds sent by a friendly married 
man ; the whispered conversations only relate to the arrange- 
ments that are being made for a surprisal for him — a little y?/^ 
in honour of his birthday. He has been so confident in his own 
acuteness in detecting an intrigue, for he has constantly remarked, 
• I have done it all myself,' that his false suspicions recoil on him 
with redoubled force. But he has learnt and profited by his 
lesson ; as he has sown, so has he reaped. Love and confidence 
shall be his watchword for the future. The onus of the play falls 
on Mr. Wyndham : as the light butterfly of the first act he is 
excellent ; but in the second part he is even better, for, with all 
the comedy, there is nearly a ring of pathos in his worries. 

8^ Delicate Ground — The Taming of the Shrew. [July. 1890. 

W. Blakeley misses the genial warmth and beauty of the 
character he represents. He is amusing, as he must be, but 
he quite fails in his delivery of one of the most charming 
speeches ever put into an actor's mouth. George Giddens is 
true-hearted and full of manly simplicity as the studious Joseph 
Shenston, and S. Valentine draws a capital character-sketch of 
Dick Hobbs. Mary Moore is winning as Julia, Eleanor Leyshon 
very modest and sweet as Mrs. Paley, and there is much quiet 
humour in Miss Victor's assumption of Mrs. Charity Smith, a 
well-meaning but rather indiscreet busybody, who prides herself 
on the keen insight into everything that goes on around her. 
Emily Vining is an assertive Mrs. Watkins. C. Edmunds and 
E. Emery gave their help to the success of the piece. — At 8.30 
Charles Dance's comic drama, Delicate Ground, is played. Charles 
Wyndham is a capital Citizen Sangfroid, and George Giddens 
enters into the spirit of the character of the foolish but gentle- 
manly Alphonse de Grandier. Mary Moore exhibits just the 
proper amount of pettishness and romance as Pauline, and is 
very charming ; but is her dress quite in keeping with that of 
the other characters } Arthur Matthison's farce. The Wall of 
China, is the first piece : in it Miss F. Francis and F. Atherley 
keep the shuttlecock of fun well up in the air as Rose Petal and 
Peter Pottle ; and Emily Vining is a bustling landlady." 

Sth. Florence, daughter of Mrs. John Wood, married to Ralph 
R. Lumley, author oi Aunt Jack, etc. 

8th. Lyceum. — Augustin Daly's Company. The following 
appeared in The Observer : " The Taming of t/te Shrew has been 
the play of the week at the Lyceum. ... It is no doubt the case 
that for two out of the quartette of players whose work gives the 
troupe its whole distinction this play provides no chance of 
making a characteristic mark. Mr. James Lewis's dry humour and 
Mrs. Gilbert's appreciation of a joke, if they are not exactly 
wasted upon the r6les of Grumio and Curtis respectively, are at 
any rate employed to very little advantage, while the rest of the 
cast is not of the even adequacy which has characterized the 
rendering by the company of less classical comedy. It must, for 
example, be pointed out that to an English ear the Biondello of 
the occasion, though full of sprightliness and intelligence, cannot 
hope to appeal with much success until he can tone down his 
uncompromising accent ; and that, on the other hand, Mr. Charles 
Fisher's dignified Baptista loses much through his tame and faulty 
elocution. Miss Edith Crane, who, consciously or unconsciously, 
reproduces many of Miss Rehan's tricks of speech, is too modern 

JULY, 1S90.] The Taming of ihe Shrew, 89 

a Bianca, nor do Messrs. C. Leclercq and S. Herbert seem quite 
at home in their work. But, although the subordinate im- 
personations rank individually below rather than above the 
artistic level attained under our own managements of similar 
pretensions, the production as a whole has the harmony and 
symmetry of effect to be looked for only from members of a stock 
company accustomed night after night and season after season to 
play into one another's hands. The play, too, is arranged and 
mounted with much tasteful skill, the cuts being made judiciously, 
and the transposition of scenes finding fair justification in the 
simplified flow of the action. Prettiest of all, in picturesque 
design, is the scene in the banqueting-hall of Lucentio, where the 
introduction of "Should He Upbraid," as sung by Miss Kitty 
Cheatham and chorus, gains and deserves a hearty welcome for 
its thoroughly appropriate effect It is, however, to see Miss Ada 
Rehan and Mr. John Drew as Katherine and Petruchio rather 
than the Daly company in The Taming of tlie Shrew that most 
playgoers have been paying their visit to the Lyceum this week. 
Happily they have been rewarded by finding these now familiar 
impersonations as full of spirit and as admirably balanced as ever. 
The performance of this actor and actress is almost as remarkable 
for what it avoids as for what it achieves — for the restraint 
displayed in resisting all the temptations to farcical and even 
pantomimic extravagance which here offer themselves to any 
player possessed of a broad humorous touch and a rich sense of 
fun. There is plenty of colour alike in the Shrew of Miss Rehan 
and the mock tyrant of Mr. Drew, but the colour is never laid on 
too thickly, and it just escapes the impossible hue so often given 
to sketches of the scold and the bully. It is specially to the 
credit of the actor that he makes up in his air of all-conquering 
command what he lacks in personal impressiveness, and that he 
is able to hold his own dramatically with a creation of so much im- 
pulsive power as Miss Rehan's Katherine. The force thrown by the 
actress into her outbursts of petulance is something irresistible, but 
the temper is never quite unwomanly, and the door is never shut, 
as it is with so many angry Katherines, upon the possibilities of 
reformation. The sweet significance given by Miss Rehan to the 
closing lines, in which Katherine points the moral of her lesson, 
is perhaps too monotonously serious in its heavy cadence ; but 
the grave tenderness is at least not wholly inconsistent with what 
has gone before, and all that the art of acting can accomplish is 
done towards bringing the rapidity of the change within the 
bounds of reason and conceivability." 

90 FroU'Frou— Sweet Nancy, uuly, 1890. 

loth. St. James's Theatre. {Matinee) Frou-Frou. — In aid 
of the Buttercup and Daisy Fund. Edith Woodworth in the 
title r6U ; Arthur Bourchier good as the old roui^ Brigand ; Henry 
Neville, Henry Sartorys ; Forbes Dawson, Pitou ; Gilbert 
Farquhar and Fanny Brough as the Baron and Baronne de 
Cambri ; Fred Terry, Comte de Valrfeas ; Gertrude Kingston, 
Louise ; Edith Chester, Pauline. 

1 2th. Lyric. Sweet Nancy. — Robert Buchanan just missed 
writing an excellent comedy in this by making his second act a 
little, and his third act very much, too long. The conduct of all 
the characters except the heroine is very natural. Hers is, in a 
manner, inexplicable save on the stage. Nancy, as will be seen by 
the programme, is one of a large family, of whom she is very fond, 
except, perhaps, of her father, who is a tyrannous old humbug. 
He has made up his mind that one of his daughters shall marry 
his rich middle-aged friend. Sir Roger Tempest, a noble fellow, 
whose thoughts turn to Nancy. In a charming scene he proposes 
and is accepted, for the girl likes him, and thinks of the benefits 
she will be able to confer on her brothers and sisters. Three 
months after, we find her married, very happy, for she has 
everything she can desire and has become really attached to Sir 
Roger — the only cloud on their domestic bliss is her husband's 
familiarity with Mrs. Huntley, " a grass widow." They call each 
other by their Christian names, and are certainly on the best of 
terms ; but this is explained by the fact that she is the wife of 
one of Sir Roger's oldest friends and brother officers, who has 
entrusted her to his comrade whilst he is abroad. Sir Roger is 
ordered on foreign service, and has to leave to take up a command. 
Nancy feels the separation deeply, and is delighted when, after 
a year's absence, a telegram arrives announcing Sir Rear's 
immediate return. Frank Musgrave has been constantly about 
the house on the assumable pretext that he is attached to Barbara. 
This is, however, only a cloak to hide his designs on Nancy, for 
whom he feels a mad passion. When he learns of Sir Roger's 
approaching coming, Musgrave declares his love for Nancy. She 
at first takes his words as conveying a proposal for Barbara, but 
when she understands them as addressed to herself, she bursts 
into a fit of hysterical weeping, for she knows how her sister loves 
him, and as he is leaning over her still pleading his cause, they 
are discovered by Mrs. Huntley and Algernon, who is over head 
and ears in love with the heartless coquette who has led him into 
even more than a flirtation. Sir Roger returns, and almost 
immediately hears from Mrs. Huntley, who hates Nancy, the very 

July. 1890.] Aft Old Man* s WootHg— A Village Pfiest. 91 

worst account of her conduct during his absence. He will 
scarcely believe evil of the woman he loves, but naturally asks for 
an explanation. This Nancy will not give, but retaliates on 
Mrs. Huntley's character for her open encouragement of Algernon, 
and insists on being brought face to face with her. Mrs. Huntley 
justifies her statements, and there seems but little hope of a 
reconciliation, when Barbara, who becomes aware of the sufferings 
Nancy is undergoing for her sake, fetches Musgrave, who actually 
before Sir Roger and Barbara admits his base conduct and 
acquits Nancy of ever having treated him otherwise than as her 
husband's friend, and acknowledges how badly he has treated 
Barbara. And so the curtain falls on the reconciliation. Henry 
Neville represented completely the noble loving nature of a man 
who cannot but see the danger of having married a girl so much 
his junior, but who is determined to win her entire love by his 
devotion. Annie Hughes surprised every one by the strength 
she displayed, and really carried the play almost entirely on her 
shoulders. Harriett Jay was a very sweet, brave girl as Barbara. 
Mr. Bucklaw did well in a very repulsive part ; and Henry V. 
Esmond deserves the greatest praise for his acting of a youth, 
just at that age when he fancies he thoroughly understands the 
world and is made a victim to* " calf love," Ernest Hendrie 
was quaint and amusing. Frances Ivor was too supercilious in 
her manner. Beatrice Ferrar was delightful as the tomboy. 
Tow- Tow. On the fall of the curtain, there were some expressions 
of disapproval of the piece, but the " cast " was enthusiastically 
called at the end of each act. — Sweet Nancy was preceded hy An 
Old Maid's Wooing^ by Arnold Goldsworthy and E. B. Norman, 
a pretty idea, but one that has been used several times before. 
Hester Grayson (Ethel Hope) is placidly drifting into becoming 
** an old maid," when the even current of her life is disturbed by 
proposals from the rich squire, Henry Higgins (E. Hendrie), and 
the poor clergyman, the Rev. James Braithwaite (E. B. Norman) 
— the latter offering himself and being accepted, when he learns 
that his lady-love has dismissed his wealthy rival. A lighter 
vein of comedy is introduced into the more poetic vein in the 
loves of Naomi Wild (a little serving maid, remarkably well 
played by Beatrice Ferrar) and George Gammon, a young 
poacher, effectively rendered by Henry Bayntun. E. Hendrie 
threw much kindly feeling into the part of the disappointed 

12th. Haymarket season came to a close with A Village 
Priest, Beerbohm Tree having arranged for a provincial tour. 

92 The Besi People — As You Like It. [July, 1890. 

12th. Athenaeum Hall. — His Little Mania requires no 

14th. Globe. {Matinie) The Best People, — Described as a new 
original comedy, was produced, and Mrs. Fairfax, the authoress, an 
actress of some reputation in the past, made her last appearance in 
public. As to the play itself, there is no occasion to speak, for it 
will certainly not be seen again. One of its many absurdities was 
a young married woman disguising herself, singing before, and 
being accepted by, the public as a noted primd donna, and being 
made love to by her own husband for days together in that 
character without his recognizing her as his own wife! Miss 
Essex Dane was good as the supposed singer, and Adrienne 
Dairolles as the real one. John Le Hay proved himself as usual 
an excellent comedian, possessing dry humour, as Pat, a faithful 
and inventive Irish page-boy. 

iSth. Lyceum. As You Like It. — The fairly effective repre- 
sentation given by the above talented company of The Taming of 
the Shrew, and Ada Rehan's striking impersonation of Katherine, 
could but arouse the greatest interest as to the manner in which 
this favourite actress would acquit herself as Rosalind in As You 
Like It, Ada Rehan simply took the house by storm. There 
was a royal dignity in the opening scenes, to be followed by a 
poetic, scholarly, and most womanly assumption in the forest 
scenes. It was, perhaps, exuberant in the flow of high spirits, but 
then the exuberance was so graceful, so eminently feminine, that 
if Miss Rehan was not always the Rosalind we had pictured to 
ourselves that Shakespeare drew, we forgave the actress's novel 
conception of the character in our delight at the confidence and 
boldness with which it was carried out Miss Rehan looked 
admirable in her drab-coloured male attire, with a ruby-coloured 
cloak and her brown hose. Her Rosalind will never be forgotten 
by those who witnessed it, and they will always remember with 
pleasure the exquisite delivery of Shakespeare's lines. John Drew 
was a gallant Orlando, but entering, perhaps, a little too gaily and 
lightly into the wayward humour of Ganymede to woo him. The 
Celia of Adelaide Prince was very charming, but Isabel Irving 
was a commonplace Audrey. Charles Wheatleigh most worthily 
represented the banished Duke ; and had George Clarke not taken 
his speeches quite so slowly his Jaques would have been 
admirable. James Lewis, though quaint, was not the Touchstone 
of Shakespeare. In Mr. Bosworth, as Charles the Wrestler, we had 
one who not only looked and acted the character well, but who 
could speak the lines set down for him — ^an essential that is too 

July, 1890.] How Dreams Come True — A Gold Mine, 93 

often lost sight of in casting the play. The only other unsatis- 
factory performances were those of Charles Fisher as Adam, who 
was indistinct in his utterance, and too feeble to fulfil the require- 
ment of the text, " Though I look old, yet am I strong and 
lusty ; " and the Corin of Charles Leclercq, of whom I expected 
better things. Though admissible, the speaking the name of 
Rosalind throughout with the final syllable long, as in *'wynd," 
rather jarred upon the ear, as did an occasional American 
intonation. Mr. Daly has given us a very pure version of the 
play (restoring to the first Lord his rightful lines.) He has also 
retained the charming song sung by the two pages, "In the 
Springtime," as charmingly rendered ; and we have also the 
masque of Hymen, as done lately (but infinitely better in this 
case) at the St. James's. Mr. Macaulay sang delightfully as 
Amiens, and was supported by a thoroughly efficient chorus. The 
orchestra, too, embellished the whole by its valuable aid. Of the 
scenery and general arrangement it is impossible to speak too 
highly, and Augustin Daly had his reward in the enthusiastic 
reception accorded him when he came before the curtain. I need 
hardly say that Miss Rehan was forced to appear after each act. 

17th. E. C. Silverthorne presented with an illuminated address 
by Henry Irving, on behalf of the trustees and his co-directors of 
the Royal General Theatrical Fund, in recognition of the kindly 
and valuable services he had for many years rendered to the 
institution and its members. 

1 7th. How Dreams Come TnUy a sketch by Dr. Todhunter, given 
at the Grosvenor Gallery. 

19th. Gaiety. Last performance of Ruy Bias and the Blasi 
Rou( previous to the departure of the Gaiety company on an 
extended tour. 

2 1 St. Gaiety. A Gold Mine, — Original comedy, in three 
acts, by Brander Matthews and George H. Jessop. Once more 
we find that plays, which are so successful in America, fail to give 
satisfaction here, and vice versd, A Gold Mine was specially 
written for Mr. Goodwin, who made his dibiit in it in this country. 
It was a great favourite with the New York playgoers, and yet to 
us it seemed to be very far from being an average play. There is 
really no plot, the characters are extravagantly drawn, and most 
of the jokes are as old as the hills ; some are incomprehensible to 
Londoners. Silas K. Woolcott (Nat C. Goodwin) may be very 
good-hearted, but he cannot be quite as " spry " as those gentle- 
men who have knocked around the world and been ever3^ing by 
turn generally are supposed to be. After various ups and downs. 

94 Nap — A Womaris Woiit, cJuly^iSqo. 

he discovers a gold mine, and comes to England to dispose of it. 
He has an introduction to Sir Everard Foxwood (William Farren) 
a company promoter. Woolcott asks ;f 20,000 ; the City man will 
only bid £ 1 5, 000. At Sir Everard's house he meets an old friend, 
Gerard Riordan (Charles Glenney), who is courting Una Foxwood 
(Jennie MacNulty). He also meets young George Foxwood, to 
whom he takes a great fancy, and most important of all, he loses 
his heart to the Hon. Mrs. Meredith, George's Aunt, (Kate Forsyth), 
a very charming woman certainly, but one who appears to take a 
delight in snubbing him. However, his love for her is so great 
that, when young George Foxwood (Harry Eversfield) is likely to 
be branded as a defaulter, in consequence of having speculated and 
lost ;f 1 0,000, Woolcott actually parts with his mine for this sum 
(Sir Everard taking care to beat him down when he finds the 
money is wanted at once), and hands it over to George's creditor 
to free him, leaving himself penniless. He has sworn the youth 
to secrecy, but his good deed leaks out, and the fair Mrs. Meredith 
is so grateful to him for his generosity that she not only by a 
clever ruse manages to overreach her generally astute brother and 
get back the mine for Woolcott, but actually bestows on him her 
hand. Mr. Goodwin was very neat in his acting, his humour was 
unforced, and he can express pathos. His love scene with Mrs. 
Meredith was a very charming little bit of acting, for Kate 
Forsyth was also excellent in her character. C. Glenny was good 
as an Irish M.P. — Home Ruler, of course — and made love to Una 
very naturally, Jennie MacNulty playing up to him well. William 
Farren was to the life the hard pompous City magnate ; and 
Carlotta Leclercq, in an utterly ridiculous and far-fetched character, 
Mrs. Vandervas, by her tact and judgment saved it from being too 
wearisome. Frank Wood cleverly represented an old City clerk, 
Julius Krebs. Harry Eversfield had an unpleasant character to 
play, and could not show to much advantage. 

2 1st Elephant and Castle. — Nap; or, A Midsummer 
Nights Scream. Fairy burlesque by Stanley Rogers. First time 
in London. 

23rd. Gaiety. {Matinee). A Womaris Worit — which was 
played some four years ago by the Daly Company at the Strand, 
was given in aid of a charity. The idea is a funny one. A 
footman (F. Bond) and maidservant (Kitty Cheatham), sweet- 
hearts, quarrel because the girl will not repeat after her swain 
" Thank goodness, the table is spread 1 " when they have just set 
on the covers for luncheon. Their master, a newly married man 
(G. Clarke), recounts this to his wife (Isabel Irving), and they are 

July. 1890.] The Wttches' Haunt — Dear Friends, 95 

gradually drawn into a quarrel through the same reluctance on 
her part to utter the words merely to please her husband, and 
to show that she would say or do anything to please him. 
Presently the wife's parents, who come to lunch, fall out on the 
same subject, for the old gentleman (James Lewis) tries to assert 
his authority by insisting on the old lady (Mrs. Gilbert) repeating 
the words at his command. The young husband is wise in his 
generation. He bribes his wife with a new shawl, and so proves 
the value of " a woman's won't." The old lady, without meaning 
it, lets the words slip out, and the maidservant makes peace with 
her lover on the promise of an immediate marriage. Capitally 
acted all round. 

24th. Crystal Palace. The Witched Haunt. — Open air 
ballet, invented by Oscar Barrett, and arranged by Katti 

24th. Vaudeville. {Matin/e) Dear Friends. — Comedietta, 

by Mary Righton, was seen for the first time in London. It is only 

a duologue between two girls, who, anxious to impart to each 

other the intelligence that they are about to be married, at first 

imagine that they have both been courted by the same man. 

Their minds are set at rest, however, by discovering that their 

swains are cousins, with the same Christian names and as like 

as two peas. The dialogue is schoolgirlish, but well played it 

might have passed muster. It would be appreciated in the 

T. R. Back Drawing-room.- — Little Nobody was decidedly better. 

Fay (Little Nobody, delightfully played by Miss Righton, well 

known as Emma Ritta) has been brought up by the late Mrs. 

Kenward, out of pure kindness, for the girl's parentage is unknown. 

The son. Captain Kenward, has become very much attached to her. 

She has a sneaking affection for him, till a rouS^ in the person of Sir 

Dennis Hai^aves (J. R. Crauford), comes across her path, when 

she is rather fascinated by him, but eventually discovering that he 

has deserted a poor girl whom he has betrayed, Fay returns to her 

first love. There are, I might say, two under-plots. Fay is 

proved to be the daughter of Colonel Forbes (Walter Russell), by 

a former marriage, his second one being rather unhappy, owing to 

the jealousy of his second wife (played with much tact by Isa 

Johnson). The flirting propensities of Georgie Grahame and the 

inane stupidity of Dolly Bruce, whom she manages to entrap after 

considerable angling, form the comic element. With the exception 

of Messrs. Crauford, Walter Russell, and G. B. Phillips — ^who did 

all that could be expected — Miss Righton's work suffered from 

most inadequate representation. 

96 The Judge. Uuly, 1890. 

24th. Terry's. The Judge. — " The jury could not agree 
upon their verdict." Take the audience as the jury deciding on 
the merits of Tfie Judge at Terry's, on the first night, and we have 
the report, for there were expressions of disapproval, though un- 
doubtedly they were from the minority. If Arthur Law will 
bring up fresh evidence in the shape of as smart lines as he has 
already written, and the case is better got up by the more rapid 
action of the players, The Judge may yet be looked upon as a 
dramatic luminary. The fact is, the piece went by fits and starts — 
at times provocative of hearty laughter, then suddenly dropping 
to a dead level of dulness. Mr. Penley was not at his best — he 
seldom is on first nights — but he was very droll as the little 
wizened hypochondriac. Sir John Pye, the Judge of Assize, 
suddenly disturbed and appearing wrapped in a blanket to 
confront a stalwart lady. This is Mrs. Shuttleworth, a prisoner, 
that he is to try the following morning for bigamy, and who has 
escaped from the lock-up and taken refuge in his house. He 
discovers she is an old flame of his, and so he consents to give 
her shelter. She lies down on the sofa, and Sir John takes her 
baby into his room. His daughters, Chloe and Daphne, have 
been to a party, and return in the middle of the night, attended 
by Herbert Styver and Algernon Pringle, their admirers, and 
discover Mrs. Shuttleworth. She announces herself to be Lady 
Pye, and the Judge actually accepts the situation. Presently Mr. 
Shuttleworth appears, and, as he has been abroad, he imagines 
that his wife, believing him to be dead, has actually married Sir 
John. Mrs. Ricketts, a female detective, traces the escaped 
prisoner to Sir John's quarters, sets her son Jacob, a numskull of 
a policeman, to watch, and he, thinking that Sir John is Mrs. 
Shuttleworth's accomplice, and that they are trying to escape, 
actually handcuffs the Judge, in his ermine and scarlet robes, to 
Mrs. Shuttleworth. We do not look for anything like probability 
in farcical plays nowadays, but this is straining good-natured be- 
lief in possibility to an alarming extent The three best played 
parts on the opening night were those of Mowle, the Judge's 
valet (Mark Kinghome), Mr. Shuttleworth (W. Lestocq), and 
Mrs. Ricketts (Elsie Chester). W. Herbert and Frank W. Fenton 
were fair as the barristers, who cannot make up their minds as to 
which of the girls they shall marry ; and Helen Leyton and Cissy 
Grahame were amusing as Chloe and Daphne. Emily Thome a 
trifle overbore Mr. Penley in her scenes, and took the character 
a little too assertively. One thing should be recorded — ^the first use 
of the phonograph on the English stage ; from it were repro- 

joLv, 1 890.] Married Life. 97 

duced the cries of a real baby as coming from the dummy used 
in the piece. 

25th. The annual examination, if it may be so called, of the 
students attending Neville's Dramatic Studio, was held at 41, 
Fitzroy Square, when a performance of Married Life was given, 
and showed at least that good work was being done there, and 
that no pains are spared to render the students efficient If I 
did not see any proofs of positive genius, all concerned evinced 
an artistic desire, and the faults that are inevitable in amateurs 
who lack professional training, were almost entirely absent I 
noticed specially that the students had been taught to speak 
clearly and distinctly ; to gesticulate appropriately ; to " pose " 
with effect; to express the emotions facially; had learnt the value 
of " bye-play," and to characterize tolerably well. The profession 
must be recruited, and it is better that the young soldiers of our 
*' professional army " should have to start with such a knowledge 
of their art as Messrs. H. Neville and Fred Gartside — two actors 
of great experience — can impart to them, than to commence their 
career with all the crudities that are so perceptible in those who 
have had no training. Those who particularly deserved mention 
were Alice Mackness as Mrs. Lynx ; Sarah Brook as Mrs. Coddle ; 
S. Prince Lloyd as Mr. Lynx ; and F. G. Brandon as Mr. Dove. 
The attendance was large, Mr. Henry Neville's discourse upon the 
dramatic art, which followed the performance, having been looked 
forward to with much interest He prefaced his discourse by 
complimenting the students who had taken part in the practice 
rehearsal on their admirable exemplification of the rules and 
principles laid down for their guidance. Mr. Neville then pro- 
ceeded with his lecture on dramatic art, the purport of which was 
to " impress the necessity for certain efforts, and the importance 
of certain requirements " closely associated with the practice of 
dramatic art, which he described as " imperishable," founded on 
the most irrepressible instincts of humanity, which could only 
perish with humanity itself. The speaker maintained tliat the 
perfection of art in all countries is the faithful realization and 
representation of the passions, and to attain that desired result, 
diligent study was required — not necessarily with a master, but 
** study from the great models Nature has provided ; then the 
beauties of psychology, the value of temperament in the develop- 
ment of character, are revealed to you. Nothing must be left to 
chance on the stage. Study to give a faithful representation." 
The different branches of study were then described at some 
length with amusing examples. "Respect the art you follow, 


98 Guy FawkeSf Esq. — That Girl. uwly, 1890. 

cultivate a due sense of the responsibility and importance of your 
calling. You have a great study before you, in every way worthy 
of your best efforts. Remember, earnestness is the soul of art ; 
use the art according to your own style, manner, individuality. 
Learn to feel for yourselves, and act with heart and soul and 

2 sth. Shaftesbury. {Matinee) Sweet Will. — One-act comedy, 
by Henry Arthur Jones. This proved a success, for the idea was 
a pretty one, and the two principal characters, Judith Loveless 
and Will Darbyshire, were very well played by Miss Norreys and 
Lewis Waller. The girl loves the man and he returns it, but will 
not speak out because he is poor. He accepts an appointment 
to go abroad, but the leave-taking brings about a mutual 

26th. Gaiety. {Matinee) Guy Fawkes^ Esq. — Arthur Roberts, 
wishing to appear once more before Londoners, previous to his 
entering on a lengthy provincial tour, gave a special farewell. 
The burlesque was written by A. C. Torr and Henry F. Clarke, 
who, if their work was given in its integrity, cannot be compli- 
mented on it. There was really nothing of a story, but the whole 
piece was an enlarged variety entertainment, evidently written for 
the display of Mr. Roberts's drollery and eccentric humour. That 
he was amusing as Guy Fawkes goes without saying, and he was 
well supported by W. H. Rawlins as James L, by Fanny Marriott 
as Robert Catesby, by G. B. Prior as Grovel, and Amelia Gruhn 
as Viviana Radcliffe (particularly good). Minnie Thurgate was 
good as Angelica, and introduced a very pretty dance in that 
character. Sam Wilkinson was very amusing as Badcorn, a Friar 
Tuck sort of creature. 

26th. J. G. Grahame took the place of George Alexander in 
Dr. Bill at the Avenue. 

28th. Theatre Royal, Stratford. Fortunes Fool. — Adapted 
from the French, by Charles Harbury. 

30th. Haymarket. {Matinc^e) That Girl. — Comedy in three 
acts, by Henry Hamilton and Mrs. Oscar Beringer. The joint 
authors must, in all probability, bear the blame of having materially 
weakened a play that possessed some strength and freshness, by 
writing up the part of a most objectionable character, the child 
Aphrodite Dodge, who has not one redeeming point, but is simply 
obtrusive, disagreeable, and wearying. In a measure resembling 
Digby Grant in Two Roses^ Captain Wentworth (C. W. Somerset) 
is a selfish gentleman out-at-elbows, who does not care very much 
how he gets money so long as he does get it. He has been 

July. xSqo.] That Girl. 


floating about the Continent, and has used his daughter Iris (Miss 
Norreys) as a decoy for the young men he rooks at cards and 
billiards. As a rule she meets with the treatment such girls 
generally receive; this renders her miserable, for the poor creature 
is pure and modest, and she is therefore the more grateful for the 
kind attention and respectful consideration bestowed on her by 
Philip Challoner (H. Reeves Smith), a none too rich gentleman, 
who has the sense to read her true character. Her father has 
encouraged Lumley Brereton (E. W. Gardiner) in the belief that 
Iris shall be his, but when the young fellow is cleaned out he 
shows him the door. Lumley urges his suit almost insultingly, 
and he is knocked down for his pains by Challoner. As he rises 
he vows to be revenged. Challoner unexpectedly inherits a large 
property, and he is recalled to England to claim it (the scene is 
laid in Switzerland). In a few days a letter comes from him 
apparently proposing for the hand of Iris ; she is only too happy 
for she has given him her heart, and her father is delighted for 
he will have a rich son-in-law. On the strength of the coming 
alliance he orders new clothes, gets an extended credit from 
Fraulein Schwabe, his landlady ; calls together his acquaintances, 
and in a grandiloquent speech toasts the future bride and bride- 
groom in bumpers of champagne. Wentworth is of good family, 
and in consequence of this and his daughter's approaching 
marriage, Mrs. Cyrus P. Dodge (Helen Leigh), a "shoddy" 
widow, very rich, and with a reverence for high birth, has over- 
looked the fact of his having had to retire from the army for 
cheating at cards, and has accepted him as her husband to be. 
Judge, then, of the consternation of those immediately concerned, 
and the delight of the acquaintances who have looked down upon 
the father and daughter when Challoner does not arrive by the 
boat as expected. The reason is soon found. Challoner has 
never written a line ; the proposal and subsequent letters are all 
forgeries written by Brereton to bring ruin and disgrace on the 
Wentworths. Iris is utterly broken down with shame and self- 
contempt ; she has poured out her whole heart of love in reply 
to Challoner's supposed letters. Things end happily, however. 
Challoner does come, and actually offers his hand to Iris ; he has 
loved her but would not declare himself so long as he was poor, 
but he learns from the eavesdropping Aphrodite how Iris loves 
him for himself, and what Brereton has done. He gets back Iris's 
letters from the scoundrel, and Mrs. Dodge, who, despite her 
vulgarity, is a loyal-hearted though silly woman, consents to 
marry Wentworth, and one is led to hope from his manner that 

100 Judah — Adrienne Lecouvreur. cjult, 1890. 

her kindness and generosity may make of him a better man in 
the future. Alexander McNab is a Scotch tutor to Harold Leigh, 
a youngster that Aphrodite is determined to " mash," as she calls 
it The part of the Scotchman was very well played by Earle 
Douglas ; C. W. Somerset again distinguished himself ; his study 
of the broken-down rou^ and gambler — plausible, polished, and 
hypocritical — was excellent ; Miss Norreys was rather uneven 
in her performance, but generally it was tender and womanly ; 
H. Reeves Smith played with manly sincerity and decision ; 
E. W. Gardiner gained second honours for his finished impersona- 
tion of the scampish Lumley Brereton. The part of Mrs. Dodge 
could not have been better played. As to Vera Beringer's 
Aphrodite, I suppose she carried out her instructions, but the 
young lady certainly did not attempt to soften any of the 
repulsiveness of the character. 

30th. Death of William Rooles Lonnen, professionally known 
as William Champion, for many years connected as actor and 
stage- manager with the Adelphi Theatre, Liverpool. Father of 
E. J, Lonnen and Lonnen Meadows, actors, and of Victor 
Champion, musical director. 

31st. Shaftesbury. Miss Calhoun appeared as Vashti Dethic 
in H. A. Jones's play, Judahy Miss Olga Brandon having from 
prior engagements been compelled to relinquish the character. 
It was an excellent performance, exhibiting much intensity and 
some power, but was wanting in that weird, almost mystic, aspect 
which Miss Olga Brandon imparted to it. 

Her Majesty's. French Plays. — July 4th and 7th, Adrienne 
Lecouvreur : — Madame Sarah Bernhardt in the title rdle ; Lacroix, 
Michonnet ; Rebel, Maurice de Saxe ; Munie, Le Prince de 
Bouillon ; Piron, M. Quinault ; Jane Mea, Princesse de Bouillon. 
July 5th and 8th, La Dame aux Camclias : — Sarah Bernhardt, 
Marguerite Gauthier ; Dumeny, Armand Duval ; Piron, Georges 
Duval ; Angelo, Gaston Rieux ; Madame Grandet, Prudence ; 
Jane Mea, Olympe. July 9th, La Tosca : — Sarah Bernhardt, 
Floria Tosca ; Gamier, Le Baron Scarpia ; Dumeny, Mario 
Cavaradossi ; Rebel, Spoletta ; Piron, Schiaronne ; Jane Mea, 
La Reine Marie Caroline. 

Digitized by VjOOQ IC 

Aug., 1890,] This Woman and That — Dr, Bill, 101 



1st Elephant AND Castle. Jimmy Watt. — Three-act drama 
(author not announced) for copyright purposes. It proved to be 
by Dion Boucicault, and only his play, The Tale of a Coat (produced 
in Philadelphia, August 4th), renamed. 

2nd. Globe. {Matinee) This Woman and That. — When an 
author has written one really good play, like The Love Story ^ and 
another which, though far-fetched, still possessed considerable 
merits, as did Illusion^ curiosity is naturally excited as to his next 
production. Such was the case in reference to Pierre Leclercq's 
This Woman and That, The result was most disappointing ; there 
was no originality, and but little point in the dialogue. The one 
excuse that may be made for the result was, that Adelaide Moore, 
who played the heroine, brought to the proper rendering of 
the character neither that brightness nor pathos that it required. 
Mr. Leclercq, I imagine, wished to show us how we may be 
mistaken in a woman's nature from her outward manners. He 
scarcely succeeded. Lady Ingleside, a seeming prude, with a 
loving husband, elopes with a good-for-nothing roui^ Percy 
Gauntlett, who pleads in palliation of his wasted life that he has 
been refused by Eve Fleurier, a gay, light-hearted girl. Although 
Eve knows of his utter baseness, for he has betrayed his best 
friend, she resolves to save him and the faithless wife despite 
themselves. This she accomplishes, restoring Lady Ingleside 
to the arms of her forgiving husband, and promising to give her- 
self to Gauntlett if he is a redeemed character at the end of the 
year. Emilie Calhaem's performance was the best in the cast 
Otis Skinner could do nothing with his most thankless part, and 
Mark Quinton availed himself of his one opportunity. As I yet 
hope that we shall see good work from Mr. Leclercq, I have 
noticed the play and recorded the names of those who appeared 
in it. 

2nd. Avenue. Dr. Bill. — Alma Stanley replaced Fanny 
Brough as Mrs. Horton ; and Mrs. Leston Carlotta Leclercq as 
Mrs. Firman. Wilfred Shine, Mr. Firman ; Lilian Kingston, Mrs. 
Louisa Brown ; C. Vernon, Bags. When Edith Kenward went 
to America to produce Dr. Bill her part of the " Kangaroo dance'* 
girl was filled by Lillie Young. 

2nd. Adelphi. The English Rose. — I wrote the following for 
The St. Jame^s Gazette: "The reception accorded to the new 

I02 The English Rose. [Auo., 1890. 

play by Geo. R. Sims and Robert Buchanan, was most favourable 
to its success, and enthusiastic applause was bestowed on it when 
the curtain was finally dropped. Although we have some of 
the conventional situations which are expected in an Adelphi 
drama, the dialogue is much above the average of such produc- 
tions, and the second and third acts are very strong ones. 
The first and fourth will require to be a little condensed, and 
more reality thrown into the conflict between the mob and the 
soldiers and constabulary. As at present represented it is almost 
ridiculous. The hero, Harry O'Mailley, has won the love of 
Ethel Kingston, niece of Sir Philip Kingston, an Englishman, who 
had purchased the estates of the beggared Knight of Ballyveeney, 
Harry's father. The evil genius of the play. Captain Macdonell, 
the agent, looks upon any prospect of the lovers' union with 
special disfavour, as he intends to make " the English Rose," Ethel, 
his wife. Being called upon suddenly to make up his accounts, 
he determines that Sir Philip shall be put out of the way. He 
therefore persuades the Moonlighters, under the leadership of 
Randal O'Mara, a discontented tenant, to shoot their landlord. 
As he is driving home on an outside car with his niece, he is 
attacked and killed. Harry O'Mailley has learnt from Patsie 
Blake of what is going to take place, and rides his hardest to 
prevent the murder, but arrives only just in time to wrest a gun 
from one of the disguised assassins ; and Ethel accuses him of the 
deed, which she imagines he has committed in revenge for the 
insult put upon him that day by her uncle. The agent has over- 
heard her words, causes Harry to be arrested, and on Ethel's 
unwilling testimony he is condemned to death. She, however, 
is by this time convinced of his innocence, which is at length 
proved by Patsie and one Nicodemus Dickenson (a creature of 
Macdonell's), and the tardy avowal of O'Mara. This is the main 
thread of the story ; but there is much collateral interest in the 
anguish that Father Michael O'Mailley (the hero's brother) 
suffers — for though he has heard the confession of O'Mara, he 
dares not clear his innocent brother by breaking his priestly vow. 
There is also much tender pathos in the life and disappointment 
of Bridget O'Mara, who is devoted to Harry O'Mailley, but finds 
that he only cares for her with a brother's love. This part was 
very sweetly played by Miss Mary Rorke. The stirring events 
of the drama are : A steeplechase, in which the hero and his rival 
take part ; the Moonlighters' ambush ; the rescue, by his Irish 
friends, of Harry, as he comes out of prison ; and the search for 
him by soldiers after his escape. To give reality to the situations, 

AuG^ 1890.] Shadows of a Great City — My Milliner^ s Bill 103 

horses are introduced and real water flows and bounds under the 
* Devirs Bridge ' — a very beautiful set. Mr. Leonard Boyne, 
when he let himself go, was excellent as the hero, but dragged 
his scenes a little at times. Miss Olga Brandon, though still suf- 
fering from throat-weakness, without any rant or playing to the 
gods, completely held her house. Mr. Beveridge was the kind- 
liest and cheeriest of Irish gentlemen as the knight, and Mr. 
T. B. Thalberg was impressive as the priest. Mr. Dalton was 
powerful as the remorseful, half-crazed murderer, O'Mara ; Mr. J. 
L. Shine, as a merry sergeant of constabulary, and Miss Jecks, as 
his sweetheart, were amusing ; and Miss Kate James brightened 
the stage by her snatches of song and clever acting as Patsie 
Blake, an Irish gossoon. Mr. Bassett Roe, as the English land- 
lord, did well ; but Mr. W. L. Abingdon was not quite as good 
as he usually is in a villain's part. Mr. Lionel Rignold was 
excessively droll as Nicodemus Dickenson, without unduly ex- 
aggerating the peculiarities of a cockney * welsher.* 

4th. The New Queen's, hitherto known as the Novelty, was 
opened by G. F. Tolhurst, with J. A. Cave as manager. The 
Corsican Brothers was played. Charles Sennet as the Dei Franchi ; 
George Byrne, Chateau R6naud ; Mrs. J. F. Bryan, Madame 
dei Franchi ; Jessie Robertson, Emile de TEsparre. 

4th. Sadler's Wells, opened under the management of 
Charles Wilmot and H. A. Freeman, with Shadows of a Great 
Cityy an American five-act play by Joseph Jefferson and R. L. 
Sherwell. A. E. Percival, Jim Farren ; Evelyn Nelson doubled 
the characters of Elsie and Nellie Standish ; Grace Temple, 
Biddy Roonan. The scheme of the managers was to give fresh 
attraction in the shape of melodrama by different companies every 

4th. Parkhurst Theatre, Holloway. — The Earl's Daughter, 
one-act comedy-drama, by E. Haslingden Russell. 

4th. The "Old Stagers," at Canterbury, commenced their 
annual week. Their most laudable and successful efforts to amuse 
must not be passed over without some mention. We always have 
good acting from them, for the gentlemen number amongst them 
some of our very best amateurs, and they, with excellent judg- 
ment, invariably select the best professional actresses to support 
them. This year they were particularly happy in their choice. 
It was almost daring to attempt My Milliner^s Bill, made so 
famous by the acting of Mr. Arthur Cecil and Mrs. John Wood, 
but G. W. Godfrey's piece went capitally, thanks to the contagious 
high spirits of Miss Laura Linden as Mrs. Merrydew, and the 

104 T'ife Silver Shield — The Great Unknown. [Aug., 1890. 

really clever performance of " Herr Scrobbs " (E. Ponsonby) as her 
husband. Nor was Sydney Grundy's The Silver Shield less 
fortunate in its representation. In the first place, there was Miss 
Annie Irish to appear as Alma Blake, and this clever and rising 
young actress has a complete command over her audience, and 
can at her own will move them to tears and laughter ; she effec- 
tually succeeded in doing both. Miss Ethel Norton was the Lucy 
Preston ; Miss Laura Linden, Susan ; Mrs. George Canninge, Mrs. 
Dozey ; Colonel Naghi, Sir Humphrey Chetwynd ; Mr. Lafite, 
Ned Chetwynd ; Mr. Dodson Fogg, Tom Potter ; The McUsque- 
bagh, Rev. Mr. Dozey ; and Mr. Oliver Twist, Mr. Dodson Dick. 
The piece went capitally. The other two pieces were : — A. W. 
Pinero*s Money Spinner^ with the following cast : Lord Kingussie, 
The McFingon ; Harold Boycot, Dodson Fogg ; Jules Faubert, 
Colonel Naghi ; Porter, A. Smith ; Baron Croodle, Oliver Twist ; 
Millicent Boycot, Annie Irish ; Dorinda Croodle, Laura Linden ; 
M argot, Mrs. George Canninge; — and An Amateur Pantomime 
Reheafsal^ of which the cast was : Jack Deedes, The McFingon, 
Lord Alfred Fitzfrizzle, Herr Scrobbs ; Captain Tom Robinson, 
Colonel Naghi ; Servant, Mr. de la Pluche Smith ; Lady Muriel 
Beauclerc, Mrs. George Canninge; Lady Violet, Ethel Norton; Lady 
May, Annie Irish ; Lady Rose, Laura Linden. The performance 
of The Money Spinner was accounted the best of the week. 

5 th. Lyceum. The Great Unknown. — I wrote the following 
for The St. James's Gazette : " The number of Americans who are 
at present in London may account for Mr. Augustin Daly's 
production last night of his adaptation of Franz von Schonthan's 
and Gustav Kadelburg's Die Beruhmte Frau. It teems with 
what we are afraid we must call American * slang,' compre- 
hensible to, and appreciated by, Americans, but which loses its 
point as far as an English audience is concerned. We cannot 
but regret that Mr. Daly, after giving us such excellent dramatic 
fare as Tlie Taming of the Shrew and As You Like It^ 
should have chosen for his final production such a meaningless 
piece of work as the one now under notice. The Great 
Unknown has no consistency ; it is for the most part but 
detached duologues between the several couples who make up the 
characters. The play takes its name from Mrs. Arabella Jarraway, 
a very silly woman, who is not seen till the third act. Fancying 
herself a poetess, she leaves husband and children for three years 
that she may gain inspiration in Italy, ' the land of song.' A line 
in the programme — * When the cat's away the mice will play' — 
gives the key to the consequences of her absence. Mr. Jeremiah 

Aug., 1890.1 Welcome^ Little Stranger! 105 

Jarraway, the husband, runs after a pretty widow, who fools him 
to the top of his bent, laughing at him, and eventually bestows 
herself on an honest admirer. The Jarraway girls, Etna and 
Pansy, deprived of maternal care, talk slang and hoodwink their 
credulous father. Fortunately for them, there is at hand to watch 
over them * Cousin Ned,' a sterling fellow, who wins the elder 
girl to better things by his kind counsel and honest affection, 
while Pansy is sobered down by the sensible advice of hard- 
headed but soft-hearted Aunt Penelope. Mrs. Jarraway returns 
to her home a lump of affectation and absurdity ; but is brought 
to a healthier state by the whole family posing in the very worst 
light. Her husband, whom she has neglected, makes love before 
her face ; her children shock her by their purposely assumed 
tomboy propensities ; and Aunt Penelope tells her some home 
truths about the trash she writes. But all this will not be amusing 
or make a play unless it is brilliantly written, and this was by no 
means the case. Miss Ada Rehan has some opportunities as 
Etna for the display of her bewitching changes from grave to 
gay ; but it was almost saddening to see an actress who could 
play so artistically a Katherine and a Rosalind descend to the 
dancing of a nigger step-dance. Mr. James Lewis, Mr, John 
Drew, and Mrs. Gilbert are too clever not to earn some praise by 
their endeavours to make something of parts utterly unworthy of 
them. The Great Unknown is so weak that we hope Mr. Daly 
will see his way to give us a revival of A Night Off^ or some 
other of the bright plays that his company include in their 
repertoire. — A Wofnan's Won*t, a very amusing farce, which was 
produced in England some four years ago, and revived lately (see 
Gaiety, July 23rd), at a matinfe in aid of a charity, preceded the 
novelty, and was remarkably well played." 

6th. Criterion. Welcome, Little Stranger! — I wrote the 
following for The Stage : " It might almost be gathered from 
the wording of the programme that the play under notice was an 
original one. It is, however, an adaptation from the French Le 
Petit Ludovic, written by Henri Crusafelli and Victor Bernard, 
and produced with great success at the Menus Plaisirs (then Le 
Th^tre des Arts) March 17th, 1889. The adaptation has been, 
it is*said, for some years in Mr. Charles Wyndham's possession, 
but it never saw the light until last year about this time, when a 
performance of it was given, under another title, at the Shake- 
speare Theatre, Liverpool. The audience was then not large, 
and was certainly not enthusiastic over the play. Welcome, Little 
Stranger! is not by any means one of the most favourable 

io6 Welcome, Little Stranger/ [Aug., 1890. 

specimens of Mr. Albery's usually brilliant writing ; it is only 
now and then that we have scintillations of his wit and charac- 
teristic epigram. The main subject on which the story relies is 
not the most pleasant for consideration, that of a middle-aged 
lady who has been childless for some twenty years again becoming 
a mother, at the same time that her only daughter bears a son. 
To describe the play as briefly as possible, we may say that 
Mr. Darrtell Roe has just married Cecilia, the only daughter of 
Mr. and Mrs. Cranberry Buck, who are celebrating their silver 
wedding. Mr. Buck is quite wild at the certainty, as he takes it, 
that Mrs. Roe will have a son bom to her — and lays out all sorts 
of plans for his future heir. Awaiting this, his wife and he travel 
— they visit the Engadine, which makes them so young again 
that when Mrs. Buck returns to England at the end of a year 
there is a little son. This, of course, transfers Mr. Buck's af- 
fection from his grandson to his own child. He is ridiculously 
proud of this * December-hatched chick,' as his son-in-law calls 
it ; for Mr. Roe arrives on a visit with his wife and heir, and is 
naturally much disturbed at the discovery of the interloper as he 
looks upon it, for the young couple have been kept in the dark 
as to the arrival of the * welcome little stranger.* The end of it 
all is that the respective fathers quarrel fiercely. Roe is going to 
take his departure in high dudgeon, when the nurse tearfully 
imparts to him the intelligence that he cannot take his baby with 
him, as she does not know which is his ; the children have got 
* mixed ' in the process of dressing. The mothers are in the 
conspiracy (arranged by Mr. Paragon), and pretend that they 
cannot distinguish between the two, and, as the fathers are even 
at a greater loss to claim each his own special property, they 
agree at last to share the youngsters in common. There is a 
capital underplot, which might of itself make a good farce. Mr. 
Paragon, nephew to Mr. Buck, receives from his uncle a card, on 
which is written, * Meet me outside the Haymarket Theatre ; 
don't tell your aunt.' He goes into the theatre with his uncle, 
and is suddenly bewitched by a beautiful woman (Mrs. Llorencourt) 
seated in a box opposite. He scribbles on a card a request to be 
allowed to call upon her, and, when she has got into her carriage, 
rushes up and presents this request of his, as he fancies, *in a 
handkerchief, which he pretends she has dropped. Unluckily he 
has given her the card his uncle wrote him. The lady is naturally 
indignant at such a request as that conveyed to her, and plainly 
tells him so when they meet ; but, though a shy man, he per- 
sistently follows her, and will take no rebuff until, when the 

Aug., 1890.] Jilted — The Bookmaker, 107 

circumstance is explained, she accepts him, on the condition that 
he makes Mr. Buck and Mr. Roe friends again. The parts of 
Paragon and Mrs. Llorencourt were made most diverting by the 
clever acting of George Giddens and Vane Featherston. No 
better representative could have been found for the fussy, con- 
ceited, young-old man than W. Blakeley, who really caused the 
laughter of the evening. Miss Victor's well-known ability stood 
her in good stead, for the part of Mrs. Buck is one that requires 
very careful playing, or it might be made an unpleasant one. 
Edmund Maurice was decidedly good as the fond husband of the 
first and the enraged one of the later acts. Helen Forsyth was a 
very fascinating little wife to him, and the servants, Fanny and 
Ann, found clever representatives in Emily Vining and F. Francis. 
In fact, it was not the fault of the players that the piece itself 
was not a success. — Mr. Albery's adaptation was preceded by 
Jilted^ the very neatly-written comic drama in two acts by Alfred 
Maltby. The fun is healthy, and the characters are well drawn, 
and there is considerable fidelity to human nature in the story. 
Although an oft-told tale, Samuel Pott, Junr., a rich, good, simple- 
hearted fellow, is beguiled into an engagement with her daughter 
Marguerite (F. Francis) by the scheming of Mrs. Daulton (Emily 
Miller). Carrie Dalrypple {sic)y Sam's cousin, who loves him, sees 
through their manoeuvres. She lets it be understood that Sam 
has lost all his money, with the natural consequence that he is 
freed from his engagement. He turns to Carrie for his solace, 
whflst Marguerite takes up with his worthless friend, the Hon. 
Henry St. Cloud. The part of a nervous lawyer, Mr. Equity 
Transfer, was a little overacted by F. Emery. S. Valentine was 
good as Carrie's uncle, Samuel Potts, Senior. F. Atherley well 
represented the sponging rou^^ St Cloud. EUaline Terriss ex- 
hibited considerable dramatic force, as well as sweetness of 
character, as Carrie Dalrypple ; and George Giddens artistically 
mingled touches of pathos with the more comic side of Samuel 
Potts, Junior. Jilted was remarkably well received. 

9th. Gaiety. The Bookmaker. — I wrote the following for The 
Weekly Times and Echo: "In this play. Sir Joseph Trent, 
the bookmaker, unlike most men connected with the turf as 
'penciller,* is the essence of good nature and kindliness. He 
has been thrust out on the world at an early age, been a jockey, 
and eventually turned * booker.' He is doing fairly well, when 
it is suddenly announced to him that he is a baronet, and 
possessed of ;f 100,000. He at once sets about being the good 
genius of damsels in distress. He does not feel at home in 

io8 Casting the Boomerang— Judah, [Aug., 1890. 

society, and so he is very grateful to Lady Jessie Harborough, a 
frank and generous girl, because she talks to him about racing 
and horses, for which she has a great affection. But she is still 
fonder of Jack Carew ; her father, however, will not hear of the 
match on account of Jack's poverty. Sir Joseph buys her a horse 
and backs it so heavily for her that she wins ;£^40,ooo. Sybil 
Hardwick and Lord Maidment love each other, but the young 
fellow has to confess to her that in the past he has married a 
worthless woman, and that she is still alive. Sir Joseph helps 
them out of their trouble by proving that the Lady Maidment is 
none other than his Polly, who, married to him, had deserted him 
and committed bigamy. He does not even threaten to prosecute 
her, but sends her away repentant. Nat Goodwin was quaint, 
original, and amusing as Sir Joseph Trent, outwardly vulg^ian, 
but, at heart, the truest of gentlemen. His conversations with 
the butler, with whom he fraternizes, were thoroughly racy, and 
he was very genuine in his kindheartedness. William Farren 
was a genial Earl of Harborough, and Reeves Smith most capably 
resumed his original character of Lord Maidment. Christine 
Mayne was agreeable as Lady Jessie Harborough ; Adelaide 
Gunn was a gentle Sybil Hardwicke ; Jenny MacNulty made a 
decided hit as Polly, the adventuress ; Charles Glenney and Frank 
Wood were excellent as Jack Carew and Bubbles the butler. 
The piece was received with every sign of approval, and Nat 
Goodwin was warmly applauded." 

9th. Globe. — Last performance of Romeo and Juliet^ and close 
of Adelaide Moore's tenancy. 

nth. Lyceum. — Casting the Boomerang was revived for the 
final week of the Augustin Daly Company's appearance in London, 
when the manager made a little speech, and said that he should 
return to the Lyceum in the autumn of 1891. 

I ith. Ada Ferrar appeared on this and several following nights 
as Ethel Kingston, in TIte English Rose, in consequence of Olga 
Brandon's indisposition, and acquitted herself admirably. 

17th. Queen's Theatre, Manchester, destroyed by fire. 
Mr. Pitt Hardacre was the lessee. 

20th. Henry Neville sailed to fulfil a lengthened engagement 
in America. 

2 1 St. Shaftesbury. — E. S. Willard invited ministers of all 
denominations to a morning performance of Judah. The clerics 
came in their numbers, and in many cases accompanied by their 
sisters and their cousins, and their aunts — and their better halves. 
Actors could not have had a more sympathetic or interested 

Aug., 1890.] Captain Therise, 1 09 

audience. Every point Wcis taken up, and the applause Wcis 
general and hearty. The whole company were on their mettle 
and at their best Mr. Willard came forward at the close of the 
performance and expressed his gratification at so many being 
present, as it did away with the " cuckoo cry *' that the clergy 
would not enter a playhouse. Twelve hundred invitations had 
been sent out ; of the replies only eight had expressed disap- 
probation of the playhouse and everything appertaining thereto, 
and their expressions were very forcible. The manager could 
only r^ret that any minister should not sanction performances 
by his presence, as his being in evidence could but tend to the 
further purification of the stage. 

2Sth. Prince OF Wales's. Captain Th^rhe. — Unlike most of 
the comic operas that we have given us in England, which are the 
work of foreign authors and composers. Captain Thirhe was written 
especially for a London audience, and had not been tried abroad 
before it was first produced at the Prince of Wales's. The plot 
is a good deal involved and somewhat inconsequential, but there is 
in the original idea sufficient drollery for a groundwork, on which 
the respective representatives of the characters have built up 
some laughable situations, the humour of which was considerably 
increased after the opening night, whilst, on the other hand, the 
entire performance, which then occupied nearly four hours, was 
most judiciously curtailed to three. The Marquis de Vardeuil 
has arranged for a mariage de convenance between the Vicomte 
Tancrede de la Touche and his daughter, Mdlle. Th^r^se. The 
Vicomte, a gay young rake, without caring particularly about 
the union, accepts the situation, but Th^r^se strongly objects. 
She has been educated in a convent, and has never set eyes upon 
her future husband, but has from her childhood had a lover in her 
cousin Philip de Bellegarde. He is equally fond of her, so this 
family arrarangment is anything but to their liking. The Vicomte, 
in his amorous escapades, has been smitten with Mercedes 
(who is only spoken of, but not seen), the young wife of Colonel 
Sombrero, and to forward his views on her, as she has never seen 
either himself or Philip the Vicomte, assumes the latter's name, 
as the coquettish Mercedes has been heard to express a wish to 
be introduced to him. The Vicomte's visit is discovered, and poor 
Philip gets the blame, and, in consequence, is ordered off to his 
uncle's chdteau. There he is soundly rated by his uncle and 
his aunt, Mme. la Chan6inesse Herminie, who look upon him 
as a Lothario ; but he meets his lady-love, and they vow 
constancy, for she will not believe in the stories that arc told of 

no Captain Th&ese, [Aug., 1890. 

him. Philip is ordered close confinement in his chamber, but 
being determined to get back to camp to clear his character, he 
lets himself down from his window in private clothes, leaving his 
uniform. He is no sooner gone than an order comes for him to 
take a batch of recruits to the front Th^rese foreseeing the 
disgrace that will be brought upon him by his absence from duty, 
assumes his uniform and name, and prevails on her aunt La 
Chan6inesse and M. Duvet, the notary (who has been summoned 
to draw up the marriage contract), to accompany her in the 
disguise of the two sergeants who were in charge of the raw levies, 
but whom her maid, Marceline, has made tipsy. The maid also 
joins the party in the character of a vivandikre. Arrived at the 
camp, their troubles begin at once, for instead of the Marquis, 
whom they reckoned on finding in command of the troops, 
Colonel Sombrero is temporarily in office, and as he is a very 
martinet, he puts them to considerable inconvenience from their 
lack of military knowledge. Worse than this, however, is his 
desire to punish the Philip de Bellegarde, who, he learns, hcis been 
flirting with his wife. Here he is in a fix, for he has Th^rese as 
one Philip, Tancr^de, who still assumes the character, as another, 
and the real Philip as a third. The Colonel puts them all under 
arrest, and tries them all by an amusing travesty of a court- 
martial. Happily, the Marquis returns to resume his command, 
and identifies the several parties, who stood a good chance of all 
being shot Tancr^de owns to his misdemeanours, refuses the 
hand of Th^rese, which is bestowed on Philip, and Marceline pairs 
off with M. Duvet, My province is only to deal with the acting 
and the book ; M. Planquette*s music was pronounced to be 
melodious and scholarly. As to the book, it contains some 
" happy thoughts " from Mr. Burnand, such as Tancride's bold 
assertion that " a soldier has no business with a wife of his own," 
and the old Chan6inesse's explanation that " to love is an irregular 
verb, which does not require a third person present;" but as a rule 
the libretto was none too lively a specimen of English adaptation. 
The lyrics, some of which Gilbert k Becket had contributed, are 
above the average. Hayden Coffin has never before acted with 
such spirit ; he was quite gay and jaunty. Joseph Tapley, too, 
was more animated and natural in his manner, though occasionally, 
from excess of zeal, he was a trifle too melodramatic. Harry 
Monkhouse was very amusing as the notary, a superstitious 
gentleman, who having been told by a gipsy that he will not be 
safe under a roof until a certain date is passed, ludicrously ex- 
presses his fear at ever sleeping in a house. He was well seconded 

Aug., 1890.] The Deacon, III 

by Phyllis Broughton, with whom his scenes principally lay, and 
who had a charming and graceful mazurka to dance. Henry 
Ashley burlesqued the jealous husband and strict disciplinarian 
capitally in Colonel Sombrero ; and Harry Parker was quietly 
droll as the old Marquis. Madame Amadi was a valuable 
aid in her character ; and Florence Darley played her small 
part very well. Attalie Claire, an American lady, quite new 
to England, made a favourable impression, though she was very 
nervous on the opening night, and did not do herself justice. 
The remainder of the characters were well-played, and the chorus 
excellently drilled. As " the date of the action of the play is 
between 1585 and 1590, when the Duke of Mayenne was 
assisted in his struggle for the throne of France by the troops of 
Philip of Spain," there was ample scope for handsome armour and 
gorgeous uniforms, of which the management has lavishly availed 
itself, the designs of the dresses having been most literally and 
and tastefully carried out by Messrs. Nathan and Mons. and Mme. 
Alias. The scenery, which was very beautiful, was supposed to 
represent the country about Dijon ; and the opera was produced 
in the most effective manner by Charles Harris. The principals 
and the composer were called at the end of the performance, 
but no great anxiety was expressed for the appearance of the 
authors. On witnessing Thirise a second time, I found that several 
of the characters had worked up their parts themselves to their 
very great improvement, and that the whole went much more 

27th. Shaftesbury. {Matinee) The Deacon. — The following 
was written by me for The Topical Times: "A rather cold-blooded, 
but at the same time most sensible, piece of advice given to young 
people by sapient elders is, 'Do nothing without a motive.* 
Mr. Henry Arthur Jones, the author of some very good plays, is 
following out this doctrine. His motive is a good one — he wishes 
to inculcate moral lessons through the medium of the stage, and 
as the stage, to carry out its mission, should be in itself moral, 
Mr. H. A. Jones is doing his best to elevate its tone and to show 
what effects it can produce on mankind in general. We had the 
last proof of this in Tfte Deacon, Here was a Mr. Abraham 
Boothroyd, albeit that he was a wholesale bacon factor, and a 
mayor, and a senior deacon of his chapel, a very silly old 
gentleman, for he looked upon a theatre as a very sink of iniquity, 
though he had never entered one, and only founded his convictions 
on the strength of his father and his grandfather never having 
seen the inside of a playhouse. Well, he comes up to London to 

112 Light o' Day. [Aug., 1890. 

see his nephew, Tom Dempster, en passant^ and then to go to 
some specially bigoted meeting at Exeter Hall. But at his 
nephew's he meets the captivating Mrs. Bolingbroke, a former 
actress, who has made a bet with Tom that she will so bewitch the 
strait-laced Boothroyd as to carry him off to a theatre. And 
she succeeds, for she takes him to see Romeo and Juliet^ and the 
old gentleman is perfectly delighted, and declares that he will go 
to the theatre every night for ever afterwards ; nay, more, he will 
build one himself in Chipping Tadbury, and attract all those whom 
he has hitherto joined in railing at it. I need hardly say that the 
young lady who plays Juliet is Rosie, Tom Dempster's sweetheart, 
and that in her the recalcitrant Mr. Boothroyd discovers his 
grandchild, offspring of his own daughter, who had eloped with a 
strolling mummer. And so, as in the fairy tales, they all live 
happy ever after — that is, supposing the worthy Mayor does not 
encounter a rather warm reception from his fellow-townsmen on 
his return for his changed opinions as to the iniquity of stage 
plays. Tfie Deacon is very prettily written, and is perfectly 
harmless, but I do not think it will inculcate a very high moral 
lesson. Still, whoever sees Mr, Willard in the character of Mr. 
Boothroyd will be very much pleased, for it is a part that suits 
him. He has to show^ finesse in being gradually won over by the 
captivating actress who upsets all his preconceived notions as to 
the wickedness going on behind the scenes ; he has to exhibit 
considerable pathos as he talks of his past lonely life, and he has 
to show what an extraordinary change one visit to a theatre can 
produce in a hitherto staid and rather sanctimonious old gentle- 
man ; and E. S. Willard showed all this remarkably well. Mrs. 
Macklin, too, was excellent in her coquetry and cosseting of the 
worthy Mayor's little weaknesses ; and the two lovers, played by 
Annie Hill and Charles Fulton, were as foolishly in love as two 
desperately * spoony ' young people should be. The Deacon will 
make a very pleasant little curtain-raiser, and but little more. The 
author originally intended to name his work The Play's the Thing, 
— In The Violin Players, which preceded it, Mrs. Willard was 
sympathetic and engaging as Giannina." 

29th. Laurence Cautley sailed for Australia to appear as 
Harry O'Mailley in The English Rose, 

30th. Novelty. Light d Day, — Sensational comedy-drama by 
Brian McCullough. 

Digitized by VjOOQ IC 

SuT., x89«>.] A Legend of Vandale — A Million of Money. 113 



1st Grand. A Legend of Vandale, — By A. E. Drinkwater. 
Brightly written, and turning on a legend in the family of the 
Loraines which sets forth that once in every four years the ghost 
of a cavalier who was murdered in Vandale Towers will re-visit 
the place. Norah Loraine (Mary Jocelyn), the present proprietor 
determines to sit up and await the ghost's coming. Leonard 
Leinster (Scott Buist), a young fellow who has been to a 
fancy ball in the neighbourhood in the dress of a cavalier, seeks 
shelter, having known the place formerly as an inn, is mistaken 
for the ghost by the old servitor Dennis (A. E. Drinkwater), 
whom he nearly frightens out of his wits, but makes himself very 
agreeable to the heroine. The trifle was very well acted. 

6th. Drury Lane. A Million of Money, — ^The hero, Harry 
Dunstable, is the ward of the Rev. Gabriel Maythome. He has 
been brought up from childhood in his household, and an 
affection has sprung up between him and Mary Maythome, the 
parson's daughter. The clergyman has evidently some doubts as 
to Harry's steadiness, who is in the army, and having but a 
small allowance from a rich uncle, has rather over-run the 
constable. From a betting transaction he is very short of 
money, and borrows jf300 from Dick Bounder, a low book- 
maker and creature of -Major Belgrave, the vi llain of the play. 
The Major has really found the money, and, foreseeing that 
Harry will have some difficulty in repaying it, has advanced it 
in order that he may put pressure on the debtor, so that the 
knowledge of his liabilities may come to Mr. Maythorne's ears, 
which will probably lead to a separation between Harry and 
Mary, for whom the Major has, strange to say for a man of his 
sort, conceived a violent aflfection. That which he foresees comes 
to pass ; Harry is served with a writ in the presence of Mary 
and the clergyman, who at once says that all communications 
between the young fellow and his daughter must cease, and that 
a marriage is quite out of the question, when Harry considerably 
astonishes everyone by announcing that he and Mary are already 
married, and just at that moment a lawyer — Daniel Whetstone — 
informs him that the rich uncle is dead, and that Harry has come 
into a million of money ; the Major having, only the instant before 


114 -^ Million of Money, [Sept., 1890. 

this, offered to lend Harry the ;f 300, for which the young soldier 
is intensely grateful, although he little thinks that Belgrave has 
done this merely with a view of obtaining an ascendency over him. 
In the next act we find that Harry is spending his money right 
royally. Amongst his other tastes, he has developed a liking for 
the turf. Major Belgrave, who is now his greatest friend, has, 
through Harry's valet, obtained possession of his private cipher and 
uses it to telegraph to his trainer, John Pawter, telling him not 
to run a horse called White Stockings for the Derby, and makes a 
very big book accordingly on the event. He also introduces him 
to a notorious but beautiful woman, Stella St. Clair. Harry, only 
too readily, falls under her influence, and offers her a seat on his 
drag for the races. Fortunately, however, he discovers in time 
that his cipher has been used. White Stockings duly runs and 
wins, and so upsets the plans of the conspirators. Stella is the 
wife of Geoffrey St. Clair, a man who has been brought to ruin 
and penury through her and her friend. Major Belgrave. The 
husband is desperately incensed against her, and is almost insane 
from drink and the unsettled life which he leads. He is seeking 
the means to expose her and her accomplice, on both of whom 
he is determined to be revenged, and with this view he allows 
himself to be made the tool of the Major, and apparently enters 
into their plot. The connection between Stella and Harry is to 
be allowed to go on until it is patent to the world that Geoffrey 
St. Clair shall be able to sue for a divorce and obtain heavy 
damages, of which he is to have his share with his wife and the 
Major. By these means also, Belgrave hopes to separate Mary 
from her husband, and that she will legally free herself and be in 
a position to accept Belgrave. The third act takes place in the 
exhibition grounds. The Major so arranges that Stella and 
Harry shall meet. . The beautiful fiend tells her lover that it 
must be for the last time, that her reputation is suffering, and that 
she can no longer trust herself; that she loves him, and therefore 
for her own sake, must go away. Harry, in a weak moment, 
yields to the ascendency she has obtained over him and entreats 
of her to stay with him. His wife overhears this, and tells him 
that for the future they must be strangers. Geoffrey St. Clair 
now has his revenge. He exposes the plot that has been hatched 
against Harry, and the villainy of Major Belgrave. He lays open 
the whole life of the woman who bears his name, but in doing 
this, the excitement it causes in him is so great that he is seized 
with a fit and dies. In the following act Harry appears to be 
going headlong to destruction. He has invested large sums in a 

Sept., iSqow] A Million of Money. 1 1 5 

supposed bubble company, of which Belgrave is the promoter, 
and ruin stares him in the face. Stella, Who has been living 
under his protection, now comes out in her true character. As 
she imagines he can no longer support her extravagance she 
dismisses him, telling him that she has never cared for him, and 
that she has had her revenge for the scorn with which his 
wife has treated her. The scales fall from his eyes, and Harry 
determines to try and redeem the past. His regiment is ordered 
on immediate active service, and we see the troops prepared to 
march, Mary, in the hopes that her husband has repented, 
comes to Wellington Barracks prepared to grant him a last 
interview, but there she sees Stella, who in the meantime has 
entrapped Frank Hastings, a mere beardless youth, but very 
wealthy, into a marriage with her, and as Mary is not aware of 
this, she is led to suppose that Stella means to accompany Harry 
Dunstable, and, therefore, when he pleads for pardon, Mary is 
obdurate and unforgiving. The last act takes place in Dunstable 
Hall, which is liable to be sold under a mortgage, of which 
Belgrave has managed to obtain possession. Here Mary has a 
dream, which is realised to the audience. As she sits in an old 
tapestried chamber, the scene is rendered quite dark, and then, in 
an instant, we are transported to a " reef on the Indian Ocean." 
The vessel in which Harry and the troops have sailed has 
evidently been wrecked, and the only survivors are himself, 
Stella, and her husband, Frank Hastings. The latter, who has 
discovered what a notorious creature his wife has been in the past, 
is only seeking for an opportunity to revenge himself by killing 
her. She throws herself on the protection of Harry, and when her 
husband sleeps from exhaustion, she confesses to the man she so 
much injured the last wrong she has done him in allowing his 
wife to believe that she was still his mistress, and, almost as she 
makes the only reparation she can, she falls dead. The scene 
then is rapidly changed back to the room in Dunstable Hall. 
Hetty Nestledown is kneeling at Mary's side, and is gently 
breaking to her the news that intelligence has been received of 
Harry, and when she has been gradually prepared for the joyful 
shock, he appears, and husband and wife are reconciled. The 
utter discomfiture of Major Belgrave is brought about by the fact 
that the shares which Harry has held in the supposed bubble 
company prove to be of immense value. The humorous charac- 
ters in the play are those of Hetty Nestledown, a good-hearted, 
outspoken, pretty, but coquettish girl, who pairs off with Tom 
Cricklewood, a young gentleman who cannot quite make up his 

Ii6 A MiUton of Money. [s»pt., 1890. 

mind whether he will go into the church or turn comic singer. 
His fate is decided by his being plucked. In the hands of such 
clever artists as Fanny Brough and Harry Nicholls, these parts 
were bound to be amusing. Dick Bounder, too, is a droll character 
in the hands of Fred Shepherd, though I think he might have made 
it a little more refined, as, such a cad as he makes him, would 
scarcely be tolerated by even a fast set Herbert Standing is 
always good as a polished villain, and his present character fits 
him exactly ; it could not be better played. Charles Warner, 
who made his re-appearance in England, was very warmly 
welcomed, and appeared to be as acceptable to a Drury Lane 
audience as he had been in the same line of character at the 
Adelphi. The same may be said of Jessie Millward. Charles 
Glenney fairly brought down the house by his powerful represen- 
tation of the half-crazed GeoflTrey St Clair. His frenzied bursts of 
passion, his semi-idiotic laughs, and exhibition of low cunning, were 
triumphs, and obtained for him a special call. Alice Lingard, by 
her fascination of manner, cleverly concealed the depravity of the 
woman who had lured so many to their ruin. Her death scene, 
too, was impressive and touching, and she added much to the 
success of the piece. Mark Quinton was very good as Frank 
Hastings ; and Guy Stanton played the small part of Lord 
Heatherdown neatly. The other representatives in the cast 
were efficient. Augustus Harris, who produced the play, almost 
surpassed himself in the various tableaux that he had arranged. 
The scene at the races, with its real drags and horses, the four- 
in-hand actually being driven off by Charles Warner — in fact all 
the details that we see on Epsom Downs were correctly copied, 
faithfully reproduced, and created quite a furore ; so did the march 
out from Wellington Barracks of the troops, preceded by their 
band, a wonderfully well-managed stage effect ; and the reef on the 
Indian Ocean was a triumph of scenic display. Another remarkably 
pretty scene, too, was the parsonage, with sportsmen going to a 
meet in the background. The interior of Belgrave's chambers 
in Piccadilly, of Squander Mansion, and Dunstable Hall, were 
perfect in their designs, and rich in the extreme. The " illuminated 
fete " in the exhibition grounds was also wonderfully true to the 
original. On the first night the play occupied four hours and a 
quarter, but this was not to be wondered at, considering the 
heavy change of scenery which naturally took some time to get 
into perfect working order, but the performance was afterwards got 
within reasonable limits, and, is supposed, will take rank as one. of 
the most successful productions ever seen at Drury Lane. 

ScPT^x89o.] The Middleman — Truth, 117 

6th. Shaftesbury. T/te Middleman. — Revived with Mrs. 
Willard and Bessie Hatton as Bessie and Nancy Blenkarn, Mr. 
Harbury as the Middleman and E. W. Gardiner as Jesse 

nth. Criterion. Truth, — For this I wrote the following 
notice for The Topical Times: — " Truths revived on Thursday at the 
Criterion, was played there eleven years ago (February 8th, 1879) 
and had then the great advantage of Charles Wyndham playing 
the principal character ; Herbert Standing and the late W. J. Hill 
were also in the cast, with the almost inevitable Mrs. Stevens 
included as the ' strong woman ' and mother-in-law. Of the 
play itself I may own that it made me laugh a great deal, though 
it was only founded on one of those escapades which married 
men are so prone to in farcical comedy ; but at the same time I 
must own that the second act is but a repetition of the first, 
though the third strikes fresh gp-ound in the cross-examination of 
the four culprits. Three of these four gentlemen have been 
seduced by Sir Partridge Compton (W. Blakeley), a jolly but 
pleasure-loving oldish humbug, to accompany him to a masked 
ball under the plea that they are attending a meeting in the 
' Consolidation Working Men's Interest* As they have married, 
or are engaged to, young ladies in the Quaker interest this would 
be unpardonable. Mrs. Stonehenge Tuttle, the mother-in-law, 
who used to lock up her defunct husband's wooden leg at ten 
o'clock to prevent his gadding, has her suspicions, and overhearing 
them talking about Fatimas, Spanish dancers, and Hungarians, 
reveals all she has learnt to the wife and sweethearts. The rakes 
of the night declare, however, that they have only been preparing 
a charade as a surprise for Mrs. Sterry, so the women believe 
this, until Mrs. McNamara, at whose house they are supposed to 
have been rehearsing, turns up and bowls the men out in another 
taradiddle. She, however, induces them at last to tell the plain 
truth, and the prying Mrs. Tuttle relieves them of her presence. 
T. G. Warren had not quite the light touch required for the 
peccant husband, Mr. Alfred Sterry. W. Blakeley was very 
hilarious and droll, and George Giddens, in the character of John 
Penryn, who like Geoi^e Washington * never told a Ire,' was quietly 
funny, whilst Aubrey Boucicault, was clever as Frederick Fry, 
who shelters himself under the * umbrella * of his friend's reputed 
veracity. Maria Daly was a little too stern. Helen Forsyth and 
Misses Frances, E. Terriss and M. Hardinge were very nice. Miss 
Fitzroy, a new comer, an Australian lady I believe, is handsome 
and will take well. I think it would have been wiser to have 

ii8 The Village Forge — Ravenstvood. [Sept., 1890 

awaited Mr. Wyndham's return before reviving TrutA ; he would 
have added greatly to its sucfcess." 

1 3th. Shaftesbury, /udak — Revived. Winifred Emery as 
Vashti Dethic, an exquisite performance, and E. W. Gardiner 
dryly humorous as Juxon Prall. 

iSth. Surrey. TAe Village Forge. — Five-act drama by 
George Conquest and Tom Craven ; C. J. Hague, Harry Grey- 
ling ; Philip Cunningham, Greorge Rylands ; E. S. Vincent, Daniel 
Brand ; Cruikshanks, Martin Rackstone ; Mrs. Bennet, Grace 
Glynd ; Jenny Hum, Tulip, a little servant. 

1 5th. Sadler's Wells. Joan of Arc. — Historical drama in 
four acts by G. W. Innis, played for the first time in London. 
Follows the accepted story of the Maid of Orleans fairly closely. 
The heroine was played by Isabel Beresford. 

1 8th. Death of Dion Boucicault in New York in his seventieth 
year. He was born in Dublin, December 26th, 1820, and his first 
and most brilliant comedy, London Assurance^ was produced at 
Covent Garden in 1 841, with a very brilliant cast. Its success 
caused him to adopt his own name in future (for his first work he 
used the nom-de-plume of Lee Morton). He wrote many plays, 
amongst his best being Old Heads and Young Hearts^ 1844; 
Janet Pride^ 1855; ^^ Colleen Bawn^ 1 860 ; The Octoroon^ 1 86 1 ; 
Dot, ii62 \ Streets of London, 1863; After Dark, 1868; The 
Shaughraun, 1875. Other famous plays from his pen were 
The Flying Scud, 1866 ; and Formosa, 1869. He first appeared 
as an actor in The Vampire, a piece of his own, at the Princess's 
in June 1852. His best character was that of Myles-na- 
Coppaleen. He married Agnes Robertson, a very charming 
actress, and leaves two of his sons, Dion and Aubrey, on the 
stage. For some years Mr. Boucicault's health had been failing, 
and he sank from pneumonia and weak action of the heart 

20th. Lyceum. Ravenswood. — It was by no means the first 
time that Sir Walter Scott's novel has been utilised on the stage. 
It is of course best known as the foundation of Donizetti's Lucia 
di Lammermoor, produced at Her Majesty's in 1838, but was 
first tried in 1823, in Edinburgh, as a five-act drama, under the 
same title as the novel, when the greatest prominence was given 
to the character of Caleb Balderstone. This was reproduced at 
the Marylebone in 1848. Early in 1828, under the title of 
The Mermaideris Will ; or. The Fatal Prophecy, it was seen as 
the opening piece at the Brunswick, in the East of London, then 
only just rebuilt, and which from some fault in the construction 
collapsed three days after. In this adaptation Alice Gray was 

sbft., 1890.] Ravenswood, 119 

almost the principal character. In March of the same year, 
a piece called La Fiancie de Laminermoor was produced at the 
Porte St. Martin in Paris ; it was described as a pii^ce hiroique, 
and again Caleb Balderstone was made a prominent character, 
and the tragic ending consisted in the lovers taking refuge 
together on a rock and being engulphed by the rising waters. 
Another version of it, entitled Brot/ier and Bride^ was done in 
New York at the Olympic Theatre, but was a complete failure. 
The latest and most effective version was that by Palgrave 
Simpsons-called The Master of Ravenswood^ and produced at the 
Lyceum, December 23rd, 1865, by Charles Fechter, in which the 
latter appeared as Edgar of Ravenswood ; Carlotta Leclercq, Lucy 
Ashton ; Hermann Vezin, Hayston of Bucklaw ; Miss Elsworthy, 
Lady Ashton ; Mrs. Ternan, Old Alice ; George Jordan, Sir 
William Ashton ; Miss E. Laveme, Henry Ashton ; J. H. Fitz- 
patrick, Colonel Douglas Ashton ; Widdicomb, Captain Craigen- 
gelt ; and Sam Emery, Caleb Balderstone. The special scenes 
were "The Mermaiden's Well," with the Wolfs Crag and the 
desolate Ravenswood Castle in the distance, " A Hall in Ravens- 
wood Castle," and the " Chapel Cloisters ; " the great feature of 
the scenery (which was all painted by T. Grieve) being 
the " Kelpie's Flow," a marvellous moonlit picture in which 
the rising of the tide was seen. As the moon sunk, peals 
of thunder were heard, and amidst flashes of lightning the 
lovers were swallowed up and drowned in the raging sea. 
A keen interest was aroused in the theatrical world as to the 
treatment Herman Merivale would bestow upon the subject. 
Much was expected, for the adapter had previously given us some 
excellent work, and expectation was not disappointed, for the 
dramatisation has been accomplished in a more than satisfactory 
manner, the original having been only so far departed from as was 
necessary in order to fit it for stage representation, and to produce 
situations that would prove effective. Mr. Merivale has retained 
the poetic spirit of this most tragic novel ; he has used both 
blank verse and prose, and has made all his characters interesting. 
The play opens with a most picturesque scene of " The Chapel 
Bounds ; " on the left, the porch of the semi-ruined chapel, on 
the right the steep and rugged pathways leading from "The 
Wolfs Crag," the remains of the old building standing forth 
prominently, perched on high. Here meet the two old cronies, 
Ailsie Gourlay and Annie Winnie, the former answering to the 
seer, to whom even to this day Highlanders, in particular, ascribe 
such miraculous powers of foresight ; and here Ailsie utters the 

I20 Ravenswood. [Sbpt., 1890. 

portentous rhyme that tells the fate of Edgar, the last of his race, 
and also marks out to Hayston, of Bucklaw, the choice that he 
will make between honour and worldly advantage. Presently a 
procession enters, bearing the mortal remains of Edgar's father, 
which are to \ : buried within the sacred edifice. Edgar requests 
to be left for a while to commune with the dead, and in a soliloquy 
lets us know the hatred he bears to Sir William Ashton, and hear 
his oath of vengeance. When the retainers return, prepared once 
more to raise the corpse, and the priests are in attendance, the 
officer and soldiers of the Presbytery appear with a warrant, 
forbidding the sepulture, and almost immediately Sir William 
Ashton and his daughter Lucy arrive. Edgar taxes Sir William 
with the wrongs he has done him, and for which he is about to 
take summary revenge, when his eye falls upon the beautiful girl 
as she rushes between the combatants. Edgar sheathes his sword, 
his friends and clan hold the soldiers at bay for the funeral to 
proceed, and with the words full of meaning the first act ends — 
with Edgar's utterance of the motto of his race, " I bide my time." 
The second act opens in the library of Ravenswood, a fine old 
wainscotted apartment with stained glass windows, now inhabited 
by the Ashtons. Lucy has heard so much good of Edgar that 
she is evidently interested in him, and with a woman's sweet pity 
successfully pleads with her father that he will not send off some 
despatches to the government which will bring trouble on the 
young man. Her brother Henry calls her forth to witness his 
prowess with a crossbow, and then Edgar comes to force a duel 
on Sir William ; the sight of Lucy's portrait brings him to a softer 
mood, and he again stays his hand. A shriek is heard without, 
Lucy is in imminent danger from a wild bull, Edgar seizes a gun 
that is hanging against the wall (most opportunely loaded, by the 
way) and firing through the window, saves Lucy's life. It must 
be confessed that this incident fell flat and tame ; there is but 
little chivalry in a man aiming in safety at even an infuriated 
animal. This was afterwards altered ; Edgar rushed out and was 
supposed to confront the beast In the next scene, " Tod's Den," 
Bucklaw and the blustering Craigengelt are awaiting Edgar, who 
is to sail with them to join the Pretender. He is known to have 
gone with the intention of challenging his enemy, and when he 
enters and refuses to give his reasons for having changed his 
mind, Bucklaw taxes him with cowardice, they draw upon each 
other, Bucklaw is disarmed, and exits, breathing bitter words of 
hatred against Edgar. The third scene is a dilapidated chamber 
in " The Wolfs Crag," an exquisite piece of painting with high 

Sbpt.»z89o.] Ravenswood. I2I 

pitched arches and crumbling ornamentation. Lucy, however, 
constantly occupies Edgar's thoughts, his heart is softened towards 
her and hers, and when she and her father seek refuge in his 
dwelling from a storm, she gradually wins him from his vengeful 
mood to one of forgiveness, and he promises that next day he 
will become their g^est. In the third act, his intercourse with 
Lucy has developed into mutual affection ; at " The Mermaiden's 
Well," a lovely woodland, they plight their troth in a charming 
love scene, most charmingly and naturally rendered. But here 
again the legend of the well points to the unhappy ending of 
their wooing. Sir William is a consenting party to their future 
union, but the imperious Lady Ashton utterly forbids it Won 
over by Bucklaw, who wishes to marry Lucy himself, and at the 
same time avenge himself on his rival. Lady Ashton declares 
Lucy to be intended to be Bucklaw's bride. The Marquis of 
Athole has obtained for Edgar an important appointment abroad, 
and promises to interest himself in recovering possession of 
Ravenswood for him ; and so with a very strong situation, in 
which Lucy vows to be true to Edgar during his one year's 
absence, the curtain again descends. The last act is the most 
powerful. It again opens in Lucy Ashton's home. She is 
beset on all sides to sign the deed of betrothal to Bucklaw ; her 
mother urges it as her duty. Though still constant to Edgar, 
she cannot understand his silence; no line has she had from 
him, and her letters have remained unanswered. This is easily 
accounted for ; the tender missives from both sides have been 
suppressed by Lady Ashton. Lucy's weak nature yields to the 
imperious one of her mother, and she consents to accede to her 
wishes, but in doing so you can see that she is signing her own 
death warrant. The yearning look in her eyes for escape, her 
half-dazed expression, her deadly pallor, too plainly show the 
agony she suffers. At length she musters courage, and with a 
burst of almost maniacal laughter, she puts pen to paper and 
decides her future. The ink is not yet dry when Edgar's voice 
is heard without. He has risen from a bed of sickness, and has 
travelled night and day to answer in person the last and only 
letter from her which has reached him. Haggard, worn and 
weary he at once learns his fate. In an interview with Lucy he 
upbraids her with her faithlessness. She is too broken to reply 
or plead much excuse. He demands from her her half of the 
ring which they had broken in gage of their betrothal. Lady 
Ashton takes it from her swooning daughter's neck. Edgar 
grinds it into the ashes with his heel, he mourns his lost love, 

122 RavenSWOOd. [Sept., '1890. 

and, after arranging for a deadly meeting with Bucklaw the next 
day, rushes forth. Lucy recovers from her faint, calls widely for 
Edgar, and drops dead, a fatal ending of her young life which 
does not seem improbable to the audience from one or two apt 
refere.ices as to her heart which Lucy has previously made. On 
the sands of the " sea-coast " Eldgar and Bucklaw meet and fight, 
and Bucklaw is killed, but as he dies he reveals to Edgar the 
treachery that has been practised upon him, and tells him of 
Lucy's death. Caleb Balderstone and Edgar's old and faithful 
servant and Ailsie Gourlay have come to meet Edgar, and to 
once more impress on him their warning about the quicksands. 
Edgar, mad with grief, mounts his horse to ride back to Ravens- 
wood, and look once more on his lost love. Caleb watches his 
progress as he rides furiously to meet his doom and fulfil the 
prophecy. The distracted old man vividly and most powerfully 
describes his progress, how nobly his master's horse struggles to 
free itself from the engulphing quicksands, and at last with a 
heart-rending cry Caleb proclaims how man and steed have 
disappeared beneath the waters. In the last scene, " The Kelpie's 
Flow," not a word is spoken. You see but a sandy border to a 
wild waste of water, on which the sun shines with a lurid glow 
and poor heart-broken Caleb gazing at one small dark patch that 
marks the spot beneath which his ill-fated master lies. It was 
wondrously touching, and effective far beyond any attempt that 
might have been made to actually represent the catastrophe. 
Although Edgar and Lucy are not by any means the strongest 
parts in which Mr. Irving and Miss Terry have been seen, they will 
certainly be classed with their best impersonations — the one from 
its tragic and gloomy intensity, changed for a time to bright and 
joyous happiness, and the other from its girlish charm and pathetic 
grief. Everyone remarked on the surprising youthfulness in their 
appearance. Mr. Terriss acted with remarkable dash and fire as 
the dissolute handsome Bucklaw. Mr. Mackintosh richly deserved 
the special marks of approbation bestowed on his acting of Caleb 
Balderstone ; it certainly was some of the finest that had been 
witnessed ; and Miss Marriott was deeply impressive as the 
fateful Ailsie Gourlay. Mr. Wenman was quaint and amusing 
as the cowardly swashbuckler Craigengelt ; and Alfred Bishop 
showed considerable subtlety in his reading of Sir William 
Ashton's character. Mr. Macklin, strange to say of him, did not 
quite impart the necessary dignity to the powerful Marquis of 
Athole. The youthful Harry Ashton was neatly played by 
Gordon Craig, but not so marvellously well as to entitle him to 

Sept., 1890.] The Follks of the Day — The Black Rover. 1^.3 

appear with the principals in the scene when they were called 
for. Miss Le Thiere, one of our best representatives of stern 
unbending women of rank, was excellent as Lady Ashton. It 
is impossible to speak too highly of the mounting of the piece. 
The scenery, for the most part by Hawes Craven, was some of 
the best that has been seen even at the Lyceum. The costumes, 
designed by Mr. Seymour Lucas, A.R.A., and Mrs. Comyns 
Carr, were in the most perfect taste, Miss Terry's dresses and 
Mr. Terriss's wedding suit deserving special mention. The 
overture, preludes, and incidental music, composed expressly by 
Dr. A. C, Mackenzie, were most appropriate, and the funeral 
chant and the bridal song, both melodious, were artistically sung. 
In fact, nothing was wanting to make Ravenswood a success. 
Admitted that it is a sombre play, yet it keeps the interest 
enthralled. It is only in the first two scenes of the second act 
that it appeared to require a little more strength. Mr. Irving 
commenced his thirteenth season well, and was able truly to say 
at the close of the performance that he would convey to Mr. 
Herman Merivale the cheering news of the success of his play. 

22 nd. Grand. Veims. — Burlesque in three acts, by William 
Yardley, Edward Rose, and Augustus Harris ; the music, by 
John Crook was revived, previous to going on tour with Lady 
Dunlo in the title rdle ; Agnes Delaporte, Adonis ; Victor Stevens, 
Vulcan ; Grace Huntley, Cupid ; Kitty Loftus, Psyche ; Harry 
Fischer, Pluto ; Daisy Baldry, Proserpine ; Whimsical Walker, 
Mercury ; Alice Lethbridge, Euphrosyne. 

22nd. Standard, The Follies oftfie Day, — Four-act realistic 
drama, by H. P, Grattan and J. Eldred. A story of fast life, in 
which the hero, Guy Livingstone (T. N. Walter), after nearly 
going to ruin, is saved by the staunch love of his sweetheart, 
Florence Graham (Agnes Knights). 

23 rd. Globe. The Black Rover. — It is certainly a novelty for 
the libretto and the music of an opera to be the work of one man ; 
and, judging from the lyrics of The Black Rover, Mr. Searelle 
would perhaps have acted more wisely had he called in the aid 
of another. The opera is justly qualified as " melodramatic" It 
is founded on the legend, so universal throughout the world 
almost, of a phantom vessel doomed to sail the ocean, until inter- 
cession or expiation shall release it from its ban. In this case 
the pirate king has thrown overboard the mother of the heroine 
Isidora, and he and his crew will only find release from their 
mortal torments when they shall once more hear the lullaby that 
the mother sang to her child. Isidora is intended by her reputed 

124 7^ Siruggk for Life, [Sbpt.. 1890. 

father Fatronio, for the bride of a Count Montalba, but she is in 
love with a poor fisherman, one Felix. They have heard of a 
treasure buried by the pirates, and they go in search of this. It 
is specially guarded by the " Black Rover/' who suddenly appears 
and carries them off to his ship. There they are to walk the 
plank, and so Isidora asks permission to utter the prayer she 
learnt at her mother's knee. She sings the lullaby, which releases 
the pirates from their thraldom, the vessel falls to pieces and 
sinks, but Isidora and her lover and companions (for Chickanaque, 
Jacob and Fatronio have also been made prisoners), are all washed 
ashore on the Island of Cuba, where the scene is laid. They find 
the negroes in revolt, and are likely to be burned by them at the 
stake, but are saved by Chickanaque, who being a half-crazed 
creature, is looked upon with reverence by the blacks, and is 
allowed to go at large. The underplot consists in the fact that 
Pedro Guzman, the valet to the Count Montalba, assumes his 
master's names, and that Sabina changes with Isidora, and passes 
as the rich heiress. Whatever success the piece achieved was due 
to the excellence of the scenery, for the Black Raver was mag- 
nificently put on the stage, and to the very fine impersonation of 
the title-r<?^ by Mr. Ludwig. Neither Felix nor Isidora, the hero 
and heroine, found good exponents. John Le Hay was very 
clever and droll. Shiel Barry's Chickanaque was almost a repeti- 
tion of his Gaspard in the Cloches de Comeville. Charles 
CoUette did all that was possible with a thankless part. Effie 
Chapuy should have had more to do, for the little she had, she 
did well, and sang very charmingly. Royden Erlynne gave a 
vivid colouring to the part of the bloodthirsty Moro. 

24th. Mr. and Mrs. Kendal sailed for America. 

25th. Avenue. The Struggle for Life, — When La Lutte pour 
la Vie was produced at her Majesty's in June last by M. Meyer, it 
was not appreciated by the English public even in its original, 
and with the powerful and sympathetic acting of Mme. Fasca 
and of M. Marian. One reason of this may have been that the 
author evidently mistook the teaching of the Darwinian theory as 
to the survival of the fittest, and chose to impute to him the 
doctrine that a man, sans foy^ sans loy^ may to gain his own ends 
sweep every obstacle from his path, reckless of the consequences 
to others ; the other reason may have been that, as a rule, 
English people look with some contempt and even ridicule on a 
middle-aged wonan's foolish love for a young husband. Such 
a character as the Duchess Fadovani, who really shares the 
main interest of the play with Paul Astier, is therefore out 

StePT.. 1890.3 The Stmggk for Life. 125 

of sympathy with her audience. The English adaptation is 
announced to have been made by Robert Buchanan and Fred 
Homer. Mr. Buchanan is stated in an interview recorded in 
a London newspaper to have laid claim to the entire adaptation. 
If so, whatever merits or shortcomings there may be in the work 
are attributable to him. The drama has been curtailed to four 
acts with some advantage, but there is a want of lightness and 
relief in it. It will be remembered that Paul Astier, having dissi- 
pated the fortune of the Duchess, seeks to gain her consent to 
a divorce. As she strenuously opposes this, he determines to rid 
himself of her by poison ; but just as she is about to drink, his 
courage fails him, and he stays her hand. A wealthy Jewess, Esther 
de S^l^ny, is willing to accept him for her husband, and the 
Duchess having at length freed him to save him from the crime of 
further attempts upon her life, he is about to marry Esther, when 
he is shot down by the father of the girl Lydie whom he has 
seduced, in refutation of Astier's theory that the strong always 
destroy the weak, the latter sometimes in their turn rising in 
self-defence and destroying the strong. In the English version 
Antonin Caussade, the lover of Lydie, is made the instrument to 
avenge the wrongs inflicted on her and her father, who both die 
from the consequences of Astier's misdeeds. This, I am inclined 
to think, is an improvement on the original. The young fellow 
has a double motive for taking the law into his own hands. He 
has borne, almost with submission, the loss of the girl he loved, 
but when he finds her father, the man who has been also as a 
father to him, dead of a broken heart on her grave, an implacable 
hatred for the man who has wrought the double mischief fills his 
breast ; he looks upon him as a monster that should no longer 
cumber the earth, and finding Astier in the arms of Esther, 
gloating over the present success of his schemes, and looking 
forward to even greater preferment before men in the future, 
Antonin unhesitatingly puts an end to his career. There is a 
fatal want of sympathy for all the characters in The Struggle for 
Life. Even to poor Lydie, a weak confiding almost child, very 
sweetly played by Laura Graves, our hearts cannot go out, for we 
know that she reckons on the divorce of the Duchess, and that 
she will then become Mme. Astier. Perhaps we feel most for 
Antonin Caussade, the struggling, honest, retiring young chemist, 
but it must be admitted that average audiences do not look 
beneath the surface ; that a stuttering, hesitating man is not gener- 
ally looked upon as a hero. All the more credit to Frederick Kerr, 
who through almost the entire second act could not only uphold 

1 26 The Struggle for Life. [Sept., 1890. 

the interest, and not cause the titter which his supposed infirmity 
is prone to raise, but could actually draw tears from many, and in 
the last act could rise to manly dignity, cold and stern — the in- 
strument of justice though the slayer of his fellow man. Mr. Kerr's 
performance was a great one, and has not received the praise which 
in my opinion it deserves. Vaillant is made a cheery grateful old 
man by Nutcombe Gould in accordance with his text. The character 
was well played, but we see but too little of him in his sorrow to feel 
any great pity for him. And what are we to say of Chemineau i 
He is a thoughtless little Boulevardier. He, like Astier, has 
risen from nothing, but is different from Astier who, with readier 
wit and tact, can accommodate himself to his improved position. 
Chemineau remains but little better than a gamin de Paris, with 
an intense admiration, almost worship, for the patron whose 
dirty work he does without thinking of the consequences. He 
wears good clothes, but he cannot look a gentleman in them ; he 
wears a good hat, but it is of the pattern to which he has been 
accustomed. He is almost intended for a ban diable, and this is 
the only fault I find with Mr. Chevalier's acting ; we should have 
had at least a suspicion of the cloven foot in him. But he was 
almost too genial. His broken French was excellent (as it should 
be, for Mr. Chevalier is a Frenchman), and he contrived to light 
up the scenes in which he figured by his quaint manner. Still 
it would have been better had a light, instead of an eccentric, 
comedian been cast for the character. Alma Stanley did well 
as Esther de Sdleny — who is only a fictitious Countess. In 
reality she is a wealthy Jewess, ambitious, believing that Astier is 
the man who, through her fortune, can raise her to the position 
to which she aspires, and what little of heart there is in her she 
gives to him. She is not an estimable character, but handsome 
and striking. Kate Phillips's talents are thrown away on the 
part of the foolish tearful Mar^chale de S^ldny, who after all is 
an arrant humbug, for while she weeps over the memory of her 
warrior husband, she accepts time-serving, fortune-hunting little 
Chemineau. Mr. Bucklaw is earnest as Vddrine, a character that 
is superfluous ; and Ben Webster shines most in the latter 
portion of his acting as the foppish Count Adriani, another foolish 
character that could well be spared. Those who filled the 
remaining minor parts were equal to the occasion. It now comes 
to speaking of the two principals. Genevieve Ward fully em- 
bodied the nobler attributes of the miserable wife of Paul' Astier, 
and her scene with him where he intended poisoning her was 
highly wrought out ; where the strength was wanting was that she 

Srpt., iSqo.] a Pair of Spectacles — Sweet Lavender, 127 

gave almost a maternal tone to her affection for her sinful partner 
— it was chastened enduring love with scarcely one touch of that 
passion which one would imagine should have inspired her 
persistent forgiveness of the insults heaped upon her. Miss 
Ward's reading may have been a correct one, but it did not tell 
so much with the audience as a more vivid rendering would have 
done. Only praise could be bestowed on George Alexander's 
Paul Astier. Cold and heartless in the means to gain his end, 
he could warm into the semblance of the most passionate lover or 
cajole his humble victim with his honeyed words ; he could be 
stem and relentless and yet tremble and turn coward at the 
thought of the consequences his crime might bring upon him. 
In his death scene he could endeavour to defy that fate which he 
so persistently through his life ignored, and in his last moments 
could prove there was one soft spot in his black heart as he 
uttered his only true words of love to Esther as he died in her 
arms. If good acting could have made a play a success. The 
Struggle for Life should have succeeded. The mounting of the 
piece was superb, and yet in the very best taste, the dresses of 
the ladies who figfured as gfuests were made by the most fashionable 
modistes, and as they were ladies who wore them, and not the 
ordinary supers, they looked at home in them ; the male guests 
consisted of young gentlemen who wish to adopt the stage as a 
profession, and are gaining confidence by " standing on." Though 
personally I was much interested during the entire evening, I 
could not but feel that the existence of The Struggle for Life on 
the boards might not be a very prolonged one. It played but 
a short time. 

27th. Elephant and Castle. The Whirlwind. — Four-act 
comedy, by Sydney Rosenfeld (for copyright purposes). 

27th. Standard. Fallen Among* Thieves, — Five- act drama, 
by Frank Harvey. Acted by the Beatrice Company. 

27th. Shaftesbury. — Last appearance of Mr. Willard previous 
to his departure for America. fudaJt and the second act of The 
Middleman were played. 

27th. Garrick. — George Raiemond, who had been filling the 
rdle of Benjamin Goldfinch in A Pair of Spectacles with such 
success during John Hare's absence for his holiday, relinquished 
it to the original on his return for the 200th performance. 

29th. Terry's. Sweet Lavender. — Revived with the following 
cast : — Mr. Geoffrey Wedderbum, W. H. Vernon ; Clement Hale, 
H. Reeves Smith ; Doctor Delaney, Julian Cross ; Dick Phenyl, 
Edward Terry ; Horace Bream, Henry Dana ; Mr. Maw, Fred. 

128 Carmen up to Data. [Oct., zdpo. 

W. Irish; Mr. Bulger, Prince Miller; Mrs. GilfiUian, Dolores 
Drummond ; Minnie, Marie Linden ; Ruth Rolt, Mrs. F. H. 
Macklin ; Lavender, Elinore Leyshon. In most cases the original 
representatives were sadly missed. 

29th. St. George's Hall. — Comey Grain's new sketch, 
Seaside Mania. 



1st. BiRKBECK Institute. Clement Scott delivered a most 
interesting lecture, which detailed his own experiences under the 
title of " Thirty Years at the Play." Prior to his having become 
known to the world as the talented dramatic critic to The Daily 
Telegraphy Mr. Scott had filled the same position on The Sunday 
TimeSy and it was from that date, 1 860, that he traced the history 
of the English stage, which, at that time, he looked upon as in 
" a wretched, down-at-heel, untidy, and deplorable condition." 
Its improvement and gradual rise was explained and commented 
on in an able mannef, and was illustrated by various anecdotes 
relating to authors, actors, and plays that were passed in review. 
(The lecture was fully treated in The Stage of October 3rd, 1 890.) 

1st Circus at Bordeaux completely destroyed by fire Loss, 

4th. Gaiety. Carmen up to Data. — The following was con- 
tributed by me to The Topical Times : — ** The Gaiety reopened its 
doors for the autumn burlesque with the St. John-Lonnen com- 
pany, as it is now spoken of, to distinguish it from the Farren- 
Leslie troupe. Carmen up to Data is a travesty of the famous 
opera, passing in review the topics of the day * up to date,' and 
burlesquing the characters in a fairly humorous manner — ^with 
one exception, that of Escamillo, who is made anything but 
prominent ; rather fortunately, perhaps, for Jenny Dawson, though 
looking very handsome and resplendent, did not artistically shine. 
As everyone knows the story of the coquettish gipsy girl, there 
is no occasion for me to go into it. Florence St. John, looking 
wonderfully well and in the very best form, was just fitted for the 
character. There is such quiet, arch comedy about this favourite 
singer and actress that she invests every part of a humorous 
nature with interest. She had some charming songs : * Ask me 
to marry, I laugh,' 'One who is life to me,' 'Calasera,* and 

Oct., 1890.] Sweet Nancy. 129 

* Where all is love/ which were exquisitely rendered and encored. 
The Jos^ of E. J. Lonnen was overflowing with humour and fun 
— his mock heroics are delicious, and his song, * The Jolly Boy's 
Club,* gained a treble encore. He was excellent, too, in his duets 
with Carmen, and also in a bolero which he dances with her. It 
was, however, in the opening song of the second act, * Hush ! the 
bogie,' that he was heard at his best ; there was a weird im- 
pressiveness about it, joined to his singing of a charming melody, 
that took the house by storm, more particularly as it was 
emphasized by an effective chorus d bouches ferm^es. There is 
no doubt that this is the number of the burlesque, and will 
soon be hummed by everyone. Lonnen's dance here, too, was 
wonderfully graceful Arthur Williams's make-up as Captain 
Zuniga was excellent ; he has a good song, * The fashionable 
villain/ and a topical duet with Jos^ * It will cause unpleasant- 
ness/ one verse of which, however, did not please. As usual, 
he gags, but his gags, those of an old stager well up in the 
business, are generally happy. Letty Lind has two very pleasing 
dances ; one it la toreador^ which was novel, and the other, 
accompanying *The farmyard' song, in which she gives imita- 
tions of turkeys, fowls, and parrots. Both were redemanded. 
Katie Barry was a dashing little Alphonze, and quite made her 
mark. I was sorry that clever Maria Jones had not more to do 
as Michaela, the artless village maid ; she has a capital fandango, 

* Kiss me and go,* with Jos6. The choruses, * A saucy lot of 
girls are we,' * Hark ! hark ! what was that } ' and * Better go 
home to your mother,' will become favourites. A Gaiety 
burlesque would not be imcomplete without a pas de quatre, 
and so John d'Auban has supplied an eccentric one for Florence 
Levey, Eva Greville, Alice Gilbert, and Maud Wilmot, which had 
to be gone through thrice, so pleased were the audience. These 
four are joined by Blanche Massey, Maud Hobson, Grace Wixon, 
and Hetty Hamer in a ' Cachuca de Ocho/ which was very 
effective. There was also a telling violin quartette by Misses 
Ashby, Burk, Champion, and d'Alcourt in the opening of act ii. 
The piece was produced under the stage management of Thomas 
W. Charles." 

6th. Royalty. Sweei i^ancy. — Revived under the management 
of Harriett Jay. The changes in the cast consisted in Yorke 
Stephens as Sir Roger Tempest, which he played very well, his 
only fault being that he was a little too juvenile. Mr. Garthorne 
was but a stolid conventional Frank Musgrave ; Jennie MacNulty 
was a very fascinating Mrs. Huntly. The third act had been 


130 A Village Priest — The Sixth Commandment. [Oct., 1890. 

considerably amended. During the last few nights, Beatrice Ferrar 
took Annie Hughes's place as Nancy, and played remarkably well. 
In the provinces, where the piece was sent on tour by Horace 
Sedger, Miss Calhaem made a great hit as Nancy. — This was 
preceded by Peppet^s Diary^ comedietta, by Arthur Morris, one of 
the wildest ideas that can ever have entered the mind of man, but 
amusing withal. The Hon. Robert St. John, a vacuous young 
gentleman bored with doing nothing, gets hold of Pepper's diary, 
and proceeds to carry out every entry therein contained — one of 
which is to propose to a fascinating widow, Mrs. Dorothy Pringle, 
who, fascinated by his impudence and his want of brains, accepts 
him. The vacuous gentleman was smartly played by E. Hendrie, 
and the part of a peculiarly choleric old gentleman. Major 
Bunderput, who eases his feelings by smashing vases on every 
possible occasion, by Henry Esmond, who was capitally made 
up, and racily filled his character. Jennie MacNulty looked quite 
the fascinating widow. The trifle, taken from the French, 
pleasantly passed half-an-hour away. 

6th. Haymarket. — Mr. Beerbohm Tree and his company re- 
appeared after a most successful tour in the provinces. The 
interrupted run ol A Village Priest y/2is resumed, 3ind Mr. Grundy's 
play was again most favourably received. Julia Neilson for a few 
nights appeared as Margaret, and played the part with great tender- 
ness. She was also seen to much advantage in W. S. Gilbert's 
Comedy and Tragedy , as Clarice, with Nutcombe Gould as the 
Due d'Orl^ans, F. Terry as d'Aulnay, Charles Allan as Doctor 
Choquart, and Mr. Leith as the Abbe Dubois. Carl Armbruster's 
selection of new pieces with which he returned from abroad, 
aftorded a great treat to musical amateurs. 

7th. Playgoers' Club. — W. Davenport Adams delivered a 
most interesting and chatty discourse, for it could not be called 
a lecture, of his recollections and reflections during twenty years 
passed as a dramatic critic. The information and anecdotes were 
the more valuable, in that they referred to provincial doings, and 
were really fresh information. The evening's doings were fully 
reproduced in The Stage of October i oth. 

7th. Globe. The Crusader and the Craven. — ^A mediaeval 
opera in one act, words by W. Allison, music by Percy Reeve. 
Sir Rupert de Malvoisie, William Hogarth ; Blondel FitzOsbome, 
John Le Hay; Dame Alice, Effie Chapuy. A very amusing 
trifle, with some charming music excellently rendered. 

8th. Shaftesbury. The Sixth Commandment. — In an 
"Author's Note" appearing on the programme, Mr. Buchanan 

Oct., 1890.] The Sixth Commandment, 131 

states that he has taken certain suggestions from Dostoievsky's 
novel " Crime and Chastisement/' but that he disclaims any 
endeavour to dramatize the work. And this statement may be 
thoroughly accepted, for though the main incidents, but slightly 
altered, take place both in the novel and the play, yet under 
Mr. Buchanan's treatment, they are but such as have been used 
in many a melodrama. In the novel, Fedor commits a murder 
on two women, partly to work put a theory of his own, and partly 
for the sake of plunder ; in the play he strangles an old Jew, for 
having been accessory to the ruin of the girl he loves. In the 
novel Sonia gives herself to a life on the streets, that she may 
save from starvation her worthless father and hungry family ; in 
the play she is made the unwilling victim of the lust of a Prince. 
The novel is a study, curiously minute and searching of the work- 
ings of the human heart and brain, and sets forth that a woman 
may be but a very outcast in the ^yes of the world, and yet be as 
pure as snow in her innermost self. The play makes almost an 
idol of a man who has no ruler but his own strong will, which he 
enforces under the light definition of caprice, and in the culprit 
all that is in any way interesting is that, like the young minister 
in Judah, from the moment he commits the crime, although an 
unbeliever, he has no rest, but hears for ever the voice of conscience 
ringing in his ears, and only obtains peace when he confesses, and 
makes atonement through the punishment meted out to him. 
This last character is Fedor Ivanovitch. His sweetheart Liza, is 
beguiled to Prince ZosimoflTs palace by Abramoff, who delivers 
to her a letter which he knows will bring about her ruin. Fedor 
discovers this, and in his rage seizes the Jew by the throat, and, 
without perhaps intending to do so, strangles him. A prey to 
remorse, Fedor unwittingly gives Zosimoff the clue by which he 
can hunt out the murderer — ^he uses the knowledge gained, to 
force Anna into a marriage with him ; he brings her to an adjoin- 
ing room to that which Liza occupies, that Anna may overhear 
her brother Fedor's confession to the young girl that he wants to 
make his wife. Liza insists that, fallen as she is, she is unfit for 
him. He tries to prove that he is no better than she is by con- 
fessing that he is a murderer. When Fedor learns that Anna 
will sacrifice herself to a man that she abhors, to prevent him 
from giving her brother up to justice, he publicly owns to the 
crime, and accepts the consequence in exile to Siberia. In a 
most improbable manner, the author brings all his principal 
characters to that remote and inhospitable spot (even a young 
couple on their honeymoon trip). Retributive justice overtakes 

132 La Cigale, [Oct., 1890. 

the Prince. He has followed Anna (to carry out his now shame- 
ful designs upon her), but finds that by an " order of the Czar," 
he is to be stripped of rank and riches, and be sent to the mines ; 
whilst Fedor is pardoned, and restored to society for having saved 
the governor Snaminski's life. Liza is made happy in Fedor's 
repentance, for it is she who has first pointed out to him that it 
was only by confession that he could make his peace with Heaven ; 
and Anna is supposed to marry her lover Alexis. Passing over 
such a glaring mistake as the rites of the Greek Church being 
performed in Russia, of all places, over a Jew^ there was a fearful 
waste of words throughout the play, which was prolonged to an 
inordinate length (later, it took nearly one hour less in performance 
through judicious excision), and the interest was in a g^reat measure 
lost It is pleasant to pass from the shortcomings of the play to 
the excellence of the acting. Miss Wallis, with rare self-denial in 
a manageress, did not take to herself the best part, but as Anna, 
increased her reputation by her power in depicting agony of mind, 
and tenderness and affection towards her lover and brother. 
Elizabeth Robins (who is more the heroine) was very sympathetic 
as the betrayed Liza. The confession of outrage inflicted on her 
was most delicately conveyed. Lewis Waller, had a very trying 
part, as Fedor, and made a distinct advance by his exhibition of 
remorse, and the workings of a troubled conscience. Herbert 
Waring was almost grand in his villainy, it was so thoroughly 
consistent throughout, and was shown with such quiet force. 
Marion Lea played the hoyden well, and brightened up the play 
a little, as did William Herbert as her lover, and M. Marius as a 
police official. A good little bit of character acting, was that of 
Ivan Watson, as a deaf and decrepit general. Maud Brennan and 
J. St. Ange, were also welcome in their respective characters. 
The play was splendidly mounted, and it was no fault of Miss 
Wallis's, or that of her company, that it was not accepted as a 
success. Later, a more probable ending was given. The newly 
married couple did not appear in the Siberian scene, and Prince 
Zosimoflf was killed by Liza's father. 

9th. Lyric. La Cigale, — Mr. Horace Sedger was to be con- 
gratulated on the complete success of the " opera comique " with 
which he inaugurated his management of the most beautiful 
theatre in London. His productions at the Prince of Wales's 
have ever been distinguished by their elegance and the good taste 
displayed. La Cigale surpassed any of them in the beauty of the 
dresses and the perfection of the scenery, and the action of the 
play taking place in the environs of Bruges, the picturesque 

Oct., 1890.] La Cigale. 133 

Flemish costumes, and the gay doings at a " Kermesae," are most 
effectively introduced. The pretty fable of " La Cigale et 
la Fourmi " has been followed and turaed to good account by the 
English librettist, only that he gives to it the required happy 
ending for the heroine. Marton is one of two nieces of Matthew 
Vanderkoopen, gay, thoughtless, and longing to go on the stage ; 
her cousin Charlotte, married to William, finds all her pleasure in 
rural domesticity. The festivities at the farm attending the 
wedding of the last two are at their height when the Chevalier 
Franz de Bernheim arrives with the Duchess of Fayensberg, with 
whom he is carrying on a strong flirtation. They hear the voice 
of the Duke, who has brought out La Frivolini and a number of 
the Bruges Opera Company to a picnic. The Duchess hides 
herself in a summer-house, and insists, in order that the Duke's 
suspicions may be disarmed, that her cavalier shall make love to 
the first girl he meets. This is Marton, who presently expresses 
her desire to become an opera-singer. The Duke says that this 
may be managed through his influence if her capabilities are 
sufficiently good, and so she sings the song, " One among Three," 
which^ though not the most musicianly, is the most taking number 
in the entire score, and gained a treble encore. Marton, a year 
later, is the prima donna, spending freely all she earns, her rustic 
lover Vincent is her secretary, and her uncle her manager. She 
has become deeply attached to the Chevalier, but as he is forced 
through the jealousy of the Duchess to pay the latter considerable 
attention,. Marton is led to believe that he is faithless, and so at 
a grand ball given at the Ducal Palace, where she is to entertain 
the guests, she, after the manner of Adrienne Lecouvreur, sings, 
exposing in her song- the supposed intrigue of the Duchess, and 
exhausted by the emotion, faints away. Whilst unconscious, a 
transparency shows to her her old home, and she herself ragged 
and forsaken after dissipating all her wealth, sinking at the portals 
of the home in which she was once so happy. But when she 
recovers, and the ball-room is seen again, her peace is restored, for 
the Duchess assures Marton that she is truly loved by the 
Chevalier, who throws himself at her feet, the Duchess silencing 
anything that the Duke may have to say about his wife's 
indiscretion by reminding him of his own peccadilloes with La 
Frivolini. Audran's music pleased every one, it was so bright and 
melodious, and the considerable portion of the opera, for which 
Ivan Caryll is responsible, gave equal satisfaction. Mr. Bumand's 
book is witty and poetic, and the lyrics contributed by Mr. Gil- 
bert k Becket are graceful. Geraldine Ulmar sang charmingly 

134 sail Waters Run Deep — The School for Scandal, [Oct., 1890. 

throughout, and surprised everyone by her talents as an actress. 
Effie Clements* very sweet voice delighted all, the only regret being 
that she had not more numbers allotted to her. Chevalier Scovel 
was very nervous in his opening, but after his first song he much 
improved, and before the end of the evening had established 
himself as a favourite. Eric Lewis was admirable as the foppish, 
finicking Duke. Michael Dwyer sang with great taste and 
expression ; and Lionel Brough, though last not by any means 
least, was droll and very amusing. Lila Clay and her ladies' 
orchestra, which performed a very charming gavotte written by 
their conductress, must not be forgotten. La Cigale was a 
complete success, and Charles Harris, under whose stage direction 
it was produced, was with the principals, authors, composers, and 
Mr. Sedger, applauded to the echo for the result. 

1 1 th. Court. Cabinet Minister. — Revived jifter the recess. 
There were only two changes from the original cast — Frank 
Rodney played well as Valentine White, and Carlotta Leclercq 
was impressive as the Dowager Countess of Drumdurris. 

13th'. Criterion. Still Waters Run Deep. — Revived. Charles 
Wyndham and Mary Moore, Mr. and Mrs. Mildmay; W. Blakeley, 
Potter; Arthur Elwood, Captain Hawksley, an excellent and 
original reading; Rodney Valentine, Dunbilk. Mrs. Bernard Beere, 
who had been for a considerable time absent from the stage owing 
to a severe illness, most effectively resumed the character of Mrs. 
Sternhold. — Dearest Mamma was also played, in which W. 
Blakeley was a very amusing Browser, E. Maurice a thoroughly 
cynical Nettle Croker, M. A. Victor genuinely comic as the 
meddling Mrs. Breezley Fizzle, and Ellaline Terriss delightful as 
Edith Clinton. 

13th. Gaiety. His Last Cltance. — Written and composed by 
Herbert and Ethel Harraden. The little musical comedietta was 
well interpreted by Loie Fuller who sang nicely, and by G. T. 
Minshull, the lady having to entice a very bashful lover into 
making a proposal. 

1 6th. Crystal Palace. T/te School for Scandal — Beerbohm 
Tree made Sir Peter Teazle far too old and silly a man ; the 
character was wanting in humour and courtliness. Mrs. Tree 
needed greater experience and power of expressing the varying 
emotions of the part before she could hope to become anything 
of an ideal Lady Teazle. Like everything Mrs. Tree does, how- 
ever, her performance was ladylike. Fred Terry was scarcely 
hearty enough as Charles Surface, and made him too much of a 
fop. Lewis Waller, on the other hand, was far too hearty for the 

OcT.,x89o.] Madcap — 714^ Outsider, 1^5 

sneaking hypocrite Joseph. Rose Leclercq was, of course, an 
excellent Mrs. Candour ; Henrietta Lindley, a clever Lady Sneer- 
well, and Effie Williams an ingenuous Maria. There were 
several who could scarcely be improved on in the cast. H. 
Kemble was a glorious Sir Oliver, and Edward Righton's Moses 
was genuine comedy. Eric Lewis, as Backbite ; Charles Brook- 
field, Trip ; Charles Allan, Rowley ; and Forbes Dawson, Careless, 
all scored. Wilford Morgan sang ** Here's to the Maiden," and 
gained an encore. 

17th. Comedy. Madcap. — Comedietta by Alec. Nelson. Was 
pleasing, and touched the right chord. It tells how Daphne has 
been brought up by Mrs. Barton whose son Jack has for a tutor 
one John Read. Though participating in all Jack's games, and 
with a strong partiality for racing, cricket, lawn tennis, etc.. 
Daphne has a true heart in her little bosom, and prefers the more 
staid tutor to the volatile Jack, who proposes, but is refused in a 
very pretty little scene. The tutor says that he must leave, but 
Daphne is sufficiently clever to lead him on to an avowal whilst 
he is announcing his intention. This would have been very 
charming had it not been spoilt to a certain extent by Daphne's 
having only a moment before appeared as a poor boy, she having 
put on this dress which was intended to be worn in some coming 
private theatricals. Rhoda Larkin played Daphne naively and 
with very great charm. She contrived to give one the idea of a 
madcap, but yet of a gentlewoman at the same time. P. S. 
Champion was fresh and natural as the youthful Jack Barton, but 
G. Kennedy was too staid as the tutor John Read. Helen 
Lambert was a pleasant Mrs. Barton. The audience appeared 
pleased with the little piece, gave it a good reception, and called 
for the author. The character of John Read was afterwards filled 
by Leonard Outram. — At this time there were changes in the 
cast of Nerves. Owing to the illness of Gilbert Farquhar, H. 
Kemble resumed the part of Buxon Brittle, and Vane Featherston 
strengthened the cast by her most capable rendering of Violet 
Armitage, originally played by Maud Millett, and which had also 
been very charmingly rendered by Ethel Matthews. 

17th. Park Hall, Camden Town. The Outsider. — A 
racing drama in four acts by Forbes Dawson (for copyright 

1 8th. Shaftesbury. — Miss Wallis made the somewhat extra- 
ordinary departure of appealing to her audience by asking them 
now that the alterations and improvements suggested by the 
critics had been made in The Sixth Commandment, *' Do you like 

136 Monsieur Moulon; or. The Shadow 0/ Death, [Oct., 1890. 

the play ? " and " Shall we go on with it, as it is very important to 
my husband and myself ? " The reply was a shout of affirmation. 

1 8th. Globe. — Giulia Warwick took up the rS/e of Isidora, in 
TAe Black Rover. 

19th. Garrick. a Pair of Spectacles. — During KateRorke's 
short absence her part was played by Laura Hansen. 

25th. Prince of Wales's. — Violet Cameron appeared in the 
title-rSle of Captain TkMse. Gypsies, — One-act operetta. Li- 
bretto by Basil Hood, music by Wilfred Bendall. 

2Sth. St. George's Hall. Foiled. — Three-act drama, by 
Warwick Buckland. 

27th. Surrey. Mystery of the Seven Sisters. — Four-act drama, 
by F. A. Scudamore. 

27th. Gaiety. — Alma Stanley appeared as Escanillo in 
Carmen up to Data. 

29th. Death of Wallace Roberts, partner in the firm of 
Roberts, Archer, & Bartlett, managers of the Croydon Theatre. 
Resulted from blood-poisoning, arising from a severe cut on one 
of the fingers. 

29th. Shaftesbury. Monsieur Moulon ; or, The Shadow of 
Death. — Four-act play. I wrote the following for The Topical Times. 
" Monsieur Moulon made his bow at the Shaftesbury Theatre on 
Tuesday afternoon, and so did the author of this most wearisome 
play. The performance confirmed me in my opinion that we 
Britishers are the most patient and long-suffering nation on 
earth. Charles Hannan, F.R.G.S., F.R.Hist.S., may be entitled 
by his knowledge to rank as a member of the societies to which 
he belongs, but Monsieur Moulon does not entitle him to rank 
as a playwright. He had one strong dramatic situation ; a very 
dangerous one, mark you, but strong in the hands of the capable 
actors and actress who had to interpret it. He led up to this 
in a ridiculous way ; held the house whilst it was going on ; and 
afterwards could do nothing with his characters. Jacques Moulon 
is a rich gentleman who falls in love with Marie Lupin, * The 
Fisher-girl* She is apparently a coquette at first, and hesitates 
whether to accept Pierre Carot, * A Fisher-boy,' or her wealthy 
and aristocratic lover. She finally accepts Carot, but soon 
repents her choice, and just as she is becoming tired of life 
Moulon seeks shelter at the cabaret which Carot has taken. 
Here Carot drugs and robs his former rival, and then disappears, 
the play seeing him no more. Marie then attempts to suffocate 
herself with charcoal, and curiously enough selects Moulon*s bed- 
room (with its occupant) for the experiment. Changing her 

Oct., 1890.] Moths, 1 37 

mind before the final moment comes, she rushes from the room 
and closes the door after her, leaving the unfortunate sleeper to 
asphyxiate. He is rescued, however, and eventually marries 
Marie. Later on Moulon's mind gives way under pressure of 
jealousy, inspired by a wicked marquise, its restoration being 
finally brought about by means of the well-wom-supposed-to-be- 
dying-child method. Of course all then ends happily. I 
generally try to approach a notice of a play in a spirit of respect, 
but I am sorry I could not take Mr. Hannan in earnest. It does 
seem such a pity that an actress like Alma Murray should be 
wasted on such a production ; or that Luigi Lablache. should 
fritter his talents on such a part as that of Moulon. Charles 
Sugden, too, who was fairly good as Carot, the drunken, sodden 
husband, was thrown away ; but they saved the play from being 
gibed at — except at intervals. Miss Vane as the Marquise, 
clever Adrienne Dairolles, and funny E. M. Robson, did their 
best with the worst of materials. I must say that almost the 
whole of the scene of the charcoal stove was strong, and was a 

good idea ; as to the rest ! I must also own that I look 

upon myself as having been defrauded of a novelty. The hero, 
Carot, was to have been a wooden-legged man ; but the author 
was persuaded to make him only lame. There would have been 
something so refreshing and absolutely new in a ' peg-leg ' 
making romantic love." 

29th, Lyric. (Matinee.) Moths. — H. Hamilton's adaptation 
of Ouida's novel of the same name — was performed for the first 
time at the Globe Theatre, March 2Sth, 1882. Marion Litton 
was then the Vere Herbert ; Louise Willes, Fuchsia Leach ; 
Carlotta Addison, Lady Dolly Vanderdecken ; A. Estcourt, Prince 
2k>uroff ; the adapter played the Duke of Mull and Cantyre ; 
Herbert Standing, Lord Jura ; Kyrle Bellew, Raphael de Corrfeze ; 
Maude Brennan was the Duchess de Sonnez ; Lizzie Claremont, 
Princess Nadine Nelaguine ; and Mrs. Cantley, Evan. Since its 
original production it has been several times played. One notable 
performance was that on November 24th, 1887, for the benefit 
of W. H. Griffiths, at the Prince of Wales's, when Kate Vaughan 
was the Vere, C. Cartwright the Prince Zouroff, F. H. Macklin the 
Lord Jura ; Lewis Waller, Corrfeze ; Henrietta Lindley, Princess 
Nadine Nelaguine ; Carlotta Addison, Lady Dolly Vanderdecken ; 
and Fanny Brough, Fuchsia Leach. At this special matinie^ 
given in aid of the Actors' Benevolent Fund, these last five again 
appeared in the characters in which they had so distinguished 
themselves, and one and all gained universal praise and applause. 

138 Divor^no — Sunlight and Shadow, (Nov., 1890. 

On this last occasion R. T. Boleyn played Prince Zouroflf. The 
one or two evidences of the man's better nature were most 
artistic ; but the execution of the character wanted that savage 
power mingled with refinement that the Russian Prince should 
command. Sydney Brough was a very genial and hearty young 
peer as the Duke of Mull and Cantyre ; and Herberte-Basing 
effectively filled the part of Ivan. Adrienne Dairolles was the 
scheming, treacherous Duchess de Sonnez, and had all the beauty 
as well as the cunning of the tigress. Beatrice Lamb must be 
congratulated on the power and tenderness she displayed as Vere 
Herbed: ; she quite realized the character in its purity and high- 
souled honour, and at times was so good as to lead one to hope 
that the young actress would in the future be a second Mrs. 
Kendal, of whose voice and method she constantly reminded one. 
The matinie was very well attended, and although the amount 
was not announced, Mr. William Greet gave us to understand that 
that about £,\IS would be added to the fund. Horace Sedger 
kindly gave the use of the theatre. 

29th. Sadler's Wells. — Don Edgardo Colona appeared as 
Richard III., and also during the week as Hamlet and Othello. 
" Possessed of a robust style, but wanting in finish." 

St. James's. French plays. — Under Mr. M. L. Mayer's manage- 
ment. 27 th, DivoTfons comedy in three acts, by Sardou and de 
Najac. Des Prunelles, M. M. Jaeger; Adhemar de Gratignan, 
Hurtaux ; Clavignac, Lenorman ; Bafourdier, Ricquier ; Jainarot, 
Daumerie ; Bastien, Lagrange ; Joseph, Millaud ; Cyprienne, Mme. 
Chaumont ; Mme. de Brionne, Cheller ; Mme. de Valfontaine, 
Davryl ; Mile, de Losignan, Gaudin ; Josepha, Brunet 



1st. Avenue. Sunlight and Shadow, — This was one of the 
most delightful plays that had been seen for a considerable time. 
There was sufficient incident to keep the interest thoroughly alive. 
The dialogue was crisp, epigrammatic, and infinitely above the 
average ; and the two types of English womanhood in the sisters 
were specially true to life. Granted many of the audience said 
the writing reminded them of that of Robertson and Albery, it 
might have done so ; but it was no mere imitation — the memory 

Nov., 189a] Sunlight and Shadow, 1 39 

was revived in the sparkle and the humanity. Sunlight and 
Shadow does not contain very much of a story. Helen Latimer 
is the daughter of a hard-working country doctor, and though 
from his position she has not too many pleasures, she finds her 
happiness in ministering to the comforts and wants of those 
around her. Like many an unselfish woman, she is rather 
tyrannized over by her younger sister, Maud, a bright, saucy 
English girl — a little spoilt, perhaps, on account of her beauty ; 
and so Helen is her willing slave, and makes her pretty gowns 
and dresses her nut-brown hair. Maud in the meantime enjoys 
her love-making with good-natured but empty-headed young 
Bamfield. Helen's glimpse of lifelong happiness is revealed 
to her. Mark Denzil, an old friend of her father's, proposes 
marriage to her ; it is not the ardent, impulsive love of a younger 
man, but it is deep-felt. Denzil's youth has been stormy ; he 
married beneath him, and his wife turned out all that was bad. 
He believes her to be dead, and so he looks forward to a new 
life with Helen. Just as she has accepted him, Janet Felton, his 
wife, breaks in upon them, and so their dream is broken. Four 
months elapse, and Helen has become almost resigned, when she 
learns that George Addis, the poor, plain, crippled choir-master 
has loved her all his life. By a turn of fortune he is now in a 
position to offer her his hand. She cannot marry the man she 
loves ; but she has been as a sister to Addis, and he thinks that 
in time she may give him her heart Whilst she is weighing the 
momentous question of her future, Addis opens a letter that has 
been handed to him, which assures him of Janet Felton's death. 
Shall he keep this knowledge to himself and profit by his silence 
to obtain the one hope of his existence ? He is tempted almost 
beyond human strength ; but he is honourable, and he loves with 
an unselfish love, and so when Denzil returns, only for one last 
interview with Helen, Addis tells them that the obstacle to their 
union is now removed. I cannot say which played better — 
Marion Terry, in her pure, unselfish, graceful womanhood ; or 
George Alexander in his noble, long-suffering self-denial : both 
afforded an artistic treat. Maude Millett was very sunny and 
natural, and Yorke Stephens manly and sympathetic ; Nutcombe 
Gould was the essence of cheeriness and bonliomie ; Ada Neilson's 
part was a little melodramatic, therefore once or twice the actress 
was out of the picture, but scarcely through her own fault ; Ben 
Webster was good as one of those vacuous, good-tempered young 
men that " smart " young ladies on the stage appear to fall in 
love with — I suppose that they may rule them the easier ; and 

140 Douglas — Beau Austin [Nov., iSgo. 

Alfred Holies, in the small part of a bibulous gardener, gave a 
capital character sketch. The piece was a decided success. 

1st Death of Ann Nunn, in her eightieth year. Maiden name 
Boyle. First appearance as Young Norval in Douglas^ when only 
fourteen, at the Royalty, Duke Street, London. Played lead with 
Madame Vestris when only nineteen. Last appearance in London 
at Sadler's Wells, under Osbaldiston. Went the Nottingham, 
Worcester, and Norwich circuits ; subsequently the York. Was 
equally good as Rosalind, Lady Macbeth, Constance, Miami, and 
the male rSles of Romeo, Hamlet, and Claude Melnotte. Made 
her last appearance, in 1863, as Mrs. Haller in The Stranger^ and 
William in Black-eyed Susan in the same evening. Was much 
esteemed in private life. 

3rd. Haymarket. Beau Austin, — Although there was much 
to charm in the language that W. E. Henley and Robert Louis 
Stevenson have put into the mouths of their characters, yet the 
play was not very stirring, and the plot was still less so. Then 
the characters are so contradictory you do not know how to 
take them. Here is Dorothy Musgrave, a young lady of good 
family, engaged to a good-hearted fellow, John Fenwick, a country 
squire, and when he comes to claim her for his wife, she does not 
hesitate to tell him that she has been seduced by one whom her 
lover soon discovers to be Beau Austin. Naturally Fenwick 
threatens dire vengeance ; but Dorothy persuades him to forego 
this, and so he appeals to the Beau, whose conduct he shows in 
such a light that Austin promises to repair the evil by marriage. 
This is strange in a heartless rou^ to be so easily persuaded. 
Stranger still, when he most humbly offers himself to Dorothy, 
though she still adores him, she refuses his offer ; he is not the 
idol she has worshipped. Her brother, Anthony Musgrave, 
meets the Beau on the " The Pantiles," Tunbridge Wells, in the 
company of the Duke of York, and not being able to force a 
quarrel on Austin in any other way strikes him in public. The 
Beau actually puts up with the insult, pleads excuses for the 
aggressor, owns before everyone that he has been rejected by 
Dorothy, and she immediately throws herself into his arms as a 
reward for his magnanimity. As a picture of the appearance of 
our ancestors, in the year of grace 1820, the play is perfection, 
and it is worth seeing for this ; but good as is the acting of 
Mr. Tree and his valet Menteith, how much of the attraction is 
due to the costumiers (Messrs Nathan) who have done their work 
so well } Mr. Tree's make-up is marvellous — no one, perhaps, 
could at first recognize him — and the peculiarly courtly, old- 

Nov., xSqo.] Beau Atisiin, 141 

fashioned grace and imperturbable demeanour was excellently 
carried out. C. Brookfield's sketch was a highly polished gem. 
Rose Leclercq, too, as Miss Evelina Foster, was a replica of old- 
world behaviour and presence ; and Miss Aylward, as Barbara 
Ridley, was true in her bearing and manner to the times in which 
she lived. Fred Terry was at his best as John Fenwick. Mrs. 
Tree is always graceful, and to an extent winning, but, as Dorothy 
Musgrave, she never altogether reached the height that might be 
attained. Edward Maurice scarcely knew how to handle the 
most difficult character of Anthony Musgrave — one moment he 
was all empty-headedness, bombast, and foppishness, and the 
next fire and fury. The audience was not enthusiastic. 

Time^ 1820. 


*< To all and singular," as Dryden says, 

We bring a fancy of those Georgian days, 

Whose style still breathed a faint and fine perfume 

Of old-world courtliness and old-world bloom ; 

When speech was elegant, and talk was fit. 

For slang had not been canonized as wit ; 

When manners reigned, when breeding had the wall, 

And Women — yes ! — were ladies first of all ; 

When Grace was conscious of its graceliness. 

And Man— though Man ! — ^was not ashamed to dress. 

A brave formality, a measured ease, 

Were his — and hers — whose effort was to please. 

And to excel in pleasing was to reign, 

And, if you sighed, never to sigh in vain. 

But then, as now — it may be, something more — 

Woman and man were human to the core. 

The hearts that throbbed behind that quaint attire 

Burned with a plenitude of essential fire. 

They too could risk, they also could rebel. 

They could love wisely — they could love too well. 

In that great duel of Sex, that ancient strife 

Which is the very central fact of life. 

They could — and did — engage it breath for breath. 

They could — and did— get wounded unto death. 

As at all times since time for us began. 

Woman was truly woman, Man was man ; 

And joy and sorrow were as much at home 

In tnliing Tunbridge as in mighty Rome. 

Dead — dead and done with ! Swift from shine to shade 

The roaring generations flit and fade. C^ r\r\ri\o 

To this one, fading, flitting, like the rest, ^'^'^'^^^ ^^ ^^OOglL 

We come to proffer — be it worst or best — 

142 My Friend Jfarkt — Smoke. [Nov., 1890. 

A sketch, a shadow of the brave old time ; 
A hint of what it might have held sublime ; 
A dream, an idyll, call it what you will, 
Of man, still Man, and Woman — Woman still ! 

W. E. Henley. 

Haymarret Theatre, 

November yd, 1890. 

In the above Prologue, which was distributed to the audience, but 
which might with advantage have been spoken, the part author 
gave us a foretaste of that which he and his collaborator desired 
to set out. 

3rd. Brother Tom de Brunnolo Holmes elected W. M. of the 
St. Asaph Lodge. 

Sth. Park Hall, Camden Town. Returning the Compliment. 
— Comic operetta in one act, written by Otto Waldau and F. 
Grove Palmer ; music by Henry J. Wood. 

Sth. Terry's. My Friend Jarlet. — One-act play by Arnold 
Goldsworthy and E. B. Norman. This little piece was done by 
the "Old Stagers" during the Canterbury Week of 1887, and 
Mr. Terry soon after purchased the rights of it. It is rather 
strong for a one-act drama. Emilie Jarlet (Julian Cross) is a 
scamp who has been living on Paul Latour (Henry Dana), a rich 
young fellow of good family. The two are shut up in a village 
near Paris by the Prussians, the action of the play occurring 
during the Franco-German war (1870.) In the house where 
they are staying is Marie Ldroux (Eleanor Leyshon), a humble 
girl, with whom Latour falls in love and proposes to marry. As 
his settling down will not suit Jarlet, he points out to him that 
ill-assorted marriages seldom turn out happily, and quotes his 
own, showing how he wedded beneath him, soon got tired of his 
wife, and left her and her child. Presently he questions Marie as 
to her antecedents, and discovers that she is his own daughter. 
He is so shocked at his conduct in trying to destroy his child's 
happiness that, to make amends, he goes as a substitute for 
Latour, who has drawn a lot which sentences him to be shot 
with others for taking part in a sortie. Julian Cross acted with 
rugged force in the principal character, and Miss Leyshon was 

6th. Opi^RA COMIQUE. {Revival.) Smoke. — This little play was 
well spoken of by critics at the time of its first production at the 
Adelphi on December 26th, 1870, when Mr. Billington played 
Armstrong; Miss Furtado, the wife Ellen ; Mr. Ashley, Brown ; 
Mr. C. H. Stephenson, Burton ; and Mrs. Billington, Abigail. It 
was then described as *' serio-comic," a definition that may well 

N<nr., 1890.3 Two ReCTUttS. I43 

be permitted to stand, Armstrong, who has been up to a certain 
time a good, loving husband and a steady workman, suddenly 
neglects his home, and takes to drink. His wife Ellen, loving 
him dearly, tries by all the means in her power to win him back 
by gentleness and by shutting her eyes to his faults ; but in vain. 
He has become madly jealous, at first owing to his wife's frequent 
absence from home, and at length because he* discovers, as he 
thinks, the cause : she goes to visit a baby which is not his, and 
the disappearance of her trinkets is accounted for — she has 
pawned them and devoted the proceeds to the support of the 
child. An old friend of the family, Mr. Richard Burton, returns 
from the Cape just when things are at their worst. Ellen screens 
her husband's backsliding, and endeavours to (hake him out all 
that is good to his former employer ; but Mr. Burton's suspicions 
are aroused, and at length he discovers the unhappy state of 
things. Reuben then tells the cause of his misery. He loves 
his wife still, but he cannot live with her since she has been 
untrue. The mystery is then explained. The child that Ellen 
visits is the illegitimate offspring of her sister, who, on her death- 
bed, had confided it to her care, and made Ellen promise not to 
betray its shameful birth. The comic scenes lie between James 
Brown and Abigail, Armstrong's sister. Brown k)ves the brave- 
hearted, outspoken woman, who tries so hard to keep the home 
together ; and therefore, at her instigation, allows himself to be 
made the scapegoat. And he smokes and drinks, that Reuben's 
weakness for both of these stimulants may not be laid bare, 
Reuben having previously to Mr. Burton's departure for the Cape 
been a total abstainer. Compton Coutts and M. A. Giffard 
played the parts of Brown and Abigail with excellent humour. 
R. Boleyn gave a very powerful impersonation of Reuben Arm- 
strong, and Cissy Grahame did remarkably well in one of those 
tender domestic characters of which she is so capable an exponent. 
W. Lestocq was a genial, honest, and kindly-hearted Mr. Burton. 
The piece was well received, and all the performers were called 
for at its close. 

8th. Toole's. Two Recruits. — Three-act farcical play. A 
more extraordinary piece of work than Frank Wyatt's play was, 
perhaps, never seen on any stage. Very laughable at times, and 
with a surprise in it, of which the author gives one no inkling 
until it comes, and then, like some of the dialogue, not quite in 
the best taste. The father of Frank (H. Eversfield) and Jack 
Selwyn (W. Guise) has made an extraordinary will, by which 
they are left almost completely in the power of a despicable 

144 Called Back, [Nov., i89(». 

creature, Mr. Eldred (Albert Chevalier). He has sole control 
over their education, pocket-money, etc. ; in only one thing is 
his authority divided — they may marry if they can obtain the 
consent of his mother, Mrs. Eldred's (Ruth Rutland), or his. 
Frank is so disgusted with his treatment and Eldred's endeavour 
to force on him his shrewish, spiteful daughter Tricksey (Delia 
Carlyle), that havmg to escort Mrs. Eldred (a lady old enough to 
be his grandmother) to town, he carries her off to a registrar's 
office and marries her. When he returns he has become Eldred's 
stepfather, and reminding one of Vice Versdy he lords it over his 
quondam tyrant, sends him to bed early, makes him write 
impositions, and generally bullies him. Jack Selwyn is engaged 
to a romantic young lady who thinks he should do something 
heroic, and so he determines to enlist, but from some unexplained 
cause instead of doing so he goes into retirement at Highgate for 
some months, during which time Thomas Gurgles (Henry W. 
Brame), who has enlisted under his name, covers himself with 
military glory, but at the same time takes unto himself Sally 
Flapper (Julia Seaman). This comes to the ears of Violet Fane 
(Violet Thorneycroft), through Colonel Gunning, and she is pre- 
pared to discard her supposed hero, when he appears in military 
uniform — why, we know not, as he has no right to wear it. He 
explains matters. Violet overlooks his not having gone to the 
wars, and been thoroughly deceitful, and at once forgives him. 
Some of the most amusing bits of the play are those in which 
Joe Gurgles and Martha, two old servants, take part These two 
were most excellently played by F. Kaye and Mrs. H. Leigh. A. 
Chevalier who has to represent a Pecksniff in his most odious form, 
added another clever performance to his eccentric rdle of characters. 
Julia Seaman, too, was very good. Violet Thorneycroft played 
charmingly, and is very pretty. The other parts were done full 
justice to. 

lOth. Haymarket. (Revival) Called Back. — Play in four acts 
by Hugh Conway and J. Comyns Carr. This play was originally 
produced at the Prince's Theatre, London, May 20th, 1884. It 
was a success then, and brought into prominent notice Mr. Beer- 
bohm Tree. There is but little occasion to enter into the plot of 
a drama which follows so closely the story that most of us have 
read. The main incident is in the first act — (as it is now played ; 
when first produced it was in "a prologue and three acts and 
seven tableaux ") — from where Gilbert Vaughan, temporarily 
blind, having followed Pauline (Julia Neilson), to her guardian's 
lodgings, comes upon what he imagines to be her dead body, to 

Nov,, iggo.] Called Back — A Needless Lie. 145 

the murder of her brother, Anthony March (Webster Lawson), 
which has just been committed by Macari. Later, when Gilbert 
recovers his sight, he mourns Pauline as dead, and determines 
to track down her murderer. Eventually, finding her still alive 
but bereft of her senses, he is led to suppose, through the lies 
of Macari, that it was her lover who fell, and that she was dis- 
honoured. Dr. Ceneri, through the betrayal of Macari, is sent to 
Siberia, and Gilbert follows him there, ascertains from him in his 
dying moments that Pauline is worthy of his love, and Macari 
is hunted down and slain by Petroff (Charles Hudson), another 
conspirator, for his perfidy. It will be remembered that, in the 
novel, it is an old nurse who looks after Gilbert in his blindness — 
in the play, for this character is substituted a winsome sister, 
Mary (Blanche Horlock), who marries his friend, Arthur Kenyon. 
Granted that Macari's is a showy part, it would become but a 
commonplace ruffian in less skilful hands than those of Mr. Tree, 
whose every look and action are of relative value to the situation. 
Mr. Anson, the original Dr. Ceneri, did not play the part very 
long, and was succeeded by J. Fernandez, who now once more 
shows us a naturally kind and good man becoming almost a 
plague-spot on society through his revolutionary principles, to 
the furtherance of which he sacrifices honour, humanity — all. 
J. Fernandez illustrates this skilfully and with considerable power 
— his death-scene, a little prolonged perhaps, being impressive. The 
part of Gilbert Vaughan is not a new one to Fred Terry, as he 
had acted it on tour ; it was a fine impersonation — thoroughly 
human and sympathetic. F. Kerr and Blanche Hodock were 
excellent Webster Lawson, quite a young actor, made nis mark ; 
and Mrs. E. H. Brooke, as Mrs. Wilkins, showed what can be 
done when even only a few lines have to be spoken. Julia 
Neilson promised to be one of our finest actresses if she would 
only guard against a tendency to throw too much force into 
strong situations. Up to the last act Miss Neilson's acting 
was almost perfection ; then there was a little exaggeration. 
Experience should modify this. I am the more inclined to 
call attention to this, as I noticed the same tendency to exaggera- 
tion when I saw this clever young actress a second and a third 
time in Comedy and Tragedy. Called Back as a revival was an 
undoubted success. 

I ith. Steinway Hall. A Needless Lie. — Duologue, by Frank 

1 2th. George Grossmith gave his musical entertainment, before 
Her Majesty the Queen, at Balmoral. 


146 New Year's Chimes — May and December. [Nov., 1890. 

13th. Park Hall, Camden Town. New Yearns Chimes. — 
Drama by Arthur Shirley (for copyright purposes). 

14th. The "Eccentric" Club opened in Denman Street, 

15 th. Comedy. May and December, — There is ajittle history 
connected with this play. It is taken from La Petite Marquise 
of Meilhac and Hal^vy, and was originally tried at a private per- 
formance at the Globe Theatre, September 28th, 1882, the Licenser 
of Stage Plays having refused his permission that it should be given 
in public The adaptation was then made by Sydney Grundy and 
Joseph Mackay ; and Lydia Cowell played Kathleen Lady Ffolliott, 
and asked the audience at the close of the performance — "Do 
you consider it so very awful ? " and though there were some 
objectionable features no doubt, still, more risky plays had been 
licensed. Under its present title, and by the same adaptors, the 
piece was done at a matinie at the Criterion on April 26th, 1887. 
Gilbert Farquhar was the old bookworm, the December of the 
play ; and Kate Rorke, Kathleen Lady Ffolliott, the May ; 
E. W. Gardiner, the Captain TEstrange ; W. Blakeley, the 
Babbington Jones ; Ffolliott Paget, the Madeline Fenton (now 
Judy Belsize) ; and Lydia Cowell, as now, Jane. G. Farquhar and 
Kate Rorke were most deservedly highly complimented, but they 
played the piece in the vein of pure comedy in which it was then 
written. Mr. Grundy has now founded, alone, on the. play in 
which he collaborated, his present version, which he endeavoured 
(I imagine to suit the requirements of the Comedy Company) to 
make fardcal — and unsuccessfully. Some of his writing was as 
bright and clever as any he has furnished us with, but there were 
some lines which are not at all in good taste. And then the 
action was so uncertain ; at one moment you have an almost 
pathetic touch in the strained relation of husband and wife, and 
then — ^presto ! — you are presented with the wildest of farce. Sir 
Charles Ffolliott is an old bookworm married to a mere girl, 
Kathleen, romantic and with a devotion to sensuous poetry and 
Ouida's novels. She cannot take an interest in her husband's 
antiquarian researches, and so he, wishing for her happiness, 
determines to give her good cause for a separation by amicably 
turning her out of doors, at the same time expressing the tenderest 
interest in her well-being, and telling her to wrap up well as the 
night is cold. Kathleen starts with the intention of joining her 
friend, Judy Belsize, who has just told her she has a cottage in 
Hampshire, and that she is in search of a certain Captain who 
has courted her by the sad sea-waves and then run away. This 

Nov., x89o.] The Pharisee. 147 

proves eventually to be Captain I'Estrange, who has also played 
upon Katherine's romance and induced her to believe that he cares 
for her. When he hears she is gone to Hampshire he follows 
her. She quite artlessly tells him that she shall soon be free and 
then he can marry her. But he, of course, only wants her as a 
mistress — and soon lets her know this. Kathleen comes to her 
senses — ^returns home, and is at first (forgetting her own conduct) 
quite indignant when she hears from the tattle of eavesdropping 
servants that Sir Archibald has been " carrying on." However, 
when it turns out that there is no foundation for this, but that it 
was only her friend Judy who had been in his company, she prays 
her husband's forgiveness and he takes her to him again and 
burns his magnum opus. The Captain goes off humming a tune, 
but Nemesis will overtake him in the shape of an action for 
breach of promise, brought against him by the gushing Judy. 
This last character had been specially written up for Lottie 
Venne, who, as an attractive little widow with an eye to the main 
chance, makes it an amusing one. Miss Norreys had an almost 
impossible character to attempt to do justice to ; allowance must 
be made if she was not quite successful in it. Charles Brookfield 
was essentially a gentleman, though rather an unworldly and silly 
one, as Sir Archibald. Charles Hawtrey did his best in one of 
those light feather-brain parts which he appears to look upon as 
his own. J. F. Graham was humorous as a barrister, with one 
case that is ever upon the point of being heard. W. Wyes and 
Lydia Cowell were excellent May and December was but coolly 

1 6th. Death, at 158, Westgate Street, Gloucester, of Mrs. 
Elizabeth Fletcher, said to be a direct descendant of Shake- 
speare's sister Joan. 

17th. Shaftesbury. T/ie Pharisee. — Considerable discussion 
arose as to the conduct of the heroine of this play. We are led 
to suppose that in her youth she fell, not viciously, but from an 
imperfect understanding of good and evil. She repented and 
became a good woman. All chance of the discovery of her sin 
disappears, yet she feels compelled by the stings of conscience to 
confess the misdeed of her past life to the husband who worships 
her. Would any woman so jeopardize, in one sense, her worldly 
happiness } My opinion is, that a really good woman, loving her 
husband, would confess, as she would know that her secret would 
be a torture to her — that she would be unable to endure her life, 
knowing that while all the time her husband considered she had 
been ever pure as snow, she was living ^ lie In whatever light 

148 The Pharisee. [Nov., 1890. 

her conduct may be viewed, there is no doubt that the authors 
maintained the interest in their heroine (and her husband) to the 
very last The audience watched with intense curiosity the 
denouement of the plot, and appeared to be satisfied with its 
ending ; at least such was the apparent verdict on the opening 
night Kate Landon has been brought up by a bad father, 
Captain James Barrel, amid scenes of vice. Anxious to get 
away from them, loving him in a sense, and dazzled by Lord 
Helmore's specious arguments in favour of " free love," she lives 
under his protection for some three months. Then her eyes are 
opened to the wickedness of her life. She leaves him and com- 
pletely reforms. Geoffrey Landon asks her to be his wife. She 
commissions her father to tell Geoffrey of her antecedents. The 
Captain, to serve his own ends, divulges nothing, but brings back 
a message, as though from Geoffrey, that he forgives the past on 
the condition that it is never to be mentioned between them. 
They have been married eight years, and love each other 
devotedly, when Lord Helmore, knowing that he may at any 
moment die of heart-disease, is pricked by conscience. He 
determines to provide for the woman he betrayed in his youth, 
and that his resolutions may certainly be carried out, entrusts a 
packet of her letters and her portrait to his old friend, Geoffrey 
Landon, who is to discover her whereabouts. Through a photo- 
graph shown him by Mrs. Landon's little girl, Katie, Lord 
Helmore learns that the woman he wronged and Kate Landon 
are one and the same. Just as Geoffrey is on the point of breaking 
the seals of the packet, the contents of which will inform him of 
his wife's shame. Lord Helmore steps in and takes them from his 
hands. The near approach to discovery is too much for Kate ; 
she has learnt from her father how he has deceived her in not 
telling her husband, and she feels that she can never accept 
Geoffrey's affection and trust in her till he knows all, and so, in 
an agony of shame, she confesses, Geoffrey, who has hitherto 
esteemed her the most peerless of women, is horrified, and cannot 
forgive ; for the sake of their child she shall still live under his 
roof, but be to him a wife only in name. Then comes a letter 
from the (now dead) Lord Helmore, in which he pleads to 
Geoffrey for a woman that was betrayed, should Geoffrey ever 
meet with her. The heart of the husband is softened ; he looks 
into his inner self, sees the hardness and self- righteousness of his 
nature, and that he is wanting in " charity." He goes forth for 
a time to find it, but before doing so sends by the pure lips of 
their little child a message of peace and forgiveness to his un- 

Nov.,x89o.] The Waiertnan — Antony and Cleopatra. 149 

happy wife — a message that bears the hope of a reunion of 
hearts at no distant date. Mrs. Lancaster- Wallis was very 
tender, and rose to a great height of passion in the agonizing 
scenes she had to pass through, first where the packet is in her 
husband's hands, and she tries to persuade him not to open it, 
but to entrust it to her to discover the woman that was to be 
found ; and afterwards, when she has to make the humiliating 
confession at the feet of her husband. Lord Helmore*s character, 
which has to be played in a most subdued manner, as the man 
is supposed to be almost dying before one's very eyes, was most 
earnestly and pathetically portrayed by Lewis Waller. Geoffrey 
Landon has comparatively little opportunity till the last act, but 
then Herbert Waring brought out his characteristics admirably. 
M. Marius was a typical roui and scoundrel, but made love most 
amusingly to the silly old maid. Miss Maxwell, excellently played 
by Sophie Larkin, and Henry Esmond and Marion Lea bright- 
ened up the play as a pair of young lovers. Minnie Terry again 
proved herself the most natural child-actress we have on the stage. 
It should be added that, in point of literary merit, The Pharisee 
was much above the average. 

17th. Lyric Opera House, Hammersmith (hitherto known 
as the Lyric Hall). — Re -opened after considerable alterations 
under the management of Charles Cordingley. The Watermany 
His Last LegSy and a new and original fairy extravaganza entitled 
Pucky an " after dinner version *' of A Midsummer Nights Dream^ 
formed the programme. 

1 8th. Death of Henry Jeffries Ashley. Began life in the office 
of Maudsley & Co., engineers. First appeared in Glasgow, came 
to London in i860, and obtained an engagement with Mr. and 
Mrs. Alfred Wigan at the St James's. Was subsequently a 
member of the Adelphi company, and remained with them seven 
years. Made his mark as William in Doray as Geoffrey Gordon 
in The Great Divorce Casey but specially as Joskin Tubbs in Pink 
Dominos. His greatest successes were achieved in the parts of 
old noblemen in comic opera, etc. Last appeared as Colonel 
Sombrero in Captain TUrisey at the Prince of Wales's. Was a 
nephew of Dr. Doran. Lies buried in Brompton Cemetery. 

19th. Princess's. Antony and Cleopatra, — Shakespeare's five- 
act tragedy revived.- Qeopatra, we are told, has been made the 
leading character in the drama in " two Latin, sixteen French, six 
English, and, at least, four Italian tragedies," and yet Shakespeare's 
play oi Antony and Cleopatra has not been a favourite with managers. 
There appears to be some doubt as to when it was first produced. 

ISO Antony and Cleopatra. [Nov., 1890 

Garrick played, in 1759, Antony to the Cleopatra of Mrs. Yates, 
then a young actress, and neither of them shone ; nor was the 
play a success, for its withdrawal took place in a few nights. In 
Dryden*s All for Love^ drawn from this source. Booth and Mrs. 
Oldfield played the principal characters. In 1 8 1 3 John Kemble 
made a hash-up almost of the two plays. Mrs. Faucit was then 
the Cleopatra. How little Macready thought of his part, when 
the play was revived in 1833, was proved by his almost passing 
it over in his diary ; Miss Phillips was then the Cleopatra. 
Shakespeare's play, in its integrity, was produced at Sadler's 
Wells in 1 849, and we had the best Cleopatra, perhaps, that had 
been seen, in Miss Glyn, who frequently reappeared in the character. 
The work was revived by Charles Calvert, of Manchester, and by 
Chatterton, at Drury Lane, both with splendour. The latter 
was in 1873, and the production so crippled the manager's 
resources, that he never recovered from it ; James Anderson and 
Miss Wallis (Mrs. Lancaster) were in this the principals. The 
Drury Lane revival was the latest until Mrs. Langtry's produc- 
tion. I can understand that the character of Cleopatra should 
be an attractive one to such a beautiful woman as Mrs. Langtry, 
but unfortunately she miscalculated her dramatic strength, and 
neither as the woman who could conquer all hearts, or as the 
powerful queen, did the actress fulfil the requirements of the 
character. Where Mrs. Langtry was not languid or pettish, she 
played with undisciplined force, and it was here that the value 
of an early and life- long training is so apparent. Mrs. Langtry 
wore her own beautiful hair, did not alter her complexion, and 
was exquisitely apparelled. The Antony of Charles Coghlan will 
be recorded as one of his greatest successes, from the energy and 
passion which he threw into the portraiture of the enamoured 
king. F. Kemtle Cooper's appearance and grand delivery of the 
text entrusted to Octavius Caesar were the theme of universal 
praise. The Enobarbus of Arthur Stirling was of the old school, 
and of great elocutionary merit. Of the younger school of actors 
who acquitted themselves well must be mentioned Oscar Adye 
as " A Messenger ; " Charles Burleigh, as Eros ; and Henry 
Loraine as Proculeius. Amy McNeil was an attractive Char- 
mian, and Frances Ivor a dignified Octavia. It will not be for 
the acting, however, that the Princess's production will be specially 
remembered, but for the gorgeousness of its pageants. On these 
the expenditure must have been enormous, and the Hon. Lewis 
Wingfield, if he erred, did so on the score of liberality. The 
pictures he presented to us in the " Alexandrian Festi\^," and 

Nov., 1890.] In Chancery. 151 

the " Triumphal Reception of Antony by Cleopatra," were 
magnificent and faithful reproductions of the Eastern displays 
of the period. Whilst retaining Shakespeare's text, and only 
transposing a scene or two, Mr. Wingfield gave us processions of 
Egyptian soldiery and Roman legions, and Egyptian dances in 
the form of ballet, which feasted the eye, but detracted from the 
attention that should have been devoted to the play, which, on 
the first night, occupied over four hours in representation. Such 
pictures as " The Exterior," and " 'A Hall ' in Cleopatra's Palace," 
"The Banks of the Nile," and the "Interior of an Egyptian 
Monument," were in the very best style of scene-painting, and, 
with the general accessories, attracted the public for a time, 
independently of the merits of the performance. It should be 
mentioned that during the run of the piece, F. Kemble Cooper 
frequently played Antony, and invariably with the greatest 

19th. Shaftesbury. — Mr. John Lancaster most kindly gave 
the use of his theatre for the purposes of a benefit for the widow 
of Charles Du Val, the late most popular entertainer. Clement 
Scott took great interest in the matter, and acted as chairman of 
the committee, of which Cecil Howard was secretary, and W. H. 
Griffiths treasurer. All the members of the theatrical profession 
and managers came forward in the most generous manner, and 
rendered their services ; with the result that altogether the sum of 
;f 300 was handed to Mrs. Du Val. 

22nd. Terry's. {Revival,) In Chancery. — Three-act farce, by 
A. W. Pinero. This is one of the author's earlier pieces (it was 
produced at the Lyceum, Edinburgh, September 19th, 1884; was 
revived at the Gaiety, December 24 of the same year; and later was 
given by Edward Terry during his short season at the Olympic). 
It contains much of the clever drawing of character, amusing 
situations, and crisp dialogue, for which Mr. Pinero has since 
become so distinguished. It is absurdly laughable, and the 
principal character fits Terry like a glove. Montague Joliffe, 
whose real name is Marmaduke Jackson, is in a railway collision, 
from the shock of which he loses all memory of the past, and of 
his own identity. From a card found in the pocket of the great 
coat, which is supposed to be his, he imagines he must be 
Montague Joliffe. After the accident, he is carried to an hotel 
kept by a blathering Irishman, Captain Dionysius McCafferty, 
where he is nursed by the buxom Patricia McCafferty, the land- 
lord's daughter. As Joliffe has run up a long bill, which he is 
unable to pay, the Captain insists that he shall liquidate it by 

152 In Chancery. [Nov., 1890. 

marrying the fair Patricia. The preparations are all made for the 
wedding, when Mrs. Smith arrives. She is a ward " in Chancery/' 
who has been married without the consent of her guardians, to 
the real Montague Joliffe, who travels in her train as her servant 
John. A reward of ;^200 has been offered for the arrest of the 
defiant husband. The spurious Joliffe reads this, and imagines 
he has committed some crime which he has forgotten, and as 
Hinxman, a detective, is after him, and Mrs. Smith claims him 
as her husband, to screen her real one, whom Hinxman says he 
shall also arrest for conspiring to commit bigamy, the miserable 
Joliffe plucks up courage, locks up the wedding guests in a room, 
and escapes. He by chance gets back, in company with Mrs. Smith, 
to his wife's house at Gravesend, where the sight of the familiar 
objects of home brings back his memory. Mrs. Jackson is de- 
lighted to see him, but she begins to ask awkward questions as to 
how he has spent the two months of his absence, and as he is 
supposed to have another wife in esse and a third in posse^ his 
position is peculiar — very. But Doctor Titus comes like an angel 
to the rescue, and takes Patricia off his hands. The guardians 
have written, giving their consent to the ward's marriage, and so 
John comes forth in his rightful character of Montague Joliffe, and 
Marmaduke Jackson resumes his proper name. Edward Terry 
was excessively funny, as Montague Joliffe, in his bewilderment as 
to his identity- — his wonderful vacuity, and attempts to remember 
who he absolutely is, combined with his ludicrous agony when he 
fancies he is some daring criminal, were intensely droll, and were 
as amusing as his delight when he meets with his own beloved 
spouse, who, by the way, was agreeably rendered by Alice Yorke. 
Julian Cross was droll as the Irish Captain McCafferty, who 
labours under the delusion that he has a bullet somewhere roving 
about in his internal economy, said bullet being all the while in 
the possession of his medical attendant, Doctor Titus, neatly played 
by F. W. Irish. Prince Miller did well as the detective, Hinxman, 
and Robert Soutar and G. Belmore were both quaint and funny 
as Buzzard and Gawge, two friends of McCafferty. Eleanor 
Leyshon had little more to do than to look pretty, as Mrs. Smith, 
and that she could not help doing, and she had almost as attractive 
an attendant in Violet Armbruster as her maid Walker. Kate 
Mills missed a splendid opportunity as Patricia McCafferty — she 
was very wanting in go — and Henry Dana did not hit the mark 
as John. One of the cleverest bits of acting was that of Rose 
Dearing as Kittles, the lodging-house slavey-^^i^ ^\^(^^[^of 
humour. ^ 

Nov., i89o.] The Mock Doctor — My Lady Help. 153 

24th. Grand. The Mock Doctor. — Comic opera in three 
acts. Music by Gounod, book by Richard Semple, lyrics by 
Charles Lamb Kenney. This is an adaptation of Moli^re's Le 
Midecin Malgri Lui. It will be remembered that, in the original, 
Lucinda pretends to be unable to speak, in order to prevent the 
marriage which G^ronte, her father, wishes to force upon her, she 
being in love with Ldandre. Martine, out of spite to her husband, 
Sagnarelle, who is in the habit of beating her, revenges herself 
by giving out that he is a doctor who can cure all diseases, but 
will do nothing until he has been well thrashed, and so he attends 
Lucinda and gets a good beating to make him own himself a 
doctor. The humour of the play is most prominent in Sagnarelle 
himself, who makes ludicrous mistakes in his attempt to fill the 
position of the medico. Richard Temple gave a very spirited 
rendering both as to music and words, and was ably assisted 
by Effie Chapuy and Susetta Fenn. The rest of the cast were 
vocally efficient, but did not prove themselves very great actors. 
The piece was excellently staged both as to costume and scenery ; 
the chorus was efficient, and there was a pretty ballet, arranged 
by Mdlle. Marie, of the Alhambra ; but the opera did not prove 
a great attraction to Islington audiences, although the book is 
not deficient in cleverness ; but Gounod's music is too good for 
the subject, and is not " catchy " enough. The original production 
was seen at Coven t Garden in 1864. 

24th. Shaftesbury. My Lady Help. — The following ap- 
peared in The Observer : " In this, which was played before The 
Pharisee at the Shaftesbury, Mr. Arthur Macklin has constructed 
out of familiar materials a fresh and pleasant little play. His 
heroine is a certain young lady of title who, having married a 
Bohemian painter, finds herself in danger of scaring away a 
benevolent but narrow-minded uncle, who mistrusts all fine ladies, 
especially if they have handles to their names. Lady Eva easily 
wins the old man's heart by making him think her a lady-help 
with all the capabilities of a notable housewife, and she wheedles 
him to such purpose that he ends by giving the youn^ couple 
;f 2 0,000. My Lady Help goes capitally, a result mainly due 
to the light-hearted spirit infused into the rdle of Lady Eva by 
Miss Florence West, who has not often been seen in anything 
so frivolous. Mr. H. V. Esmond is so indistinct that it is 
impossible to say how near the mark he comes as the young 
husband ; but as the avuncular good fairy Mr. Beauchamp is 
quite at home." Dig,,,, by GoOqIc 

25th. Playgoers* Club. — ^J. T. Grein read an interesting 

154 London Assurance. [Nov., 1890. 

paper on subsidized theatres, giving details and figures as to the 
subsidy system in Continental houses, and unfolded his own scheme 
for the establishment of a subsidized theatre in London, which 
was to be upheld by private — not state — subscription. 

27th. Criterion. {Revival,) London Assurance. — "More than 
forty-nine years ago (March 4th, 1841) London Assurance was 
first produced at Covent Garden, and announced as the work of 
one Lee Moreton, to be better known in after years as Dion 
Boucicault. And what a cast there was I Old William Farren 
(father of the present) was Sir Harcourt Courtly ; Charles 
Mathews, Dazzle ; Harley, Meddle ; Robert Keeley, Dolly ; 
Mrs. Nesbitt (with her gay melodious laugh). Lady Gay Spanker ; 
the beautiful Mme. Vestris, Grace Harkaway; W. Anderson, 
Charles Courtly ; and a very clever actor, Brindal, Cool the valet. 
A notable revival was that at the Olympic, December 26th, 1866, 
when Charles Mathews resumed his original character ; and Mrs. 
Charles Mathews played Lady Gay ; Milly Palmer (Bandmann) 
was the Grace ; Horace Wigan, Sir Harcourt ; Henry Neville, 
Charles Courtly ; and the boys' * Our Nellie ' Farren, Pert, the 
waiting-maid. Since then we have seen it among the revivals 
under the Marie Wilton management, and at matinees — ^for Lady 
Gay is a favourite character with novices who wish to make a 
stir and to wear a riding-habit. Boucicault's play was charmingly 
produced, and in the cast were some who specially distinguished 
themselves. The character of Dazzle is one for which Charles 
Wyndham is thoroughly fitted, and he filled it with that dare- 
devil effrontery and bonhomie that the polished adventurer should 
show. I should like to have seen him in the part of Charles 
Courtly ; he would have made of it a feature. Arthur Bourchier 
looked too old for the supposed innocent youth, and was ponderous 
instead of light and bright. Mary Moore looked simply charming 
as Grace Harkaway ; but, unfortunately, she did not ever get 
* inside ' the part, and the play lost considerably in consequence. 
Mrs. Bemard-Beere gave some original touches as Lady Gay 
Spankef^, but I have seen better exponents of the part ; she was 
light-hearted and mischievous, and yet showed how deeply she 
loved her good-natured but silly husband, * Dolly ' — capitally 
played by George Giddens. W. Blakeley was very amusing as 
Meddle, but missed one or two of the recognized * points.' We 
had a true and natural picture of the English squire, ' one of the 
olden times,' in H. H. Vincent's Max Harkaway, and the best 
Cool that has been seen for years in Cyril Maude. I have left 
William Farren till the last His Sir Harcourt Courtly was a 

Dec, x89o.] The Middleman — Possession. 155 

veritable picture of the vain, deluded old beau, who, once rid of 
his conceit, was the truest gentleman. The man's dress of fifty 
years ago was faithfully reproduced by Messrs. Nathan — it was 
in a degree picturesque, particularly that worn by Dazzle. It 
was curious to see again the frilled shirts and the tightly-strapped- 
down trousers. There was a treble call on the final fall of the 

St. James's. French plays. — 3rd, Les RevolUes, by Edmond 
Godinet; V Autographed by Henri Meilhac; ^xALolottey by Meilhac 
and Hal^vy, all one-act plays. loth. Vami des Femmes. — Five- 
act comedy by Alexandre Dumas fils : Cast ; De Ryons, M. Valbel ; 
De Mont^gre, Lenormant ; De Simerose, Rouvenat ; Des Tar- 
gettes, Ricquier ; De Chantrin, Lagrange fils. Leverdet : Daumerie ; 
Joseph, Debarsa ; Jane de Simerose, Mdlle. Stuart ; Mme. 
Leverdet, Gaudin ; Mdlle. Hackendorf, Cheller ; Balbine Leverdet, 
Davril ; Justine, Brunet. 



1st Grand. The Middleman. — Was represented during the 
week by a company headed by C. W. Somerset, who interpreted 
the character of Cyrus Blenkam with much pathos and force, and 
with an agreeable independence of Mr. Willard's reading. Mary 
Blenkam was played prettily by Agnes Verity, and the Nancy was 
Miss Hall Caine, a young sister of the novelist, whose imperson- 
ation was marked by much vivacity and sprightliness. The 
remainder of the cast was as follows : — ^Joseph Chandler, Henry 
Crisp ; Captain Julian Chandler, E. A. Coventry ; Batty Todd, 
J. Phipps ; Jesse Pegg, Harry Halley ; Epiphany Danks, F. O. 
Backster ; Felicia Umfraville, Jessie Lee. 

1st. Haymarket. — Revival of The Ballad-monger, with J. 
Fernandez as Louis XI, 

1st. St. George's Hall. Possession. — Written by Walter 
Browne ; music by Alfred J. Caldicott. Fanny Holland, amusing 
as a gushing and pretty widow, Mrs. Lavinia Limpet ; Kate Tully, 
very bright and engaging as Ella Willoughby ; Alfred Reed, droll 
as Thomas Trotter, the man in possession; Avalon Collard, a good 
lover, as Jack Weldon ; J. L. Mackay, clever as a 'cute Yankee, 
Samuel Washington Tubbs. Strange that on Tuesday evening, 
June 20th, 1 87 1, Miss Fanny Holland took her benefit at the 

156 The Penalty— The PeopUs Idol [d«c.. 1890. 

Gallery of Illustration, and a new operetta, entitled In Possession^ 
by R. Reece, with music by Frederick Clay, was produced for the 
first time, and that the plot of the play bore considerable likeness 
to Walter Browne's. 

2nd. Terry's. {MatinSe) The Penalty. — The new three-act 
play by Julian Cross, must be re-written if the author wishes it to 
be of any service. Evidently starting with a motive sufficiently 
strong for an interesting drama, Mr. Cross has so cumbered his 
plot with side issues as to make it almost incomprehensible. It 
is, in a great measure, a one-part play. The heroine, Cora Montez, 
formerly wife of a Mr. Loombe, a Brazilian merchant, has in the 
past poisoned her husband that she may join her paramour. Her 
late husband's friend, Bentry, had discovered the murder, and she 
has served twelve years at the galleys, and the partner in her guilt 
has been hanged. On her release her beauty captivates a wealthy 
planter, who dies and leaves her a rich widow, and she comes to 
England to try and win the affection of her son and daughter, 
George and Iris Loombe, who have been brought up by Bentry. 
This gentleman, however, will not countenance her in any way, 
and threatens to denounce her past. Cora tries to poison him, 
but her son George, who is a doctor, discovers the attempt, and 
so the wretched woman takes the poison herself and dies. The 
part of Cora Montez requires very powerful acting. Ruth Rutland 
was not equal to it. The author played a foreign scoundrel, Cirio 
Antonelli, well ; Henry Bedford was earnest as John Bentry ; and 
A. Wood quaint and amusing as Jack Barnard, an old sailor. 
Eleanor Leyshon exhibited some power and enlisted sympathy as 
Iris Loombe, an undisciplined but loving girl ; and George Belmore 
gave a clever character sketch as Sam. Rose Dearing played 
quietly, but very effectively, as Lizzie Willis. 

4th. New Olympic was opened by Mr. Wilson Barrett, with 
The PeopUs Idol. Ever since the year 1806, at least a portion 
of the site on which Mr. Wilmot had built the New Olympic for 
Mr. Wilson Barrett has been occupied by a house affording 
entertainment. Originally there stood on it Craven House, in 
which dwelt Elizabeth, sister of Charles I., who was privately 
married to the Earl of Craven. The mansion was afterwards 
turned into a hostelry, known as the " Queen of Bohemia," but 
business dropped off, and as the house fell into decay, Philip 
Astley, in 1803, secured a sixty-three years' lease, and in 1806 
opened the Olympic Pavilion, a circular building with a dome 
roof, in which equestrian entertainments were given — the lessee 
having obtained his licence for music and dancing through the 

Dec. 1890.] The Peoples Idol. 157 

influence of Queen Charlotte, for whose children he had trained 
an exceptionally pretty pair of ponies. After keeping the place 
open for some seven years at a loss, he parted with the lease to 
EUiston, who made great alterations in the building, and opened 
it in April 1 8 1 3, as the Little Drury Lane Theatre. He was 
charged with invading the patent rights, and the house was 
shortly closed, but re-opened at the end of the year as "The 
Olympic." Elliston was fortunate here, for out of the re- 
ceipts of the house he was in a position to become lessee of 
Drury Lane. Barlow and Reeve were the next lessees (1820), 
then Egerton (1821), Oxberry (1822), Frampton (1823), Scott 
(1826), George Wild (1829), Madame Vestris (1831). The 
theatre under her management was noted for the excellence of 
the company, and for the charm of Planchd's productions. 
Samuel Butler took the house in 1 840 next ; George Wild again 
in 1841, T. D. Davenport (1844), Miss Kate Howard (1845), 
George Bolton (1846), Davidson (1847), under whose manage- 
ment G. V. Brooke made his first appearance in London, January 
2nd, 1848. Soon after Spicer joined Davidson, and during their 
joint rule the theatre was burnt down, March 29th, 1849. It 
was rebuilt on a larger scale, and re-opened, December 26th, 
1849, by Mr. Watts, who came to a tragic end by suicide in 
Newgate, where he was confined for forgery and frauds on the 
Globe Insurance Company amounting to ;f8o,ooo. G. Bolton 
again took the house in 1850, but only for a month, for in 
September old William Farren became the lessee. Mrs. Stirling 
and Leigh Murray were prominent members of his company. 
Then came the Alfred Wigan management, and the appearance 
of the great F. Robson at Easter in 1853. In August 1857 
he became joint manager with W. Emden, and some of the best 
works of Wilkie Collins, John Oxenford, and Tom Taylor were 
produced. Soon after Robson's death, Emden retired in favour 
of Horace Wigan (1864). Benjamin Webster followed in 1868, 
W. H. Liston in 1869, Ada Cavendish (1872) — great in The 
New Magdalen — Henry Neville (1873), who held the house 
till 1880. Since that date the theatre has had many lessees, but 
they have almost all been unfortunate — most of all, perhaps, 
Mrs. Conover, who lost many thousands on it. The New 
Olympic, opened December 4th, is considerably enlarged — nine 
houses and gardens having been taken in to form the stage, 
which begins where the back wall of the old theatre stood, and 
has a depth of 50 ft. ; a width, including scene docks, of 90 ft ; 
opening at proscenium, 30 ft. ; and height from floor of stage to 

IS8 The Peoples Idol. [DicxSgo. 

flies, 65 ft. The house will hold £iSO, from nineteen private 
boxes, 157 stalls, 205 dress circle, 266 upper boxes, 1,200 pit, 
and 1,000 gallery. The theatre was built by Messrs. Holiday 
& Greenwood, from Messrs. Crewe & Sprague's designs ; the orna- 
mentation, carried out in the Louis XVI. style. Rose Dubarry, 
white and gold, by Messrs. AUard & Sons ; the furniture and 
upholstery by Messrs. Oetzmann & Sons; the electric lighting 
by Mr. Henry South ; and the gas arrangements, electric fittings, 
hot-water apparatus, and canopy outside by Messrs Vaughan & 
Brown. The building is on the cantilever principle, thus doing 
away with columns, so that a good view of the stage is obtained 
from every part of the house. The pit is one of the best in 
London, and all the seats have backs to them. There are in all 
eighteen exits from the house, and all readily available. The 
main entrances are in Wych Street, the stage-door in Maypole 
Court. The saloons, cloak-rooms, etc, are well arranged, and 
particular attention has been paid to the ventilation before and 
behind the curtain, and to the sanitary condition and comfort of 
the dressing-rooms. The house presents a very pretty appearance. 
Of The Peoples Idol I wrote the following for The Topical Times : 
" Lawrence St Aubrey is an ironmaster, who deals most kindly with 
his workmen. Strikes are going on among the men employed at 
the foundries ; and Jim Stevens, the leader of the strike, has a 
special animosity to the St. Aubreys, having been dismissed from 
their employ for drunkenness. He has had some cause for 
drinking, for he has been jilted by Myra Keith, and he has vowed 
to kill her and the man who robbed him of her. Arthur St Aubrey, 
we soon discover, was Myra's lover ; but he is now married to 
Lydia, an American girl, and has settled down. Myra, constantly 
pestering him for money and threatening disclosure, comes to 
St. Aubrey Hall ; and in order to get rid of her he promises to 
meet her at the ruins of Fairfield Abbey in an hour's time. To 
satisfy her former demands, he has been compelled to raise money 
on bills. These come into the hands of Lawrence, who questions 
him as to them. Arthur then confesses all, so Lawrence arranges 
to meet Myra and stop her extortions. In the next scene the 
great meeting of the strikers takes place. Jim Stevens, the 
demagogue, harangues them, the * Strikers* Song * (most ex- 
cellently given by Curtis d*Alton) is sung, and the workers march 
oflf to the following chorus : — 

* Then shoulder to shoulder we'll march to the fray. 
An honest da/s work for an honest day's pay. C^ r\r\ci\o 

Capital and tyrants have long had their day. igitized by vjOOglC 
The people are coming along.* 

Die, iSgo.] The Peoples Idol. 159 

One of the women taunts Jim Stevens with the information that 
Myra has been seen going in the direction of Fairfield Abbey, so 
Stevens follows, and on arriving meets Lawrence St Aubrey. 
Stevens imagines him to be Myra's lover, and so tries to shoot 
him ; they struggle, and Lawrence throws Stevens so heavily that 
he is rendered senseless. Lawrence then goes for assistance. 
Whilst he is away Stevens recovers, and Myra arrives at the 
rendezvous. Stevens swears that unless she will disclose her 
lover's name he will murder her. In an ensuing struggle she 
kills him with a blow from an iron bar, and Lawrence, returning, 
believes himself to have been his murderer. Looking up he sees 
Myra, and each supposes the other to be a witness of the crime — 
a most telling situation. In the third act, the first scene of 
importance represents the iron-foundry, where the strikers come 
in a body to force Lawrence's hands to join them. There is every 
appearance of a desperate struggle being about to take place, 
when a litter with the dead body of Jim Stevens arrives. Myra, 
trying to hide herself, is dragged out by old Stevens, and is likely 
to be torn to pieces by the followers of The People's Idoly when 
Lawrence and his men rescue her, and the curtain falls on his 
promising that within twelve hours steps shall be taken to bring 
the murderess to justice. This, as may be imagined, forms an 
engrossing tableau. In the last act, at Fairfield Hall, there is a 
fine situation in the meeting between Myra and Lawrence, each 
alternately trying to learn the other's knowledge of the supposed 
crime. After all it is proved that neither was the actual cause of 
Stevens's death, which Dr. Wheeler, who has attended him for 
some time, pronounces to have resulted from heart-disease, brought 
on by dissipation. And so the curtain falls on the prospect of 
happiness for Lawrence and his future wife, repentance for Myra, 
and the resumption of amicable relations between St. Aubrey and 
the workmen. Wilson Barrett exhibited that fire and energy, 
earnestness in love-making, and passionate remorse, that have 
distinguished his acting for years past. Winifred Emery was 
charming in her love scene — ^so pettishly loving at first, until she 
discovers that the man to whom she has given her promise is in 
trouble ; then so womanly and tender. Lillie Bel more specially 
distinguished herself by the reality of her acting ; she completely 
identified herself with the character she represented, and not a 
gesture or a glance was inappropriate. Austin Melford drew an 
almost grand picture of the ambitious, yet well-nigh broken-hearted, 
people's idol, and W. A. Elliott scored immensely as a loafing 
Cockney workman, who never works, but is loudest in his 

i6o The Mock Doctor — The Red Lamp, [Dec, 1890. 

denunciations against the tyranny of capital. George Barrett was 
thrown away in such a part as Gabriel's. Of an exceptionally 
good cast I must specially mention H. Cooper Cliffe, Staflford 
Smith, and Franklin McLeay, Louie Wilmot (a spoilt younger 
daughter), and Lily Hanbury as the outspoken wife of an operative. 
Summed up, the enthusiastic reception accorded the piece, the 
actors and actresses, the really magnificent staging, and the 
splendid house augured well for Wilson Barrett's enterprise. 
Later on the play was further strengthened in the eyes of many 
by the introduction of a dynamite explosion and destruction of 
the St. Aubrey works though the instrumentality of the London 
agitator, *The Buster/ This part had been 'written up* for 
George Barrett, who played it in the place of W. A. Elliott, the 
latter then appearing as old Gabriel Stevens. Without disparag- 
ing the acting of George Barrett in any way, I may say that he 
was as good but not better than his predecessor. The People* s Idol 
to the surprise of many did not take that hold on the public that 
was anticipated." 

6th. Globe. The Mock Doctor — ^was put on for a fortnight's 
season. Richard Temple, Sagnarelle ; Susetta Fenn, Martine ; 
Effie Chapuy, Lucinda ; Annie Dwelley, Jacqueline. 

8th. Haymarket. {Revival) The Red Lamp — by W. Out- 
ram Tristram, better known as a novelist, was the play with 
which H. Beerbohm Tree inaugurated his management of the 
Comedy Theatre. He revived the piece at the Haymarket for 
one of his special Monday nights. Nihilism as the motive for a 
drama is played out, and had not Mr. Tree filled so extremely 
well one of his best characters, Paul Demetrius, I doubt whether 
The Red Lamp would have been so well received. But there 
he was, so artistically made up as to be almost unrecognizable, 
and yet so true to nature ; nothing exaggerated in the appearance, 
the quaint little oddities, the chuckling laugh of satisfaction, and 
his marvellous intonation of " I wonder ! " Mrs. Tree resumed the 
character of the Princess Claudia Morakoff, and played it re- 
markably well, too. Julia Neilson was the Olga Morakoff, but 
was stagey and artificial. One of the best performances was 
that of F. Kerr, as Allan Villiers, " correspondent of Tlie New 
York Herald ; " he was manly, cool, and incisive, but he should 
not have given us the Yankee accent only by fits and starts. 
Kemble was too soft-hearted in manner for General Morakoff — a 
man who exiles hundreds on the slightest pretence to Siberia ; 
and I have seen Fred Terry to much greater advantage than 
as Prince Alexis Valerian, he posed too much. J. Fernandez 

Dec, 1890.] The Tempest. 161 

was better as Ivan Zazzulic when he had played it two or three 
times more ; he did not seem at home in it, and made one very 
curious mistake, which caused a titter. In speaking of Babing- 
ton's Conspiracy of Queen Elizabeth's time he said : " This 
happened in 1857." I missed Rosina Filippi as Fdise, the 
intriguing lady's maid, with a taste for diamonds. Her acting was 
delicious. Miss M. Floyd, the present representative, was a 
perfect Frenchwoman, but wanting in subtlety ; she made of 
F^lise but a commonplace, grasping serving-woman, and it is a 
part with which so much can be done. 

8th. Lyceum. {Afternoon,) — M. Maurel delivered a lecture on 
The Modem Development of the Lyric Art, 

9th. St. George's Hall. — Irving Amateur Dramatic Club. 
" It was a bold thing of amateurs to raise The Tempest on the 
stage ; but though there was very squally weather and a rough 
sea, as far as the incidents of the play were concerned, behind the 
footlights, in front of them all was fair and smooth, and the 
audience was highly gratified. The Tempest had not been seen in 
London since October 1871, on the 28th of which month it was 
revived at the Queen's Theatre, and was made a magnificent 
spectacle. In this latter respect it was astonishing what excellent 
results were obtained at the St George's Hall on a comparatively 
small stage and by an amateur undertaking. Some of the scenes 
were really beautiful, the ballets were pretty, and the costumes, 
etc, by C. H. Fox, were handsome. The Irving A.D.C. numbers 
among its members some of the best amateurs that tread the 
boards, and I was surprised at the delivery of some of the 
' Irvingites ' — it was so excellent Let me specially pick out, for 
his unforced humour, W. T. Clark as Stephano ; F. Rawson 
Buckley, for his nobility and earnestness as Ferdinand ; and 
F. H. Macey for his savage voice and truculent bearing as the 
brutish Caliban. But that he was a trifle modern F. Sherbrooke 
would have been an excellent Trinculo. The part of Prospero is 
a long study, and Augustus Littleton had not quite mastered it ; 
but when (and it was often) he felt assured of his lines he spoke 
them with dignity and power. An apology was made for Miss 
Kate Johnstone, who was suffering from hoarseness ; it did not 
effect her acting, for she was one of the brightest and tricksiest 
of Ariels that one could wish. And we had such a charming 
Miranda in Mrs. Willian Bell (formerly known and admired as 
Miss Webster) ; and lovely goddesses as Juno, Venus, and Iris, in 
Misses Inderwick, Edith Dixon, and E. M. Churchill ; whilst 
Misses Maud Cunningham and Leila Barry sang the duet in the 


1 62 Captain Swift — Hamlet, [D»c., 1890. 

fourth act, and were most artistically assisted in the choruses by 
pupils of the Royal Academy of Music. The orchestra, an 
excellent one, ably conducted by Battison Haynes, was also 
drawn from the same source. I must not forget the prompter, 
E. Combe Williams, for his office was no sinecure. Yet, taken 
altogether, the performance was a commendable one, and any 
shortcomings may be condoned in the cause of charity, the 
proceeds going to the funds of the Medical Aid and Cyprus 

I ith. The Adelphi of Terence was chosen for the Westminster 
play this year. 

nth. Manor Rooms, Hackney. A Secret Sorrow. — One- 
act play, by G. J. Dowse. 

1 3th. Adelphi. Alfred B. Cross played Harry O'Mailley in 
The English Rose, owing to Leonard Boyne's indisposition. 

15 th. Haymarket. {Revival) Captain Swift. — Special 
Monday evening performance. The character of Mr. Wilding in 
this play is one of Beerbohm Tree's most capable renderings, and 
is a great favourite with the public. In it he exhibits wonderful 
pathos. Lady Monckton, H. Kemble, Rose Leclercq, Mrs. Tree, 
and Charles Allan appeared in their original characters with their 
former success. The changes were : Webster Lawson, who 
played young Harry Seabrook very naturally ; Fred Terry suc- 
ceeded Macklin as Mr. Gardiner, but was not quite as impressive 
as he might have been ; James Fernandez was thoroughly 
effective as the scoundrelly Marshall ; and Miss Aylward played 
the inginue part of Mabel Seabrook nicely, but hurried her 
delivery a little. 

15th. Grand.— Miss Laura Johnstone, a very young actress, 
made her London dibut as Ophelia in Hamlet, and showed the 
very greatest promise. She was supported by Hermann Vezin 
(who had trained her in her art) as Hamlet. Helen Ferrars was 
the Gertrude ; G. R. Foss, Claudius ; Herbert Loring, Laertes. 

iSth. Elephant and Castle. A Foundered Fortune. — 
Drama by W. R Morton. 

15 th. ^ Million of Money. — Transferred from Drury LANEto 
COVENT Garden. F. Kemble Cooper as Harry Dunstable. 

I sth. Grand National Amphitheatre. — Opened by Geoi^e 
Sanger with Scenes in the Circle and a water carnival. 

17th. New Olympic. {Revival) Lady of Lyons. — Special 
Wednesday afternoon. Wilson and George Barrett as Claude 
Melnotte and Colonel Damas. Cooper Cliffe, Beauseant ; Mrs. 
Henry Leigh, Madame Deschappelles ; Alice Cook, Widow Melnotte 

Dbc, xSgo.] Female Barbarian— Jane, 163 

— all excellent in characters that they have played before. 
Winifred Emery as Pauh'ne Deschappelles exhibited with greater 
truth the more tender side of the character. The performance 
was an intellectual one, but was wanting in power. 

17th. KiLBURN Town Hall. Female Barbarism. — An 
original operetta or " Curtain Razor " in one act, the libretto by 
E. La Touche Hancock, the music by Clement Locknane. 
Though written in a merry vein, the lines are not of the very 
highest class of poetry, but they are set to really charming music. 
The idea is a fanciful one. A strong-minded lady who has left 
her husband sets up a barber's shop, and is assisted by a number 
of pretty girl assistants, who cut, and curl, and shave the male 
customers. Presently the deserted husband enters, and a mutual 
recognition between him and his wife takes place, but she will 
at first have nothing to say to him. He then fetches a host 
of young fellows who have flirted with and kissed the pretty 
attendants, and, their joint entreaties prevailing, the couple are 
reconciled. The trifle was done excellent justice to by Mr. and 
Mrs. W. Edgar Fisher, Messrs. Frank Stratton and Meirion 
Davies, Misses Tamar Buck and Maude Evans, and quite a bevy 
of beauty in the shape of female customers, who formed the 

1 8th. Comedy. Jane. — The authors of this merry play 
publicly announced that they were not indebted to Des Velliere's 
Prite moi la Femme, but that the idea was originally used in 
Harry Nicholls's farce, Timsotis Little Holiday, of which Jane is 
but a development. There was really no occasion for the lucky 
and clever authors to say anything on the matter, for the motive 
has been used in several other pieces, notably in Your Wife. 
They treated it freshly and it found favour, so they might have 
been satisfied, for, after all, there is nothing absolutely new under 
the sun. Charles Shackleton has been left a certain fortune on 
condition that he marries. To obtain a portion of it, he induces 
his trustee, Mr. Kershaw, to believe that he is no longer a 
bachelor, and even draws a further sum on the plea of his wife's 
extravagance. The sudden coming to town of Mr. Kershaw 
forces Shackleton to endeavour to induce some one to pass as 
his wife ; Lucy Norton, to whom he is really engaged, indignantly 
refuses to accept the position ; but Jane, his housemaid, for a 
consideration agrees at once. There is one little drawback to 
this, however, for that very morning Jane has been secretly united 
in wedlock to William Shackleton's valet, and he objects strongly 
to the endearments lavished upon his new-made bride by her 

1 64 Jane, [Dec, 1890* 

supposed husband and the rather amorous Kershaw. William, 
in the endeavour to assist his master in his dilemma, has equalled 
his master in duplicity by informing Mrs. Chadwick, a middle-aged 
but gushing widow, that she may really become Mrs. Shackleton 
if she will assume the character at once. She is only too willing, 
and so when Kershaw first arrives he wonders at Shackle- 
ton's taste, and proceeds to lecture the lady on her extravagance. 
The mistake is rectified in his eyes by his being informed that 
the widow suffers from hallucinations ; but the fun of the piece 
is considerably strengthened by this particular scene. Then 
Shackleton unfortunately forgets some of his statements, one of 
which is that he is a happy father, and so a baby has to be 
borrowed from Mrs. Pixton, which has to be reclaimed by her 
diminutive but valiant husband in a very droll encounter with 
the Shackleton household. William at last can bear his position 
no longer ; he blurts out the whole truth, and Kershaw, like all 
stage guardians or trustees, relents and forgives on the condition 
that Shackleton marries Lucy at once, and thus relieves the 
impudent perverter of the truth from the anxiety he has been 
suffering under, as to whether he will be charged with obtaining 
money under false pretences. William is once more happy in 
having his Jane all to himself, and Jane is at the summit of 
human bliss, for she and her husband will now be able to purchase 
the special " milk walk " on which she has looked with such a 
longing eye. The piece was admirably suited to Mr. Hawtrey*s 
company, for it must be owned that some of the situations, and 
especially some of the lines, required the very lightest treatment, 
or they might be looked upon as objectionable. Fortunately 
Lottie Venne is so bright and quick, so full of life, and has such a 
neat and piquante way of saying things, that she glosses over 
what might be unpleasant and is really daring. Her Jane was 
inimitable. Charles Hawtrey, too, can so perfectly assume the 
unblushing effrontery of the most impudent and barefaced story- 
teller with an air of such perfect innocence — he can put on a vacuous 
look, better, perhaps, than any other actor in his line, and made 
of Shackleton a sad scamp, but an amusing one withal. He was 
much assisted by Charles Brookfield as William, whose jealous 
woes and tortures were depicted in the most comically lachrymose 
manner. As a good foil to those two was the genial, simple 
Kershaw of H. Kemble ; then E. Robson did much with a small 
part. Miss Ewell was amusing, and Ethel Matthews graceful and 
interesting. Master R. Saker, as an impudent " Buttons," proved 
himself, on his d^but^ the clever son of a clever father. 

Dec., 1890.] The Rose and the Ring. 165 

1 8th. St. George's Hall. At the Pantomime, — New musical 
sketch, by Corney Grain. 

1 8th. Death of Mrs. George Conquest, from the result of 
an accident, The horses in her carriage having run away, she 
jumped from it and fell on her head. On the same day the 
previous year Mr. Conquest lost a daughter. On each date it 
was the occasion of Clarence Hague's benefit at the Surrey. 

20th. Prince of Wales's. The Rose and the Ring, — (A 
series of afternoon performances.) " Strange, as the result proved, 
that Thackera/s charming Christmas story had not been adapted 
for the stage earlier. Certainly it presented difficulties, but these 
were completely overcome by Savile Clarke, who, knowing he 
could not improve upon them, made use of the author's own 
lines, only introducing some very pretty lyrics. It will be 
remembered that the story was written in Rome, thirty-seven 
years ago, to amuse some children in a city where not even a 
magic lantern could be obtained to delight them at the festive 
season, and Thackeray had his work printed the next year. The 
drawings which he himself made of the various personages 
were faithfully realized on the stage, together with such various 
incidents as the King and Queen of Paflagonia at breakfast. 
The transformation of Jenkins into a door-knocker, the reprieve 
of Prince Bulbo on the scaffold, Betsinda and her warming-pan, 
and the two Kings, Padella and Valoroso, in their monks* dress, 
flagellating each other, were as faithfully reproduced. But 
as the story itself alone would hardly satisfy without some 
display — ^the fairy element was made the vehicle for the intro- 
duction of some charming ballets, and in the second act for a 
grand array of guards most picturesquely uniformed and armed ; 
and all these parts were filled by children, who also sang the 
choruses, and were put through their exercises by the Commander- 
in-Chief, Miss Empsie Bowman, with a coolness and precision, 
and a pretty little assumption of authority that are marvellous 
in such a mite. I must also mention her graceful dancing and 
singing of " Pooty, very pooty ! " in the first act as the little 
beggar girl, Polly. Harry Monkhouse and John Le Hay make 
up to perfection for their respective characters, and were wonder- 
fully droll, the latter especially, but then he is one of the cleverest 
eccentric comedians we have. Violet Cameron was a trifle 
wanting in animation, but was still very pleasing, and Attalie 
Claire was a most charming Betsinda, but was seen and heard 
to even greater advantage as Rosalba. W. Cheesman was funny 
as Padella. I must not forget Maud Holland, who was fresh 

1 65 The Bells— Whittington and His Cat [D«c., 1890. 

and bright, nor Isa Bowman, who was an ideal fairy. The stage 
management of Charles Harris ensured the effective use of the 
brilliant scenes and costumes, which Horace Sedger and Augfustus 
Harris had provided, and which the little folks thoroughly 
enjoyed. Lastly, let us speak of Walter Slaughter's music, which 
was quite appropriate, and very tuneful. Let me specially mention 
the fairy chorus, " The Winds and the Waters obey Thee ; " " The 
Housen^aids' Chorus ; " the duet, " Dearest Prince ; " the quintette, 
" I have simply to remark. Sir ; " Giglio's solo, " Take off the 
Ring ; " and Betsinda's solo, " I look and love." 

20th. Lyceum. The Bells. — Leopold Lewis's adaptation of 
Le Juif Polonais of Erckmann-Chatrian, was revived, and though 
it was some twenty years since it was first produced, was received 
with not only the affection that one feels for an old friend, but 
with the warm greeting afforded to a play in which the public is 
thoroughly interested. When Henry Irving made his entry, his 
reception was enthusiastic and prolonged — partly due to his own 
individuality, but also to the character of Mathias, one of the 
most perfect conceptions of his repertoire. The assumed gaiety, 
the ever-haunting presence, and the agony of mind could not 
possibly be conveyed more truthfully. The actor held his audience 
enthralled and almost dazed with the contagion of his varying 
emotions. Mr. Irving was supported by Mrs. Pauncefort, as 
Catherine (her old part) ; Mr. Howe, as Walter ; Mr. Haviland, 
as Christian ; Kate Phillips, as Sozel ; and Miss Coleridge, as 
Annette. The Bells was preceded by The King and the Miller^ 
in which appeared Messrs. Tyars, Harvey, Johnson, and Lacy, 
Master Harwood, Mrs. Pauncefort, and Miss Foster. 

24th. Crystal Palace. Whittington and His Cat. — Pantomime 
by Horace Lennard, music by Oscar Barrett Dick Whittington, 
Edith Bruce ; Alderman Fitzwarren, Charles H. Fenton ; Jack, 
J. J. Dallas ; Eliza, Mat Robson ; Emperor of Morocco, Susie 
Vaughan ; Azalea, Alice Bruce ; Tommy Tittlemouse, the Cat, 
David Abrahams. Tom Lovell, Clown ; Tom Rice, Pantaloon ; 
Tom Melrose, Harlequin. Transformation scene, Catland. Edith 
Bruce and Susie Vaughan specially distinguished themselves, and 
the pantomime was one of the best of the season. 

24th. Elephant and Castle. Bluebeard PasJia; or. The 
Wicked County Councillor of the Darky Dark Continent. — By Frank 
Butler. Bluebeard, W. Wardroper. 

26th. Drury Lane. Beauty and t/ie Beast. — By William 
Yardley and Augustus Harris. Beauty, Lady Dunlo ; Sarah Ann, 
Herbert Campbell ; Mary Anne, Harry NichoUs ; Mr. Lombarde 

Dec., x89o.] The Babes in the Wood — The Forty Thieves, 167 

Streete, Dan Leno ; Maxwelton and Sheepshead (donkeys), 
Brothers Griffiths ; King Courage, Vesta Tilley ; the Beast, John 
d'Auban ; Private Block, Fred Walton ; King of Diamonds, Sybil 
Grey ; Clowns, Whimsical Walker and Harry Leopold ; Harlequin, 
Fred Leopold ; Columbine, Georgina Cook ; Pantaloon, Joseph 
Leopold. The specialities were the scene at the Docks and the 
Grand Hall in the Beast's Palace, with the procession of guests, 
guards, and everything that is required for a wedding breakfast. 

26th. Grand. The Babes in the Wood ; or^ Bold Robin Hood 
and His Foresters Good. — By Geoffrey Thorn. King Avarice, G. W. 
Pain ; Fairy Queen, Miss G. Cramer ; Sweetsong, Maud Leighton ; 
Baron de Rotter, George Capel ; Simon the Slayer, George de 
Lara ; Robin Hood, Florrie Hey wood ; Little John, Daisy Hughes ; 
the Town Crier, Harry Gardner ; Bertie and Bella, Sisters Lloyd ; 
Maid Marion, Kate Everleigh ; Clown, Alfred Ashton ; Pantaloon, 
E. Austin ; Harlequin, H. Gardner ; Columbine, Rose Martin. 

26th. Surrey. The Sleeping Beauty with the Goldeft Hair; 
or^ Valentine and Orson and the Big Black Bear, — By George 
Conquest and H. Spry. Maligna, Jenny Lee ; Fairy, Sunshine, 
Amy Farrell ; the Bear, Walter Hassan ; Dame Hatteras, G. 
Conquest, Jun. ; Robert and Richard, Misses Issy Holt and 
Willes ; Valentine, Isabel Lindon ; Eglantine, Laura Dyson ; 
Orson, William Walton (in this character the actor was especially 
strong, his performance was certainly one of the great attractions 
of the piece) ; the Goblin Spider, Master A. Conquest. 

26th. Marylebone. Robbin{g) Robin Hood, the Babes in the 
Wood; or, The Crooked Beau {Bow) and the Arrow-gant Uncle. — 
By Horace Barri. 

26th. Pavilion. Aladdin. — By Geoffrey Thorn. Aladdin, 
Louie Gilbert ; Abanazar, Huntley Wright ; Wishee-Washee, 
Harry Pleon ; Widow Chow-Chow, H. M. Edmunds ; Princess 
Badroulbadour, Katie Cohen ; So-Shi, Polly Albert. 

26th. Standard. T/ie Forty Thieves. — By Martin Byam and 
A. Melville. Morgiana, Alice Leamar ; AH Baba, Charles Carte ; 
Cogia Baba, Lloyd Townrow ; Cassim Baba, Harry Lorreano ; 
Good Humour, Nelly Gertine ; Sinbad, Alice Vane ; Beauty, 
Bertha Warren ; the Beast, Ernest Deane ; Clown, Harry 
Lorreano ; Pantaloon, Ben Baker ; Harlequin, James Ewins ; 
Columbine, Laura Perry. 

26th. Britannia. The Spider andt/te Fly. — By J. Addison. 
Tarantala, George Lupino, Jun. ; Scorpion, Edward Leigh ; Spirit 
of Morning, Floretta ; King Jokose, Fred Cairns : Queen 
Margarine, Mrs. S. Lane. igitizedbyLnOOgle 

1 68 Beau Austin — The Peoples Idol. [Dec, 1890. 

26th. Lyric, Hammersmith. Little Bo-Peep and Little Boy 
-ff/?^.— The Bogie Man, Signer Delevanti ; Little Bo-Peep, Katie 
Neville ; Johnny Stout, Frank Purcell ; Master Hammersmith, 
Alice Lawrence ; Little Miss Muffett, Emmie Eldred. 

26th. Theatre Royal, Stratford. Aladdin and the 
Wonderful Lamp. — The Great Typhoo, Will Preston ; Princess 
Badoura, Amy Ellam ; Zobeide, Minnie Leverentz ; Heck Kosir, 
Edith Chester ; the Poodle, Mons. Eugene. 

30th. Haymarket. Beau Austin. — Placed in evening bill. 
The changes in the cast were : Robb Harwood in place of 
E. Maurice, as Anthony Musgrave, and Charles Allan in that of 
Charles Brookfield, as Menteith. 

30th. Opera Comique. ArmorelofLyonmsse; or. The Cleverest 
Man in Town. — Adapted from Walter Besant's novel by W. 
Heron Browne and S. Boyle Lawrence (for copyright purpose). 

30th. New Olympic. — The part of Buster, in The Peoples Idol, 
was played by Paul Belmore on Tuesday and following nights, 
owing to George Barrett's indisposition. 

During this month, on several occasions, Emily Fitzroy appeared 
as Lady Gay Spanker, in London Assurance^ at the CRITERION, 
owing to Mrs. Bernard Beere's indisposition. 

The earlier part of this year saw the beginnings of a movement 
destined, in the future, to issue in important results to the 
theatrical order. The Stage proposed in a long series of articles 
that the profession should take extended and collective measures, 
more or less as a trade body, for the remedy of abuses, 
protection of interests, and general advancement of the stage 
as a profession. It may be added that when the views of the 
journal had been fully set forth, professional opinion was skilfully 
organized, and in such a way that, great as were the obstacles, 
eventually the Actors' Association came into existence, with 
Mr. Henry Irving at the head of it, and with the flower of the 
town and the country stage gathered about it. 

Digitized by VjOOQ IC 



9th. Royalty. First Perfoimance. 


A Burleque, in Two Acts, by F. C. BuR- 
NANt, on Messrs. Grove and Hamilton's 
versioi of Sardoa*s La Tosca ; music by 
Florun Pascal. 

The Quem of 
Naples . . . 

Fioria Tra-la^la 
a Strut Singer . 

Baron Scamfia 
Scarpia, CnUf 
of the Italian 
PeeUrim . . 

Count Mario di 
Socialistic Art" 
ist and Pkoto- 
grapher . . . 

Cetsare Angektti^ 
Proprietor of 
Casa Gamblvta 

Spiacronif Scot- 
picis Chief Spy. 

femmi Rino^ Bey 
in the service of 

BumbUnif Guar- 
dian of a Mu- 
seum .... 

Marchesa Tutti 
Tuttit Contessa 
Ann Cora . . 

Contessa Lotti 
Totti, Admiralo 
Benbom . . . 

Signorina Larki 
DaremOf Gene- 
ralissimo Trom- 
bonio .... 

Marchesa Nonpica 
Mesta^ etc.^etCf 
(with power to 
add to their 
number') , , . 

Signer FcarfaUone 

Signorine Connie 
Mo to, Anne 
Dante, Ada do, 
Ann Diamo . 

n Capitano Batti 
Baltic Marchesa 
Fan Tutti . . 

Miss liddon. 

Miss Margaret Ayrtoun. 

Mr. Arthur Roberts. 

Miss Agnes Delaporte. 

Miss Laura Hansen. 
Mr. George Prior. 

Miss H. Bennett. 

Mr. A. Wheatman. 

Miss Morton. 

Miss Maud Royal. 

Miss Lily Marsden. 

Miss Frances Denton. 
Miss Maggie Douglas. 

Miss Paddy St. Clare. 
Miss Fannie Merton. 

Spaghetti , 
Maccaroni . 
Spermaceti . 

Mr. Hampton Gordon. 
Mr. Walter Tilbury. 
Mr. William Gillxjrt 
Mr. James Delaney. 
Mr. Robert Mason. 
Mr. William LovelL 
Mr. Harry Daniels. 
Mr. Arthur Dodson. 
Mr. Guy Fane. 
■Mr. Arfliur Withers. 

18th. Prince of Wales's. First Per- 


Three-act English Comic Opera, words by 
Lewis Clifton and Joseph J. Dilley ; 
music by WALTER Slaughter. 

Wilfrid. . . . 


The Lady Alicia . 
Marjorie . . . 
Ralph, Earl of 

Chestermere . . 
Sir Simon Strive- 

ling .... 
Nicholas . . . 
WitgUls. . . . 
The Captain of the 

Guard . . . 
Martin .... 
Gosric .... 

Miss Agnes Hunting- 
Miss PhyllisBroughton. 
Madame Amadi. 
Miss Camille d* Arville. 

Mr. C. Hayden Coflin. 

Mr. Henry Ashley. 
Mr. Frederick Wood. 
Mr. Albert James. 

Mr. T. A. Shale. 
Mr. A. T. Hendon. 
Mr. Harry Monkhouse. 

21st. Terry's. First Performance, 


New Play, in Four Acts, written by Miss 
Annie Irish, founded on Miss Annie 
S. Swan's Novel. 

Sir Adrian 
Seveme . . . 
/as per Leigh . . 
Markham . . . 
fohnson .... 
Lady Seveme . . 

Frances Seveme . 
iMdy Bassett . . 
Elspet Carmichad 
Barbara Dale . . 

Mr. Oscar Adye. 
Mr. Henry Pagden. 
Mr. G. Arliss. 
Mr. G. Belmore. 
Miss Josephine St. 

Miss T. Roma. 
Miss Le Thiere. 
Mrs. E. H. Brooke. 
Miss Annie Irish. 


New Plays and Important Revivals. [Jau.-fib.. 1890. 

23rd. Qlobe. Revival. 




A Comedy, by William Shakespeare. 

As presented by 

F. R. Benson's Shake- 




Mr. G. F. Black. 


Mr. H. Athol Forde. 


Mr. Otho Stuart 

Grtmio . 

Mr. Stephen PhUlips. 


Mr. Gerald Gumey. 

Tram'o . 

Mr. Herbert Ross. 


Mr. Walter Shaw. 


Mr. F. R. Benson. 

Grumio . 

Mr. G. R. Weir. 

A Peda$U 

Mr. G. M. Howard. 

Tailor . 

Mr. A. GrenviUe. 


Mr. H. Gordon Tom- 


Mr. Chas. BarweU. 


Mr. C. M. Hallard. 


Mr. L. Rosoman. 

Ralph . 
Gregory . 

Mr. G. Hippisley. 
Mr. A. E. George. 

Gabriel . 

Mr. T. B. Croft. 
Mr. Hugh Meadows. 
Mr. E. Major. 

Phillip . 

Peter, . 

fValler . 

Mr. Edgar Stevens. 
Mr. Alfred Brydone. 

Servantto Baptista 



Mrs. F. R. Benson. 

Bianca , 

• • . 

Miss Marion Grey. 

Widow . 


Miss Hawkins. 

Curtis . 

. . . 

Miss Alice Denvil. 


1st. Avenue. 

First Performance. 


. BILL. 

Farcical Comedy, in Three Acts, adapted 
from the French of Albert Carre, by 
Hamilton A'id£. 

Dr. William 

BrowH • 
Mr, Firman , 
Mr, Horton 
George Webster 

Mrs, Horton , . 
Louisa Brown 
Jenny Firman 
Mrs, Firman . , 
EUen . . . , 
Miss Fauntleroy , 

Mr. Frederick Terry. 
Mr. Albert Chevalier. 
Mr. George Capel. 
Mr. Benjamin Webster. 
Mr. Harry Grattan. 
Miss Fanny Brough. 
Miss E. Robins. 
Miss Laura Graves. 
Miss Carlotta Leclercq. 
Miss Marie Linden. 
Miss Edith Kenward. 

6th. Vaudeville. Maiinie. 
New Drama, in Four Acts, by Robert 
Buchanan, " founded on Richardson's 
world»famous novel." 
Mr, Harlowe , . Mr. Harbury. 
Captain Harlowe Mr. Oswald Yorke. 
Mr, Solmes . . Mr. Cyril Maude. 
Stohes .... Mr. J. S. Blythe. 

Lovdace. . . . 
Captain Macshane 
Sir Harry Tour* 
ville .... 
Aubrey .... 
Watchman , , , 
Richards , , , 
Coffee-stall Keeper 
Drawer .... 
Philip Belford. , 
Clarissa Harlowe 
Hetty Belford , , 
Jenny .... 
Mrs, Osborne , , 
Lady Bab Law- 
rence .... 
Lady May Law- 
rence .... 

Mr. T. B. Thalberg. 
Mr. Fred Thome. 

Mr. F. Grove. 

Mr. Frank Gillmore. 

Mr. Wheatman. 

Mr. C. Ramsey. 

Mr. Bray. 

Mr. Austin. 

Mr. Thomas Thome. 

Miss Winifred Emery. 

Miss Ella Bannister. 

Miss Mary Collctte. 

Miss C. Owen. 

Miss L. Bryer. 

Miss Florence Wemyss. 
Miss Lily Hanbury. 

8th. Terry's. First Performance. 
A (comparatively speaking) new and origi- 
nal Play, in Three Acts, by Jerome K. 

Mr. Bernard Gould. 
Miss Cissy Grahame. 
Mr. F. Kerr. 
Miss Gertrude King- 
Mr. W. Lestocq. 
Miss Houston. 
Mr. W. S. Penley. 

Edwin Honeydew 
Elvira Honeydew 
Postlethwaite . . 
Octavia .... 

Jorkins .... 
Jemima .... 
Buster .... 

22nd. Qarrlck. First Performance. 

A Comedy, in Three Acts, adapted from 
the French by Sydney Grundy. 

Mr. Benjamin 

Goldfinch , . Mr. John Hare. 

Uncle Gregory . Mr, Charles Groves. 

Percy .... Mr. Rudge Harding. 

Dick Mr. Sidney Brough. 

Lorimer, . . . Mr. C. Dodsworth. 

Bartholomew . . Mr. F. H. Knight. 

Joyce Mr. R. Cathcart. 

Another Shoe- 
Mr, John Byron* 
Miss Kate Rorke. 
Miss B. Horlock. 
Miss F. Hunter. 

Mrs, Goldfinch 
Lucy Lorimer , 
Charlotte . . 

22nd. Qarrick. Re-production. 


A Dramatic Fancy, in One Act, by Wynn 

Robert .... Mr. J. Forbes Robert- 
Philip .... Mr. Sydney Brouch. 
Servant .... Mr. Stanley Pringle. 
Margaret . . . Miss Carlotta Addison. 
Lucy Miss Blanche H(^ock. 

FEB.-APIUL, 1890.] Ne^ Plays and Important Revivals, 


24th. St James's. Revival 

Shakespeare's Comedy. 

Duke, . . . 

. Mr. Charles Fulton. 

£>uk< Frederick . Mr. George Canninge. 

Jaqties . , 

. Mr. Arthur Bourchier. 

AmUns . . 

. Mr. Ager Grover. 

First Lord, , 

. Mr. Norman Forbes. 

Le Beau. , 

. Mr. Ernest Lawford. 

CharUs . . 

. Mr. F. Teale Lingham. 

Oliver , , 

. Mr. Walter Gay. 

Jaqtus , , 

. Mr. Henry Amcliffe. 

Orlando . . 

. Mr. Lawrence Cautley. 

Adam . . 

. Mr. Fred Everill. 

Dennis , . 

. . Mr. G. Yorke. 

Touchstone . 

. Mr. Charles Sugden. 

Silvius . . 

. Mr. Matthew Brodie. 

Corin , , 

. . Mr. Royden Erlynne. 

William , 

. Mr. Erskine Lewis. 

Celia, . . 

. . Miss Amy McNeU. 

Phc^be , , 

. . Miss Beatrice Lamb. 

Audrey . . 

. . Miss Marion Lea. 

A Person rei 


senling Hym 

\en, MissVioletArmbruster. 

Rosalind . 

. . Mrs. Langtry. 



Globe. Revival. 


A Tragedy, by William Shakespeare, 
as presented by Mr. F. R. Benson's 
Shakespearean Company. 

Hamlet . 
Laertes , 
Horatio . 
Osric. . . 
MarceUus . 
Bernardo , 
Francisco . 
Reynaldo , 
A Pnest . 
1st Grofvedigger . 
2Md Gravedigger . 
1st Actor , , , 
2nd Actor . . . 
"^d Actor , , , 
4/^ Actor . . . 
Sth Actor , , , 
Messenger . . . 
Ghost of Hamlets 
Father , . . 
Gertrude . . . 
Ophdia .... 

Mr.Charles Cartwright. 
Mr. F. R. Benson. 
Mr. G. F. Black. 
Mr. Herbert Ross. 
Mr. Otho Stuart. 
Mr. Arthur Grenville. 
Mr. G. M. Howard. 
Mr. Gerald Gumey. 
Mr. E. Perry. ' 
Mr. E. Sherard. 
Mr. C. M. Hallard. 
Mr. L. Rosoman. 
Mr. Walter Shaw. 
Mr. G. R. Weir. 
Mr. H. Athol Forde. 
Mr. Alfred Brydone. 
Mr. Edward P. Major. 
Miss Edith Selwyn. 
Mr. Hugh Meadows. 
Mr. Charles Barwell. 
Mr. G. Harrod. 

Mr. Stephen Phillips, 
Miss Ada Ferrar. 
Mrs. F. R. Benson. 

20th. Vaudeville. First Performance. 


Comedy, in Three Acts, by Robert 
Buchanan, founded on Sir John Van- 
brugh*s famous comedy. The Relapse. 

Lord Foppington . Mr. Thomas Thome. 

Tom Fashion , . Mr. Frank Gillmore. 
Sir George 

Matcham . . Mr. J. S. Blythe. 
Sir Tunbelly 

Clumsy ... Mr. Fred Thome. 

Squire Ditch , , Mr. Austin. 

Lavarole , . . Mr. O. Yorke. 

Lory Mr, Cyril Maude. 

Jabez Mr. Wheatman. 

Jacob Mr. Ramsey. 

Rev, Mr, Quiver- 

wit .... Mr. T. Grove. 

Mendlegs , . . Mr. J. Chrichton. 

Glitter .... Mr. S. Freeman. 

Hyde Mr. Harbury. 

Coates .... Mr. S. Lawrence. 

Tierce .... Mr. T. Walters. 
Miss Fanny Hoy- 

den .... Miss Winifred Emery. 

Mrs, Sentry , . Miss Silvia Hodson. 

Nancy Ditch , . Miss Hanbury. 

Dolly Primrose , Miss Collette. 


3rd. Hay market. First Performance. 


New Play, in Five Acts, by Sydney 
Grundy, suggested by the French play, 
Le Secret de la Terreuse, 

The AbbS Dubois , 
Jean Torquenie . 
Armand d'Arcay 
Captain of Gen- 
darmes , . . 
Madame dArfay 
Comtesse de Tri- 
meillan . . . 
Marguhite . . . 
Jeanne Torquenie 
Madeleine . . . 

Mr. Tree. 
Mr. Fernandez. 
Mr. Fred Terry. 

Mr. Allan. 

Mrs. Gaston Murray. 

Miss Rose Leclercq. 
Mrs. Tree. 
Miss Norreys. 
Mrs. E. H. Brooke. 

7th. Comedy. First Performance. 


* New " Comic Operetta, by F. C. BUR- 
nand and Edward Solomon. 

John GfumUy, 
Tom Smith 
Joey .... 
Mrs. Shackles . 
Mrs, Knagley . 
Mrs, Grumiy . 

Mr. E. Dagnall. 
Mr. W. Lugg. 
Master S. Solomon. 
Miss Alice Yorke. 
Miss Mary Glover. 
Miss Abna Stanley. 


New Plays and Important Revivals, 

[April, 1890. 

12th. Qaiety. 


Play, in Four Acts, adapted by Mrs. Oscar 
Beringbr from Marie Twain's romance 
of the same name. 

Edward, Prince\ 
of fVa/es . . \ 
Tom Canty . J 
//tnry VIII. . . 
Miles Hendon . . 
John Canty . . 
Earl of Hertford . 
Lord Si, John, . 
Father Andrew . 


Dot'gO'^nu , . . 
Mrs. Canty , , 
Lady Jane Grey , 
Sergeant , . . 
Sentry .... 
Gaoler .... 
First Courtier . . 
Herald .... 

Miss Vera Bcringer. 

Mr. W. H. Vernon. 
Mr. F. W. Macklin. 
Mr. J. G. Taylor. 
Mr. £dmund Gumey. 
Mr. Ernest Hendrie. 
Mr. John Beauchamp. 
Mr. A. Wood. 
Mr. Barry. 
Miss Annie Irish. 
Miss Ethel Matthews. 
Mr. Francis. 
Mr. Hill. 
Mr. Walker. 
Mr. KeUy. 
Mr. SirrelL 

17th. Prince of Wales's. First Per- 


New Three-act Farcical Comedy, by Mrs. 


Lady Kilkenny . 
Mrs. Obaaiah 

Vanderbone , . 
Miss Virginia 

Sutch. . . . 
Miss Blunt . . 

Miss Prettyman . 
Miss Sweet . , , 
Mr, Penguine 

Vanderbone , , 
Mr, Styleman , , 
Lord Adolpkus 

Perfect . . . 
Mr. Flutter . . 
Barlow .... 
Servant .... 

Miss Myra Kemble. 

Miss Emily Thome. 

Miss Lottie Venne. 
Miss Josephine St. 

Miss Sylvia Grey. 
Miss Ettie Williams. 

Mr. F. Kerr. 
Mr. Eric Lewis. 

Mr. H. H. MoreU. 
Mr. Gilbert Trent. 
Mr. John Le Hay. 
Mr. Sefton. 

19th. Adelphi. Revival. 

Drama, by J. 

ConncrO Kennedy 
George .... 
WildMurtogh , 
Muster Grinnidge 
Jack Gong . . . 
Captain Dartois , 
Paddy Kelly . . 
Dennis .... 
Larry .... 


Mr. Frank Cooper. 
Mr. W. L. Abinp[don. 
Mr. J. D. Bevendge. 
Mr. J. L. Shine. 
Mr. Lionel Rignold. 
Mr. Arthur Styan. 
Mr. Howard Russell. 
Mr. Marshall Moore. 
Mr. James East. 

NedKeogh, . 
Darty Donovan 
Edwards , . 
LittU Bear. , 
Rattlesnake, . 
Geraldine , , 
NellyaNeU . 
Miami , . , .\ 
Ma dame St,\ Miss Mary Rorke. 
Auhert . 

Mr. W. Northcote. 
Mr. J. Northcote. 
Mr. E. Bantock. 
Mr. Victor. 
Mr. Collins. 
Miss Ada Ferrar, 
Miss Kate James. 

Louise . 

Eveleen . 

Mrs. Bnmton. 

Miss Constance Beau- 

Miss Jenny Humm. 
Miss Clara Jecks. 

22nd. Shaftesbury. First Performance. 


One-act Play, by Alfred Berlyn. 

. . Mr. Alfired Bishop. 
. . Mr. Willaid. 
. . Mr. Elwood. 

Ferrari , 
Filippo . 
Sanaro , 

Miss Olga Brandon. 

23rd. Court. First Performance. 


Original Farce, in Four Acts, by A. W. 


Earl of Drum" 
durris , , , 

Viscount Aber* 
brothock , , , 

Rt.Hon, Sir Julian 
M.G., , , , 

Brooke Twombley 

Macphail of Bui- 
locheevin , , , 

Mr, Joseph Leba'\ 
mm , , , .) 

Valentine White . 

Mr, Mitford , . 

The MunkUtrick , 

Probyn .... 

Dowagfr Countess 
of Drumdurris 

Lady Euphemia 
Vibart . . , 

Countess of Drum- 
durris . . , 

Lady Twombley . 

Imogen .... 

Lady Macphail , 

Hon, Mrs, Gay- 
lustre .... 

Af^U .... 

Miss Munkittrick 

Mr. Richard Saunders. 

Mr. Arthur Cecil. 
Mr. E. Allan Aynes- 

Mr. Brandon Thomas. 
Mr. Weedon Gros- 

Mr. Herbert Waring. 
Mr. Frank Farren. 
Mr. John Clulow. 
Mr. Ernest Paton. 

Miss R. G. Le Thiere. 

Miss Isabel EUissen. 

Miss Eva Moore. 
Mrs. John Wood. 
Miss Florence Tanner. 
Mrs. Edmund Phelps. 

Miss Rosina Filippi. 

Miss Marianne Cald- 

Miss Florence Harring- 

Mat, 189a] 

New Plays and Important Revivak. 



3rd. St. James's. Placed in evening 


Play, in Three Acts, by Sydney Grundy, 
founded on Adolphe Belot's Femme de 

Henri VancUlle . 
Olivier Deschamps 
Fourcanade . . 
Boisgommeux . . 
Justin . 
Joseph . 
Jules . . 
Clarisse . 
Berthe . 
Blanche . 
Esther Sandraz 


Mr. Charles Sugden. 

Mr. Arthur Bourchier. 

Mr. Everill. 

Mr. H. de Lange. 

Mr. Erskine Lewis. 

Mr. Munro. 

Mr. Lambarte. 

Mrs. Charles Calvert. 
Miss Marion Lea. 
Miss Carrie Benton. 
Miss Lena Mevers. 
Miss Ettie WiUiams. 
Mrs. Langtry. 

5th. Princess's. Placed in evening bill. 


Play, in Six Acts, adapted by Robert 
Buchanan, from Sardou's masterpiece. 

Justinian , 
Marcdlus . 
Belisarius . 
Euphratas . 
Michael . . 
Timocles . 
Faber , . 
Styrax . . 
. The Executioner . 
Priscus . . 
Lycostratcs . 
Orthes . . 
Amrou . . 

Calchas . . 
First Lord . 
Second Lord 
Third Lord 
Fourth Lord 
Chief of the Osti- 

aries . 

Iphis, . 
Alexis . 
Zena, . 

Mr. W. H. Vernon. 
Mr. Chas. Cartwright 
Mr. Cecil Morton York. 
Mr. Geo. Bemage. 
Mr. Geo. W. Codbum. 
Miss Mabel Champion. 
Mr. Alfred B. Cross. 
Mr. Howard Sturge. 
Mr. Henry de Solla. 
Mr. Charles Lander. 
Mr. Chas. Forsev. 
Mr. Henry Ludlow. 
Mr. W. H. Gunn. 
Mr. Walter Lawrence. 
Mr. Chas. Anson. 
Mr. George Lake 

Mr. Thomas Blacklock. 
Mr. Wm. Price. 
Mr. C. Downey. 
Mr. Thos. Harris. 
Mr. Arthur Prior. 

Mr. Geo. Aubrey. 
Mr. Leonard Boyne. 
Miss Clarice Trevor. 
Miss Dolores Dnmi- 

Miss Marie Stewart. 
Miss Alice de Wynton. 
Miss A. Lloyd. 
Miss Dora de Wjrnton. 
Miss Barbara Meade. 
Miss Lucy O'Connor. 
MissGrace Hawthorn e. 

10th. Oriterion. Revival. 


Goldsmith's Comedy divided into Three 

Young Marlow . 
Hardcastle . * . 
Hastings . . . 
Sir Charles Mar- 
low .... 
Tony Lumpkin . 
Diggory, . . . 
Roger .... 
Ralph .... 
Gregory .... 
Stingo .... 
Tom Tickle . . 
Tom Twist . . 
Jack Slang . . . 
Mat Muggins . . 
Mrs, Hardcastle . 
Miss Neville . . 
Maid .... 
Barmaid . . , 
Miss Hardcastle . 

Mr. Chas. W3mdham. 
Mr. Wm. Blakeley. 
Mr. W. Draycott 

Mr. F. Atherley. 
Mr. Geo. Giddens. 
Mr. S. Valentine. 
Mr. S. Hewson. 
Mr. C. Steyne. 
Mr. L. Chapuy. 
Mr. J. Francis. 
Mr. C. Edmonds. 
Mr. F. Emery. 
Mr. W. Guise. 
Mr. H. Esmond. 
Miss M. A. Victor. 
Miss Eleanore Lejrshon. 
Miss E. Penrose. 
Miss R. McNeiU. 
Miss Mary Moore. 

12th. Drury Lane. First Performance. 


Drama, in Four Acts, written by Steele 


Paul UTauvar . . 
Honori Albert 

Maxime . . . 
General Delaroche 
Marquis de Vaux 
Dodolphe Potin . 
Carrac .... 
Colonel La Hogne 
First Orderly . . 
General Kleterre . 
Second Orderly . 
Diane de BeaU" 

moni .... 
Nanette Potin . . 
Scarlotte . . . 

Mr. William Terriss. 

Mr. Henry Neville. 
Mr. Arthur Stirling. 
Mr. Charles Hudson. 
Mr. Victor Stevens. 
Mr. Ernest Hendrie. 
Mr, Wallace Moir. 
Mr Herbert Lewia 
Mr. Acton Bond. 
Mr. J. L. Stoner. 

Miss Millward. 
Miss Edith Bruce. 
Mrs. Clifton. 

21st. Adelphi. First Performance. 


New Poetical Play, in Four Acts, by 
Robert Buchanan. 




Aphrodite . . Miss Ada Cavendish. 
Eridon .... Miss Clara Jecks. 
Erotion .... Miss Marie Eraser. 
Cupidon . . . Miss Jenny Humm. 
Euphrosyne . . Miss Letty Lind. 
Zephyros . . . Mr. Lionel Rignold. 
Phosphoros . . . Miss Somerset 
Tw You ng\ Miss Stead. 

Zephyrs . . ./ Miss B. Ferrar. 
The God Eros. . Mr. T. B. Thalberg. 
Chorus of Graces and Elementary Spirits. 


New Plays and Important Revivals. [Mat-juke, 1890. 



of Cyprus) 
Lycos {King 

Atalea) . . . 
Atalanios {King 

of Thessaly) . 
Kassrad {King of 

Ethiopia) . . 
The King of Cir- 

cassia .... 
Glaucus [a Sea 




Mr. Alfred Brydone. 

Mr. Bassett Roe. 

Mr. Leonard Outram. 

Mr. E. Lennox. 

Mr. C. M. Hallard. 
Mr. Henry Bayntun. 

Mr. H. Arncliffe. 

Nyla Miss Francis Ivor. 

Creusa .... Miss Ada Ferrar. 
Psyche .... Miss Harriett Jay. 
Attendants, Cupbearers, Soldiers, etc. 

21st. Shaftesbury. First Performance. 


New and original Plav of modem English 
life, in Three Acts, by Henry Arthur 

The Earl of 
Asgarby . . . 

Professor Jopp^ 
ER.S,, F.L.S., 
F.G.S., etc. . . 

Mr. Prall . . . 

Jujcon Prall , . 

Afr, Dethic . . 

Afr. Pafnvorthy . 

Roper .... 

Judah Llewellyn 
{Minister of the 
Welsh Presby- 
terian Church) 

Lady Eve . . . 

Sophie Jopp . . 

Mrs.PraU. . . 

Vashti Dethic , . 

Mr. C. Fulton. 

Mr. Sant Matthews. 
Mr. H. Cane. 
Mr. F. Kerr. 
Mr. Royce Carleton. 
Mr. E. W. Thomas. 
Mr. H. Harting. 

Mr. Waiard. 
Miss Bessie Hatton. 
Miss Gertrude Warden. 
Miss A. Bowering. 
Miss Olga Brandon. 

22nd. Haymarket. Fiist Performance. 

An original little Play, in Two Acts, written 
by Mrs. Bancroft. 

iMdy Carlton . . Miss Rose Leclercq. 

Mrs, Harrington, Mrs. E. H. Brooke. 

Susie Leyton . . Miss Kate Rorke. 

Alice Miss Annie Hughes. 

Sarah Grebe . . Miss Maria Daly. 

Polly Miss Kate Phillips. 

Kitty Miss Mary Collette. 

Hetty .... Miss Georgina Kuhe. 

fenny .... Miss Fc^erty. 

Tilly MissClive. 

Mother Sibby . . MissRoberthaErskine. 

Harold Brandon . Mr. Sydney Brough. 

Tom Harrington . Mr. Leonard Bovne. 

Joe Evans . . . Mr. George Giddens. 

5th. Criterion. First Performance. 


Comedy, in Two Acts, by C. Vernon. 

Harry Grahame . 
Joseph Shenston . 
Dick Hobbs . . 
Robert .... 


Mrs, Sampson 

Paley . . . . 
Mrs. Charity 

Smith. , . . 
Mrs. IVatkins. . 

Mr. C. Wyndham. 
Mr. Geo. Giddens. 
Mr. W. Blakeley. 
Mr. S. Valentine. 
Mr. C. Edmonds. 
Mr. F. Emery. 

Miss E. Leyshon. 

Miss M. A. Victor. 
Miss Emily Vining. 
Miss Mary Moore. 

7th. Comedy. First Performance. 


Farcical Comedy, in Three Acts, by J. 
Comyns Carr. 

Captain Armitage 
Mr, Buxom 

Brittle . . . 
James .... 
Commissionaire . 
Customer , , . 
Violet Armitage , 
Mrs, Buxom 

Brittle , 
Emma . 
Iphigenie . 
Clarisse . . 
Lady. . , 
Juliette . , 
Anna , . 
Madame Zephyr 

Elaine . . . 

Mr. C. H. Hawtrey. 

Mr. H. Kemble. 
Mr. Edward Righton. 
Mr. G. Kennedy. 
Mr. W. Wyes. 
Mr. P. S. Champion. 
Miss Maude Millett. 

Miss Sophie Larkin. 
Miss Lydia Cowell. 
Miss E&el Mathews. 
Miss Eleanor May. 
Miss Helen Lambert 
Miss Jennie Coppinger. 
Miss Carrie Hunt. 

Miss Lottie Venne. 

27th. Avenue. First Performance. 


Dramatic Fancy, in Three Acts, by 
Alfred C. Calmour. 

Fantea , 
Moretus . 
Zembra , 

Drega , 
Cyrene , 
Ciprissa . 
Nina . . 

. Mr. Henry Neville. 
. Mr. Arthur Stirling. 

Mr. Edmund Gumey. 
. Mr. John Carter. 
. Mr. F. Hamilton 

. Mr. P. J. Kirwan. 
Miss Marion Terry. 
p.. .^. Miss Lilian Hingston. 
. l^iss Clara Jecks. 

July, 1890.] 

New Plays and Important Revivals. 



1st. Strand. Revival. 


Tragedy, in Five Acts, by the Rev. Henry 

Hart Milman. 
Duke of Florence . Mr. Julian Cross. 
Gonsdtvo ... Mr. T. Blacklock. 
Aurio .... Mr. Harold Eden. 

fazio Mr. Lewis Waller. 

Bartoldo ... Mr. John Carter. 
PhUans, . . . Mr. A Courtenay. 
Falsetto .... Mr. O. Bamett. 

Pigro Mr. C. Milton. 

Theodore ... Mr. K. Gran. 
Antonuf. . . . Mr. F. Jacques. 
Bianca .... Miss Claire Ivanowa. 
AldabeUa . . . Mrs. Bennett. 
Clara .... Miss Henrietta Cross. 

3rd. Toole's. First time in London. 


Original Farce, in Three Acts, by J. H. 


Gilbert Brandon . 
Colonel Sterndale. 
Captain Midhurst 

Lieut, Arlington 
Private Manners. 
Hobson .... 
Peter Flagan 
{alias Percy 
Fitzgerald) . . 
Baxter .... 
Mrs, Brcmdon 
Mrs. Stemdale 
Mrs. Midhurst . 
Maty Kingston 

Mr. John Tresahar. 

Mr. F. Kaye. 

Mr. Graham Went- 

Mr. A. B. Francis. 
Mr. Lawrance d*Orsay. 
Mr. Henry W. Brame. 

Mr. Henry Bedford. 
Mr. Fred Burton. 
Miss Susie Vaughan. 
Miss Ruth Rutland. 
Miss Blanche Wolseley. 
Miss Clara Ellison. 

Bella Miss Delia Carlyle 

4th. Shaftesbury. First Performance. 
One-act Play, by W. L. Courtney 
Kit Marhnue . 
Thomas NcLsh . 
NedAUeyne . 
Henry CheUle . 
Francis Archer 

Mr. Arthur Bourchier. 
Mr. R. G. L^e. 
Mr. Erskine Lewis. 
Mr. Cyril Maude. 
Mr. Charles Fulton. 

Nan Miss Annie Irish. 

4th. Shaftesbury. First time in 



One-act Comedy, arranged by Augustin 

Young Fashion . Mr. Geoi|[e Clarke. 
Lord Foppington . Mr. Charles Leclercq. 
Sir Tunbelly\Ux, Charles Wheat- 

Clumsy . . ./ leigh. 
Colonel Tawnley . Mr. Eugene Ormond. 

/^ Mr. Frederick Bond. 

Nicodemus ... Mr. H. Bosworth. 

\ Messrs. Nisbitt and 
•5^^«^ • • 7 Sampson. 

Mistress Coupler . 

Miss Hoyden's 

Nurse. . . . 

Miss Hoyden . . 

Miss Adelaide Prince. 

Miss May Sylvie. 
Miss Ada Rehan. 

8th. Lyceum. Revival. 



Characters in 
A Lord .... 
Christopher Sly . 

A Huntsman . . 
The Hostess . . 
A Page .... 
Huntsmen . . . 

Players .... 


Baptista . . 

Vincentio . . 

Lucentio . . 

Petruchio . . 

Gremio . . . 

Hortensio . . 

A Pendant. . 

Grumio . . . 

Biondello . . 

Tranio . . . 

The Tailor. . 

Katherine . . 

Bianca . . . 

A Widow . . 

Curtis . . . 

the "Induction." 

Mr. George Clarke. 

. Mr. Charles Wheat- 

. Mr. Bosworth. 
. Miss May Sylvie. 
. Mr. Will Sampson. 
Messrs. Nisbett, Ma- 

cauley, etc 
. Messrs. Bond and 

In the Comedy. 
. Mr. Charles Fisher. 
. Mr. John Moore. 
. Mr. Eugene Ormond. 
. Mr. Jomi Drew. 
. Mr. Charles Leclercq. 
. Mr. Sydney Herbert 
. Mr. Sampson. 
. Mr. Tames Lewis. 
. Mr. Edward WUks. 
. Mr. Frederick Bond. 
. Mr. Hobart Bosworth. 

Miss Ada Rehan. 
. Miss Edith Crane. 
. Miss Adelaide Prince. 
. Mrs. G. H. GUbert 

12th. Lyric. First Performance. 
Comedy, in Three Acts, founded by 
Robert Buchanan, by express ar- 
rangement with the novelist and her 
puWishers, on Miss Rhoda Broughton's 
fkmous story, ** Nancy.** 
Sir Roger Tempest Mr. Henrv Neville. 
■ -' Mr. Bucklaw. 

Mr. Ernest Hendrie. 
Miss Ethel Hope. 

Frank Musgrave 
Mr. Grey . . . 
Mrs. Grey . . . 
Barbara Grey 

{aged 2$)^ . . 
Algernon Grey 

{aged 20) . . 

Nancy Grey {(^ed ^^. ^ . „ v 
19) Miss Anme Hughes. 

Robert Grey{called ^ ,, „ „ , 

Bobby, aged l^) Mr. C. M. Hallard. 

James Grey {called\ ^^^^^ ^^Iter 
the Brat, aged\ ^^^^ 

14) J 

Teresa Grey {called 

Tow- Taw, aged 

12) .... Miss B. Ferrar. 
Mrs. Huntley. . Miss Frances Ivor. 
Pendleton . • - Mr. Smithson. 
^man . . Dpti^r. A R. Bemiett 

Miss Harriett Jay. 
Mr. Henry V. Esmond. 



New Plays and Important Revivals. [July-aug., 


16th. Lyceum. RcvivaL 

Shakespeare's Comedy, in Five Acts. 
The Duke, Hving\ Mr. Charles Wheat- 

in Banishment. J leigh. 
Frederick, his 

Brother i 


Usurper of his 

Dofntnions . . 

Mr. Bond. 

Amiens . . 

Mr. Macauley. 
Mr. George Clarke. 

Toques . . 

A Lord, . 

Mr. Hobart. 

LeBeau, . 

Mr. Sidney Herbert 

Charles . . 

Mr. Bosworth. 

Oliver . . 

Mr. Eugene Ormond. 

/agues . . 

Mr. W. Sampson. 

Orlando . . 

Mr. John Drew. 

Adam . . 

Mr. Charles Fisher. 

Denis , . 

Mr. R. Nisbett. 

Touchstone . 

Mr. James Lewis. 

Corin , . 

Mr. Charles Leclercq. 

Silvius . . 

Mr. Frederick Bond. 


Mr. Edward Wilks. 

'I wo Pages of the^ 

i Miss Florence Conron. 

Duke, who singf Miss Louise Smith. 

A Person repre- 

senting Hymen 

Miss Kitty Cheatham. 
Miss Adelaide Prince. 


Phcebe .... 

Miss Edith Crane. 

Audrey .... 

Miss L<abel Irving. 

Rosalind . . . 

Miss Ada Rehan. 

21st. Qaiety. 

First time in England. 


Original Three-act 

Comedy, by Brander 

Matthews and George H. Jessop. 

Silas AT. Wolcott . 

Mr. Nat C. Goodwin. 

Sir Everard Fox- 

wood, Kt. . . 

Mr. William Farren. 

Gerald Riordan, 

M,P. .... 

Mr. Charles Glenney, 
Mr. Harry Eversfield. 
Mr. Frank Wood. 

George Foxwood . 

Julius Krebs . . 

WUson .... 

Mr. Eric Thome. 

The Hon, Mrs, 

Meredith . . 

Miss Kate Forsyth. 

Mrs, Vandervas . 

Miss Carlotta Leclercq. 

Miss Una Fox" 

wood .... 

Miss Jennie MacNulty. 

24th. Terry's. First Performance. 


Farcical Play, in Three Acts. 

Sir John Pye 
Herbert Stryver . 
Algernon Pringle 
Mawle .... 
Mr, Shuttlrivorth 
Jacob Ricketts . . 
Mrs, Ricketts , , 
ChlcePye . . . 
~ hn€P!ye . . 

Mr. W. S. Penley. 
Mr. Wm. Herbert. 
Mr. Frank H. Fenton. 
Mr. Mark Kinghome. 
Mr. W. Lestocq. 
Mr. G. Belmore. 
Miss Emily Thome. 
Miss Elsie Chester. 
Miss Helen Leyton. 
Miss Cissy Grahame. 


2nd. Globe. First Performance. 

Play, in Three Acte, by Pierre Leclercq. 
Sir George Ingle- 
side ..., Ux. Mark Quinton. 
Percy Gauntlett . Mr. Otis Skinner. 
Charles Tetterton Mr. J. H. Manley. 
Funge , . . . Mr. t. F. Graham. 
Blight .... Mr. E. Bondy. 
Lady Ingleside . Miss Emilie Calhaem. 
Raskins . . . Miss M. Baker. 
Eve Fleurier . . Miss Adelaide Moore. 

2nd. Adelphi. First Performance. 
New original Drama, in Four Acts, by 
Geo. R. Sims and Robert Buchanan. 

Sir Philip King- 
ston .... 

The Knight of 
BaUyveeney . . 

Harry a MaUley .-X 

Fathir Michael I 
OMaiUey {hist 
Sons) ... J 


Nicodemus Dicken- 

Randal a Mara . 

Sergeant a Reilly, 

Patsie Blake . . 

Shaun .... 

Larry MacNulty . 

Casstdy .... 

O'Brien, , . . 


a Shea .... 

Ethel Kinpton , 

Bridget C/Mara . 

Louisa Ann Fer- 





Mr. Bassett Roe. 

Mr. J. D. Beveridge. 
Mr. Leonard Boyne. 

Mr. T. B. Thalberg. 
Mr. W. L. Abingdon. 

Mr. Lionel Rignold. 
Mr. Charles E&lton. 
Mr. J. L. Shine. 
Miss Kate James. 
Mr. W. Northcote. 
Mr. James East. 
Mr. J. Northcote. 
Mr. E. Bantock. 
Mr. H. Cooper. 
Mr. J. Howe. 
Miss Olga Brandon. 
Miss Mary Rorke. 

Miss Clara Jecks. 
Miss Essex Dane. 
Miss Madge Mildren. 
Miss Janette Reeve. 
Miss Nellie Carter. 

6th. Lyceum. First Performance. 
Eccentric Comedy, in Three Acts, adapted 

bv AuGUSTiN Daly from a German 


raway . . . 

Ned Dreemer 
{''Cousin Ned'') 

The O'Donnell 
Don .... 

Tom Prowde . . 


ISfna Miss Ada Rehan. 

Mr. James Lewis. 

Mr. John Drew. 

Mr. Frederick Bond. 
Mr. Eug^e Ormond. 
Mr. wm Sampson. 

AU6.-SEPT., 1890.J New Plays and Important Revivals. 


Pansy .... 
Mrs, Arabella 

Jarraway • . 
Aunt Penelope . 
Shirley MunHt- 

trick .... 
Miss Twitters . . 
MdlU.Agathe. . 

Miss Isabel Irving. 

Miss May Silvie. 
Mrs. G. H. Gilbert 

Miss Edith Crane. 
Miss F. Conron. 
Miss Adelaide Prince. 

6th, Criterion. First Performance. 


Comedy, in Three Acts, by James Albbry. 

Cranberry Buck 
DarrteURoe . . 
Janus Paragon . 
Mrs, Amelia Buck 
Mrs. Cecilia Roe . 
Mrs. Uorencourt. 
Fanny .... 

Mr. W. Blakeley. 
Mr. Edmund Maurice. 
Mr. George Giddens. 
Miss M. A. Victor. 
Miss Helen Forsyth. 
Miss Vane Featherston. 
Miss Emily Vining. 
Miss F. Francis. 

9th. Gaiety. Placed in evening bill. 

Original Comedy, in Three Acts, by J. W. 


Sir Joseph Trent . 
The Earl of Har- 

borough . . . 
Geraldy Lord 

Maidment . . 
The Hon, Jack 

Carew . . . 
The Marquis of 

BudUigh . . . 
Mr, Mortmain . 
Bubbles .... 
James .... 
Lculy Harborough 
Lady Jessie Har- 

%" bit Hardwiche . 

Mr. Nat C. Goodwm. 

Mr. William Farren. 

Mr. H. Reeves Smith. 

Mr. Charles Glenney. 

Mr. George Dalziel. 
Mr. Eric Thome. 
Mr. Frank Wood. 
Mr. C. Walker. 
Miss Carlotta Ledercq. 

Miss Christine Mayne. 
Miss Adelaide Gunn. 
Miss Jennie MacNulty. 


Prince of Wales's, 

First Per- 


Comic Opera, in Three Acts, written 
by MM. Alexandre Bisson and 
F. C. BURNAND ; composed by R. 

Vicomte TancrMe 

de la Touche . Mr. C. Hayden Coffin. 
Philip de Belle- 

garde .... Mr. Joseph Tapley. 
Coupkourt . . . Mr. J. Ettinson. 
Marquis de Var- 

deuU .... Mr. Harry Parker. 

Lieutenant Cam" 

pastro, . . . 
Major de la Gon- 

friire, . . . 
M, Duvet , . . 
Colonel Sombrero . 
Sergeant Vadebon- 

coeur .... 
Sergeant La Tulipe 
Marceline . . . 
Mme, la ChanH- 

nesse Herminie , 
Claudine . . • 
MdlU. ThJrhe . 

Mr. T. A. Shale. 

Mr. A. T. Hendon. 

Mr. George Marler. 
Mr. Harry Monkhouse. 
Mr. Henry Ashley. 

Mr. T. Arthur. 
Mr. A. Thomas. 
MissPhyllis Broughton. 

Madame Amadi. 
Miss Florence Darley. 
Miss Attalie Claire. 

27th. Shaftesbury. First Performance. 


Comedy Sketch, in Two Acts, by Henry 
Arthur Jones. 

Abraham Booth- 

royd .... Mr. Willard. 

Tom Dempster . Mr. C. Fulton. 

Tibbetts .... Mr. Hugh Harting. 

Rosajervoise . . Miss Aimie Hill. 

Mrs, Bolin^>roki, Mrs. F. H. Macklin. 


6th. Drury Lane. First Performance. 


A new Military, Sporting, and Spectacular 
Drama, in Five Acts, by Henry Pettitt 
and Augustus Harris. 

Harry Dunstable. 

Major Belgrade . 

Tom Cricilewood. 

Geoffrey St, Clair 

Dick Bounder . . 

Rev. Gabriel May- 
thome . . . 

Frank Hastings . 


Mary Maythome, 

Hetty NestUdaum 

Stella St. Clair . 

Nance Lee . . . 

Elsie Drummond 

Lady Sandson. . 

Mrs. Marhw . , 

Daniel Whetstone 

Jim Boulter . . 

JohnPawter . . 

Madeune Ribob . 

Ada Brooks . . 

Francois . . . 

Reginald Beau* 
mont .... 

Sir Herbert Beech- 
wood .... 

Mr. Charles Warner. 
Mr. Herbert Standing. 
Mr. Harry Nicholls. 
Mr. Charles Glenney. 
Mr. Fred Shepherd. 

Mr. Allen Beaumont. 
Mr. Mark Quinton. 
Mr. Guy Stanton. 
Miss Jessie Millward. 
Miss Fanny Brough. 
Miss Alice Lingard. 
Miss Lizzie Claremont. 
Miss Helena Dacre. 
Miss Lilian Audrie. 
Miss Olliife. 
Mr. A P. PhiUips. 
Mr. S. Calhaem. 
Mr. F. Dobell. 
Miss May Palfrey. 
Miss Lily Martin. 
Mr. Ronald Power. 

Mr. F. Stoner. 

Mr. Frank Harrison. 


New Plays and Important Revivals, [SEpr.-Cter., 1890. 

11th. Criterion. Revival. 


Comedy, in Three Acts, by Bronson 

Mr, Alfred Sterry 
Sir Partridge 

CotnptoH . 
Mr, John Penryn 
Mr, Frederick Fry 
Mrs, Dorothy 

Sterry . . , 
Lady Compton 
Prudence , . . 
Patience, . . . 
Mrs, MNatnara , 
Mrs. TuttU , , 
Jumps .... 

Mr. T. G. Warren. 

Mr. W. Blakdey. 
Mr. G. Giddens. 
Mr. A. Boucicault. 

Miss H. Forsyth. 
Miss F. Frances. 
Miss E. Terriss. 
Miss M. Hardinge. 
Miss E. S. Fitzroy. 
Miss Maria Daly. 
Miss £. Vining. 

20th. Lyceum. First Performance. 


Play, in Four Acts, by Herman Merivalb, 
from the story of ** The Bride of Lammer- 
moor ; " music specially composed by 
Dr. A. C. Mackenzie. 

Eagar Ravens' 
wood .... 

Hayston of Buck- 
law .... 

CaUb Balderstone 

Craizengelt . . 

Sir WiUiam Ash- 
ton .... 

The Marquis of 
Athole . . . 

Bide-the-Bent , . 

Henry Ashton, , 

Moncrief . . . 

Thornton of Lyd- 
dell .... 

A Priest , , , 

Lockhard . . . 

Lady Ashton . . 

Ailsie Gourlay . 

Annie Winnie 

Lucy Ashton , . 

Mr. Irving. 

Mr. Terriss, 
Mr. Mackintosh. 
Mr. Wenman. 

Mr. Alfred Bishop. 

Mr. F. H. Macklin. 
Mr. H. Howe. 
Mr. Gordon Craig. 
Mr. F. Tyars. 

Mr. Haviland. 
Mr. Lacy. 
Mr. Davis. 
Miss Le ThiSre. 
Miss Marriott. 
Mrs. Pauncefort. 
Miss Ellen Terry. 

23rd. Qlobe. First Performance. 


Melodramatic Opera, in Three Acts, written 
and composed by Luscombe Searellb. 

Patronio ... Mr. Wm. Hogarth. 

/acob Mr. John Le Hay. 

Pedro Guzman . Mr. Chas. Collette. 

Chickanaque , . Mr. Shid Barry. 

Felix Mr. Maurice MandnL 

Moro Mr. Roydon Erlynne. 

Tht Black Rover . Mr. Wm. Ludwig. 

Annetta .... Miss F. Lloyd. 

Sabina .... Miss Effie Chapuy. 

Isidora .... Miss Blanche Fenton. 

25th. Avenue. First Performance. 

A Modem Drama, in Four Acts, adapted 
from Alphonse Daudet*s La Lutteiottr 
la Vie by Robert Buchanan and Fred 

Paul Astier . . 
ChemineaUf his 

friend , , . 
Count Adriani . 
Vaillant . . . 
Antonin Caussade 
VMrine, . . . 
Heurtebrise . . 
Due de Brentigny 
Monsieur Noblet . 
Stenne .... 
Paskowitch , . . 
Esther de SiUny , 
La MarkhUt de 

Silhty, . . . 
Lydie .... 
Countess Fidore . 
Madame de Quin- 

campoix . . . 
La Marquise de 

Rocantre . . . 
Marie .... 
Madame Paul 

Astier^ Duchesse 

Padovani , . 

Mr. Gca Alexander. 

Mr. A. Chevalier. 
Mr. Ben Webster. 
Mr. Nutcombe Gould. 
Mr. Frederick Kerr. 
Mr. Bucklaw. 
Mr. George Capel. 
Mr. Batson. 
Mr. Alfred Holies. 
Mr. K H. Kelly. 
Mr. A. Royston 
Miss Alma Stanley. 

Miss Kate Phillips. 
Miss Laura Graves. 
Miss Lilian Hingston. 

Miss Granville. 

Miss Stuart. 
Miss Melitta. 

Miss GeneviSve Ward. 


4th. Gaiety. First Performance. 


BurlcsQue, in Two Acts, by Geo. R. Sims 
and Henry Pettitt; music by Meyer 


Carmen . . . 

Esoamillo , . 

Frctsquita . . 

MichaUa , . 

Alphonu • • 

Juanita , . . 
Inez .... 

Zorah . . . 

Morales . . . 

Intimidado, . 

Partagus . . 

Larranaga, , 

Mercides . . 

Hidalgos . . 

Josi .... 
DcMcairo . . 
Remendado, , 
IMlius Pastia . 
Captain Zuniga 

, Miss F. St. John. 
. Miss Jermy Dawson. 
. Miss Flor^ce Levey. 

Miss Maria Jones. 
. Miss Katie Barry. 
. Miss Maude Wilmot 
. Miss Eva Greville. 
. Miss Alice Gilbert. 
. Miss Blanche Massey. 
. Miss Maude Hobson. 
, Miss Hetty Hamer. 
. Miss Grace Wixon. 
. Miss Letty Lind. 

(Miss Flo. HenderKm. 
Miss E. Robina. 
Miss Minnie Ross. 
Miss Madge Mildren. 
. Mr. E. J. Lonnen. 
. Mr. E. H. Haslem. 
. Mr. Horace Mills. 
. Mr. G. T. Mmshull. 
. Mr. Arthur Williams. 

Oct.— Nov., 1890.] New Plays and Important Revivals. 


8th. Shaftesbury. First Performance. 


Romantic Play, in Five Acts, written by 
Robert Buchanan. 

Prince Zosimoff . 

Arcadiui Snam* 
inski .... 

General Skobdoff , 

Fedor Ivancvitch . 

Alexis Alexandra- 
vUch .... 

General WolensH 

Arthur Merrion . 

Moustoff . . . 


Petrovitch . . . 

Landlord of Lodg- 
ing House . . 

ThePrincess Oren^ 
burg .... 

Sophia .... 

Pidcheria Ivan- 
ovna .... 

Anna .... 

Catherine Petroska 



Marfa .... 

Mr. Herbert Waring. 

M. Marius. 

Mr. Ivan Watson. 

Mr. Lewis Waller. 

Mr. R. Stockton. 
Mr. W. Russell. 
Mr. William Herbert. 
Mr. M. Byrnes. 
Mr. George Seldon. 
Mr. G. Fane. 

Mr. Herberte-Basing. 

Mrs. Richardson. 
Miss Marion Lea. 

Miss Cowen. 

Mrs. Lancaster-Wallis 

(Miss WaUis). 
Miss Maude Brennan. 
Miss £. Robins. 
Miss C. Bemand. 
Miss J. St. Ange. 

9th. Lyrio. First Performance. 


Original Op^ra Comique, in Three Acts, 
written by MM. Chivot and DURU ; 
composed by Audran. Hie English 
version written and composed by F. C. 
Burnand and Ivan Caryll. 

Chevalier Franz 
de Bemheim 

WiUiam . . . 

Vincent Knapps . 

The Duhe of 
Fayensberg . . 

Cavalier . . . 

Cuffew fVatch . 

Mendicant . . . 

Mathew VandeT" 
koopen . . . 

ChaHotU . . . 

Juliette Grisenach 

Alisna .... 

Ziianella . . . 

Tamburina . . 

Cecilia de Monti . 

Franfoise . . . 

Posina .... 

Manetta . . . 


La Frivolini . . 

Camilie Lhiburri, 

Chevalier Scovel. 
Mr. E. W. Garden. 
Mr. Michael Dwyer. 

Mr. Eric Lewis. 
Mr. Francis Barnard. 
Mr. John Peachey. 
Mr. George Mudie. 

Mr. Lionel Brough. 
Miss Efiie Clements. 
Miss E. Carlington. 
Miss Gwynne. 
Miss Lillie Com3nis. 
Miss Branard. 
Miss T. Desborough. 
Miss Mabel Love. 
Miss F. Melville. 
Miss Ellis Jeflfrgrs. 
Miss Charlotte Hope. 
Miss M. St. Cyr. 
Miss May Sinclair. 


boom . 
Catherine . 
The Duchess 

Marlon . . 



Miss Julie Couteur, 
Miss A Newton. 

Miss Annie Rose. 
Miss Qenddine Ulmar. 


1st. Avenue. First Performance. 


Original Play, in Three Acts, by R. C. 

Dr, Latimer 
Mark Dentil 
George Addis 
Mr, Bamfield 
Scollick . . 
Helen . . 
Maud . 
Janet Felton 

Mr. Nutcombe Gould. 
Mr. Yorke Stephens. 
Mr. Geo. Alexander. 
Mr. Ben Webster. 
Mr. Alfred HoUes. 
Miss Marion Terry. 
Miss Maude Millett. 
Miss Ada Neilson. 

3rd. Haymarket. First Performance. 


Original Comedy, in Four Acts, by 
W. E. Henley and Robert Louis 

George Frederick 

Austin {The 

Beau). . . . 
John Fenwick . . 
Anthot^ Mus^ 

grave .... 
Menteith . . . 
A Royal Duke . 
Dorothy Musgraoe 
Miss Evelina 

Foster . . . 
Barbara Ridley . 

Mr. Tree. 

Mr. Fred Terry. 

Mr. Edmund Maurice. 
Mr. Brookfield. 
Mr. Robb Harwood. 
Mrs. Tree. 

Miss Rose Ledercq. 
Miss Aylward. 

eth. Op^ra Comique. Revival 

Comedietta, by B. Webster, Jun. 
Reuben Armstrong Mr. R. S. Boleyn. 
fames Brown . . Mr. Compton Coutts. 
Mr, Richard Bur* 

ton .... Mr. W. Lestocq. 
Ellen Antistrong, Miss Cissy Grahame. 
AbigailArmstrong Miss M. A. Gi£^d. 

16th. Comedy. First Performance. 

Farcical Comedy, in Three Acts, by 

Sydney Grundy. 
Sir Archibald 

Ffolliott ... Mr. Chas. Brookfield. 
Capt, V Estrange Mr. C. H. Hawtrey. 
Babbington Jones. Mr. J. F. Graham. 


New Plays and Important Revivals, [Nov.— dec, 1890. 

Simpson . . . 

Mr. W. Wyes. 

Telegraph Mes- 

senger. . . . 

Mr. A. W. Aysom. 

Lady Ffoiliott . . 

Miss Norreys. 

/one . . * . . 

Miss Lydia CowelL 

Dolly .... 

Miss Ethd Matthews. 

JudyBelsize , . 

Miss Lottie Vennc. 

17th. Shaftesbury. First Perfonnance. 


Original Play, in Three Acts, by Malcolm 
Watson and Mrs. Lancaster- Wallis. 

Lord Hdmore . . 
Geoffrey Landon . 
x^aptain Janus 
Darell . . . 
Mr,PetHfer . . 
Graham Maxwell 
Brooke .... 
Kate Landon . . 

Miss Maxwell. * 
Maud .... 


Martin .... 

Mr. Lewis Waller. 
Mr. Herbert Waring. 

M. Marias. 

Mr. John Beauchamp. 
Mr. Henry V. Esmond. 
Mr. Herberte-Basing. 
Mrs. Lancaster- WaSis 

(Miss Wallis). 
Miss Sophie Larkin. 
Miss Marion Lea. 
Miss Minnie Terry. 
Miss Winifred Dennis. 

18th. Princess's. RevivaL 

Shakespeare's Play, in Five Acts. 

Mark Antony . . 
Oetavius Casar . 
M.yEmil, Lepidus 
Sextus Pompeius . 
Domitius Enobar' 

bus . 
Eros . . 
Scarus . 
Menas . 
Varrius , 
Alexas . 
Seleucus , 
A Messenger 
A Soothsayer , 
A Clown . 
First Soldier 
Second Soldier 
Octavia . . 
Charmian . 
Iras . . . 
nr,*. \ Characters 

^*^^'J Interlude 
Cleopatra . . . 

Mr. Coghlan. 
Mr. F. Kemble Cooper. 
Mr. P. C. Beverley. 
Mr. Kenneth Black. 

Mr. Arthur Stirling. 
Mr. H. Drace. 
Mr. Chas. Burleigh. 
Mr. A. T. Hilton. 
Mr. W. S. Parkes. 
Mr. Henry Loraine. 
Mr. Walter Gay. 
Mr. H. Yardley. 
Mr. Stanley Pnngle. 
Mr. MacVickars. 
Mr. Harry Fenwicke. 
Mr. H. J. CarvUL 
Mr. Oscar Adye. 
Mr. Arthur Munra 
Mr. Everill. 
Mr. W. Clifton. 
Mr. A. Watson. 
Miss Frances Ivor. 
Miss Amy McNeil. 
Miss F. Harwood. 

J Miss Emma d'Auban. 
I Miss Madge Greet. 

Mrs. Langtry. 

24th. Shaftesbury. Fust Performance. 


Comedietta, in One Act, by Arthur 

Jack Desborough . Mr. H. V. Esmond. 

Lady Eva Des- 
borough . . . Miss Florence West 

Benjamin Pent^' 
grass .... Mr. John Beauchamp. 

27th. Criterion. RevivaL 


Comedy, in Five Acts, by Dion Bouci- 

Sir Harcourt 
Courtly . . . 
Dazzle .... 
Max Harkaway . 
Charles Courtly . 
Mr, Spanker 
Mark Meddle 
Cool , . . 
Martin . . 
Jatnes . . 
Solomon Isaacs . 
Lady Gay Spanker 
Grace Harkaway , 

Mr. William Farren. 
Mr. Chas. Wyndham. 
Mr. H. H. Vmccnt 
Mr. A Bourchier. 
Mr. George Giddens. 
Mr. W. Blakdey. 
Mr. C3rril Maude. 
Mr. F. Atherley. 
Mr. S. Hewson. 
Mr. F. Emenr. 
Mrs. Bemard-Beere. 
Miss Mary Moore. 
Miss E. Vining. 


4th. New Olympic. First Performance. 


Drama, in Four Acts, by Wilson Barrett 
and Victor Widnell. 

Lawrence Si, Au- 
brey .... 
Arthur St, Aubrey 
Major Duncan . 
Dr. WheeUr . . 
Jim Stevens . . 
Mr. Hockett . . 
The Buster. . . 
Sam Purkiss . , 
Tom Spate . . . 
J<uk Burdock . . 
George Fargate . 
Sneedon .... 
James .... 
Gabriel Stevens , 
Myra Keith , . 
Lydia .... 
Mrs. St. Aubrey . 
Blanche. , . . 
Pose Lowdham , 
Mrs. Melway . . 
Jane Baits . . . 
Sarah Kibworth . 


Grace Duncan 

Mr. VTilson Barrett. 
Mr. H. Cooper Cliffe. 
Mr. T. W. Perc^. 
Mr. Edward Irvnn. 
Mr. W. L. Belmoie. 
Mr. Austin Melford. 
Mr. Ambrose Melrose. 
Mr. W. A. ElUott. 
Mr. Stafford Smith. 
Mr. P. Behnoie. 
Mr. A. E. Field. 
Mr. Franklin McLeay. 
Mr. Horace Hodges. 
Mr. Cecil Duncan. 
Mr. Geoige Barrett. 
Miss Lillie Bebnore. 
Miss Maud Tefferies. 
Miss Alice Cook. 
Miss L. B. Wihnot 
Miss Lily Hanbury. 
Miss Alice Belmore. 
Miss Bessie Carlyon. 
Miss H. Polini. 
Miss Alice Gambler. 
Miss Winifred Emery. 

Dec, Z890.] 

New Plays and Important Revivals. 


18th. Comedy. First Performance. 


A Farce» in Three Acts, by Harry 

NiCHOLLS and W. Lestocq. 
Mr, Charles 

ShackUUm . . Mr. C. H. Hawtrey. 
Mr, Kershaw . . Mr. H. Kemble. 
WiUiani . . . Mr. Brookfield. 
Claude .... Master R. Saker. 
Pixtm .... Mr. £. M. Robson. 
Miss Lucy Norton Miss Ethel Matthews. 
Mrs, Chadwick . Miss Ewell. 
Mrs, Pixton , • Miss Ada Murray. 
fane Miss Lottie Venne. 

20th. Prince of Wales's. First Per- 
Fireside Pantomime for Great and Small 

Children, adapted from Thackeray's story 

by H. Savile Clarke ; music by 

WALTER Slaughter. 
Valoroso . . . Mr. Harry Monkhouse. 
Tommaso Lorenzo\ 
Count Spmachi \ Mr. Tom Shale. 

(in the and act)] 

Bulbo . . . . 

Glumboso . . . 

Padella {in the 
2nd act) . . . 

Count Hedzoff. . 

CoutU Hoggin^ 
artno .... 

Jenkins Gruffa^ 
nuff . . . . 

Jester .... 

Prince Giglio . . 

Betsinda . . 

Rosalba {in the 
2nd act) . . . 

Countess Gruffk" 
nuff .... 

Queen of Pajta- 
gonia, , . . 

Angelica , , , 

The Fairy Black- 
stick . . . . 

B>Uy, a Child , 

General Punchi- 
koffiCrim Tar- 
in-chief in the 
2nd act), , , 

Mr. John Le Hay. 

- Mr. W. Cheesman. 

Mr. A. T. Hendon. 

Mr. G. Marler. 

Mr. S. Solomon. 
Mr. R. Bernard. 
Miss Violet Cameron. 

- Miss Attalie Claire. 

Madame Amadi 

Madame Ada Dor^. 
Miss Maud Holland. 

Miss Isa Bowman. 
Miss Empsie Bowman. 

Digitized by LjOOQIC- 


AoUng tlM Law. Melodrama, s A. . Don Glover . . Rojral, Brentford 
Allan Ween. Opera. 3 A. . . Joseph Parry . T. R. Cardiff 

Balyy. Far. Com. 3 A Robert Soutar . Alexandra T. Southend 

Baby. A Warning to Menn6lUtB.yLady Violet Gre-JT. r. Brighton . . 

Play . . . . . • •) viue . . , j ^ 

Balllff.Tha. Dom. PUy. x A. . . F. W.Broughton. T. R.Bath. 
BatUe tbrongh lAA, Tba. Dr. 4 A. W. H. Mitchell . T. R. Bamsley . 

{Percy F. Marshall ) 
and Richard V Opera H. Northampton 
Purdon . . ) 

^Adapted by J. KA 

Beit Intentions. PUy. 
Blgot^The. Pi«y. 4 A. 

Blrtb and Breading. Com. 4 A. 


Blade Dlamondi: or» Uglita and 
BUadOWBOfPltUfe. Drama. 5 A 

Jerome from the [ 

(for copyrig^ht I 

purposes) . .} 

F. Kenlon Madcap \ 

Sept. 99 

Feb. as 

Dec. XX 

Nov. X9 

Sept. x8 

Blanohe Farreao. 


\ rig^ht purpo» 

(W. Calvert, adi 
ed by pen 
sion of Chai 
Gibbon from 
novel "For 
. King" . 

Sept. 30 

Oct. 6 

f DetbiFhtopf: [Alexand^^ Southend 
\ right purposes) ; 
W. Calvert, adapt-^ 
-" •-- jpermis-l 

For the I 

f Max Pemberton & t 
•] mus. M!'(^!>T.R-Newcastle^n.Tyne April xj 

( saigne , ,) 
Bfe^ pSW.' Ja*~^?' ^^JF.Teale Lingham} Royal. Edmonton 
Broken Coupling, Tbe. Mus. x A. . J. A. Moonie . Waterloo Rooms, Edinb. 
Brought to Llgbt. Dr. ... Edward Darbey . Morton's, Greenwich 
Bnrled Talent, A. Play. 3 sc. . . Louis N. Parker . Royalty, Glasgow . 

f Mrs. Hodgson and ^ 
Cailtaln'B Daughter, The. Com. x A. } f^p^Sl^?- f ^^" "*^ Southampton . Dec 3 

I poses) . .) 

BraiUlani The. Com. Op. 3 a. 
Bred In the Bone 

Feb. 2X 
May 33 

Captivating Carmen. Bur. 
Carmen Up to Data. Bur. 3SC. 

ClSfy. Mus. Com. 3 A. 

Clerer Capture, A. Comtta. 
Cloven Foot, The. PL 4 A. 
Coiner's Dream, The. Dr. xA. 

Culprits. Fare PL 3 A. . . 

Daisy Land. Pi. 3 A. . 
Dangers of London. Dr. 3A. . 

Darry the Dauntless. Bur. a A. 

Dark Past, The. Melodr. 4 A. . 

/ Martin Byam and \ 
ByamWyke ./ 

1 titt ; mus. Hen- 

Pier T. Folkestone 

Aug. 4 


,*^us?HeiS^rS^^«P«^«T.Uverpool Sept. aa 
Meyer Lutz .J 
W. H. Dearlove) 
and Miss Jennie J-Town Hall T. Harrogate March 38 
Franklin, r.a.m. j 
MarkMelford . T.R.York. . . . March 7 
. Fredk. MouiUot . T. R. Blackburn . , Jan. 37 
. Cecil N.T.Fitzroy Lecture Hall, Derby. . May xa 

. Arthur Law •{ ^^f.''^^.'^*'"'.'^- ^''*'*;}Aug. 39 

. H. Graham . . Greenwich Hall . . March xx 
. F. A. Scudamore . T. R. Cardiff . . • June 9 

. { "w:t.*tS;™p«2 }<^-^y T. R«di.«pOgky 3. 
. Frank Price . . T. R. Bamsley , . . Oct. 33 

Productions in the Provinces^ etc. 183 

(Donizetti, Ene-^ 
OscaTwdfcbylprince'sT. Bristol . . Oct. 13 
the Carl Rosa I 
Co.) . . J 

DanghterB. Com. 3A. . . .{^'^iuTeTdouS'lT. R-P-'^--^^ . . June3o 
Bony. Com.Op. aA {J^g^^^^-li^^^^ 

^ ^ , rA. H. and A. C.\PhilharmomcHall,South-) p^b. 8 

IHwmed. Com. Dr. 3A. . . .j^ Hodgson . ./ ampton . . . •> 

E«r.Da«gi»ter..TIX,.Com.Dr.aA.{%„J^r"f'""}T-R-C™,don. . .Ju.y« 

(JArs. Hodgson-v 
Bd»l>a'.B««I». Dr. 3 A. . .] |jyr*„To,^[ . . . J«.. 3 

I end , * ') . ~, * 

Engasement^An. Duologue . . B. C. Stephenson T. R. Newcastle^n-Tyne Aug. a9 
FalrBane«Weillie,A: OT, The CarCUl\Haslmgden Rus-|prince's T.Bristol . • March 14 
W^. MusTCom. xA. . . ./ sell . . / 

(Adapted by ^^'\ 
leaux Z^ComcokJ 

Ilrtier<Hrl,Tlie. Dr Charles Hannan . Ladbroke Hall . . . J»n. 10 

naahee. " Fandcal Hilarity.^ 3 A. .{J'^i gf^r«,S'}N- T. R. Everton . April 7 

\, , »* ir ^ /Prince of Wales', South-) Maya6 
Flylllg from Jnstloe. Melodr. 5A. . MarkMelford ,^ ampton . . . . ) "^ 

/Miss E.BraddonW^3t Qiff Saloon T.)sept.6 

For Better, for Worse. Melodr. 4 A.] (copyright pur- V Whitby . . . -j '^ 

^ poses^ . . / ^_ 

For<JU««a*lldO<ruiltlT. Ma.Dr. 4A. Evelyn Unsworth Bijou T. Neath . . . Dec .6 

F<««...«H.. Dr. ,A. . . nS|p»'''^:h'^-«-^«"'- • •^'-^" 

^ „ „ ^ /Grand T. Stonehouse, j. June 16 

Forty Thieves down to Date. Bur.. G.V.Keast. .^ Plymouth .)^ 

FOimdedonFaotS. Dr. sA. . .H.C.Tum<^ Queen's T.Keighl^ .Feb. ,4 

(Henry J. Byron) ^^^j^g 3^^. Co. Chelsea I j^ ^chs 
FraDlavolo. Bur. . . . .| £S5'!° ? '"ll ^^'^^^ • • •) 

( Mrs. Ho dg 8 o n { p^^^^ of Wales' T. South- 1 ^^^ ^ 

Gamekeeper's IWfe. The. Com. iA.| Jf^^^*^******** J wnpto° . . . .j '^ 

„ . J Herbert Clark; (-t. o Nottingham. . April 7 

OliyFawl»B.B8q. Bur. 3A. . A lyrics by Mr. M* *^- "''^*°* 

HeldlnHamesi. Com.Dr. 4A. . C.A^a^ke' ! Queen's T.Keighley . May ,9 
I - /Haslmgden Ru8-\«qWI Court T.Liverpool Nov. 7 

Her First Appearance. Monologue .| 3^11. . .|^oy»"^"" • ^ 

ms Future Wife. Far. xA. . . F.HawleyFranck8 Brighton Aquanum. . Feb. 3 

/"Adapted from T.\ 
W. Speight's I 
• - Sfi^lBLn^-W^lingh-n School. 

His Lordship. Com. 3 A. 

Aug. 6 

(produced by I 
students) . .) 

— - - • ^ eu f W. G. Watson &\H^meBav. . • • Sept. xa 

His £km-ln-Law. . \ Alfred Rodman/"*"*® *^^' 

Hymen Wins. Far. Whimsicality, xsc. Wilford F. Field . Public HaU, South^l. Nov. 17 

^ Of the Heart. Idyllic Play . Missjanette Steer Shakespeare T. Liverpool Feb ax 

to]S«d]^pSa Dr. 4A.. . . Hal Corner . . Aquarium, Scarborough Feb. 3 
m i^waijr x-wu. 4 « A. H . and A. C. \ Philharmonic Hall, South- ) p^b. 8 

In Olden Days. Comtta. . | Hodgson . . / ampton . . ^ \r w 

in the Queen's Hame. Dr. 3A. . Trevor ftDeliUe. T.R. Colchester . . Feb- 5 

lonofBuripldea ^ ^ - . ^rnPaa^eow *. . May la 

Irish Priest* The. Dr. 4 A. . Brandon Ellis . Grand, Glasgow y 

rMrs. Claud Rob-) Burv St. Edmunds . Dec. a6 

ItlsJustice. Dr { JfirrTeZecif^r^-^"^^^ . 3., 

(Prince of Waless, Bir-\ gcpt. 18 
It was a Dream. Com. Dr. x a. . X. L. • . • | mingham . • • > 

1 84 

Productions in the Provinces^ etc. 

fMark Melford; 
mu8. Popsy 


Jaokeydora; or, The Last Witch./ 

Com. Op. 3 A. I 

JesmoiUL Dena. Dr. 4 A. . . . — 

Junior Partner, The. Fare Com. 3 A. Thomjis Naden . 
Liberty. Dr. Pro. and 4 A.. . C. A.Clarke. 

UshtatLast Com. Dr. 5 A. . W. J.Patmore , 

^Major J. C. K.\ 
T/«^'.w.<^« rw»f- ,A J locclyn; mus (Royal Artillery, 

LoveeKagla Optta. xA.. . ,< Cavafier L. Za- f wich. . . 

\ vertal. .; 

I Princess's, Glasgow 

T. R. Leamington • 

T.R. Ipswich . 
T. R. Windsor , . 
Grand Hall, Bromley 
T. R. Manchester . 


LnredtoBuln; or. A Hero of Heroes 1 

(original title). Dr. 5A, . . ./ 

(original title), l^r. 5 
lCaJor,The. Com. Optu. 3 A. . 
Han In a Thonsand, A. Pi. 5 A. 


Misses V Assembly Hall, Holywell 


Gregory . ,) 
CUrenceBumette T. R. North Shields 

MaildllB. Dr. 5 A {«^J2^W.""^}T.R.G«.tGrim,b, 

dramatization \\ 

Katrlmony. Com. Dr. 4 A. 

Menof MetaL Dr. 4 A. . 
Mesmerist, The. Fare. Com. 

(A drai 

Chas. Came-I 

Wilkie VNew Cross Public HaU 


msslCarltana; or,NotflirJoe. Op. 1 .nd t w 

Man & Wife"; 

/C. A. Qarke and\T o t»«,.„.i^« 
\ Hugh R. SUver/T. R. Bamsley . 

Fred Jarman . T. R. Bath . « 
(Ueut. G. N< 


Sept. 3a 
Aug. 35 

VFeb. x8 

June 30 

Aug. XI 
Aug. 4 

Nov. 8 

Oct. 3 


It- > Queen's T.R.DubUn . April ax 

pS%d 4 a!°** "^^ Semi-Mus. Dr.| j^^,^ Telford .}t. R. Huddersfield . 

Modem Ireland. Dr. 
Mrs. Donnlthome's Bent. 
Muddler, The. Fare Com. 
Mnslo at Home. Com. 

MSrOeneraL Com. 3 A. 

3 A. 

Miss Rose Seaton 
HUtonHiU . . 
Miss Rose Seaton 

T. R. Bacup 
Opera House, Chatham 
Grand, Nottingham • 
Opera House, Chstham 

Nap; or. 

Bur. . 

/Mrs. Colonen 
.] It'e^'C2;?e"^¥!;^[l^oMRyde,LW. 
I rester) . .) 
/Lyric by Stanley) 

( Blartin.Adeson.) 

/Fred._Cooke and ^ Morton's T. Greenwich 

NewMaieRpa,Tlia Pro.and3A. ."[- F.'w*ldrt>n 

NewTorkPiflltlOS. Fare Com. . X^^lt^^^Ji^'^.'f^^rtnXSorA 

Night Express, The. PL Pto. and 3 A. Gerald Holcroft . T. R. Edmonton 

NlOhe. Fare Com. 3 A. 

No Man's Land. Dr. 5A. . 
Noble Lie, A. PI. 4 A. 


June 9 
June 9 

Nov. x3 


March 84 

Aug. 38 
Oct. xo 

Noble Lore. Rom. Dr. 4 A. 
Onr Great Surprise. xA. . 
Our Tutor. Fare. Sketch. xA. 

Pansy. PUy. xA. . . 
Peer of the Realm, A. Rom. Dr. 

Phyllis. NautCom. Op. . 
Pim-Pom. Fare. Mus. PL xA. 

Private Enquiry. Fare. Com. 3 A. 

/Harry ft Edward \ Prince of Wales', Liver- Iceot 
\ A.Paulton ./pool /^^*P** 

/ pool 
John Douglass . T. R. Leicester • 
Fred Jarman . T. R. Jersey . 

Harry Blyth. . T. R.GUwgow 

Nov. 3X 

Jan. 37 
Feb. 3o 

/Assembly Rooms, LeytOD-lQ^^^ 

AbbeyWood .^ ^^ 

. Fred Jarman . T. R. Preston . 

F. W. Broughton. T.R.Bolton . 

I McEvoy . .) 

, E. T. De Banzie . Princess's, Gksgow 
/Adapted from Ld\ 
J SMtrilt d!w iRoyal 


June 4 

April 14 
Feb. ax 

••J FamiiUs by F.i 

Leicester. • 


Queer Lodgers. Farce. xA. 
Resoued from Death. Dr. 4A. 

BetaJlatlon. Comtta. xA. 

^^"^j. Nov. as 
{ C. Bivnand' . j ) 

Alfred A. Wilmot ParkTownHall,Battertea 
/Hugh Montgo-)Alhambra T. Barrow-in- 
\ mery. . ./ "* 

{Adapted from the 
German by Ru- 
dolf Dircks 



Sea . 

March X 
^} April as 




Productions tn the Provinces^ etc. 185 

{Charles Gounod;) ) 

lib.iH. B. Far- V Royal Court T. Uvcrpool VJan. xs 

Bope Merobailt, The. Farce . MarkMelford . T. R.York. . . March 8 

EojgdtlwRHlg. I>r.Com.ofCircu8jp^^j^^^^, .} Royal, HuU . . , July 14 

BvttL Play in Pro. and 3 A. . • {\f JeromS?** ^\ } Princ«'« T. Bristol . . March so 
Scapegoat, Tbe. Dr. 4A. . . . Woods Lawrence T. R. Huddersfield . . Jan. 27 
BhatteredLlTes. Dr. Pro. and 4 A. A. W. Parry. . Granby HaU, Liverpool . Dec. la 

Slitter. Comtta W. H. Goldsmith T. R. Stockton-on-Tees , Julyai 

SlllBOfNewToilL Dr. sA. . . Arthur Homer . T. R. Birkenhead . . Feb. xo 

nave Of Drink. Tha Dr. 4 a.. . Walter Reynolds { Q^^^jj,^'"* "<>"**;} Aug. 4 
SoldUtk. FarcCom. 3A. . . .{^^^^J^^^jcrandT. Nottingham . Dec. as 
SoUdtor. The. Fare. Com. 3 A. . J. H. Damley . Royal Court T. Liverpool May 5 
*ftS25L"^Sc^n?^A.*? ^^}ci«renceBumette}T.R. Workington . . Oct. 5 
T^nntOll Vale. Dr. 3 A. . . . Louis N. Parker . T. R. Manchester . . June xa 
Time 18 Money. Comtu. . . Birs. Hugh Bell . T. R. NewcasUe-on-Tyne. Sept. 5 

UnlOIllEt,the. PI E.R.aeaton .{^^.^^y^*'**'' ^^*"*;|Se;>t.8 

Uhlted. Com. Dr. X A. . . Alfred Selwyn . Victoria Hall, Ealing . Dec x8 

Uhreal BIChee. PL x A. . . Cecil Raleigh . Royal County T. Reading Sept aa 

(Edward Rosa and \ 

SS^SSf"^-'^— '' — Marcha6 

Victory. Dr. 4 A. . . . .{JpoS^'^*!*''"}'^-^ ^*™°8^'* • • April a8 
^WomenWmDa Dr. Pro.and|J.^jero^^^^^ ^ . Sept. X7 

Widow, The. Fare. Com. 3 A. . . A. G. Bagot . . T. R. Windsor . . . Nov. x8 
Woman's Love, A. Dr. 4 A. . . Fk^ W. Bird . T. R. Woolwich . . March xo 
Work and Wages. Dr. 5 A. . William Bourne . T. R. Hanley . . Jan. a? 

W0I«)0X.The. PL . . . .{'^^riiht"^^^)}'^-^^^"*'^'' • • ^^' 
WoiklllglIan,The. Dr. . . H.Hardy . . Colosseum, Oldham • July xo 

Weld's verdict Dr |^^yr&^*pS^1^5dhdi J' ,^^^\i^y^o 

Ditto , ditto ditto . . . Ditto ditto . . T. R. North Shields . . Dec 4 

Toong Pretender, A. Fare Com. . Barton White 

(Adapted from 
Moore's «Lalla 
Rookh;" mus. 
Stephen R.Phil. 
pot . . .. 

r Sanger's Amphitheatre, ) j^ 
Rams|;ate . . ./J^'J'J 

-Gresham Hall, Brixton . Dec 17 

Digitized by VjOOQ IC 


V2~*'. *".''^"- ^-"iIm-K Doyen . . . . Dii^ . . . 

L'Age Critlaue. Piece, s A. . M. Arthur Byl .... Mcnut-PUisirs 
Amour. Drama, 3 pts., 4 sc. . L^n Henrique .... Od6on . 
X'Amonr Vengl Comic Op.,\M. Angc de Lassas; mus. by\,^_, ,. . * 
a A / M.dcManpeon . . "|Op<Eni-Comique . 

AnnldA. BaUet. 3 A. . . . / ^t^.***"? *°<i ^i».^s\ ; air by Bal- ) « .^ 

Anuiw. x>«u«,3A. .^ biani ; mua. by Marenco . J-Eacn • . . 

L'Artda TroaiperleiFemin«8.)MM. Paul Ferrier and Emiliel ^ 
Comedy, 3 A f deNajac .... .jGymnaae . . 

AaoanlO. Grand Opera, 5 A.,\M.LouisGaUet: mus.byCamillel r^ ^ 
6Sc / Saint Sa€na . . . .|Op^ra . . 

BU0dia.La. ComicOp..3A. .{All^J^^/* . 

Bejaune, Le. Fare. Com., 3 A. . MM. Burani and Cermoise . Vari^t^ . 
BaY«liUta Lyrical Drama, 4 A. {\G«ton^^,mu8. by M.^^^ ^ 

Oamllle. Comedy, i a. . . PhiUippeGiUe .... Fran9ai8 

GhansonduTslgane Verse.zA. H. deFleurigny. . Nouwautia 

"^.a*^*'^^ .'''^}M-An<WL*n*k. . . . Kj„et . '. '. 

Olna. Hllle Quatre. Fare. Com., \ Albert Guinon and Ambroise \r^.. , 
3 A / Janvier |Dejazet . 

Ta.*".''^.^. T':}c"vot.„dD„r« . . .Ren.i.«nce. . 

d^ODfttre. Drama, s A. l MM. Victoricn Sardou & Emilie \ ^^^ c* »# ^i 

uMWimuv. i^rama,sA. . . j. Moreau,mus.M.XavicrLeroux/P°'^«-St--Martin . 

Cl^pAtredltaUe. Parody, x A. MM.JulesJouy&^oi^esRolle Dijaxet . . , 
ColomUne. Comic Op., i A. . M.Sarlin; mua.GusUvcMichicls Op^ra-Comique . 
Ckmite d'Ennont* Le. Goethe's) Adolphc Adcrer; Beethoven's \r.j. 

Drama, iA ] music .... .j-Od^n . . 

Conyanion, Une. Com., xA. . M. Charles de Courcy . . Francais 

Coi^eanxJupant^La. Com.,|L^^^,^^^ ^^^^ ' ; 

Ort^de ^Jeaa Morel,^ I*;}L"strsS"*!"°^'''^^^''^!}a^ . 

Dante. Lyrical Drama, 4 A. . / *^"jl!^ ^^** • "'"•• ^^ ^«°i- [ . . . . 
Dem^nageons. Comedy, z A. . M. Guillemand .... D<|azet . 
D^PUM Leyeau, Le. Com., 4 A. M. Jules Lcmaltre . . Vaudeville . 

Dernlisr Amour. Piece, 4 A. . M. Georges Ohnet . . Gymnaae 

Deyant TEmieml. Play, 5 A. . Paul Charton .... Ambigu . 

DUOltrl. Lyrical Dnun.,, A. •{"l^'Jei're'^^raV. ^^'Jo'^dS!^}OP*»■Co«'<^"e • 
Docteur Masoarllle, Le. Apro- ) ^ a i^,^ r»^„^i„„-» r\A • 

pos in verse, I A. . . J M. Alfred Bouchmct . . . Odeon . . . 

Douse Femmes de Japbet, Lee. ) MM. Antony Mars and Maurice 1 » 
VdIle.,3A. . . . . .; Desvalliifes; mus. V.Roger/'^<^°*»«**«c« • • 

Drapeau, Le. Spec. Drama, \Emilie Morcau and Ernest "i a 1.. 
SA / Depr^ J- Ambigu . 

I>r6ledeVl8ite,Une. Com., zA. M. Andr6 L^n^ka . D6jazet 

LTnTpttenne. Spec. Comic Op., ) M. Chi vot, Nuitter & Beaumont : \ r , • r^ 

. . .; mus. by M. Charles Lccocq J/Folies Dramatiquea 

3 A. 

Oct. 6 

Nov. s 

Dec 31 
Jan. a 

May 30 
May 3 
Dec. 3 
Jan. 84 
Oct. xo 
June a 
Nov. X3 


April X 

Oct. 23 
Nov. X9 . 
Oct. 4 
Feb. 7. 
Feb. ao 
Feb. ao 

April XX 

May 13 

Dec xo 
Oct, x6 
Nov. z8 


Jan. IS 


Feb. X4 
Jan. x5 
Nov. 8 

Productions in Paris. lij 

'^???^®A?^*f*""?****?*'\ ^t}****^^^^'^^«»^^ • Renaissance • • O^- ^ 

''^!^*^**®^^*' r*^}LfeonGandmot .... Qimy . . . April a 

LTSltr'acle. 'ope«tta \ .rSktlMSSt^tr \'""'- ^^}Menu8.Pld«i« . Feb. ,4 

mnille, Une. Comedy, 4 A. Henri Lavedaun . . Fran^ . May 17 

rte anx ChAvPBS, La. Spec. ) MM. Paul Ferrier and Albert >q^j^ . Dec 18 

Piece, 3 A., x4 Sc . . . f Vaulos ; mus. M. L. Vamey. j'^^**^ • "^^ *«» 

Fanmesdei AmlB^Les. Com.,\j4n| gj^jj^^^^jTo^jj^ ^ Palals-Royal . . Oct.x4 

FMnUnandLeNOOeor. Com.,4A. M. L^n GandiUot . D^jazet . « Dec 19 

r«tt<die.Le. Operetta. 3 A. .{^•^f?™s."^^';^^r}Menus-Ptairir8 . March .3 

Fen Tonpindl. Com., 3 A. . . Alexandre Biason . . Vaudeville . Feb. 87 

PUto de L'Alr, La. ^^)'^j:^^,^,^y^^ 

Fine de Bpland. La. DraniainW^^^ ^^B^^nier . . . Francis . . June 18 
verse, 4 A } 

r\f^<>^'^-»l^ <^'-}--:^'}^^J,^^^!t^^'^^^'')Oiion . . . Oct.6 

rmuetteetinal«)t idyi,xA.{«M^Slf?N'SJ^y"„^.'S|J:t'}^^^^ • -Jan. .3 

OnuidemLa- VdUe..3A. .{"gSouSSl?' .""'. *".""! }Nouve«ut4. . . J«.., 
C6nuide8MaiM»UTre»Ji»B.C<)m.,>H«)|^teRajmondandAlbert\y^4t^ AprUs 

arandmin. Com., 3 A. . . Georges Ancey .... Odion . . Feb. 96 

HamietOli:d'HAolaa,I«. VdUe.,\Q„r^0„^ .... FoUes-DramaUques May 24 

H^ 0>micOpi«.x'A.; '.{^S^fflT^^llSS'iSe^lOp^-Comlque . J«.. ,5 
Dy-a-Vlngt ana. VdUe., x A. . M. Georges Duval . Folies-Dramatiques Biay 24 

Jaqnes Fftyan. Drama, x A. . Serjeant Bobillot . . . Ch&teau d'Eau . May 13 
Jeanne d' Arc Drama, 3 A., 6 Sc Jules Barbier; mus. byGotinod. Porte-St.-Martin . Jan. 3 
JeimeB8edeL01llBSIV>,La. 5A. Alexandre Dumas . Porte^t.-Martin . May 27 

Ludenne. Piece, 5 A. . M. Louis de Gramont . Menus-Plaisirs . Dec. a 

Ka Ckmslne. Com., 3 A. . . Henri Meilhac .... Varietds . . . Oct. 27 
Ka me Boeette. Comic Op., yules Prt^velandAjroandUoratjlp^y^Ijj.,^ 

3 A J mus. by Faul Lacome . . ) ^ 

Madame Dnrosei. Com., x A. . MM. Bisson and Mars . Vaudeville « . Feb. 27 

Madame MongOdln. ^»a»clMM. Blum and Toch<S . . VaudeviUe . . Dec. X7 

Vdlle., 3 A. . • . • j 
MadameOtheUo. VdUe..3A..{MM.^«ime Boucheron and^ . . . Sept. ao 

l[aUre,Le. a study of peasants. Vj^^j^Ui^^* .... Nouveaut^s . . Oct. ao 

l^tr^e. Com:,xA. \ ^{^^JglsiJSr"' "'^ ^''!}^^j««^ • • . March a9 

MaigOt Com., 3 A. . . Henry Meilhac .... Thdltre-Fran^ais . Jan. x8 

■aila«edeBariUon,Le. Com.\GTOrgesFeydeau and Maurice yj^jg^^ce . . March xo 
Vdlle., 3 A.. . . . ./ Desvalliferes . . . •/ 

ItotoStuart. seine tfBOOWe. J„m. Cresaonnoia and Samson .{"||'^'*d^]g„)<°^: } Oct. 8 
M<na«es Paiidens. Com., 3 A. Albin Valabr^e . . . NouveauUs . . April 17 
IfK«teBderAlui<e,LM. Verse, |,Kjjjj,„„g„j-j.o<j,^ _ _ Palais-Royal. . March a. 

^'HAlyett.' Operetta. 3A. "{ V,jrSmo^d"ASd™' .""VfB'"^"-^"'"""' «*<"•" 

M0d4le.lln. comic op., X A. .{"Lt^y'S7£^2s^eSS|l;}B0"«-«»-P»ri«'«»- "ov. .5 

Monsieiir Betey. Com., 4 A. . Oscar M^tdnier and Paul Alexis Vari^^s. . . March 3 

Monsievr Jean. Com. inverse,) j^jQ^gg^^^^^jg^g ^ ^ , Od^on . . Dec xs 

X A. t 

Moallnard,Le8. Fare. Comedy,) MM.^ KerouT^*"* V*^*'*;^^:"*^ I Palais-Royal . . Jan. x4 

NO8 Jolles FraudeiueB. FarcWj^^^^j^i-eBissoQ , . . Nouveaut^s . . Jan. xx 

Comedy, 3 A ) ^^ 

L'OtMtacle. Piece, 4 A. . . M. Alphonse Daudet . . . Gymnase . . Dec a7 

L'OtafBOHg.. Com. op.. 3 A. .{"?,-^o°SdA:?dS?''~'r':}l'°"«-D™°««'"'"'"«*'S 
L'Ogre. Drama, s A. . . . M. Jules de Marthold . • Ambigu . . Sept. a7 

OrlentEipreBS. SpecPlay,4A. PaulBurani . . . • Chatelet. ,QOQ I ^«ly " 
Origlnaox, Les. Com., xA. . Fayan Frantais . Q March xa 


Productions in Paris. 

Fails nn-dA-Sli61e' Play* 4 A. Ernest Blum and Raoul Toch6 . Gymnase . Feb. as 

Paris T^"ftrfllB*fLn4 Review, 3 A. MM. Milher and Nom^s • . Quny . . Nov. 37 

^A^^.^'^.^'^''^.^'^.}^E^^a,^rf'^ '.""?• '^yfBouffea-FariBiens. March 10 
Pendant rOrane. Com., x A. . M. Fr^d^ric Carmon . . Od6on . . May 92 

FMlUKiaimM.. D~"^5A.{D;^JJ^b^Mg^»^^frJ»}Hi.toriq«e . . Nov. ^ 
PleailNld,La. Vdlle.,3A. . M. Geoii^es Duval . . Nouveaut^ . . Nov. 3 

p^jjorde Justine, L«. f'^'^J.MM. ValabrigueandDavril . Folies-Dramatiques Sept. i 
PortLerpar interim. Com.,iA. RaoulCaveme .... Vari^t^. 
Prix Montyon, Uil. Com. Vdlle., ) MM. Albin Valabrigue and ) p.i,;- Rn^i 

3 A f Maurice Hennequin . , f '^~""»-*wy«j . 

TlOV^^a^kV9tlB,JM. Com. j.E^jj^ ^^ jj^^ ^^ p^j jj^^^ Palais-Royal . 

B^glmeLt.Le. Drama, 5 A. -{^risl^r" ?**'^. "*! ^''^! W^'8« • • 
Beyantihe dn Marl, La. Com.,{Feliz Cohen and Grenet DanO n^i.,^ 
3 A. . . . . .f court j-D6Jaxet . . 

E^Le. BaUet,aA.,3Sc. ^^"sUnef^*"' T'.*'^ .^"}OP^« • • 
Soman dime CkmsplratUmt La. I Henri Fouquier & FabrioeCarr^; ) a -,k<<,.i 
5 A f foundedonanovelbyA.Ranc;^^*'**^ • 

Borneo et. Juliette. Dnuna m j^M?^i^"i^rfSS.f^^> 

• ( M. Francis Thom^ , 

verse, 5 A. 

Samson et DaUla. 

Opera, 3 A. 

a. by I 


[. Femand Lemaire; mus. by\T_^.-„^ ,r^^„v 
M. CamiUe Saint Saens . •:|Lynque (Eden) 

["*Roger^*'^'''*""^*'^^''^'}N^^^ • 

Samsonnet. Operetta, 3 a. 

Sangller, Le. Com., z A. . . M. Alexandre Bisson 
8m^ de OUberto, Le. Piece. |m. Theodore Massiac 
Snperbe Occasion. VdUe., 3 A. MM. Busnach and Debrit 

To^Pen,atontPlamme. Vdiie.,|jy^jj^ O'Monroy . 

^I^«g«^J« Wdlonles, Les. ^Georges Villain . . 

Un Oonsln de Province Com., j. j^^^^ Lafo^^ and Taylor 

U^ Vengeance. Play, 3 A. . Henri Amic . . 
Vem avant la Lettre. Com., ) j^^j candrey and Lta^ka 

VleiDenxLa. Com.. 3 A. 

Od^n . 
Quny . 
Vari6t^. . 


D^jazet . 
Renaissance • 

/Henry Bocage and Charles de) rijx«« 

Vocation de Marine. La. Piece,) FabriceCarr6&iUbertDebelly;)j,w 
3 A. t mu«. by Raoul Pugno . . J- «ouveauies 

Voyage en Snkle, Le. Fare. \ mm. Marc Sonal and Victor 

Com., xA / Grdhon .... 

/Adapted from the Walloon' 

voyage de Ghandftotalne, l^^ ^?° 7 'S2. %"jean 

IHama t • • •, 

^. de Bnsette^ Le. 

iece, 3 A. zz Sc 

2alre. Opera, 2 a. 

I NOel] 
Spec. \ MM. Chivet and Duru; 
./ by L^on Vasseor 


/ EdouardBlau and LouisBesson ; ' 
•\ mus. by Veronge de la Nux , ' 





June xz 
Dec. 4 

Nov. 2Z 

May 30 
. June 9 
April x8 

Oct. 30 


Nov. 86 
April x6 
Sept. zo 
June XX 
April 30 


April z3 

March 99 

Oct. 4- 

June 8 

Jan. 90 

Digitized by VjOOQ IC 

IN NEW YORK, etc., IN 1890. 

AIiUle(Moi«orL6eB)LordFtamtl«r07 Archibald Blyordon Oct. 4 

Aftermatb (first performance at American 

Theatre Libre) Dr. Hartmann and S. Strange . . Sept. 9 

AUflnrHer H. J. Merivale and Fklgrave Simpson . Nov. 6 

Awakanlng (** Tears, Idle Tears '0 AprUaS 

Bates in tbe Wood, The . . . H. C Leslie's production . « Nov. xo 

Banker, Tbe ("Henry Dunbar") . J. Schonberg Junes 

Bottom Of the S6a» The ("The Diver's 

Luck") Sept.! 

Dr. BUI Hamilton Aldtf Sept. 27 

Bn^^llBll Rose, The . * . . G. R. Sims and R. Buchanan . Sept. z 

OogglesC'PetitsOiscauxO . . C. A. Byrne Sept.aa 

GovemeBflyThe April 7 

OlUlt7 without Orlme (" Aurora Floyd '^ V. de Nois and C Young .... April sz 

Hamuuihee ("Cleopatra '0 Sept 34 

Havoan AlnusKdild an<l his Mothw^ln- 

Law ("The Arabian Nights") . Sydney Grundy Mar.a6 

Idler, The C. Haddon CHuunbers Nov. zz 

18 Marriage a Failure t . . . . Archibald D. Gordon Oct. 96 

It waa a Bream x. L. . . . Dec. z 

Lestala Richard W. Davey Oct 8 

Lneme Archibald D. (Gordon Oct so 

Kalster of WoodbaxrOW, The . . Jerome K. Jerome Aug. 36 

Mary UnOOln, KD. . . Charles Bumard Sept 25 

Maak of Life, The John a. Stevens Sept. 8 

Master and Man G. R. Sims and H. Pettitt .... Feb. 5 

Mtory Monarch, The (''L'EtoileO. . J. Cheever Aug. z8 

Middleman, Th^ Heiuy Arthur Jones Nov. zo 

Miaer, The Wilson Barrett Mar. 8 

Miaa Cheater Florence Marryat and Sir (Charles Young . Oct. 24 

Mr. Potter of Texaa a. C. Gunter May z9 

Rew Lamps for Old Jerome R. Jerome Oct. 7 

Homlnee, The W. Yardley and L. P. Richardson . May 9 

(Hf the TtadC F. G. Reynolds July az 

On Probation Brander Matthews and G. H. Jessop . . Nov. Z9 

One Error Edward E. Kidder Aug. 24 

Percy PandragOnC Married in Haste") H.J.Byron April za 

Poor Jonathan J. P. Jackson and R. Weill .... Ort. Z4 

Prinoeaa Paragon, A H. Paulton and Mostyn Teelde . . Feb. Z2 

Prinoe and the Pauper, The . . Mrs. Oscar Bennger Jan. ao 

Prinoeaa Zillah G. M. Wood and Arthur Shirley . . Oct. z6 

ReoUeaa Temide Augustus Thomas Oct a? 

8ea King, The Richard Stahl Julys 

Silyer Palla, The G. R. Sims and H. Pettitt .... Mays 

Silyer 8hl61d, The Sydney Grundy Oct. 3 

Soudan, The Aug. Hards and H. Pettitt .... Sept. z6 

Sunaet Jerome K. Jerome Feb. a? 

Taleof a Goatto The ("Jimmy Watt '0 . Dion Boucicault Aug. 4 

Trip to Chinatown, A . . . . C. H. Hoyt Sept. z8 

Ugly Duckling, The Paul M. Potter and David Belasco . Nov. zo 

Walt A ("Nobody's Child") Sept aa 

What Women Will Do ... . Jerome R. Jerome and Addison Bright . April z? 

Whirlwind, The Sydney Rosenfeld Sept 30 

White Lie, A Sydney Grundy Feb. a4 

Wicked London Frank Harvey Feb. zol 

Witch, The Marie Maddison and Philip Hamilton . . Nov. zz 


Produced through the intermediary of d, T, QREIN, 

In HOLLAND and BELGIUM during 1890. 


Royal Dutch Comboy. 

The Mlit i lltmfm OA°uary). 

unit Lord Firantteroy (March). 

JtUlall (October). 

Variety Thkatrx. 

Our Flat , . (September). 

Hew Lampe for Old (November). 


The above plays have been performed in all leading country towns, such a$ : The Hague, 
Utrecht, Amhem, Rotterdam, Nijmegen, Assen, ZwoUe, Groningen. 


Municipal Theatres. 

The Ha^bonr Ughte (September). 

The mdrtleman (November). 

Digitized by VjOOQ IC 




« TIjE'^ HOME^^ OF^ BALLET/*^ 


Svery Evening from 8 d clock until 11.30. 



Signorina Legnani, 

Mdlles. Spottiy Zimmerman, Marie, and Hoby, and 

Mr. Charles Laori. 


J^efine^ ^^anefy Qnferfdnmenf, 


Miss Marie Lloyd, Marie Loftns, Nellie Richards, 

Mr. James Fawn, Mr. Ben Nathan, Mr. O. W. Rowdon (Champion 

Jumper of the World), Mr. Charles Laori, and Troupe, 

etc., etc. 


Musical Conductor - - ^M. JACO'BL 

Prices of Admission, 6d., is., as., 3s., and 5s. ; Private Boxes, 
£1 IS. to £a las. 6d. 

Acting Manager . . MR. G. M. EDWARDS. 


ConIr2icIor5 for DecorxJEive Vort5, 


>1ANehlE8TEI^ /rDDRESS: 

HSigmF^yiT & SON, 19, John Da/ton Street. 


^a^inn-ymn ntA %tirim$^ J^^^^t JjHtWte 1i[iw^ JJwiWt 

J$twitttu$ 1i[iroiwj0rit^ J^tunttiuj ymuiittg^ 8»im$t ^pxkf 

^fi^tinimit ynttfn$i %hmttQf jUmnA 9lnt% ^ 

list of some of the more important works recently executed under the 
direction of eminent Architects : — 


ST. JAUES'S HALL (Great HaU). 

p^aa Decoration of TorklBli Baths, 


Saloon and MarUe WorkX 

(ooniideraUe Interior work andd^dts 
in tbe grounds, Including large Wine 
KlOBqnes, etc.). 





NAVAL EXHIBITION (Dining Saloons). 

Eta, etc. 











(Head Office and King 
Street Branch; Ditto 
Wlgan and other 

Saloons, etaX 
Etc., eta 

BRIGHTON. Eta. eta 


Abbott, Amy, 19 
Abingdon, W. L., X03 
Across Htr Paih, 8, 169 
Actors' Association, z68 
Adams, W. Davenport, 130 

Adelpht of Ttrtticet T/re, 163 

Adelphi Theatre, ^ 39, 40, 43, 57, zoz, z63| 179, 

Z73, 176 
Aaoj^hoMf 63 
Adnmng Lecouvmtr, zoo 
Adye, Oscar, 9, sz, 56, Z50, Z69 
Ald^. Hamilton. II, 170 
AlaadiHy 167 : Principals in Cast, 267. 
Aladdin tma the Wondiffnl Lamp. x68 ; Prin- 

dpaU in Cast, x68 
Albery, James, xo6 
d'Alcourt, Miss, Z99 
Alexander, Geoi^^e, zx, Z9, 57, xa7f 139 
Alias. XXX 
AUAbroadt 19 
AU a MisiaJu, xx, 40 
Allan, Charles, X30U 135, x6a, x68 
Allen Wy 47, 80 
AUison, C. W., x8 
Allison, W.. X30 
Amadi, BCadame, 8^ xxx, 169 
AmaUur Pantomtmg Rehgarsal, An, 104 
VAmi dts Fnnmts, 155 
Anderson, Mary, 7a 
Andromeda, 90 

ArUss, G., x6o 
Armbruster, Carl, 130 
Armbruster, Violet, 93, 96, 47, 159 
ArmorelqfLyonesse, x68 
Amauld, Walter, 46 
Amdiffis, H., 83 
Art and Love, 73 
Artful Dodge, The, 67 
As Large as Life, 53 

"f^J^^^J^f^ "* *"» 9a» »7i| X76 
A*hby» MiM, X99 ^ 
Ashford, Charles, x8 
Ashley, Henry, xix, 149, X69 
At the Pantomime, X65 
Athenaeum Hall, 99 
Atherley, F., 88, 107 
D'Auban, John, 199, 167 

73i 77f 96, xox, X94, 

Audran, X33, 179 

L'Autographe, 155 

Avenue Theatre, xx, 96, 43, 56, 

xj8, xTOw 174, X78, X79 
Aylmer, John, 46 
Aylward, Miss. X4x. 169 
Aynesworth, £. Allan, 45 
Ayrton, Margaret, 7, 169 

Babes in the IVood. 167 ; Principals in Cast and 

Harlequinade, 167 
Backster, F. O., 155 
BaddeleyCake, 5 
Bailiff, The, sA,ii 
Baker, Henry, 97 
Baker, Moreton, 71 
Baldry, Daisy, 193 
Baldry, Lys. 47, 80 
Balfour, Alfred, 63 
Ballad-Monger, 30, Z55 
Bancroft, Mrs., 6z. 174 
Bancroft, S. B., 96, 70 
Bandnuum-Palmer, Mrs., 46 

Bannister, Ella, 14, 94. 40. zto 

BardeUv:PiS!eeiai!%r' ^ 

Barnes, J. H., 54 ' "^ 

Bamett, John, 4a 

Barrett, George, 160, 162 

Barrett, Oscar, 95, z66 

Barrett, WUsod, 156, zs9, 169, 180 

Barrister, The, 54 

Barry, Katie, 199 

Barry, Shiel, 18, 194 

Barton, Ada, 64 

Bayntun. Henry, 91 

Beaton, Miss, fo 

Beatrice Company, 197 

Beau Austin, 140, x68, 179 

aeau jtusnn. 140, x«, 179 
Beauchamp. John, 49, Z53 
Beauty and the Bea^l, i& 
Beck, Philip. 8 
a'Becket, Gilbert, xxo^ 133 

; Harlequinade, 167 

BelUmy. 38 

BeUs, The, so, 79, x66 

Bdmore, G., 153, 156, 169 

Belmore, Lillie, 159 

Belmore, Paul, 168 


Pcnnett. Rfr3.» 83+ f iS 

IW.nru.Lt, VV-nie, 3.-^ 


K 11-son, Mrs., g, 35, 45, X70 

bt-tt 4[ijrd, Isaiielj 118 

B<. r jn^(^r, Mrs. Oscar, 38, 98, 179 

g^""f''^';,y^ra, 3S,35, 100 

Hcrlyilp Alfred, 43, 172 

Bertiage, Gcorgej 18 

Be^hSli;, Miss E*^ 13, 70 

Btsfile, MarVj ji, 70 

Bus/ Man t-Vitif, JA* xo 

Billin^&n, Mr3.» 40 

Birltbcck liiatitute, ti8 
Bjseood. J. J., 30 

g{!7^'^^^^»'«d^34, 35, 40, 43, 57, xa9 

Blftck, Georg€ F., 75, 7,, 170 
Black Rotvr, Ths. i«. x^. xtS 
B^l--*l'=y^,W', 50/7^^ rc;7 7x7, X34. X54 

Bhtibtard Pasha:, J 66 
BIythc, J, S,* J70r iji 
BoaKj F. S., 35 
Bolejn, R. S., 138, I4J 
Bond, Frederick, 6g, 70, 75, 94 
BookmaiftTf The, 107, 177 
BoswortliLMr., ^a 
Boudler* EUea. t.i 
BouGicatik, Aabrcv, 517 
Boucicault, Dion, lai, xx8, x8o 

?o;:::fj;fcit,ii!;':'';r »*• "'• ^- »• »*• »^ «« 

Bmd«s, Iv W.p+V 
Bowman, Kmmie, £8 
BowTiian, Etnpsie,ji65 

Bowling, C. C., 3Q 

Bowyer. Frederick ^ 16 

BovTie* Leonard, 10, t5, 48, 69, X03 

" J-!riinmLa s rarBrfise**' a6 

Brame, H, W., 85. J44 

Briindon, F* G., g.7 ^^ 

Brandon, k-K:clyn-«. ,, CZr\r\rs\{> 

Br«.don. Dig*. i?,'l;^^S^V3^^il^ 




Brennan, ICaud, 139 

Brid9 o/Lovt, Th€, 57, 68, 173 

Bright, Evm, z8 

Brij^ht, Florence, z8 

Britannia Theatre, 267 

Brodie, Matthew, 17, aa, 26, 66 

Brook, Sarah, 07 

Brooke, Mrs. E. H., 9, 6a, 145, 169 

Brookfield, Charles, 235, 141, 147, 164 

Brottgh, Fanny, la, 90^ zz6, 137, 270 

Brough, Lionel, 234 

Brough, Sydney, ao, a2, 6a. 238, 170 

Broughton, F. W.. 2a, 54, 85 

Brough ton, Phyllia. 8, 222, 269 

Browne, Heron, 268 

Browne, Walter, 25s 

Bruce, Edith^ 53, 266 

Bninton, Emily, 20, 33 

Bryan, Mrs J. F., 203 

Buchanan, Robert, 23, 24, 87, 48, 57, 68, 90, 20a, 

Bucklaw, 92. 2a6 

Buckstone, Lucy, 66 

Bufton. Eleanor, 66 

Buist, Milton, 54 

Buist, Scott, 27, 43, 54, 223 

Bull, Charlea,4x 

Bungalow, TTuj 27, 75 

Burud TaUnt, A, 67 

Burk, Miss, 239 

Burleigh, Charles, 250 

Burleigh, T. C, 70 

Bumand. F. C, 6, 36, 47» xzo, 233, 269, 272, 277, 279 

Burnett, Mrs., 37 

Byrne, George, 203 

Byron, John, 270 


Cabingt MiniaUr, Tht, 44, 234, 274 
Caldicott, A. J., 29, 25s 
Calhaem, Emilie, 201, 230 
Calhoun, Miss, 62, 200 
Calltd Back, 244 
Calmour, A. C, 77, X74 
Calvert, Charles, 30, 47 
Calvert, Mrs. Charles, 72 
Calvert, Louis, a6 
Cameron, Violet, 5, 236, 265 
Campbell, Herbert, 166 
Campbell, Mrs. Patrick, 67 
Cane. Mr., 35 
Guminge, George, 272 
Canninee, Mrs., 34, 40, 204 
Capel, G., 2a, 270 
Capet, Helen. 28 
Captain Swi/i, 26a 
Captain TMrist, 209, 236, 277 
Carleton, Royce, 35, 49, 60 
Carlyle, Delia, 85, 244 
Carmtn up to Data, 238, 236, 278 
Carnival lime, 37 
Carr, J. Comyns, 68, 244, 274 
Carr, Mrs. J. C, 233 
Carson, Birs. C. L., as, 54 
Carter, John, 83 
CartoTj, R. C., 170 
Cortwrit^hl, CharieB, 35, 45, 46, 48 
Cftryll, Ivan, jj^ 133, 279 
CjLsati. 79 

Cassihs, tna Lfton, 56 
Cfistitig thr Bfji^mtrang, 69, 208 
Cathcartf R., 170 
Oiutley, Laurence^ 18, aa, 76, 2Z3 
C&vcr J. A.-, 101 
Csvcn^iab, Ada, 53 
Cecil, Arthur^ 45 
Ctrist «S* G?., 41, 17a 
Ominpion, Miss, izg 
Champion, P«S, I 135 
CImMg\$Sf 46 
Chapiomnt Arthur, 66 
Chapiiy, Effic, mu 130, 253, 260 
Charles, Thomas W., 239 
CheathjuBf K-itiy, 70, 74, 89,94 
n, W., 165 

Chelsea Town Hall, 22 

Chester* Edith, 76, 90 

Chester, El&k, 56, 96 

ChevAliet, Albert, ti, ti6^ 144, 270 

Cigalgf Lft, ts3t 179 

Cindtrtfia, 5 

Qajre, AttaJie, iii, 165 

CiatissOt 13, 14, 15, 1:70 

Garkf Oestodj 66 

Qarkf Mcrton, ^st 

Qark^t Geori^e, fi^i, <aa, 94 

Clarke* Henrv F, gS 

Clarke, Savlle, 165, d i 

Qaj, Lilat 1 ^4 

Clenients, ^f&e, 134 

Cliffe, H. Cooper, 160, i6a 

CUHon, Mrs*, 5a 

Ciive, Gary II, 63 

Ciockts di CorntVilU, Les, 28 

Citt£k Maker's HmU Tkt, 63 

ClofffH Foot, Tfitf 79 

Gulow, J>i JO 

Cockburn* GeorRic W. , 4S 

CofHn, I^aydern, i, no, 1^ 

CoghUii, Charles, 150 

Coleridge, Miss, 166 

Coll^rd, AvaJon* gi, 155 

CoUette, ChjLrles, ^^ 64, 114 

CoJlttlr, Mary, 15, 46^ 63^ 170 

ColnAghin, Bertha* 13 

Colnii^hi* Charlea*, 47, 6» 

Colona, D«^ii Edgairdo, ijS 

Comidy and Twagtdy^ 49, 130 

Comt'dy TheaLre, 6,' 9, tS^ 18, 85, 36, 38, 4a, 49, 

S*** S't 66, 6J3. 70, 135^ 14^ 172, 279, 282 
ComptDTif wli^St ick 
Coniiel!, Christine* 47, 8q 
Connell, janeE* 47* Bo 
Coiiqticat, G*;cirK«, ijS 
Conquest, Mra, George, 165 
Conz'icfs Wi/w, A, S4 
Conwa3', Hugh* 144 
Cook, Alice, i6a 

Cooper, F- Kemble, aS, 150, 252, 263 
C'T ' . _ '. . I harles, M9 
Cvi '.:•<>. . .. -j.vrr??. The, soj 
Court, t\ H., 30 
Court Theatre, 44, 234, 27a 
Courtney, W. L., 85, 275 
Coutts, Compton, 30, 63, 243 
Coventry, E. A.. 255 
CoweU, Lydia, 63, 68, 247 
Craig, Gordon, 233 
Crane, Edith, 74, 75i 88 
Crauford, J. R., 95 
Craven, T., 228 
Craven, Hawes, 233 
Crewe & Sprague, Messrs., 258 
Crisp, Henry, 255 

Criterion Theatre, 2o» 26, 99, 43i So» 68. 78, 86, 
r~ ***5» "V^7 '54f 168, 273i 174, 177, X78, 280 
Crofton, Cecil, 44, 80 
Cromwell, W. Oliver, 83 
Crook, John, 78. 233 
Cross, Alfred B., 83, 263 
Cross, Henrietta, 83 
Cross, Julian, 30, 37, 381 47i 49. 8a» xa7, X4ai iS». 

Cruikskanks, 218 

Crusader and tht CraveHf Tkg, 130 
Crystal Palace, 95, 234, 266 
Cudmore, Angela. 78 
Cunningham, Philip, 228 
gynr«#, j7, 174 

success, 10 

Cyrifa Sui 

Dabbs, Dr., 73 

Dacre, Arthur. 36 

Daf^nall, E., ^6, 38 

Dairolles, Adnenne, 42, 53, 76, 93, 237, 138 

Daisy, 46 

Dalton, Charles, 30 

Dalton. Maurice, 8, 203 

Daly, Augustine, 69, 74, 86, 93, 204, 208, 2751 176 

Daly, Mana, 227 



Danu aux CamtUiaSt Zm, xoo 
Ouu, Henrv, xay, 143, 153 
Dance, Charlet, 43, 88 
Dane, Miss Essex, 9a 
Doftgnrs of London, Ths, 7* 
Darpey, Edward, ag 
*" ' *!' 

u /vrviuc, v««iniue, ° "'" 

Darwin, Philip, 8 

Dttvid UinrieM, ag 

Dawson, Forbes, 90, X35 

Dawson, Jenny, za8 

De Lange, H., 47i 76 

De Soils, Mrs. B. M., 54 

DetBCon, The, ixz, 177 

Dtad Heart, Thg,g, 36 

Dear Dtpari9d, the, 66 

Dtar Friends, 95 

Dearest Mama, x^ 

Dearing, Rose, 6b, 153, X56 

Delaporte. Af^es, 7, X33, X69 

Delicate Ground, 43, 88 

Dene, Dorothy, 35 

Dene, Hetty, 33 

Dick Venabies, 33 

Dickinson, Charles H., 38 

Divorfons, 17B 

Dodsworth, Charles, 43, 170 

Domestic Economy, 36, X7z 

Doone, Neville, 49 

D'Orsay, Lawrance, 30, 36, 84, 85 

Double Dose, A, 35 , 

Douglas, Earle, zoo 

Dowse, G. J., x63 

Dr, But, XX. a6, 98, zoz, X70 

DraycotL W., so 

Dream Faces, 3x, 170 

S'*^' Jrite* ^ ^ 7*» 75. 89, 9a> X05 

Drew, Willie, 54 

Drink water, A. E., 1x3 

Dmmmond, Dolores, 48, xaS 

Drury Lane Theatre, s6, 50* 67, xx3i 166, X73, 177 

Daboaig, A. W., 73 

Dunlo^ Lady, X33, 166 

Duskte, 73 

Du Val Benefit, X51 

Dwelly, Annie, x6o 

Dwyer, Bfichael, 134 

EarfsDaugMter, The, X03 

Eccentric Club, X46 
Eden, Eva. 56 
Ediitws Buj^lar, 37 

Eden, Eva. 56 

_ ii/ws Burglar, 2; 

Edmonton, New T. R., 37 

Edmunds, C, 88 

Edwardes-Sprange, x6, 56 

Elaine, 7s 

Eldred, J., 133 

Elephant and Castle Theatre, 94, lox, 137, x63, z66 

Elliott. W. A., X59, x6o 

EUis, A., 3x, 56 

Ellison. Clara, 85 

Elwood, Arthur, 10, x6, 34, 43. ^34 

Emery, E., 88 

Emery, F^ 44. 107 

Emery, Winifred, 14, 38, 40, 6x, xx8, xs9, X63,, X70 


Emmerson. Miss, 38 
Enen^ of the People, An, 73 
English Rose, The, xox, xo8, 163, 
Erie, Marian, x8 
Erlynne, Rovdon, 33, Z34 
Erskine. Robertha, 30, 50, 6x 
Esmon<L H. V., 34. 91, 130, X49, xs3 
Esther Sattdram, 46, 173. 
Everard, Walter, 38 
EverilL F., 33, 47, 76 
Ewell, Miss, X64 

Fairfax, Mrs., oa 


Fallen Among Thieves, Z37 

Farquhar, GilberL 76, 00, Z35 

Farr, Fference (Mrs. Edward Emery), 47» 80 

Farren, Nellie, 43 

Farren, William, 39, 94, zo8, Z54 

FtMVourUe of the King, The, 35 

Fasio, 80, 8x , Z75 

Featherston. Vane, Z7, 90tjPi 56, Z07. 135 

Female Barbarism, Z63 ; rrincipals m QMt, Z63 

Feim, G. Manville, 54 

Fenn, Susetta, 153, z6o 

Fenton, Frank W., 96 

Fernandez, James, 5, 33, 145, X55, z6o, z63 

Ferrar, Ada, 35, 68, xo8 

Ferrar, Beatrice, 9x, X30 

Ferrers^ Helen, x63 

Fickle Fortune. 40 

Field-Fisher. A., 39 

Filippi, Rostna, xx, 45, z6x 

Fires, 6, 39^ 3X, 41, xo8, xsS 

Fischer, Harry, Z33 

Fisher, Charles, 88, 93 

Fisher, Mr. and Mrs. W. Edgar, X63 

Fitz-Georre, Mrs. (Miss FarebrotherX 8 

Fitzroy, Miss, xz7, z68 

Fletcher, Elizabeth, z47 

Floyd. Miss M., x6x 

FoUed, X36 

Follies of the Day, The, X33 


Foots Mate, X3 

For Her Child's Sake, 3X 

Ford, Ernest, 69 

Forde, Athol, 35, 30, 64, X70 

Forsyth, Helen, 30, 37, 78, X07, 1x7 

For^th. Kate, 94 

Fortunes Fool, jiiB 

Forty Thieves (and Principals in Opening and 

Harlequinade), 167 
Foss, G., 83, x63 
Foster. Miss. x66 
Foundered Fortune, A, x6a 
Frances, Fanny (Faimy Moore), xo, x6, 44» 50, 

88. X07, XX7 
Francis, A. B., 85 
Freeman^H. A., X03 
French PUys. 79, xoo, 138: Characters and 

Representatives, 79* xoo» X38 X55 
Frith, Walter, x6 
FrourFrou, 90 
Fuller, Loie, 134 
Fuller, Philip, 47 
Fulton, Charles, 33, xxa, 171 


Gaxbtt Theatre, X7, 38. 43i 93i 94f 98, X07, xaS, 

^ X34i »36. X7a, X76. X77, X78 

(yanthony, Nelhe, 36 

Gkoz, Mr.. 70 

(Sarden, E. W.. 34t 3S 

Gardiner, £• W., x6, 99, xoo» xx7, zz8 

Garrick Theatre. Z9, 3z, Z37, Z36, Z70 

Garthome, C. W., Z39 

Gartside, Fred., 97 

(jatti, Messrs., 43 

Gavotte, The, 31 

(Hy, Walter, 36 

Genet, Ernest, 8 

Geoffreys, Alice, 35 

Giddens. Georee, 44> 5o» 6xi 78, 88, Z07, iz7, 154 

Giffard, Miss M. A., z6, 31, Z43 

Gilbert, Mrs. G. H., 69, 70, 7S» 88, 95, X05 

Gilbert, William, 5 

Gilbert, W. S., 49. »3o 

Gillmore, F., s^, 38, 40, 64, X70 

Glenney. Charles, 94, zo8, xx6 

Globe Theatre, 34, 40f 45. 46, 47, 83, 93, zox, 108, 

xa3» X30t i36» 160. X70, X7x, X76, Z78 
Glover, Mary. 36 
(Jodfrey, G. W., X03 
Gold Mine. A, 03, X76 
(joldsworthy, Arnold, 91, X43 
Goodwin, Nat, 03, 94. xo8 
Gould, Bernard, x6, Z70 

(jould, Nutcombe, xs, X7, 96, 38, 57, X36, 130, 139 
(jourlay, Louise, 84 ^-^ i 

Graham,J.F.,7i.x47 ibvLjOOQle 
Grahame, Qssy, xs, 16, 96, t43» 170 o 
Grahame, J. G., 78, 98 



Grain, Coraey, 37, 7o» xa8» x^S 

Gran, Km 89 

Grand Theatre, 33, 46, 54, 79* xx3» "St X53f x5St 

x6a, 167 
Grandstrt, Th«, 56 
Grattan, H. P., 133, 170 
Graves, Clo, 49 
Graves, Laura, a6, 225, 170 
GrtcU UMJhtowM. Th€f Z04, 176 
Grtin Bushes, The, 43, 273 
Greet, Ben, 67 
Greet, Birs. William, 32 
Grein, J. T., 253 
Gretna Gretna 6a 
Greville, Lady Violet, 76 
Grey, Sihna, 301 3x. 4a, 78 
Grey. Sybil, 267 
Griffiths, Brothers, 267 
GringoirSf 23 
Grossmith, Geoive, 245 
Grossmith, Weedon, 45 
Grove, F., 98, 270 1 
Grover, A«er, 33 
Groves, Charles, so, 43, 270 
Gruhn, Amelia, 98 

Grundy, Sydney, 29, 32, 204, 230, X70» 271, i73t x79 
Gut9tever9, a6 
Guise, W., 44, X43 
Gunn, Adelaide, 208 
Gumev, Edmund, 39i 77» 83 
Guy fawkes, Esq., 98 
Crypsies, 236 


Haoux, C J.. 228 
HaU, Mrs. {Miss Mabel HayesX 37 
Hall Caine, Miss, 255 
HaUey, Harry, 255 
Hamilton, Henry, 98, 237 
Hamlsi, 34. 66, 263, 272 
Hanbunr, Ulv, 25, 34. 260, 270 
Hancock, £. La fouche, 263 
Hand in Hand, 99 
Hanium, Charles, 236. 237 
Hansen, Laura, 7, 236, 269 
Harbour Lights, 37 
Harbury, Charles, 98, 227, 270 

Harding, Rudge. 30. 270 

Hardinee, Mabel, 78, 227 

Hare, Tohn, so, 237, 270 

Harraaen, Ethel, 234 

Harraden, Herbert, 234 

Harris, Augustus, 5, 67, 126^ 233, 266, 277 

Harris, Charles, 222, 234, 166 

Harvey, Frank, 237 

Harvey, Mr., 266 

Harwood, Master, 266 

Harwood, Rob, 268 

Hatton, Bessie, 62, 227 

Haviland, Mr., 260 

Hawthorne, Grace, 48 

Hawtrey, Charles, 68, 247, 264 

Haymarket Theatre. 32, 48, 62, 72, 91, 98, 230, 

, J40. X44i ;55, 160, 263, 268, 272, 274, 279 

Head or Heart, 66 

Hemsley, Mr., 25 

Hendon, A. T., 269 

Hendrie, Ernest, 39, 53, 56, 68, 92, 230 

Henry JV,, xt 

Henry, S. C, 71 

Her Migest/s Theatre, 5, 79, 200 

Herbert, S., 89 

Herbert, William, 27, 37i 9^ X3a 

Herberte-Basing, S., 23, 73, 238 

Hewson, S., 44i 78 

Hill, Annie, 62, 223 

Hiller, H. Croft, 39 

Hingston, Lilian, 78, 202 

His Last Chance, 234 

His Last Legs, 249 

His Little mania, 93 

Hodgson, Agatha, 68 

Hodgson, Archibald, 68 

Hogarth, William, 69, 230 

Holland, Fa2uiv, 37, 255 

Holland, Maud, 35, 265 

Holies, Alfred, 240 

Home Feud, The, 26 
Hood, Basil, 236 
Hood, Marion, 43 
Hope, Ethel, 92 
Horlock, Blanche, 92, 245, 270 
Homer. Fred, 27/75, '*5» *^ 
HorrocKS, Amy Elsie, 22 
Houston, Miss, 270 
How Dreams Come True, 93 
Howard, Bronson, 278 
Howe, Mr., 266 
Howell-Poole, W., 70 
Hudson, Charles, 245 
Hudspeth, Miss, 67 
Hughes, Annie, 36, 38, 63, 92 
Hughes, George, 39 
Hum, lenny, 228 
Humphries, John, 72 
Huntingdon, Agnes, 8, 269 
Huntley, Grace, 233 


Ibsen, 79 

IdvU of New Year's Eve, An, 22 

lUington, Marie, 56, 63 

Illusion, 83, 83 

In a De^, 66 

In Chaneery, 252 

In Love, 53 

In Olden Days, 68 

Inch, Minnie, 36 

Inch, Reuben, 36 

Inglis, Madame Madge, 89 

Innis, G. W., 228 

Irish, Annie, 8, 9, 33, 39, 76, 85, 204, 269 

Irish, Fred W^ 198, 259 

Irving, A. D. C, 3x1 x6« 

Irving, Henry, 99, 96» 67, 75. 79» 93f i«a» »^ 

Irving, Isabel, 7^, 99,94 

Is madam at Home t 32 

Isalda, 27 

Ivanowa, Miss, 80, 82 

Ivor, Frances, 42, 92, 250 

Jack and the Beaeutatk, 96 

Jacobi, 73 

, ames, Albert, 29, 269 

, ames, David, 20, 26 

. ames, Kate, 43, 203 

Jane, 163, 282 

Jay, Harriet, 58, 69, 92, 299 

Jeanne d'Are, 80 

Jecks, Clara, 203 

Tefferson. Joseph, 203 

Jerome, J. K., 25, 270 

Jerram, Mr., 30 

Jess, 39 

Jessop, George H., 93» »76 

Jilted. 207 

Jim the Penman, 36 

Jimmy Watt, 102 

Joan of Arc, 228 ^ _, . ^ 

Joan ; or. The Brigands f^Blu^fma, 69 

Jocelyn, Mary, 30, 63, 223 

. ohnson, 266 . 

, ohnson, Isa, 95 

ohnson, Laura, 262 
] ohnson, Sam, 42 
, ohnstone, Kate, 37 

, ones, H. A., 60, 70, 98, 100^ x»i, »74. X77 
. ones, Blaria, 239 
. osephs, Fanny, 7a 
juanna, 40 

Judah,^, 100, 208, 228, 297, 174 
Ju<^, The, 96, 276 


"Karl," 78 

Kaye, F., 85, X44 

Keith, Royston, 75 

Kemble, H., 40, 68, 23s, i6<h x6^i«4 

KSa!f;w5H:.^5. x**tized by Google 

Kendal, Mrs., 75* 1*4 



Kennedy, G., 135 

Kennedy, H. Arthur, 63 

Kent, C. 50 

Kenward, Edith, xa, loz, 170 

Kerr. F., 16, xas, 145, i6o» 170 

Kersley, Mr., 54 

Kilbum Town Hall, 96, 46, 75, 163 

King and tfuMilUr, The, z66 

Kinghome. Biark, 96 

Kinisley, Mary, is 

KingstooL Gertrude, x6, 17, 90^ Z70 

Kirwan, P. J., 77 

Kit Marlom$, 85, 275 

Kie^iomamia, xo 

Knight, F. Hamilton, ao, 77i X70 

Lablachx, Lttigi, 30, 38, 137 

LacY, z66 

Laobroke HaU, zx, ag, 4o» 79 

Lady LovingUm :or, A Soirw DtvmaiiqM, 99 

Laay of Lyons, The, i6a 

Lainb, Beatrice, aa, 138 

Lambert, Helen, X35 

Lamboum& T. J., 70 

Laxicaster, John, zsx 

LandtHi, Charles, 56 

Langtiy, Mrs., aa, a6, 35, 47, xso 

Lanner, Katti, 95 

Larkin, Rhoda, 135 

Larkin, Sophie, 08, 140 

Law, Arthur, xg, 33, 96, Z76 

Lawford, Ernest, 76 

Lawrence, Eweretta, 30 

Lawrence, S. Boyle, x68 

Lawson, Webster, Z45, x6a 

Lea. Marion, aa, a6, 47, 83, 133, X49 

Lecjercq, Qwrlotta, S7, 67, 94. i34, no 

Ledercq, Charles. 70^ 89, 93 

Ledercq, Pierre, 8a, xox, 176 

Ledercq, Rose, 62, 67, 83, X35, X4z, x6a 

Lee, Jessie Z55 

Legntd of vandaU, A, 1x3 

J-*.*l*Xf!J?**"» 3S» 43, 70, 99» x«4, X30» ^^% 
Leigh, Helen, 99 
Leigh, Mrs. H., 64* 144, x6a 
Leighton, Alexes, 70 
I^tn, Mr., X30 
Lennard, Horace, 35, 36, 1^ 
Leno, Dan, 167 
Leslie, Fred, 43 
Lestocq, W., x6, 96, X43, X7o* x8x 
Leston. Mrs.. a6, zox 
Lethbndge, Alice, 133 
Le Thi^re, Miss, 9, 45, xa3, 169 
Levey, Florence, xag 
Levy, Jonas. 67 
Lewes, Mane, 6a^ 
Lewin, Herbert (Thomas Terriss), 5a 
Lewis, Eric, 43, 134. i3S _ 
Lewis, lames. 69, 70, 74, 7S» 88, 9a, 95, xos 
Lewis, Leopold, ax, xo6 
LejTshon, Cleanon 44, 5^ 88, xa8, X4a, 153, 156 
Levton, Helen, x6, 3X, 96 
Licldon. Miss, 7, X69 
Light o Day, xxa 
Lind, Letty, 139 
Linden, Laura, 68, 103, X04 
Linden, Biarie. ta, 57, za8, X70 
Lindley, Henrietta, Z35, X37 
Lindo, Frank, 6. 7a, 145 
LipundraPer, Tm, 4a 
Linfield. Lilv, 47, 80 
Lingar^ Ahce, xx6 

LitUt Bo-P«*p, x68 ; Principals in Representa- 
tion, x68 
LUtleJadk Sheppard, 43 
Lining too Fast, 50 
Lloyd, S. Prince, 97 
Locknane. Clement, X63 
Loftus, ELitty, X33 
Lolotte, X55 
London A—uranct, 43, X54, z68, x8o 

London Day by Day, a6, 40 

Lonnen, £. ]^ \9a 

Lonnen. W. Kooles, zoo 

Lonsdale, Gitten, za 

Loraine, Henry, 150 

Loring, Herbert, x63 

Louis XL, 47, 54 

Lovell, Gertrude, 64, 65 

Luberg, Charles, 69 

Lucas, Seymour, xa3 

Ludwig. 134 

Luggi W.,36, 63 

Lumley, Kalph K., 88 

Luna, Miss, 08 

LutUpoMrla Vie, La, 79 

Lutz, Meyer, 43, 178 

Lyceum Theatre, 9. 3X, 47, 50, 54, 67, 69, 74, 88, 

93, X04, xo8, zx8, x6i, x66, 175, 176, Z78 
Lyric Opera House, Hammersmith, X49, z68 
Lyric Theatre, 35, 54, 68, 90, X33, 137, Z7S, X79 


Macarthy, Justin Huntley, 57, 76, 86 

Macaulay, Mr., 93 

Maebtth, 7< 

McCullouni. Brian, zxa 

McEwen, Walter, 43, 54. « 

Mackay, J. C, 38 

Bfackay, J. L.. tss 

Mackay, Steele, 50, 173 

Bilackenzie, Dr., xa3 

Macklin, Arthur, 153, x8o 

Macklin. F. H.^3^ 43, X33, X37 

BCackhn, Mrs. F. H., 43, xz3, Z38 

Mackintosh, Burr, 74 

Mackintosh. M., X33 

Mackness, Alice, 97 

Maclean, John, so 

McLeav, Franklin, x6o 

McNeil, Amy, 33, a6, 150 

McNulty, 94, X08, X39, Z30 

Madcap, i3< 

Madentois*U€ dt Lira, 6 

Maltby, Alfred, Z07 

Man o' Airlit, 39 

Manor Rooms, Hackney, x63 

Man's Shadow, A, 33 


Marius, M., 133, 149 

Mariorit, 8. Z69 

Marlowe Memorial Benefit, 85 

Marras, M.^ 80 

Marritd Lt/0, 6S, 97 

Marrisd Raht, Tht, sa 

Marriott, Fanny, 98 

Marriott, Miss, xaa 

Marryat, Florence, OS 

Marston, Westland, 5 

Martin. Robert, 69 

Blaryleoone Theatre, X67 

Mary Stuart, 46 

Matnews, Helen. 10 

Matthews, Blunder, 93, Z76 

Matthews, Ethel, 135, X64 

Matthews, Sant, 60 

Matthison, Arthur, 88 

Maude, ^nl. Z4i 34, 38, 154, X70 

Maurice, Edmund, X07, X34, X4x 

JIfqy and Dtcembir, X46, X79 

Maybrick, Mr., 70 

ICayer, M., 70 

Bfayer, Silvtun^ 78 

Mayne, Christine, xo8 

Meadow Sweet, 33 

Medlicott^, 54 

Medwin, Charles, 39 

Melford, Austin, X59 

Melford, Mark, xo 

Mellish, FuUer, 48 

Mellor, Rose, 45 

Melnotte, Violet, 54, 85 ^^ , 

ifS^'^TXTa'-^tized by Google 

Merivale, Herman, 1x9, X78 
Mesmerism, 6a 



MiddUman^ Thg,^ xx7, xa7» \SS 

Midsummer Night* Dnam^ ^, 401 40 

Miller, Emily, 107 

Miller, Prince, za8, 252 

Miller, Wynn, 170 

MiUett, Maude, 38, 68, 239 

Million of Monty t ^» >x3t >^i >77 

Mills, Kate, zsa 

Mi 11 ward, Jessie, 53, xz6 

Milman. Dean, So^ 275 

Minshull, G. T., 43f Z34 

Mistr, Af 47 

Miss Cind€r$lla.96 

Miss Hoydtn's Husband, 86, 175 

Miss Tomboy, 97, 171 .^ „ 

< 'Modem Development of the Lyric Art,The, z6z 

Mock Doctor, The, z«3, 160 

Modem Marriage, A, 49 

Monckton, Lady, 36, 162 

Money Spinner, X04 

MonUiouse. Harry, 8, ^, izo, 165, 269 

Monsieur Mouhn, 236 

Moodie. Looise, 35 

Moore, Adelaide, 70, xoz, 208 

Moore, Eva, 27, 30 

Moore, Marshall, 43 

Moore, Maiy, 39, 43» S©, 88, 234, iS4 

Moore, W. B., 70 

Morgan, Wilford, 235 

Mor&nd, Charlotte £., x8 

Morris, Arthur, 130 

Mortimer. James. 63 

Morton, W. E., 263 

Moss, Hugh, 73 

Molhs, 137 

Mouillot, F., 7S( 

Murielle, Grade, 23 

Murray, Alma, 49, 67, 237 

Musgrave, Mrs.^ 42, 273 

Mv Aunfs Advtce, 36 

Afy Brother's Sister, 27 
hfy Friend J arlet, 243 
My Lady Help^j^x, 280 
My Milliner's Bill, 

My MUltfter's Bill, 203 

My Mother, 55 

Mystery of the Seven Sisters, 236. 


f/atnesakeSj 36 

A'aniy <5* Co.. 74 

Niip ; or, A Miihnmmer NighVs Scream, 94 

^Athsdt MeBftra^, 15. 78, 2x2, 24O) 255 

NaiiicA£e» Madame i|e, 83 

I^i^fdlfss Liif Af 143 

NeilBon^ Ada, 3B, 1J9 

K«ilsDu, Julia, 49,. 13d, X44, 245, z6o 

HeUcin, Alect 135 

Kelson, Evelyn I 103. 

Nelson, j., 3S, 56 

Nermw, oS, 135, 174 

Ncsbiitt John, t* 

Fc^Hlle, Henry, 53, 77, 90, 92, 97, Z08 

Neville a Dmniaiic Studio, 97 

iVV»' Lamps /or Oid, 15, 57, 270 

New Olympic Theatre, is6, 163, 268, 280 

Kcw Queeii'ii fliejitre (Novelty), 203 

New T. K,« EdJTT] canton, 37 

A'fH' IVingi Thi', 65 

iV/M' Yrars Cht'mit, 146 

Nevnon, AdeJaide* 35 

Nichulli, HiLrryp 315, iz6, z66» 282 

J^'otUa Brtfihffr, A^ 17 
A'wWrsa*' OlfiJ^Wt 1= 
Nonmiui, K. BT, 91, 14,3 
Norreya, Miss^ 33, ^^j 99, 200, 247 
NovcJty Thentre, to, 103, 223 
Numhet Two, a$ 
Nusn, Ann, 140 


Oetzmann & Sons, 258 

Old Friends, 76 

Old Maid's Wooirtg, Art, 92 

Old Stagers, 203. 

Olivia, 67 

Opera Comique, 23, 28, 40, 63, 69, 243, 268, 279 

Othello, 45 
Our Boys, 26 

Outram, Leonard, 4Z» 6s» 235 
Outsider, The, 235 
Ozmond, W., 7a _ 


Paodbn. Henry, 9, 269 

Paget, Folliott, 44 

Paget. H.M., 47780^ 

Pair of Spectacles, A, 29, itTi 136, 270 

Pallant, Walter, 70 

Palmer, F. Grove, 46, 243 

Palmer, Minnie, 27 

Papa's Horteymoon, 78 

Paris fin d« SiMe, 79 

P»rk HftU, Camden Town, 235, 24a, 146 

Park Town lUll, Buticrsca, 23,33, 40 

Parker, Harry, 11 1 

Parker^ Louis K.» a'^* ^7 

Parker, Walter, t^^ 

Parthurst Theaire, 103 

Parting iff the iVnySt 16 

pjisriiJ, Florian} S, 169 

Paui katiifurf s°* '7J 

Pa IS Hon, Tom, iB 

Pamticefort, Mra.^ 166 

Pavilion Thealre, 73, 79, 267 

Ptnaity, fht, 156 

Pen ley, W* S., lO, 96y 170 

Pejiroae, Ediths 44 

People's //pro, ^j 70 

Peopit^s idoh ^A'^ ^5€» 158. 168, 280 

PffPfiir*s Dionr^t tjo 

PcrcJval, A, L., 103 

PeruifiiiiT Mrs. Campbell, 47, 80 

Pettitt, Henrj', 37, 177, 278 

Phariaer, TAfj, 147, 180 

Phelpo, Mm, Edmund, 45 

PhilUpH, (3. B,, 10, ?i, 95 

PliilJjp«, Kate, 61, tj, 136,266 

PhiUipS} Mra. Newlop, xx. 40 

PhiUipe, Stephen, 9, as, 46, 66^ X70 

Phipik, 155 

Picktmg up the Piecfn, 68 

PigOtt, J.W*. 177 

Pinery A. W., 44. J04t ^Sh ^7* 

Pittk J/omittos, 36 

" Plaxiqaette." 110 

Playgoers' Club, x3o» 253 

Ponsonbjt Eustace, 63, 104 • 

Possessum^ 155 

Provost, Miss. 33 

Prince, Adelaide. 69, 7o» oa 

Pnnce and the Pauper, The, 38, 39, 172 

Prince of ^Vales's Theatre, 8, 29, 4X» xo9» '36 

X65, x6o, 173, X77, x8x 
Princesses Theatre, 48, X49f X73f x8o 
Pringuer, Henry T., 37 
Prior, G., 7i 9^1 X69 . 

Productions in London, with Cast, X69 : m the 

Provinces, x83 ; in Paris, x86 j in Holland 

X90 ; in America, X89 
Prologue to Beau Austin, 241 
Puck, 249 
Punchinello, 73 
Pyatt, Henry, 36 ^ 


Queen's Counsel, 63 
Queer Lodgers, 33 
Quicksands, 28 
Quinton, Mark, 72, 202, 226 



Raddiffe, John, 36 

Raiemond^ George, 237 

Ramsay, C, 84 

Ravenswood, xx8, X78 

Rawlins, W. H., 98 

Red HussarjThe, 35 

Red Lamp, The, x6o 

Recce, R., 66 C^r^r^n]o 

Reed, Alfred, 37, xs:^gitized by VjOOQ IC 

Reeve, Percy, X30 ^ 

Rehan, Ada, 69, 70, 74* 86, 89, 93. 05 



Remo, Feux, 35 

Rttuming tht CompUnmUt X43 

RevoUe'ts. Lta, 155 

Richard-Henry. 63 

Richards, Cicely, 43, 63 

Richmond Theatre, 35 

Rickards, Irene, 53, 85 

Righton, Edward, 30, 43, 68, 135 

Righton, Maxy. 95 

Rignold. Lionel, 50, X93 

RtvgrsuU Stofy, A, 6z. 174 

Roberta, Arthur, 7, 98, 169 

Roberts, WaUace, 136 

Robertson, Fanny, 56 

Robertson, J. Forbes, az, 170 

Robertson, Jessie, 103 

Robbin-UF) Robin Hood, 167 

Robins, Uizabeth, za, Z9, 57, 74, Z39, Z70 

Robinson, Mrs. Vyner, x8 

Robson, E. M., 30, 69, 63, Z37, Z64 

Rodgers, James, 5 

Rodnev, Frank, Z34 

5^*' &^?*» '7» "Si 38, 67, 74, 103 

Roe, W. H., 80 

Rogers, Stanley, 94 

Roma, Miss T.. 9, Z69 

Romto and Juliet, 70, zo8 

Romer, Mr., 38 

Rorke, Kate, az, 43, 6a, 67, Z70 

Rorke, Mary, 67 

Rose, Annie, 25, 34, 35» 4© 

Rose, Edward. 193 

Ross and the Ring, The, Z65, z8z 

Roselle, Am;^, 36 

Rosen&Id, Sydney, Z97 

Ross, H., 45, 64 

Rothschild, Leooold de, 70 

Royal General Theatrical Fund, 26, 70, 93 

Royalty Theatre, 6, 21, 54, 199, Z69 

Russell, £. Haslingden, Z03 


Sadlbr'8 Wells Theatre, 103, 118, 138 
Saker, Master R., Z64 
Salandra, 79 

Sale of Bancroft Properties, 49 
Sanger's Amphitheatre, z69 
Sapte. jun., W., 54 ^ ^^ 
Saze, Templar, x^, 36, 66 
Scates, F. L., « 
Scenes in the Circle, 169 
School for Scandal, Z34 
Schubert, Miss M., m 
Schuberth, Annie. 66 
Scott, Clement, 36, 67, 198, 15X 
Scovel, The Chevalier, Z34 
Scudamore, F. A., 72, Z30 
Seaman. Julia, Z44 
Seare, B. P., 66 
Seare, J. B., 56 

Searelle, Luscombe, 70, Z93, 178 
Seaside Mania, 128 
Seaton, Rose, 99 
Secret Sorrow, A, Z69 
Sedger, Horace, 54, xjo, X39, 138, x66 
Selby, Bertram Luard, 47 
Sennet, Charles, X03 
Sentry, The, 35 
Shadows of a Great City, X03 
Shaftesbury Theatre, 33, 40, 43, 59, 85, 98, zoo, 
X08, XXI, 1X7, xx8, X97, X30, 135, 136, X47, xsx, 153, 
«,'7?, X74, X7S, Z77, X79i *8o 
Shale, T. A., 8, X69 
Shaw, Walter, 0, X70 
She Stools to Conquer, 40, 50, 173 
Shepherd, Fred, 99, xx6 
Sheridan, Brinsley, 54 
Sherwell, R. L., X03 
Shine, I. L., 103 
Shine, Wilfred, xox 
§!i«:ley, Arthur, 25, S3, 146 
SuiluxH Idyll, A, 47, 80 

Silver Shield, The, Z04 

Silverthome, E. C., 93 

Simon the Smith, 49 

Sims, G. R., 37, X09, X76, X78 

SincUir, Kate, 6. 73 

Sinless Secret, A, 6 

Sixth Commandment, The, X30, Z35, X79 

Skinner, Otis, 7x, xox 

SUughter, Walter, 8, x66, X69. x8x 

Sleeping Beauty, The, X67; Principals in Cast, 

and Harlequinade, X67 
Smale, £. T., X9 
Smart, Edgar, z8 
Smith, Bruce, 43 
Smith, Ellis, 8a 
Smith, lohn, 47 

Smith, H. Reeves, 38, 99, xoo, xo8, Z97 
Smith, Stafford, z6o 
Smoke, 142, XTO 

Society Peepshowfor X890, The, 70 
Solicitor, The, 84, X75 
Solomon, Edwax^, 36, 47, Z7x 
Solomon, Master S., 36 
Somerset, C. W., 98, xoo, 155 
Soutar, Robert, 159 
Sowing and Reaping, 68, 86, 174 
Sparling, Herbert, x8 
Spider and the Fly, The, 167; Principals in 

Cast, X67 
St. Ange. Josephine, 30^ 139, 169 
St. Asaph Lo<&e, T49 
St. George's Hall, 8, 37, 7o» 80, xaS, X36, Z55, z6x, 

St. James's Theatre, m, 46, 75» 90, ^3fit i55, x7z, 

St* John, Ftorcnce, iiiB 

Stiindard Thciltrcj laj, X97, 167 

hjiiindknif, Jlerbertp 116 

Stanley, Alma, 36, tot, 196, X36 

StiintDti, G,, ID, 116 

StCf^l, QiArles D.^ 40 

Steer. Jajietti^i 73 

SteiiiberE:^ Ajny» ss* S* 

Steinway Hall. 31 * 145 

Stephenflf Yorke, 16, 31a, 43, 56, 65, X99, 139 

Sletlith, Olive^ 23 

Stevens, Stanley, rf 

StevcDSp Victor, 5a, laj 

Stevenson^ R. L^ 170 

Stili iVafrrs ^mm Dftp, X34 

Stirling:, Arthur, ^6^ sa, 73, 77, zso 

St>^>ckton, Rej^n^ld, 63 

St 1 and TheRtre, Ci, So* 89, X75 

Stratfordp T, R, 98, 16© 

StraUon, Frank, 1O3 

Stnt^gk for Li/tft Th*t ia4, '78 

Stt:;iVit Marie, 4^ 

Stuprt, Otho, aji 170 

Sttirps, JuIImi, 69 

£i];^'Jcnf Charles, 37, 47, X37 

hisiunier?^, Wh J., 13 

Smitigkt atui S/tadoWt X38, X79 

Surrey Theatre, 95, 99, 79, xxS, X36, 167 

Sweet Lavender, 197 

Sweet Nancy, 00, X99, X7S 

Sweet WilLgT 

Sword of Damocles, The, 8 


Tabiiha's Courtship, x8 
Tale of a Coat, The, xox 
Taming of the Shrew, 9, 88, X70, X75 
Tanner, Florence, 45 

Tapley, Joseph, 8, xz( 
Taylor, J. G., 39 

Tempest, Marie, 35 

Tempest, The, x6x ; Principals in Cast, x6z, 169 

Temple, Grace, X03 

Temple, Richard, X53, 160 

Temss, Elaine, 50, 78, io7, "7>J34^I^ 

Terriss, WiUiam, 47, ia, X99 t O OQ Ic 

Terry, Edward. X97, Z59 C> 

Terry, Ellen, 66, 67, 75, 79, xaa 



Terry, Fred., xa, 33, 49i 90> x30» »34. X4x» i4S. 160, 

x6a, XTO 
Terry, Marion, 77* X39 
Terry. Minnie, 67, 149 
Terry's Theatre, 8, xs, 311 361 53. 57, 65, 66, 96, 

xaT, X4a, iy^t^S^% ^69, X70, X76 
Thalbcrg, T. B., 14, 30, 40, 58, 103. 170 
That Girt, 98 

Theatre de la Bourae, Bruasels, 6 
T/uodom, 481 173 
«• Thirty Years at the Play," xa8 
This IVoman and Thai, xox, X76 
Thomas, Agnes, 56 
Thomas, Brandon, 45 
Thompson, Bessie 75 
Thompson, Mrs. G.. 6, 73, 75 
Thornbarv, Cecil, x8, 54 
Thome, Emily, 4a, 96 
Thome, Fred, X5, 34, a8, 40, 170 
Thome, Thomas, 14, 98, 40, X70 
Thoraycroft, Violet, 8a, X44 
Throw o/ihe Dice, A, 65 
Thurgate, Minnie, 98 
Tidal Hour, The, zs 
Tigwr, Th4, 47 
Tffly, Vesta, X67 

TlHUa R9V§Hg93, 56 

Todhunten John, 47, 80, 93 

Tolhurst, G. F.. xps 

Tommy at Coutgt^ 38 

Toole's 'Theatre, X7, 30, 46, 55. 63. 75. 84. X43, »75 

Torr, A. C, 98 

Tosca, La* xoo 

Townsend, Stephen, 37 

Tra-La-La-ToMca, 6, ax, X69 

Tree, H. Beerbohm, 33, 9x, 130, 134, 140, 145. 

xOo, z6a 
Tree, Mrs, H.B., 33, 134, X4X, 160, z6s 
Tresahar, I., 8< 
Tristram, W. Outram, z6o 
Troughton, A. C, 50 
Truth, X17, X78 

Tully, Kate,^8, isp 
Turner, Eanfley, 04 
TtMl/th Night, TO 
'Twtxt Ax§ and Crown, s6 
Two Recruit; 143 
Tyars, Mr., x66 

Ulnar, Geraldine, X33 
Up Train, The, 69 



VALXirTiNB, Rodney, X34 

Valentine. Sidney, 43, So. 79i 88, 107 

Vanderbilt, Joan, 56 

Vane, Edith, X37 

Vane. Sutton, 56 

VanUy of Vanities, 86 

Van Lennep, Martyn, 66 

Vaudeville Theatre, X3, 93, 37, S9, 40, 66, 67, 70, 

95, 170, 171 
Vfluphfln, Suaic, 36^ 4 J, 85. x66 
Venne, Lottie, 4s, 43, 6a, 68, X47, 164 

Vera, 8a 

Verity^ Aj|iiiC9, 155 

Vemofl, C,j 6S, S6, tot, 174 

Vernon. W. H., 39, 4S, 74» 83, 84, X37 

VejEia, HeTTDinn, sj* i6a 

Victor, Mifla M. A., 50, S71 78, 79, 88, X07. X34 

Victoria Hulli Bay a water, xa, 4a 

fiUagg For^f TM€, iiS 

Vittawff Priest i ^,31,51, X30, X7X 

'* ViJilars, George, ag 

VilJierg^ Ijiun, 4^ 

Vincent, E, S*. 118 

VinccTjt, H. A, IS4 
Vlninpt Emily, TOf ^* '*7 
Frn/in Pinvcts, Thr. 43, ixa, X7a 
Vckcs, F. ]«, T.j 67 



Walker, Whimsical, xas, X67 

Walkes.W. R.,a6 

H^aU of China, The,9i 

WaUer, Lewis, 37, 49. 54. 8x, 83, 84, 98, 13s. i34. 

WJUs, Miss. 67, 73. X3a. X35, X49. x8o 

Walter, T. N., X33 

Walton, Fred, X67 

Walton, WiUiam, 167 


Ward, Genevieve, xa6 

Waring, Herbert, a6. 45, 86, X3a, 149 

Warner, Charies, xxo 

Warren, T. G.. xx7 

Warwick, Giulia, X36 

Water Carnival at Sanger's, x6a 

IVaterman, The, X49 

Watney, Rex, xa 

Watson, Ivan, x8, 41, 53. 54. 84, 13a 

Watson, Malcolm, 35, 37, 180 

Webber, Mrs. Augusta, 66 

Webling, Lucjr, 37 

Webster, Benjamin, xa, 96, 3X, 57, 74. »«6, X39, 

Webster, Miss, jx 
Webster, Miss Davies, 66 
Weir, G. R., 9, a<, X70 
Welcome LtiOe Stranger, xos. 177 
Wexunan, T., 85 
Wentworth, Graham, 85 
West, norence, m, ^53 
Westerton, Frank, X3 
Westminster Play, x6a 
Wheatleigh, Charles, 9a 
IVhirlwind, The, lay 
Whittaker, Sam, 5 
Whittington and His Cat, x66; ^hriiidpals in 

Opening and Harlequiiuuie, xo6 
Whitty. May, xt, 86 
Why Women Weep, 43* 44 
WidneU. Victor, x8o 
Wilde, Edwin, 71 
Wilkinson, Saim, 98 
WiU and theWay, The, 57 
Willard, E. S., 96, 34, 35, 43, 60, 8^ xo8, xxa, xa7 
Willard, Mrs.. a6, xxa, xx7 
Williams, Artnur, 66, 67, X99 
Williams. Effie, X35 
WiUs, W. G., 83, 40 
Wilmot, Alfred A., a3 
Wilmot, Charles, X03, X56 
Wihnot, Louie, x6o 
Wilmot, Maud, xa9 
Wingfield, Hon. Lewis, as, X50 
Winslow, Mrs. Erving, 7a 
Witches' Haunt. The, 93 
Wolseley, Blanche, 85 
<• Woman and the Law," 36 
Woman's Won't, A, 94, X05 
Wood, A., X56 
Wood, Florence, 88 
Wood, Frank, 35, 4a. 94, xo8 
Wood, Fred, xo, X69 
Wood, Henry J., 46, 14a 
Wood, Mrs. John, 45 
Wood, T. Murray, 6a 
Woodbridge, James, xo 
Woodworth, Edith, 90 
Worcester Fight, 8 
Work and Wages, 73 
Wrong Door, The, $6 
Wyatt, Frank, X43 
Wyes. W., X47 
Wynoham, Charles, 

a9, 43, 50, 68, 79,86, 88, 134» 


Yardlby, William, xa3, x66 

York, Cecil M., 8a 

Yorke, Alice, 36, 153 

Yorke, Gilbert. x8, 30 

Yorke, Oswald, 65, X70 

Young, Sir Charles, 3X •—► t 

Young, Henry. jQ jigitized by V^OOQlC 

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To this the thirteenth issue of ** Dramatic Notes '' 
I have made one or two additions, in the hope that 
they will be of value and interest. As complete a list 
as I could obtain is given of the productions in Australia; 
and since difficulties were constantly arising as to the 
rights in certain titles, a list of the so-called ** sketches " 
produced at other than the theatres during 1890 and 1891 
has been furnished. I must express my acknowledgment 
to the Editor of the Stage for allowing me to compile 
this list from the pages of his newspaper. The notices 
that appear of the different plays were contributed by 
me to various journals and magazines. Mr J. T. Grein 
gives at the end of the volume some account of his 
introduction of English plays to the Continent. 

N.B. — "Dramatic Notes'' was for some time edited by Austin 

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Dramatic Notes. 


During the year 1891, three plays at least were conspicuous 
successes, but, strange to say, as in the year 1 890, the first event 
to be recorded is a melancholy one. 

1st Death of Emma Abbott, the American prima donna, at 
Salt Lake City. 

2nd. Fifth Avenue Theatre, New York, totally destroyed by 
fire, and Hermann's Theatre slightly damaged. 

3rd. New Olympic (revival). — The Silver King. This ad- 
mirable melodrama by H. A Jones and Henry Hermann took 
the place of The Peoples Idol, which, notwithstanding the various 
alterations that were made in it, did not bect)me a favourite with 
the public Winifred Emery, though her forte is not melodrama 
of this school, was infinitely tender as Nelly Denver. Wilson 
and George Barrett respectively repeated their successes as Wilfred 
Denver and Daniel Jaikes. Cooper Cliffe made his mark as the 
Spider. Austin Melford and W. A. Elliott were excellent as Eliah 
Coombe and Cripps. Maud C. Jeffries was the Olive Skinner. 
The Gaffer Pottle of H. Hodges deserved favourable mention. 

3rd. Novelty. — A Social Pest, original domestic drama in 
four acts by Frederick Vanneck. Highly melodramatic and 
fairly well written. Gilbert Vernon, Captain Redmond ; Edwin 
Fergusson, Paul Veriker ; Brian M*Cullough, George Bartlett ; 
Wynne, Scarred-face Jim ; Evelyn Nelson, Mabel Clifford ; and 
Marie Bryan, Carroty Eliza. 

3rd. Haymarket. — During this week, in consequence of Mrs. 
Beerbohm Tree's dangerous illness, Blanche Horlock played 
Dorothy Musgrave in Beau Austin, and Julia Neilson Louise in 
The Ballad Monger. ,.^^^^ ^^ GooqIc 

5th. Lyceum (revival). — Much Ado About Nothing. WKen 

6 Much Ado About Nothing. [Janm 1891. 

Shakespeare's comedy was produced for the first time at the 
Lyceum on Oct. nth, 1882, it was admitted that in none of 
the characters which Henry Irving or Ellen Terry had assumed 
had either been seen to greater advantage than as the bickering 
lovers, who " never meet but there is a skirmish of wit between 
them." It may also be said that the respective characters had 
perhaps never been so thoroughly understood, or interpreted so 
completely in the spirit in which Shakespeare drew them. From 
the outset you may see from Beatrice's raillery and apparent . 
flouting of Benedick that, though much of it comes from her 
madcap spirit and '* merry heart," she also is interested in the 
man she plagues, and interest begets love, so that, despite her 
pretended resolve to rest unwed, at the first opportunity afforded 
her she lets her heart go out to him. The very essence of 
Beatrice's character is her light-heartedness, and yet under all the 
merriment there is the true woman who can be loving and tender, 
and noble in the defence of the misjudged Hero. And all this 
Miss Terry shows us in the most natural and convincing manner, 
and yet so daintily as to be the very perfection of acting. Then 
Henry Irving, with all his cynicism and his railing against women, 
is never churlish ; he is ever a gentleman, and when he does love 
he loves with his whole heart, and is prepared to draw his sword 
at the command of his mistress, even against his friend. Of the 
humour with which Mr. Irving delivers his lines, it is impossible 
to speak too highly — his repartee always goes home ; his soliloquies 
breathe the very spirit of the words he utters. It is in the 
fortunes of these two that we are interested, and they, and not 
the loves of Hero and Claudio, principally occupy our thoughts ; 
and yet in W. Terriss we have an ardent lover — picturesque, 
earnest, and pathetic^who is gay and joyous whilst his love 
runs smoothly, but whose heart-strings are torn when he is led 
to believe that his mistress has been false to him. The Hero of 
Annie Irish was tender and sympathetic, and would perhaps 
have been more so but that she did not quite look the love-sick 
maiden. A gallant, manly, and most gracious Don Pedro was 
found in F, H. Macklin ; and a more satisfactory Leonato we 
would not wish to see than T. Wenman's, whose rendering was 
eloquent in every sense, whether in the lighter or the pathetic 
situations. The scene in which he, Claudio, and Don Pedro 
conceive their plot against Benedick was most excellently played, 
Henry Howe's Antonio was thoroughly artistic. W. Mackin- 
tosh's Dogberry disappointed me ; it was not altogether wanting 
in humour, but the gestures were mannered and the humour 

Jan., i89x.] Private Enquiry. 

rather forced. The one part which was, to my thinking, altogether 
unsatisfactorily played was that of Don John, and I could not but 
compare it with my recollection of Charles Glenney's rendering, 
which was so excellent. Of the scenery and dresses at the 
Lyceum there is no occasion to say much, for every playgoer 
knows that Mr. Irving's taste in these matters is irreproachable, 
yet reference must be made to the marvellous "Inside of a Church," 
so beautiful and grand, and to the sacred ceremony and sur- 
roundings, arranged with such perfect tact that, though conveying 
a sense of solemnity and almost awe, there is nothing that can 
offend the most sensitive on the subject of religion. Another 
most beautiful scene is that representing Leonato's garden, with 
the blue sea in the background rippling under the beams of a 
warm sun, partly veiled by a hazy atmosphere. The reception 
accorded to Much Ado About Nothing was most gratifying. 
Double and treble calls were made for Miss Terry and Mr. Irving, 
and the latter most aptly termed the production " a happy play " 
when he spoke the few words of thanks in response to a persistent 

6th. Drury Lane. — The cutting of the Baddeley cake (the 
ninety-seventh anniversary) was again performed by James 
Fernandez. Augustus Harris invited a very large number of 
guests to be present at the supper and ball which followed. 

7th. Strand. — Private Enquiry^ farcical comedy adapted from 
La Security des Families of Antin Valabr^^e, by F. C. Burnand, 
was in three acts, and did not secure any great amount of public 
favour. Two more than middle-aged gentlemen marry two young 
wives ; the one, Mr. Buckleigh, a kindly old fellow, rightly believes 
in his ; the other, Wrackham, a conceited suspicious gentleman, 
has wedded a giddy thing, who flirts desperately with a Byronic 
sort of youth, Luigi Di Volpa. Wrackham thinks he will guard 
his honour by having his lady fair watched by a private detective 
called Hooker, but the lady and her admirer checkmate the 
husband by themselves furnishing the daily reports of Mrs. 
Wrackham's doings. Suspicious himself, Wrackham gets quite 
annoyed at Buckleigh's implicit confidence in his wife, and so 
induces him to lay a trap for her, into which she innocently 
falls ; so Buckleigh, in his turn, employs Hooker, a thoroughly 
amusing scamp, who is obliged to invent all sorts of stories to 
make his clients believe he is really working in their interests. 
Some letters are found, written by the aesthetic and amorous 
youth, which apparently compromise the innocent Mrs. Buckleigh, 
but Mrs. Wrackham is not altogether a bad little woman, 

8 A Pair of Spectacles^Daggers Drawn. [Jam., 1^91. 

and so will not allow her friend to suffer. She acknowledges 
them as addressed to herself, but her silly husband puts down 
her conduct to a quixotic generosity exercised to screen her 
friend. Though generally closely following the original, the 
second act, which takes place in Hooker's office, is not made 
nearly as funny as in the French ; and as the Gallic " salt " is 
taken from the third act, and Buckleigh has to sit down to a 
petit diner with an innocent girl (instead of with an adventuress, 
as in the original), the raciness is lost. The acting was distinctly 
good. Willie Edouin was intensely funny as Hooker, and had 
an admirable clerk in Master H. Buss. The Wrackham of 
Alfred Maltby was a genuine bit of comedy, and it was not 
John Beauchamp's fault that he was occasionally out of the 
picture — the blame must be allotted to the adaptor. H. Sparling's 
Luigi Di Volpa, of the Lambert Streyke type, was clever and 
not overdone. May Whitty was engaging as Mrs. Buckleigh, 
but Marie Linden was thrown away on the ill-drawn character of 
Mrs. Wrackham, and I felt quite sorry for pretty Georgie Esmond 
in having to try and do something with the impossible Fanny 
Finch, the ingfnue to whom the volatile Luigi transfers his 

7th. In consequence of Frank Wyatt having met with an 
accident, W. Cecil Barnard appeared as the Duke of Plaza-toro 
in The Gondoliers at the Savoy. 

8th. John Hare's company, from the Garrick Theatre, ap- 
peared in A Pair of Spectacles at Sandringham before the Prince 
and Princess of Wales and a large number of gaests. In re- 
cognition of the pleasure afforded him, His Royal Highness later 
presented Mr. Hare with a beautiiful cigar box made of silver and 
embellished with the Prince of Wales's plumes and motto in gold 
and blue enamel, and also bearing in the right hand comer the 
head of a hare looking through a pair of spectacles. The in- 
scription on the inside of the cover was in facsimile of the Prince's 
handwriting, "To John Hare, from Albert Edward, in remembrance 
of A Pair of Spectacles at Sandringham, Jan. 8th, 1 891." 

9th. Strand. — Daggers Drawn^ one-act comedietta by Pryce 
Seaton. This proved an amusing trifle with some little originality 
in one of its incidents. Sir George Grantley (William Lugg) and 
Mrs. Gerald Deering (Ruth Rutland), though next-door neighbours, 
are " at daggers drawn," a fact which puzzles the baronet's nephew. 
Captain Jack Grantley (Sydney Barraclough) and Alice Deering 
(Georgie Esmond), who mount ladders in order to whisper soft 
nothings tc each other over the garden wall. At last a letter, 

Jan., 189X.) Woodbarrow Farm. 

signed by Sir Geoi^e, comes asking apparently for Alice's hand. 
As the elderly gentleman has never paid her marked attention, 
the proposal is incomprehensible, until it is discovered that the 
letter ought to have been delivered twenty years before, and had 
been unearthed in pulling down an old post-office in which it 
had got hidden away. It had been written to Mrs. Deering, 
whose Christian name was also Alice, and as she had never 
received it, she looked upon the worthy bart. as a gay deceiver 
after his having so warmly courted her in her girlhood. William 
Lugg was good, and Geoi^ie Esmond charmingly natural and 
very bewitching; she had some chance in this, and availed herself 
of it 

1 2th. Sadler's Wells. — The Wheel of Fortune, melodrama, 
written in a prologue and four acts, by W. Howell Poole. 

13 th. Vaudeville. — The Note of Hand, one-act play, written 
by Herbert Keith, in which F. Thorne played well as an uncon- 
ventional Jew money-lender; and Annie Hill was thoroughly 
natural and pleasing as Mabel, the young girl that had to plead 
for mercy for her lover, who was wrongfully supposed to have 
committed a forgery. 

1 3 th, Lyric. — ^The hundredth performance of La Cigale, 

13th. Vaudeville. — Woodbarrow Farm, by Jerome K. 
Jerome. Two and a half years ago (June i8th, 1888) this play 
was tried at a matinie at the Comedy Theatre, and was very 
favourably received. It opens at the farm which gives the title 
to the piece, and where Allen Rollitt is discontented with his 
home and station ; he wishes for wealth and a good position. 
He cannot appreciate the true affection that Deborah Deacon 
feels for him, for he has been bewitched by the showy fascination 
of Clara Dexter, and he thinks that were he only wealthy he 
could offer himself to her. His cousin, Richard Hanningford, 
the heir to a fortune of some ;£^2 00,000, has quarrelled with his 
father, and has been travelling abroad for years. Presently 
arrives Luke Cranboume ; he has, as he imagines, murdered 
Hanningford, and has brought home his confederate, Mike 
Stratton, who bears a strong resemblance to the supposed dead 
man, to impersonate him and claim the inheritance, which he is 
to share, with Cranbourne. Stratton is in but poor health (he 
suffers from heart disease), and cannot bear the strain of assuming 
the character — the shock of being called by the dead man's name 
is too much for him, and he drops dead. Richard Hanningford 
only stood between Allen Rollitt and the large fortune, as Mr. 
Purtwee, the lawyer, informs him, and so he at once comes into 

lo Woodbatrow Farm. [Jak., 1891. 

it. He leaves the farm, his mother, and Deborah, who love him 
so well, and begins the life of a man-about-town in London. He 
sets up an establishment in St. James's Mansions, is coached in 
the proper behaviour of a " swell " by Piffin, his valet, who, having 
lived in the best families, is looked upon by his master as a com- 
petent authority on all matters of etiquette, is preyed upon by 
Colonel Jack Dexter, a vaurieUy and his little less disreputable 
associates, the Hon. Tom Gussett and Baron Von Schorr. To 
crown it all, piqued by Deborah's insight into Clara Dexter's 
character, which the true, honest girl sees through, Allen proposes 
to Clara, who, now that he is rich, accepts him. His career as a 
wealthy man and an accepted lover is cut short. Just as he is 
toasting Dame Fortune, a servant brings in a card, which is 
quickly followed by the veritable Richard Hanningford. He was 
left for dead, but recovered, and will give Allen half his fortune 
if he can tell him who it was that attempted his life. Allen 
could do so, but refrains. Clara Dexter has one soft spot in her 
nature, she really cares for Luke Cranbourne (whose wife she is), 
and she implores Allen's silence and mercy for the would-be 
murderer. Allen's eyes are opened as to her character, but he 
cannot bring disgrace and misery on the woman he has once 
loved, and so he seals his lips, and Cranbourne escapes the fit 
punishment of his crime. Mr. Jerome has appended to the 
programme some lines of Kingsley's, which fairly well give a clue 
to his story : — 

"When all the world is young, lad, 

And all the trees are green, 
And every goose a swan, lad, 

And every lass a queen, 
Then hey for boot and horse, lad. 

And ride the world away ! 
Young blood must have its course, lad, 

And every dog its day. 

"When all the world is old, lad, 

And all the trees are brown, 
And all the sport is stale, lad, 

And all the wheels run down, 
Creep home and take thy place there 

Thy early friends among ; 
God grant you find one face there 

You loved when all was young.'* 

Allen Rollitt finds more than one face to welcome him back, for 
the last scene shows him once again in the old farm. His mother 
receives him with open arms ; and we may be pretty sure that his 
heart, caught on the rebound, will soon turn to Deborah and 
reward her for the patient enduring love she has bestowed on the 
wanderer. There are faults in Mr. Jerome's play ; the dialogue, 
though for the most part excellent and frequently very brilliant. 

Jan., 189X.] Woodbarrow Farm. 1 1 

requires curtailment, and it must be admitted that, although his 
" curtains " are invariably strong, they are a trifle sudden. Some 
of his characters are remarkably well drawn, and his situations 
cleverly arranged. Bernard Gould quite took the house by storm, 
he was so natural and fresh as the young Devon farmer, completely 
unsophisticated, and yet shrewd, manly, and honourable. His 
great passion for Clara Dexter was admirable, and his bitterness 
of disappointment when he finds his idol shattered was most 
truthful. Edith Vane played with great judgment ; though 
utterly callous, from her bringing up, to most of the world, whom 
she looked upon almost as legitimate prey, the actress let us see 
that in every nature there is some good, and showed us how 
Allen's great and unselfish love for her aroused within her some- 
thing that was womanly and made her despise herself. Corrupt 
as she might be, she remained pure to her husband, for, bad 
as he was, she loved him ; he was " kind to her in his way." 
F. Hamilton-Knight, the original Mike Stratton and Richard 
Hanningford, confirmed the very high opinion that was expressed 
of his former performance of both characters ; his impersonations 
were even stronger and more effective. Thomas Thome's Piffin 
was amusing, and quite in keeping with the author's lines. Emily 
Thome repeated her excellent performance of Mrs. RoUitt, the 
sturdy plain-spoken countrywoman. Ella Banister made one 
point deserving of great praise, when as Deborah she learns from 
his own lips that Allen's love is given to Clara, and not to her, 
as she had led herself to hope. Her anguish and her desire to 
conceal it were very tmthfully depicted ; otherwise the character 
was not made sufficiently sympathetic. Fred Thome's humour 
as the wine-bibbing old hypocrite Colonel Dexter was unforced. 
Luke Cranboume might have been a much more effective character 
than Cecil Yorke made of it The other parts were satisfactorily 
filled. This play was afterwards taken on tour by Cissy Grahame, 
and its first provincial production was at the Court Theatre, 
Liverpool, Monday, Sept. 21st, 1891. It was played as The 
Maister of Woodbarrow^ under which title it had achieved great 
success in America. Cissy Grahame's Clara Dexter was admirable. 
F. Hamilton-Knight effectively repeated his dual impersonation ; 
Matthew Brodie was the Allen Rollitt ; Windham Guise, Piffin ; 
Stephen Caff'rey, Colonel Dexter; J. J. Bartlett, Luke Cranbourne ; 
M. A. Giffard, Mrs. Rollitt ; Mary Ansell, Deborah — a very 
excellent cast. 

The Vaudeville, which had been closed for a considerable time, 
was found to be considerably improved on its reopening. The 

12 The Dancing Girl. [Jan., 1891. 

lessee, Thomas Thome, employed C. J. Phipps, F.S.A., to enlarge 
and improve it, two houses having been taken in, and enabling 
the architect to erect a handsome facade in Portland stone, leading 
into a fine vestibule ; a handsome loggia and a good saloon for 
the gallery had also been added. Easier entrances to the stalls, 
the removal of small rooms on either side of the amphitheatre, 
and a new ceiling had altogether altered and improved the 
appearance of the house. 

14th. Ladbroke Hall. — Richard^ s Play^ one-act comedietta 
by Mary C. Rowsell and J. J. Dilley. 

iSth. Haymarket. — The Dancing Girl, by H. A. Jones. The 
author, in a lecture which he delivered some three months before 
at the Toynbee Hall, gave us to understand that, in his opinion, 
the first and great mission of the drama was to amuse, but that 
at the same time it should elevate and instruct Does his latest 
play. The Dancing Girl, uphold the tenets that he preaches ? It 
is a marvellously powerful work up to a certain point During 
three of the acts you are held breathless, waiting for the result 
The last act is simply catching up the threads of the story, and 
is miserably poor. It is a sad experience of human life that the 
author sets before us. We have a duke with all that the world 
can give — ^young, wealthy, surrounded by friends — but who wastes 
his life in dissipation and reckless extravagance. During one of 
his visits to the coulisses, we must imagine that he has come 
across " the Dancing Girl," a beautiful Quakeress, who, tired and 
disgusted with her quiet life in the island of St Endellion, situate 
somewhere off the Cornish coast, has, as her friends believe, 
obtained respectable work in London, but is really living the life 
of a wanton, and thus comes under the protection of the Duke. 
There is a breakwater to be built, which would much benefit the 
inhabitants of the island. John Christison, a young engineer, has 
almost vowed his life to the carrying out of this scheme. The 
Duke, in a sudden fit of generosity, says that he will find the 
money to build this, and employs Christison to see it completed. 
He takes the young fellow to London with him, but once there, 
his Grace forgets his good intentions, and Christison, the lover 
of Drusilla Ives, the Dancing Girl, accepts a salary and does 
nothing, but lives under the same roof with the woman he is 
supposed to adore, and who yet is dwelling as the concubine of 
her wealthy protector. The Duke is not a bad man naturally ; 
it is the fault of his bringing up, that and his associates have made 
him what he is. The better instincts of his nature are every now 
and then roused by Sybil Crake, the daughter of his land agent. 

Jan., X891.] The Dancing Girl 13 

He has dragged her from under the horses' feet when some 
runaway animals had overthrown her, and though he saved her 
life at the expense of her becoming a cripple, and she was maimed, 
she was not soured. Hers is the one pure character that we have 
in the play ; she remembers his act with love and gratitude, and 
she is waiting until the time shall come when she can drag him 
from under the horses' feet The Duke has been asked by 
Drusilla Ives in the past to make her his duchess ; he answers, 
" Do not ask me for the only gift I must refuse." Ruined and 
nearly penniless, he gives a grand entertainment to finish his 
career. He has hoped that the woman on whom he has lavished 
so much would help him to turn over a new leaf. He has told 
her that but little of his fortune is left ; will she share it with 
him } will she aid him in striking out for himself a new path in 
life } She answers him almost in the same words that he used 
to her, and so he determines that he will end it all. Old David 
Ives, the Quaker, has at length discovered his daughter's occupation, 
and has come to London to try and snatch her from a life of 
infamy. He arrives at the house and finds her resplendent in 
jewels, the mistress of an expensive establishment, surrounded by 
guests, and then and there he commands her to return with him ; 
but she is utterly depraved. She lives for admiration, she refuses 
to go with him, and then, in his agony, he hurls upon her a curse 
which, heartless even as she is, she cannot but feel. She falls 
senseless on the staircase of the beautiful mansion which the 
Duke has provided for her. His guests are supposed to be out- 
raged by the discovery of her real character ; even the Duke's aunt, 
Lady Bawtry, a woman who seems to consider that you may do 
anything you please so long as you are not found out, is utterly 
horrified, and leaves the house, and then the Duke determines he 
will put an end to a life that has no longer any relish. The 
woman on whom he has squandered everything has refused him ; 
his one great friend, the Hon. Reginald Slingsby, possessed of 
some ;£^iS,ooo a year, has refused him pecuniary help for the 
building of the breakwater, has shown him that there is no truth 
in his protestations of friendship ; and so his Grace of Guisebury 
takes a little vial from his waistcoat pocket, and is just starting 
on that journey the end of which is such a problem when Sybil 
Crake, who has come to this party to see how it will all end, and 
has been in hiding to watch his actions, quietly lays her hand 
upon his arm and takes the vial from him. This is the end of 
the third act. The fourth is really useless. We know that the 
Duke will marry Sybil Crake, we know that we shall hear of the 

14 The Dancing Girl. Uak., 1891. 

'* beautiful pagan/' the Dancing Girl's death, and we know that 
John Christison's heart will be given to her sister, her second self, 
Faith Ives, quite as lovely, but as pure as the other was foul, and 
there is no reason for the introduction of a Sister of Mercy 
appearing to tell us that '' the Dancing Girl " has died repentant, 
save for the comfort of her father. The last act might have been 
done away with, and a few sentences at the end of the third would 
have wound up the play, and then Mr. Henry Arthur Jones's 
work, though giving us the very worst side of human nature, 
would have given us one of its truest pictures. It showed us the 
depravity of life, but it also showed us how a good woman can 
by persistent efforts win back a weak frail man to a better life. 
I scarcely know to which of the three principals I can award the 
palm, for they were all so good. Julia Neilson as Drusilla Ives, 
the " Dancing Girl," was such a beautiful demon, so winning and 
so attractive in her wickedness, that it was easy to understand 
how the world should be at her feet. On the other hand, Miss 
Norreys as Sybil Crake was so pure and so good that it was no 
wonder she should develop in the thoughtless Duke of Guisebury 
something of her own nature. Mr. Tree's performance of this 
latter character was excellent, for, from the commencement to the 
close, he let us see that under wiser bringing up his life would have 
been as good and valuable as, from his unfortunate surroundings, 
it had become vicious and worthless, until the woman's saving 
hand redeemed it from utter ruin. F. Kerr gave us a finished 
portrait of the gentleman of position who lives for himself alone. 
Fred Terry had a very unsympathetic part. It is one that is 
cleverly drawn, but that naturally would not attract an audience. 
James Fernandez was almost too hard, stem, and worldly for a 
Quaker. Rose Leclercq, though she had not much to do, made 
her part a strong one from the excellence of her acting ; and I do 
not think I have ever seen Blanche Horlock to better advantage. 
Whatever the result of the play may be, whether it run or not 
for some time, it will at least have added to the author's literary 
reputation. (I wrote the above notice on the night of the first 
representation. The Dancing G^/r/ became one of the Hay market's 
greatest successes.) Had The Dancing Girl ended with a few 
words more at the third act, it would have been an almost perfect 
play. During the run of the piece Beatrice Lamb appeared as 
Drusilla Ives during Julia Neilson's illness. Robb Harwood 
afterwards played Fred Kerr's part in The Dancing Girl, This 
piece was taken into the provinces with Kate Vaughi^n in the 
title rdle. Digitized by Google 

Jan., 1891.] The Holly Tree Inn, 15 

I Sth. — Terry's, matinie^ The Holly Tree /««, adaptation by 
Mrs. Oscar Beringer from Charles Dickens's Christmas story, in 
which the episode of the escape of the two children with a view 
of getting married is fairly closely followed, and treated in a fresh 
and poetic manner. Vera Beringer appeared as Harry, and 
Minnie Terry was a delightful Nora. The Jabez Cobbs of Ernest 
Hendrie was to the life the character that Dickens had placed 
before us. H. Reeves Smith played Captain Walmers. The 
occasion was the retirement of Vera Beringer from the stage, as 
it was stated, for four years, in order that she might resume her 

15 th. Death of Mrs. Gaston Murray (Fanny Hughes), daughter 
of Henry Hughes, of the Adelphi and Surrey Theatres. Made 
her cUbut in 1851 at the Guildford Theatre as Sophie in The 
Rendezvous. First appearance in London at the Lyceum in 
1853 2is Emma Thornton in The Bachelor of Arts, Joined the 
Olympic, beginning under Alfred Wigan 1857, stnd remained at. 
that theatre throughout the management of Messrs. Robson and 
Emden. Subsequently appeared at almost every London theatre 
of note, and was universally appreciated as an actress and 
esteemed as a lady. 

17th. Opera Comique. — Joan of Arc, burlesque in two acts 
by J. L. Shine and Adrian Ross, music by F. Osmond Carr. 
There is very little in the career of " La Pucelle d'Orl^ans " that 
lends itself to burlesque, unless it is touched on in a manner that 
would ofTend the principles of many, and in doing so naturally 
injure any historical interest that might be attached to the 
burlesque. So the authors gave us different sections of society 
who are supposed to be on strike— railway guards, policemen, 
postmen, messenger boys, 'dockers, and colliers — who sang strike 
verses, and who got liberally hissed and hooted by the gods and 
pit for doing so ; in fact, it was so offensive to some that Mr. 
Edwardes later very wisely completely cut out this portion of the 
entertainment. Some of the neatest of the writing occurred in 
the preface which was attached to the book, in which the authors 
claim to have done little more than use the name of the patriot 
peasant maid as the title on which " to hang their web of song 
and dance.'* Songs there were many, and of course Arthur 
Roberts as De Richemont had the greater proportion of them. 
His first number of any note is the one entitled " Words to that 
Effect " ; but that in which he made the greatest mark was the 
duet sung by him in conjunction with Charles Danby (Jacques 
d'Arc), entitled " Round the Town,'* in which, as a couple of 

i6 Joan of Arc. [Jam., 1891. 

costermongers, they were very amusing. Arthur Roberts, the 
favourite of so many, has another topical song, " What do you 
think ? " which could, of course, be altered nightly, so as to be, 
like the burlesque running at a neighbouring house, " up to data." 
J. L. Shine was not himself on the first night ; he had a bad cold, 
and he had lost his voice — but was soon able to develop the part 
of Charles VII., King of France, into a thoroughly good one. 
Alma Stanley looked very handsome as Talbot, Earl of Shrews- 
bury, and sang sweetly. Emma Chambers received a warm 
welcome on her entrance as Joan of Arc, and showed that she 
had lost little of that attraction which made her so great a 
favourite years ago ; one of her songs gained her an encore. 
Linda Vemer was droll as Yolande, and Miss Gourlay also proved 
herself possessed of much humour. The part of Catherine of 
Rochelle, the soothsayer, gave me the idea of having been an 
after-thought, and as though interpolated for the sake of Phyllis 
Broughton's name being included in the cast She was attrac- 
tive, of course ; but so far as dancing was concerned she had 
a dangerous rival in Katie Seymour, who as Blanche d'Arc 
footed it with much grace. Grace. Pedley gained the honours of 
the evening. Her singing was very sweet and tuneful, and her 
acting was thoroughly pleasant and quite free from' any approach 
to vulgarity. All round the cast was good. The members of 
the chorus had been most efficiently trained by F. Stanislaus. 
(Emma Chambers's part was afterwards filled by Marion Hood, 
Joan of Arc. Alice Lethbridge during the run appeared as 
Duchesse d'Alen^on, Agnes Hewitt as the Herald, E. Lewis as 
Jacques d'Arc, Agnes Delaporte as the Queen, and Marius as 
Charles VII. J. L. Shine was replaced by Charles Bantock, and 
for a time Ethel Blenheim appeared as Talbot in place of Alma 

The second edition of Joan of Arc was given at the Gaiety 
Sept 30th, with the following cast : — Arthur de Richemont, 
Arthur Roberts ; Charles VII., M. Marius ; Jacques d'Arc, F. 
Emney ; Talbot, Earl of Shrewsbury, Alma Stanley ; Fill-up the 
Good, E. Bantock ; Bishop of Bovril, W. Warde ; Village School- 
master, E. D. Wardes ; Joan of Arc, Marion Hood ; Marie, Queen 
of France, Florence Dysart ; Yolande of Bar, Linda Vemer ; 
Catherine of Rochelle, Alice Lethbridge ; Duchesse d'Alen^on, 
Day Ford ; Aline, Violet Monckton ; Isabelle d'Arc (mother of 
Joan), Louise Gourlay ; Blanche d'Arc (sister of Joan), Katie 
Seymour, as principals. M. Marius stage-managed the play. It 
should be mentioned perhaps that Arthur Roberts introduced a new 

Jan., 1891.] Alt the Comforts of Home. 17 

song, " Randy, oh ! " which, from its reference to Lord Randolph 
Churchill and his letters from Mashonaland, was thought a little 
too personal by the licenser of plays. Notice was therefore given 
to Mr. Roberts that no absolute mention of the nobleman's name 
must be made. In consequence of this, the song became a greater 
success than before. Within a fortnight of the revival Ada 
Blanche appeared in the title rSle with success instead of Marion 
Hood, who had also made the part an attractive one. 

20th. Marius's benefit at the Lyric. The noticeable features 
in the programme were A Pair of Lunatics^ played by George 
Alexander and Maude Millett, and the Screen Scene from The 
School for Scandal — Lady Teazle, Mrs. Langtry ; Sir Peter, 
James Fernandez ; Charles Surface, Fred Terry ; Joseph Surface, 
F. Kemble Cooper. 

2 1 St. Frederick Harrison appeared at the Haymarket with 
great success as the Duke of Guisebury in The Dancing Girly 
owing to H. Beerbohm Tree's illness. 

22nd. Lily Hanbury appeared at the Olympic as Nellie 
Denver in The Silver King in the place of Winifred Emery, 

24th. Globe. — All the Comforts of Home, three-act farcical 
comedy, adapted by W. Gillette and H. Duckworth from Ein 
Toller EinfuL The theatre reopened under the management 
of Norman Forbes, and it must be said that the new lessee had 
done all in his power, so far as the house was concerned, to make 
it attractive. It had been redecorated throughout by Campbell, 
Smith and Co., who showed their usual good taste in carrying out 
the work. The electric light had been installed, pretty tapestry 
and good engravings and etchings adorned the walls, and alterations 
had been made in the auditorium and one exit from the stalls, 
which added much to the comfort of the visitors. Above every- 
thing, fees of every kind had been abolished — one of the greatest 
boons that can be bestowed on theatre-goers. All the Comforts 
of Home, the new play which has been a success in America, 
cannot be looked upon as anything but a very boisterous farce 
prolonged to three acts, and the fun of which results entirely from 
the capability of the company engaged in it. It is thoroughly im- 
probable, and everything takes place in the hall of Mr. Pettibone's 
house, the hall occupying the whole of the stage, and from it lead 
two staircases and three doors ; up and down and in and out of 
these the different characters appear and disappear incessantly. 
Mr. Pettibone has a very pretty wife, of whom he is insanely 
jealous. Victor Smythe, a harmless young gentleman, is in love 

1 8 All the Comforts of Home. [Jan., 1891. 

with Pettibone's daughter Emily, but the father thinks the young 
fellow is flirting with his wife. So he rushes off" abroad with 
them both and leaves his Lares and Penates in charge of his 
nephew Alfred Hastings. The custodian, being considerably out 
at elbows, thinks it a fine opportunity to make money by con- 
verting his uncle's domicile into a lodging-house. With the 
assistance of his boy Tom, he offers All the Comforts of Hofne. 
A " dude," Judson Langhorn, a half-crazed musician, Christopher 
Dabney, and a too susceptible retired grocer, Theodore Bender, 
with his majestic wife and pretty daughter, take possession of the 
different sets of apartments, the last that had been vacant being 
tenanted by a very fascinating but particularly worldly dancer, 
Fifi Oritanski. With such a number of differently constituted 
characters under one roof, the rencontres are bound to be at least 
peculiar, but whatever fun there is arises from the flirtations of 
the dancer and the too amorous grocer and the discovery of 
his peccadilloes by his better half. Harry Paulton was certainly 
the life of the piece, with his almost unique, quaint style of 
humour; he was ably assisted by Lily Linfield, who cast her 
fascination very insinuatingly over the little man and danced 
most gracefully. Fanny Coleman, too, aided much in the 
drollery of the scenes by her primness and exhibition of jealousy. 
Norman Forbes has not at present quite light enough a touch for 
farcical comedy. Ian Robertson did not make his character an 
utterly impossible one, for which he- deserves praise, considering 
the style in which the author has drawn it. Stella Maris played 
neatly and effectively, and looked very handsome ; and Sybil 
Carlisle and Mary Ansell were remarkably pretty inghiues. Willie 
Phillips might have toned down his high spirits with advantage, 
and Frederick Glover would also behave better had he not been 
so restless. The play was fairly well received, and was preceded 
by Gringoire^ adapted from the French of M. Theodore de 
Banville by Mr. W. G. Wills. This version of De Banville's now 
well-known play was originally produced at the Prince of Wales's 
on the afternoon of June 22nd, 1885, on which occasion Richard 
Mansfield was the Louis XL, Dorothy Dene Louise, and Norman 
Forbes, as now, Gringoire. The story is closely followed, and 
Mr. Wills's version is poetic, but his Ballade des Pendtis is not so 
striking, nor is Gringoire quite so heroically drawn, as in the 
Haymarket play. Ian Robertson as Louis XI. gave the rendering 
of a monarch who has for the nonce quite thrown off the cares 
of state, but at the same time showed us the innate cruelty of 
the man, when he thinks he has been betrayed, in one fine burst 

Jan., 1891.1 A DolVs HousB — OuT Regiment. 19 

■ — ■ 

of frenzied passion. Norman Forbes was a dreamer and a 
poet, but not quite possessed of that courage that would face 
death unflinchingly. The Olivier of F. H. de Lange was ex- 
cellent. I must remark on the fidelity of the costumes to the 
period of 1469 and the excellence of the mise-en-schte^ and also 
to the beautiful act-drop, a rocky scene, which W. Harford had 
painted, with the motto underneath — 

** Now is the sun upon the highmost hill 
Of his day's journey." 

27th. Terry's, matinee, — Henrik Ibsen's play A Dolts House, 
This extraordinary work has been so much discussed, and such a 
full notice of it given in Dramatic Notes, 1890, that there is no 
occasion to enter here on its merits or demerits. The acting is 
that which claims attention. Marie Fraser had gained considerable 
success as Dora in the provinces, but required more experience 
before she could thoroughly realise this complex character, but 
hers was a veiy creditable performance. Elizabeth Robins and 
Charles Fulton will be remembered as the best Mrs. Linden and 
Nils Krogstad that have been seen ; they were both admirable. 
William Herbert represented Dr. Rank as one who lives for the 
enjoyment of the present, until the time comes when he determines 
to shut himself off from society and await the miserable close of 
life that he knows is rapidly approaching. C. Forbes-Drummond's 
Torvald Helmer was unsatisfactory. Although a priggish and 
utterly selfish creature, the man must have at times been moved 
by the feelings that agitated him, and it was the failure in the 
due expression of his emotion that made Mr. Forbes-Drummond's 
acting so colourless. 

27th. Toole's (revival). — Our Regiment, three-act farcical 
comedy by Henry Hamilton. This merry unpretentious trifle, 
which the author has adapted from Kriegim Frieden, was first 
tried at a matinee at the Vaudeville Feb. 13th, 1883, and, with 
some alterations and improvements, again at the Gaiety, Dec. 4th 
of the same year. It was placed in the evening bill at the Globe 
in 1884, ^^d had a successful provincial run. The original Guy 
Warrener was Gerald Moore, who made of the character one of 
his best, and from the first (in London) Fanny Brough has 
sustained to perfection the rdle of Enid Thurston, that of a 
delightful coquettish girl, mischievous, fond of flirtation and ad- 
miration, but true-hearted and lovable ; her love scene in the last 
act is one of the most delicately played that can be imagined. 
Mr. Hamilton's dialogue is what is known as " smart " ; it is often 
witty, and, added to his situations, produces hearty laughter. Much 

20 The Stranger. [Jak., 1891. 

of course depends on the way in which the character of Guy 
Warrener is played. In the capable hands of W. S. Penley it is 
most amusing. He has to represent a glib, audacious young 
officer in a Lancer regiment, a fortune hunter who, to win the 
heiress, gets up the whole statistics of Jamaica, because he learns 
she is a native of the island. His delivery of these scraps of 
knowledge was most droll. I cannot, I think, pay him a better 
compliment than to say that, thoroughly humorous as he was, he 
was more unlike Mr. Penley than I have ever seen him. There 
is really no plot in Our Regiment Mr. Dobbinson cannot bear the 
army ; his wife, daughter, ward, and niece are as madly in love 
with it, and are aided and abetted in welcoming the gallant 
Lancers by Dobbinson's old friend EUaby. The Rev. John 
Talt)ot is a gentleman who has mistaken his vocation ; though 
wearing a black coat, he should don a red one, and eventually 
determines to do so. The part was capitally played by Reeves- 
Smith, and with due moderation. Alfred Byde was a soldierly- 
looking Captain Fetherston, and Willie Drew appropriately irritable 
as Mr. Dobbinson. Fanny Robertson was amusing in a semi- 
martial uniform which she dons as Mrs. Dobbinson in honour of 
the corps that is quartered at Mudborough-on-Slush, a quiet 
town in which, and its environs, the events take place. Violet 
Thomycroft continues to improve, and promises to become a very 
useful actress. The new manageress, Florence McKenzie, played 
Olive. During the run of the piece Cecil Crofton appeared as 
Mr. Dobbinson. It was preceded by H. C. Merivale's A Husband 
in Clover^ very neatly played by Eugenie Vemie as Lydia and by 
Sydenham Dixon as Horace. 

28th. New Olympic matinie (revival). — The Stranger had not 
been seen in London for so many years that curiosity no doubt 
attracted the very large audience that assembled to pass judgment 
on a play once so famous. The younger generation of playgoers 
came to see whether it was deserving of the praise that had been 
lavished on it ; the elder, perhaps, to see whether the woes of 
Mrs. Haller could make them shed tears as they had in the past 
I fancy both were disappointed, for more stilted language or a 
more oppressive, lugubrious play it is difficult to imagine. And 
yet to think that every actor or actress of note in the past did 
not recognise that the topmost round of the ladder was reached 
until he or she had appeared in its principal character ! John 
Kemble and Mrs. Siddons were the original " Stranger " and Mrs. 
Haller when the play was first produced at Drury Lane (March 
24th, 1798), and since then Charles Kemble, Young, Kean John 

Jan., 1891.] For Charity s Sake, 21 

Ryder, Macready, Creswick, Phelps, Miss O'Neil, Miss Sloman, 
Mrs. West, Helen Faucit (Covent Garden, 1836), Madame Beatrice 
(Lyceum, 1865), Amy Sedgwick (Haymarket, i860), have all 
thought the part worthy of their attention ; and I think the two 
latest representatives of the characters in London were Barry 
Sullivan and Rose Eytinge at the (old) Haymarket in 1879. 
Except that the play was compressed into three acts instead of 
five, but few excisions had been made, and Mr. Wilson Barrett as 
the hero retained the regulation frogged coat and Hessian boots. 
To my mind, it would be impossible to make the " Stranger *' an 
interesting character, with. his sham misanthropy and churlishness, 
but Mr. Barrett by sheer artistic skill robbed it of its wearisome- 
ness. Mrs. Haller has a better chance, and Winifred Emery 
availed herself of it by a gentle pathetic humility that was 
sympathetic and convincing of her repentance. Stafford Smith 
was dignified and natural as Tobias, the old man who is grateful 
for the kindness bestowed on him. Austin Melford and Lillie 
Belmore gave us genuine comedy as the foolish prating Solomon 
and the upstart waiting-maid Charlotte. George Barrett improved 
too much upon the text. Only sorrow can be felt for the actor 
who has to appear as the servant Francis, a character that, is but 
a feeder for the alternate railings and snappishness of his master, 
but Cooper Cliffe did all that was possible with it. Lily Hanbury 
made a decidedly good impression as the Countess Wintersen, 
and more than a word of praise is due to Maud C. Jefferies for 
the expression she threw into the song (composed by the then 
Duchess of Devonshire), " I have a silent sorrow here." The 
entire cast is given elsewhere, as I think it will be in all probability 
many more years before T/te Stranger is seen again. 

29th. Comedy. — For Charity's Sake. One-act domestic comedy 
drama by Charles S. Fawcett. As a rule, the first pieces nowa- 
days are of so flimsy a nature that it is a pleasure to record one 
that is healthy in sentiment and at the same time amusing. Such 
is Mr. Fawcett's little comedy, although the incidents are not very 
stirring. Charity, the heroine, has fallen in love with Edward 
Esher, a poor gentleman. He is in urgent need of money, and 
so, through the medium of Catterpole, she conveys to him the 
savings that she has scraped together, first changing the odd 
moneys into a five-pound note, which, by her direction, Catterpole 
puts in an envelope addressed to Esher as "From a Friend." This 
Catterpole is a sanctimonious humbug, a supposed missionary, but 
a thorough scamp, and being left alone, seizes the opportunity 
of pilfering another five-pound note from the cashbox, as well as 

22 The Gay Lothario. [Jan., 1891. 

the moneys which Charity has changed. As she keeps one key, 
when Nubbles, the kindly man who has adopted her, discovers 
the loss she is almost suspected of the theft. Inspector Jones 
is called in, and by dint of cross-questioning discovers that 
Catterpole is the culprit, for this short-sighted gentleman has 
forwarded the wrong five-pound note to Charity's lover. Lydia 
Cowell was a brave, lov ng girl as Charity, W. Wyes a sturdy yet 
generous Nubbles, and W. F. Hawtrey an excellent specimen of 
the oily, deceitful Chadband genus. Master C. G. Holmes played 
with much spirit as young Nick, a grimy urchin. For C/iaritys 
Sake had been played by an amateur club, and was then entitled 
Our Lottie, The piece was well received. 

31st. St. James's. — The Gay Lothario^ one-act comedy by 
A. C. Calmour. The author should rightly have qualified his 
latest work as a " comedietta," for it is nothing more, but what 
there is of it is wittily written, and the language is suited to the 
period of swords and sacques — the eighteenth century. The motive 
of the plot is one that is frequently used — the overweening con- 
fidence of a woman in her power over her lover and her discovery 
that the man she has refused is dearer to her than she thought. 
Amanda Goldacre (Maude Millett) is informed by her maid Letty 
that her admirer Sir Harry Lovell (George Alexander), " the gay 
Lothario," has wagered he will win her. Incensed at his pre- 
sumption, she determines to refuse him. Letty, to whom the 
gallant has always been kind and liberal, lets him know the 
reception he may expect. He therefore so cleverly words his 
approaches, that Amanda takes his address for a proposal and 
rejects him before he has actually offered himself, and he is 
enabled to turn the tables on her by showing her that she has 
jumped at too hasty a conclusion. Not content with this, he 
completely conquers her by going out and fighting a duel in 
defence of her honour. When he returns — unwounded, by the 
way — she almost pleads for his affection, which he is quite ready 
to give her, for through all his follies he has really loved her 
alone. George Alexander and Maude Millett played into each 
other's hands remarkably well, and had valuable assistance from 
Laura Graves as Letty and from Ben Webster as Sparks, Sir 
Harry's valet, who apes the manners of his master. The author 
was called for. Preceding this, Sunlight and Shadow was played 
with the same company that had been appearing in it at the 
Avenue Theatre, and was enthusiastically received in its new 
home. On this night George Alexander took possession of the 
St James's, which looked very bright and cheerful with its fresh 

Jan., 1891.] Till the Half 'hour — The Rose and the Ring. 23 

decorations, new act-drop, and the electric light. Here also all 
fees were abolished ; and the corridors and vestibule were hung 
with etchings and engravings lent by J. T. Mendoza. Walter 
Slaughter conducted an excellent orchestra ; and the musical 
selections were in the best taste. 

31st. Ladbroke Hall. — Till the Half -hour, by Arthur M. 

31st. Last performance of The Rose and the Ring. 

31st. — The Royal English Opera House, the stone of 
which was laid Dec. isth, 1888, was opened with Sir Arthur 
Sullivan's opera Ivanhoe^ of which Julian Sturgis had written the 
libretto. It does not come within my province to speak of the 
opera, but, as a matter of record, the full cast that appeared in it 
will be found under the head of " New Plays, etc." 

The theatre is situated at Cambridge Circus, and is built of red 
EUistown brick, and Mr. Calcott, F.R.I.B.A.,who was called in to 
undertake the architectural and decorative portion of the work, 
made extensive use of Doulton terra-cotta ; Mr. D'Oyly Carte, the 
proprietor of the theatre, having been to a great extent his own 
architect White Italian, veined, a marble known as vert-vert, 
green marble, alabaster, and rouge jaspe figured extensively 
throughout the building, the interior ornamentation being of 
light cream and gold on a pale green ground. The draperies 
and stage curtain were of yellow satin, the upholstery of green 
plush velvet. Electric light was used entirely throughout the 
building. The view is an uninterrupted one from every part of 
the house, being quite unimpeded by columns. There are 1,976 
seats in the house : 270 in ten rows of orchestra stalls, 500 in 
the twelve rows of the pit, 242 in the nine of the Royal tier stalls, 
222 in the seven of the first circle, 230 in the four rows of the 
amphitheatre, 400 in the eleven rows of the gallery, and 40 in 
the private boxes. But there is standing room for an additional 
number, which brings up the total to about 2,300. The pro- 
scenium opening is 34 feet 3 inches in height, 34 feet in width. 
The stage is 98 feet from cellar to gridiron. Auditorium con- 
structed of iron, steel, and concrete. Communication all over the 
house effected by means of electricity, and the artists are carried 
to their dressing-rooms by means of a lift. It is, without 
exception, the most beautiful theatre in London. 

Digitized by VjOOQ IC 

24 Maid Marian, [Fkb., 1891. 



2nd. Gaiety. — Second edition of Carmen up to Data. The 
changes in the cast were — Escamillo, Maud Hobson ; Frasquita, 
Sylvia Grey ; Intimidado, Day Ford. 

3rd. Park Hall, Camden Town. — Mr. Greenleds Courtship. 
Musical duologue written by George Mudie, composed by Michael 

3rd. W. E. Chapman re-elected W.M. of Savage Club Lodge 
No. 2,190. 

Death of Miss M. Chattaway, more than twenty years custodian 
of Shakespeare's birthplace. 

4th. King John produced at the New Theatre, Oxford, by the 
Oxford U.D.S. H. Irving, junior, in the title r6le\ Arthur, 
Mabel Hoare. 

5 th. Prince of Wales's. — The librettist of Maid Marian 
told us in the "argument" preceding the lyrics that his plot 
was founded on a very early English ballad entitled " A Merry 
Jest of Little John," and has turned the source of his inspiration 
to good account. The play opens in the town of Nottingham at 
fair- time. The outlaws are present to compete for the archery 
championship and to dispose of their booty. The Sheriff, who 
has been for years custodian of the Huntingdon estates, being 
avaricious and unwilling to give up the control of them, has 
set up an empty-headed youth, Sir Guy of Gisbome, as the 
rightful Earl of Huntingdon, so that when Robin Hood, now 
arrived at maturity, claims his heritage, the Sheriff by forged 
documents proves Sir Guy to be the rightful heir, and Robin Hood, 
at the solicitation of the outlaws, joins their band as their chief. 
Prior to this, however, Lady Marian Fitz waiter appears on the 
scene. By the King's command, she is to wed the Earl of 
Huntingdon, but being desirous of learning what "manner of 
man " he is, disguised as a page she bears the Royal mandate 
herself, meets with Robin Hood, and he discovering her identity, 
they mutually fall in love with each other and plight their troth. 
In the second act the Sheriff and his myrmidons, disguised as 
tinkers, arrive at Sherwood Forest with a view of capturing 
Robin Hood. On the borders of it. Dame Durden keeps a 
hostelry which is much frequented by the outlaws. Her daughter 
Annabel is an arrant flirt, but cares most for Allan-a-Dale ; to 

FsB., 1891.] Maid Marian, 25 

vex him she lures Robin Hood (who, having heard nothing of 
Marian for six months, thinks her faithless, and is willing to 
divert himself) into serenading the innkeeper's pretty daughter. 
Marian, who has been kept in confinement by the Sheriff all this 
time, has escaped, and comes to join her lover, but hearing from 
Annabel what is to happen, persuades her to be permitted to 
impersonate her. AUan-a-Dale witnesses the serenade, and 
imagining it is his love at the window, goes off and fetches 
the Sheriff, and Robin Hood is taken prisoner, but so soon as 
Allan-a-Dale discovers his mistake he summons the outlaws, and 
their chief is rescued ; but Sir Guy has in the meantime brought 
to the forest the King's archers, and the whole band is captured 
after a mel^Cy and Maid Marian is carried back to Nottingham to 
be wedded to Sir Guy. The last act takes place again in 
Nottingham. Robin is in prison, but is rescued by Friar Tuck, 
who changes clothes with him ; and so the outlaw is in time 
to marry Marian, and Allan-a-Dale at the same time weds 
Annabel, whom the Sheriff had intended for himself; and a 
messenger presently arrives with a free pardon from the King for 
Robin Hood and his band if they will quit outlawry, and Robin 
is acknowledged as the rightful Earl of Huntingdon. In the 
second act there was a good comedy scene between Dame 
Durden and the Sheriff, in which she claims him as her hus- 
band, long absent at the Crusades. The whole was bright and 
lively ; the lyrics were smooth, and the music melodious and 
attractive. There were some very pretty dances ; the costumes, 
by Alias, etc., were charming and accurate, and all the scenery 
was beautiful. The picture presented of Sherwood Forest was one 
of the most exquisite I have ever seen. I had not hitherto known 
Hayden Coffin to such advantage ; he threw himself completely 
into the part, and was gay and dibonnaire, Harry Monkhouse as 
the Sheriff, possessed of a " massive brain and eagle eye,*' was 
amusing, and John Le Hay was very droll as the loutish Sir Guy ; 
but why, with such a good voice as he possesses, was not he 
given one solo } Harry Parker was quite an ideal Friar Tuck, 
rosy and rubicund and pottle-loving, and full of quaint humour ; 
Egbert Roberts a stalwart and manly Will Scarlet; Violet 
Cameron appeared to the very best advantage as Allan-a-Dale ; 
Attalie Claire, with her coquettish manner, was just suited for 
Annabel ; and Marion Manola, a new-comer, proved a clever 
actress as well as an agreeable singer. Madame Amadi may 
always be relied on for making the most of any character with 
which she is entrusted. The greatest credit was due to Charles 

26 Monte Cristo, [Feb., 1891. 

Harris for his stage management, and to Horace Sedger for the 
liberality shown in the production. 

5th. Death of Marie Rhodes (Mrs. H. Saville). First appeared 
as quite a child, and was a member of, and acted at, all the 
London theatres. Made a good reputation in the provinces, 
and was a very great favourite at the Theatre Royal, Edinburgh. 

6th. Novelty. — Waiting for the Train, comedietta by Alfred 
A. Wilmot (for copyright purposes). 

7th. Avenue. — MonU Cristo. Independently of the attraction 
that this might possess as a play, its revival made some stir in 
theatrical circles, in consequence of the history connected with it 
both as a French and English production. Alexandre Dumas is 
asserted by Querard to have had the assistance of P. A. Fiorentino 
and Auguste Maquet in writing the original story, in the French, 
which spread to twelve volumes, and was published between the 
years 1841 and 1845. Dumas, judging by the hold it took on 
the public, thought it would be successful as a drama, and so 
prepared it for the stage, and actually took a theatre that its 
production might be ensured. This was the Th^itre Historique, 
which he opened in February, 1847, with La Reine Margot\ then 
came Le Chevalier de Maison Rouge in August, and in February 
of the following year Monte Cristo, which took two entire evenings 
in representation. The revolution of 1 848 played havoc with all 
the Parisian theatres, and Jullien, who was then the manager of 
DruryLane, thought the piece would be an attraction in London, 
and so brought over the company which had appeared in it under 
M. Hostein. English actors in those days were not tolerant of 
foreign rivals, and so gave the French company a very hot 
reception on Monday, June 1 2th, which is amusingly described in 
the following lines by G, A. Sala : — 

" Angry actors, with heavy sticks, 
Vow to hoot and howl like bricks ; 
Some have whistles and sounding shells, 
One or two bring dustmen's bells ; 
Some have railway whistles, some 
Straight from Greenwich with crackers come ; 
Young and old, high and low, 
Are l^nt on having a * regular row.* 
Eight o'clock is gone and past, 
There ! the curtain's up at last ; 
See, the deck of the Pharaon^ 
No good, though, to try it on. 
Gents and nobs, lords and snobs, 
Smith, Brown, Robinson, Jones, and Dobbs 
Every one, from pit to flies, 
Utters howls, yells, barks, and cries. 
Hammer and tongs, bells and gongs, ^^-^ . 

Catcalls, whistles, shouts, and songs, igitized by vjOOQ IC 
Moans, groans, tones, ' bones,' ^ 

Feb.. 1891.] Monte Cristo, 27 

Mingled with trumpets and penny trombones, 

Off, off, taimt and scoff, 

Ginger-beer bottles, and crow and cough ; 

Since the da3rs of the O.P. Row 

Never was such a one heard till now.'* 

The audience would not give the piece a hearing (it was in 
ten acts, and was to have taken two evenings here). Benches 
were torn up ; there was a free fight, and appearances the next day 
at Bow Street. The French company gave up any hope of being 
appreciated in London, and returned to France at the end of 
the week. In 1868, the Adelphi being then under Benjamin 
Webster's management, Fechter, with the assistance of Benjamin 
Webster, junior, arranged an English version of Monte Cristo^ 
and it was produced Oct. 17th. It was fearfully long and 
dreary, was not over till nearly one o'clock, and was so dismal 
that the pitites proposed that they themselves should sing a comic 
song to enliven it. Though the cast, as will be seen, was a strong 
one, it was a distinct failure. Practically this version is the one 
played at the Avenue, though it had been compressed into 
reasonable limits and was over at the usual hour for the closing 
of the theatres of the present day. The principal incidents 
touched upon are the arrest of Dantes as a Napoleonist just as 
he is about to be married to Mercedes, as some reparation for the 
wrong he has done her, for she is likely to become a mother, 
though he is unaware of her situation. Then comes Dantes' 
imprisonment in the Chateau d'lf, his attempt at escape with the 
Abb6 Faria, the latter's death, and Dantes' taking the place of 
the corpse and being hurled from the battlements of the castle 
into the sea ; and the curtain falls on the first act as he rises and 
clings to a rock. Subsequently we see his interview with Cade- 
rouse (who eventually becomes the Count of Monte Cristo's 
servant and aids him in his scheme of revenge), the death of 
Carconte at the hands of Noirtier when she attempts to rob him, 
and the suicide of Villefort the procureur. The scene shifts to 
Paris. Mercedes has married Fernand, that her son Albert may 
be legitimised. Monte Cristo (the Dantes of the past) at a grand 
reception publicly exposes the treachery of Fernand at Janina, 
and brings about the financial ruin of Danglars, now a banker. 
Albert, in defence of Fernand's good name, challenges Monte 
Cristo to a duel, a result that the latter is desirous to bring 
about, as he is determined to kill the young fellow and so strike 
at his supposed father and mother. Mercedes, to prevent the 
meeting, confesses to Dantes that Albert is his child, and brings 
the act to a strong conclusion. In the final scene, in which the 

28 The Lyons Mail. [Feb.. zSqi 

duel is to take place, Albert, who has learned the truth of all 
Monte Cristo's statements and how he has suffered at the hands 
of Fernand and Danglars, who conspired together to get Dantes 
imprisoned, manfully acknowledges that the man he has challenged 
is in the right. Danglars fights with Monte Cristo and is killed ; 
the latter reveals his identity to Fernand, who blows out his own 
brains ; and Monte Cristo forgives Mercedes. The stage of the 
Avenue is not large enough for the representation of such a play, 
but the very utmost was made of its capacity, and the scenes were 
very beautifully painted ; the least successful in realising the 
situation were those of the interior and exterior of the Ch&teau 
d'If. As to the play itself, it was very well received"; the third 
and fourth acts were really strong ; and taken altogether it may be 
looked upon as a cleverly constructed fabric from such a mass of 
improbable material Charles Warner emphasised the more 
generous and forgiving side of Dantes' character too much to 
quite satisfy one, but his performance was interesting. Jessie 
Millward had no great opportunities till the fourth act, when her 
scene is with Dantes, but then the actress displayed power. 
Henry Lee, the new manager, had as Noirtier to assume several 
disguises, as a conspirator, an Incroyable, a mouchardy a Jew 
pedlar, and a journalist, and showed considerable versatility, 
though a little inclined to exaggerate. E. H. Vanderfelt^s 
Albert was admirable ; he was earnest, manly, and convincing. 
J. G. Taylor was excellent as the besotted and afterwards re- 
morseful Caderouse, and Elsie Chester gave us a vivid picture of 
the ruthless hag Carconte. J. G. Grahame did well as the 
jealous Fernand in the first act, Luig^ Lablache was an appro- 
priately sinister Danglars, and Helena Dacre was a bright and 
pleasant Mademoiselle Danglars. The remainder of the cast was 

7th. Lyceum (revival). — The Lyons Mail. Charles Reade's 
adaptation. This play is founded on a celebrated trial under the 
Directory in 1 796, by the verdict recorded in which an innocent 
upright man, Lesurques, suffered death, through his extraordinary 
resemblance to Dubosc, a robber leader of a gang known as " the 
Five Hundred." He and his associates rob the Lyons mail, and in 
doing so add murder to their other crime. Dubosc goes to the 
inn kept by the father of Lesurques, who actually mistakes the 
murderer for his own son, as does also Joliquet, the attendant 
Even almost up to the very end in the drama, Lesurques would 
be sacrificed were it not that Dubosc, who has come to gloat 
over the sufferings of his victim, through taking too much brandy, 

Feb., 1891.] The Lyons Mail. 29 

betrays himself, and thus saves the innocent man at the twelfth 
hour. The original French drama by MM. Moreau, Siraudin, 
and Delacour, entitled Le Courier de Lyons^ was first produced at 
the Gait^ Paris, March i6th, 1850, permission being gfiven by 
the descendants of Joseph Lesurques for the use of his name. It 
may be mentioned that in P^e Lachaise there is a white marble 
monument erected on which are inscribed the words "A la 
m^moire de Joseph Lesurques, victime de la plus deplorable des 
erreurs humaines, 31 Octobre, 1796. Sa veuve et ses enfants 
martyrs tous deux sur la terre, tous deux sont r^unis au ciel." 
Lacressoniere filled the dual rdle of Lesurques and Dubosc, and 
on alternate nights the play had different endings : on the one 
Lesurques was executed ; on the next he was reprieved, and Dubosc 
was punished with death. Lewis Phillips* was the first London 
adaptation, and was played at the Standard March loth, 1851; 
it was advertised as The Courier of LyonSy and also as The 
Courier ; or^ The Assassins of Paris and The Courier of Paris. 
Prior to this Mr. John Coleman had played the dual rdle at the 
theatre then under his management, the Royal, Sheffield, in an 
adaptation made by C. A. Clarke. In the cast were found Harry 
Vandenhoff; S.Calhaem; Sam Johnson (theChopardof the Lyceum); 
Charles Diddear (of Covent Garden) ; Jerome (Lesurques) ; Cathcart, 
who had played the Jaffier and had also appeared as Cromwell in 
Miss Milford's Charles /., appeared as the Commissary of Police. 
Later it is said that a version by Edward Stirling was done at the 
Mary lebone, though I am unable to trace it. In 1854 (June 26th) 
Charles Reade's adaptation, under the title of The Courier of LyonSy 
was produced at the Princess's, with Charles Kean in the dual 
rSle\ D. Fisher, Courriol ; Addison, Chopard the horse-dealer; 
H. Saker, Fouinard ; Cathcart, Didier ; Kate Terry, Joliquet ; 
Carlotta Leclercq, Julie ; Miss Heath, Jeannette. When it was 
first produced under the Bateman management at the Lyceum, 
May 19th, 1877, Charles Reade's adaptation was as now used, 
but for some reason the title was changed to that of The Lyons 
Mail, The interest of the drama is sustained from the com- 
mencement to the very end, mainly through the remarkable 
acting of Mr. Irving, who, under the strong facial resemblance 
of the two men, makes of them two creatures totally dissimilar in 
character. Lesurques is a kindly honourable man, affectionate to 
his family, happy in his domestic life ; Dubosc is one steeped 
to the very lips in debauchery and crime. The one man has a 
winning, sympathetic voice, the other a hoarse, brandy-drinking one. 
In both parts Mr. Irving has great opportunities ; as Lesurques, 

30 The Wild Primrose. cfm., 1891. 

when accused by his father and recommended to destroy him- 
self rather than be publicly disgraced his agony was pitiable ; 
and in the last act, the brutal instincts of the murderer, his savage 
attacks on the crowd that endeavoiu"s to force the door, chopping 
at them with his knife, he exhibited an almost fiendish power. 
Next to his performance ranks that of Frances Ivor ; it was 
infinitely pathetic where she appealed to Dubosc, the man who 
has wronged her. The Joliquet of Mr. Harvey, the Chopard of S. 
Johnson, the Fouinard of Mr. Archer, call for notice, as does the 
Julie Lesurques of Miss Coleridge, whose performance, though 
uneven, possessed considerable merit. 

7th. Lyceum (revival). — The King and the Miller ; or^ Cramond 
Brig^ by W. Murray. James V., F. Tyars ; James Birkie, Mr. 
Harvey ; Jock Howieson, S. Johnson ; Captain, Mr. Lacy ; Page, 
Master Harwood ; Tibbie Howieson, Mrs. Pauncefort ; Marion, 
Miss Foster. 

7th. Novelty. — The Wild Primrose^ comedy drama in four 
acts, author unannounced. The audience seemed thoroughly 
to enjoy the performances of Marguerite Fish, once known as 
"Baby Benson." Ten years since this young lady made her 
appearance at the Adelphi ; since then she has travelled and 
made such a name that she is now called the " Great Cosmo- 
politan Comedienne." In The Wild Primrose she has ample 
opportunity to display both vocal and terpsichorean abilities of 
no mean order — her vocal imitations in German being particularly 
novel and well rendered, whilst, with the weight of the piece 
upon her fair, plump shoulders, she sustains the histrionic interest 
of the performance with undoubted success. The piece is a variety 
show, with sufficient spice of dramatic incident to constitute a fairly 
well-connected plot Rosa, "the Wild Primrose," is heiress to 
enormous wealth, to keep her out of which a bold bad man, 
named Robert Burton (well played by Gilbert Vernon), steals 
her ; she is succoured by Senor Wiggano, a travelling showman 
(very comically filled by Charles Warren), and is eventually re- 
stored to her rights through a philanthropist, Benjamin Barnet (a 
good bit of character by J. G. Wilton), and his nephew, Walter 
Gale (Edwin Fergusson), who falls in love with her. Julia Listelle, 
Eleanor Lloyd, Madge Denzil, and Buckstone Clair make up the 
cast, the first being especially worthy of mention. The Spectre 
Bridegroom^ the old farce which always causes plenty of laughter, 
was played as a curtain-raiser. 

9th. Sadler's Wells. — Enlisted, four-act drama Jg^g^ C. 
Harcourt Rewritten first time in London. ^ ^ 

Fbb., 1891.] Lights d London. 3 1 

gth. New Olympic (revival). — Lights d London, three-act 
drama by G. R. Sims. The Lights d London, originally produced 
at the Princess's Sept. loth, 1881, was the play in which 
G. R. Sims first made his mark as a true " dramatist." His work 
is intensely human, his dialogue terse, vivid, and humorous, and 
his characters all true to nature. It is not necessary for me to 
detail the plot, which is so well known ; the revival, however, 
was a great success. Wilson Barrett as Harold Armytage acted 
with his accustomed vigour, yet he was as tender as a woman 
when requisite. Winifred Emery won all hearts by her pathetic 
rendering of the sorrows of his wife, Bess. Geoi^e Barrett even 
improved on his original rendering of the kind-hearted show- 
man, Jarvis; and Mrs. Henry Leigh was a kindly help- 
mate to him. H. Cooper Cliffe was a cold-blooded, heartless 
villain as Clifford Armytage, and his lady light-o'-love, Hetty 
Preene, was played with much judgment by handsome Lily 
Hanbury. One of the best performances was that of Austin 
Melford as Seth Preene ; it was so admirably controlled. Other 
excellent bits of character-acting were those of Ambrose Manning 
as Philosopher Jack and of Horace Hodges as Percy de Vere, 
" Esq." Louie Wilmot was fairly good as Shakespeare Jarvis ; 
but Stafford Smith was scarcely senile enough for the " old and 
feeble " Marks. The detectives were well played by C. Duncan 
and T. W. Percyval. On the same evening was produced for the 
first time Tommy, comedietta by Mrs. E. S. Willard, in which 
Lillie Belmore as Sarah Slocum, nicknamed Tommy, is a mis- 
chievous hoyden who masquerades as a demure Quakeress, and, 
after the manner of Helen, teaches her Modus-like cousin Peter 
(Horace Hodges) the art of love, and also defeats the machi- 
nations of Nicodemus Simkins (Ambrose Manning), who thinks 
to win Sister Rachel (Alice Cooke) and purloin a roll of bank 
notes which he has learnt is hidden away in a clock-case. The 
little piece is brightly written, and went very well when taken a 
little quicker. 

13th. Shaftesbury. — The Pharisee. Last performance and 
close of the season. Mrs. Lancaster Wallis, in response to cries 
for a speech, said with evident emotion, " Ladies and gentlemen, I 
thank you. I have done my best. God bless you all." 

14th. Strand (revival). — Turned Up. The reception of Mark 
Melford's farcical comedy was most favourable. It was done 
originally at a maiinSe at the Vaudeville on May 27th, 1886, 
with Charles Groves as Captain Medway, Charles Collette as 
George Medway, Fuller Mellish as Nod Steddam, Mrs. C. H. 

32 Summer Clouds. (Feb., 1891. 

Stephenson as Mrs. Medway, Maude Millett as Ada Baltic, and 
Kate James as the dark-skinned Cleopatra. When Mr. Edouin 
put the piece up at the Comedy on July 31st, 1886, poor Lytton 
Sothem replaced Collette, Miss Brunton Mrs. Stephenson, and 
Alice Chandos Kate James ; and when, in consequence of its 
success, it was transferred to the Royalty on Sept. i ith, Stephen 
Caffrey replaced Charles Groves, Willie Edouin having through- 
out appeared as the bibulous and amorous undertaker, Carraway 
Bones. Most of the cast were very good. Facile princeps came 
Willie Edouin. In get-up, in his drunken walk and his catchword, 
"M'yes," with which he finishes his sentences, he was simply 
delicious. Alfred Maltby was a jolly but perplexed sea-dog as 
Captain Medway, and entered thoroughly into the spirit of the 
part, and John Beauchamp was a sufficiently dictatorial and 
domineering man of war as General Baltic. Charles Fawcett 
and May Whitty infused that travesty of earnestness into the 
characters of George and Sabina Medway when they found 
themselves blessed with a double set of parents that is the very 
essence of farcical comedy. One of the best-played parts was 
that of Nod Steddam, which was filled by S. Barraclough 
with a lightness and effervescence that was refreshing. Ruth 
Rutland did not shine as Mrs. Medway. Georgie Esmond 
was a nice and natural Ada Baltic, and Emily Dowton was 
excellent as the voluble Mrs. Pannall. During the run of the 
piece Lilian Millward played May Whitty*s part. 

15th. St. Andrew's Hall, Newman Street. — Henry Arthur 
Jones gave a lecture on " Play-making, with some Thoughts on 
Plot, Design, and Construction in the Modem English Drama." 

1 6th. Toole's. — Summer Clouds^ by Neville Doone, was quite 
as delicate a piece of work as the author generally gives us, and is 
poetically written save in one respect — the repulsiveness engendered 
by the means which the discarded lover uses to avenge himself. 
Harry Temple, the pupil of a dear old vicar, the Rev. Philip Marston, 
falls in love with the clergyman's daughter Mary. All is happi- 
ness, when Sir Richard Rigby, whom Mary has refused, throws a 
bombshell into the felicitous little camp by announcing that 
Harry's father had been hanged for murder, and then, as suddenly 
relenting, produces the dying confession of a servant who admits 
that he committed the crime for which an innocent man was 
executed. Herberte Basing as the clergyman, Philip Cuningham 
as Harry Temple, and Eugenie Vemie as Mary could scarcely be 
improved upon. C. F. Caravoglia was a little too " intense " as the 
baronet. Henry Bayntun afterwards played P. Cuningham's part. 

Fbb., X891.] A Yorkshire Lass. 33 

16th. Sadler's Wells. — Revival of Andrew Halliday's 
Rebecca tfie Jewess. Violet Temple, Rebecca ; Edward Chester, 
Wilfrid of Ivanhoe ; Nellie King, Ulrica. 

1 6th. Parkhurst, Holloway. — Back in Five Minutes, One- 
act comedietta by H. T. Johnstone, later played at the Strand. 

1 8th. New Olympic matinee. — A Yorkshire Lass. Wilton 
Jones's new play weis " reminiscent" Legitimate drama, melo- 
drama, modem comedy, each and all had apparently suggested 
the incidents and situations of which the author made use, but 
country audiences will almost certainly approve the wealth of 
sensation submitted to them. Jack Selwyn is a spoilt, impetuous 
youth, who, having fallen desperately in love with Faith Oxtoby, 
the good genius of the village in which she lives, must marry her. 
The obstacle in the way is that she is already engaged (without 
absolutely caring for him) to Stephen Milsom, a rather wild 
fisherman, whom she has reformed. Captain Stewart Digby, 
Jack's cousin and next heir to General Selwyn's property, quickly 
removes the obstacle by falsely swearing that Milsom fired the 
shot which killed Faith's father, and so the innocent man is 
condemned to five years' penal servitude. Digby encourages the 
marriage, because he knows that the General will never forgive 
the mesalliance. After some months of married life, Jack has 
beggared himself by gambling. He has concealed his union from 
his father. Faith loses all trust in him, and says she will leave 
him, and he enlists. He goes to the Crimea, where Faith has 
gone as a hospital nurse, and is accused of being a Russian spy, 
the suspicion having been brought about by Elise de Mornay, 
Digby's mistress. Husband and wife meet. Jack takes upon 
himself the charge, and an attack being made upon the enemy, 
the General, who has just recognised his son in the uniform of a 
private in the Guards, allows him to go and seek death on the 
battlefield rather than the disgraceful one he should suffer. Jack 
is supposed to be killed ; the General sees his little grandson, 
John Selwyn, junior, and offers with no effect to adopt him if 
the mother will resign all claim to him ; and Digby's schemes 
appear to be prospering, when Elise, out of revenge for his bad 
treatment of her, exposes his entire villainy, and Jack arrives, 
broken down and ill, after long confinement in a Russian prison. 
Through Faith's persistent efforts, aided by Kate Grantley, 
Milsom's innocence is proved. There are anachronisms and 
glaring inconsistencies, such as Faith, though in extreme poverty, 
being able to keep a manservant and maid, Dick Blosser and 
Patty, the "low" comedy characters, which were well played. 

34 The Parvenu, [Fe»., zSgx. 

The great blot on the play is allowing the interest which is 
aroused in Stephen Milsom in the first act to completely die out 
It is a character which, well played as it was by F. H. Macklin, 
might have been developed into a really fine part. R. S. Bole)^! 
deserved the greatest praise for the unconventional manner in 
which he played the villain, and Arthur Bourchier showed marked 
improvement on any of his previous efforts. Gertrude Warden, 
with an excellent broken French accent, gave a vivid rendering 
of a thoroughly vicious adventuress. H. Sparling was genuinely 
boyish as a happy-go-lucky young subaltern, and Gwendolyn Floyd 
was charmingly fresh and natural. Mary Eastlake, who had a 
tremendous reception, maintained her reputation with the public, 
and in some of her situations exhibited increased artistic 

1 8th. Globe (revival). — The Parvenu^ original three-act comedy 
by G. W. Godfrey. The production of this play at the Court, 
April, 1882, changed the fortunes of the theatre, which had up 
to that time been somewhat disastrous to the then director, John 
Clayton. The story was said to resemble in motive Ours^ Caste^ 
New Men and Old Acres ^ and plays of this class ; so it did to a 
certain extent, but differed from them in that the self-made man, 
who believed in the power of money, came out as the best character 
at the close, and proved himself capable of the most generous 
self-denial. Mr. Ledger, " the Parvenu," of Pagnett Royal, has 
for a neighbour Sir Fulke Pettigrew, of the Warren, an aristocrat 
who has ruined himself by horse-racing, etc., and whose estates 
are heavily mortgaged to the plebeian millionaire. Sir Fulke has 
but one child, Gwendolen, and he and his proud match-making 
wife have led the " Parvenu " to suppose that she will marry him. 
She has, however, become attached to Claude Glynne, a poor 
artist. Lady Pettigrew has fallen into the error that the young 
fellow is only masquerading, and that he is really the Earl of 
Clydesdale, and therefore encourages his attentions. When she 
discovers her mistake, she is furious, forbids him the house, and 
poor Gwendolen is induced to say she will marry Mr. Ledger 
when she learns from her father that her refusal will bring ruin 
on the family. She has a firm friend in Mary Ledger, who works 
upon her father's feelings most effectually. He is, though vulgar 
and ostentatious, a gentleman at heart, and a kindly one ; and 
when his suspicions are confirmed that Gwendolen does care 
for some one else, and not for him, he not only gives her up, but 
presents her with the mortgage deeds on her father's property as 
a wedding dowry. The other love-making consists in the wooing 

Feb., 1891.] The Roundhead. 35 

of saucy, good-hearted Mary Ledger by the Hon. Charles Tracey, 
a sprig of nobility, not too clever and therefore intended for the 
Church, but whose tastes are decidedly horsey. The performance 
was an excellent one. Harry Paulton, who has hitherto gained 
a reputation as a quaint comedian, exhibited an unexpected 
vein of pathos and the possession of infinitely greater power than 
he had been credited with. He was the typical ostentatious 
parvenu^ but at the same time a feeling, generous human being. 
Ian Robertson's make-up as Sir Fulke Pettigrew was good, quite 
that of an aristocrat who had spent most of his time on the turf, 
and his demeanour that of one who had not lost the manners of 
a gentleman, though he had associated with shady characters. 
Charles Sugden (Hon. Charles Tracey) also realised that, though 
his family intended him for the Church, natural instinct had led 
him to the enjoyment of sport, and was genial and easy ; I thought 
if he had not appeared quite so clever, it would have added zest 
to the part. William Herbert as Claude Glynne was one of 
nature's gentlemen, straightforward and manly, and made love 
well. Fanny Coleman as Lady Pettigrew just let sufficient of 
her humble origin be seen while affecting the grand manners 
of a lady of noble descent Lucy Buckstone as Gwendolen 
Pettigrew was as sweet and tender an English girl as one could 
wish for, and Laura Linden was a charmingly outspoken, loving, 
and roguish Mary Ledger. The scene which is laid in "No 
Man's Land " was a beautiful woodland set. The revival was a 
fair success. 

20th. Terry's mativJe. — The Roundhead^ romantic drama in 
three acts by Bernard F. Bussy and W. T. Blackmore. The 
authors would have done far more wisely had they made of it a 
play in one act instead of spinning it out to three, by long-winded 
soliloquies and dreary speeches, which wearied their audience 
and destroyed the interest An oldish Roundhead marries a 
young wife, and they both imagine that neither loves the other. 
Her cousin, a Cavalier, takes refuge in their house, and requites 
his host's kindness by endeavouring to induce the woman to 
elope with him. The husband, to make things comfortable for 
them, attempts to commit suicide, but fails. Wife and husband 
discover they are all in all to each other, and the Royalist cousin 
is shot down by Parliamentary troops. The characters were as 
unlike human creatures as possible ; the only natural ones were 
a soubrette and serving man, well played by Lilian Millward and 
Welton Dale. Edward O'Neill was a spirited Captain Glynne ; 
Edith Jordan was gentle, but not strong enough for the wife ; 

36 Rosmersholm. [Fm.. xSqi. 

H. A. Saintsbury had power, but was too melodramatic — his death 
fall was clever and startling. The Roundhead was preceded by 
Richard's Play, produced at the Lad broke Hall in January, a 
neat, effective, and pretty little piece, turning on the love of Sylvia 
Deloraine (Madeline Rowsell) for Richard Maitland (Edwin 
Gilbert),' a poet, who, with his sister Prudence (Mrs. Conyers 
d'Arcy), has given the girl shelter. When he finds that she is 
an heiress, he conceals his affection and points out to her that 
it is her duty to take up her new position in life. Admiral 
Sandilands (Cecil Thornbury), her uncle, has come to fetch her 
away; but, seeing how nobly Richard is behaving, he relents, and 
gives his consent to the lovers' union. The title is taken from 
the fact that Richard Maitland has written a play, which is 
eventually accepted by Rich, the manager. Miss Rowsell was 
good, but a little amateurish ; and Cecil Thornbury was excellent 

23rd. Dramatic Sick Fund. — The thirty-fifth annual banquet, 
held at the Hotel Metropole, H. Beerbohm Tree in the chair. 
Justin McCarthy, M.P., Sydney Grundy, Joseph Knight, and 
Comyns Carr principal speakers. 

23rd. Vaudeville matinee. — Rosmersholm, drama in four 
acts by Henrik Ibsen, translated by Charles Archer. Those of 
the audience who could honestly say that they fathomed the 
motives which induced the extraordinary conduct of Pastor Rosmer 
and Rebecca West must have been of no ordinary capacity ; even 
a close study of Ibsen could hardly have enlightened them. Here 
is a woman, basely born, who, through being allowed to run wild 
and read all sorts of books, has become a Free-thinker and an 
" Emancipist." She determines to win over the man even whilst 
he is married. She winds herself into the affections of his wife 
Beata, and eventually persuades the poor half-crazed creature that 
she (Beata) is not a fit mate for her husband, and so to liberate 
him she drowns herself in the mill-race. Then Rebecca and 
Pastor Rosmer live under the same roof in a state of purely 
platonte attachment, she having so worked upon him by her 
teachings that from an earnest Christian and a Conservative in 
politics he becomes an Atheist and Socialist. Beata's brother, Rector 
Kroll, lets him know what the world thinks of him and of the 
connection with Rebecca, and so Rosmer asks her to become his 
wife. She, now that all that she has been striving for is within 
her attainment, at the same time that she confesses to a burning 
passion and desire for him, refuses, her explanation being that 
association with him has ennobled her and upset all her previous 
notions. Rosmer has recanted, he once more follows his orTginal ^ 

Feb., 1891.] li^e Two. * 37 

religious and political opinions, but he can no longer believe in 
Rebecca, or that she loves him. She has confessed that she was 
indirectly the cause of Beata's death. His faith in Rebecca's love 
can only be restored by her proving it after the same manner that 
his late wife did. Rebecca consents, she will drown herself, and 
he, to prove his devotion to her, dies with her, the old ' servant, 
Madame Helseth, watching them as they cast themselves into the 
fatal mill-race, and the curtain falling upon her words, " The dead 
wife has taken them." To thoroughly invest two such characters 
with a reality, the very highest art is requisite. Granted that F. R. 
Benson and Florence Farr did much with them, the one was too 
weak, the other was wanting in that burning passion that would 
consume every obstacle to its gratification. Charles Hudson, the 
awakened illusionist, ruined by a long course of dissipation, a little 
overacted at first, but did most justice to the best- drawn character 
in the play. Athol Forde was the embodiment of a determined 
and outspoken man ; and J. Wheatman represented naturally 
a self-made, shrewd leader of the people in the editor of a news- 
paper. May Protheroe was consistent and artistic as Madame 

24th. We TwOy adaptation by R. Annandale of Unter Vier 
Augertiy was to have been produced at the Vaudeville on this 
date, but, in consequence of an injunction obtained by Silvain 
Mayer, he having claimed the English rights, the piece was taken 
out of the bill. Messrs. Bloch and Brellin, who held the English 
rights, later instructed Mr. Mayer to give way. 

25th. Lyceum. — "The Story of Swordsmanship." Some 
fourteen years ago Mr. Egerton Castle was so impressed with the 
admirable fencing of Mr. Irving as Hamlet, that the spectator 
determined to acquire the art himself. Not only has Mr. Castle 
become one of its most skilful exponents, but he has devoted 
much time and research to its history, and the result was given 
us on Wednesday afternoon, Feb. 25 th, on the stage of the 
Lyceum (kindly lent by Mr. Irving). We heard a most interest- 
ing paper read by Mr. Castle, entitled " The Story of Swords- 
manship, specially considered in connection with the Rise and 
Decline of Duelling." Would that there were space available to 
enlarge on the merits of the discourse, for, considering its limits, it 
was most comprehensive, and quoted the best authorities on the 
subject ! The various weapons in the shape of swords, daggers, 
rapiers, and foils, and their special uses, were illustrated in the 
most finished and masterly manner by Mr. Egerton Castle, Captain 
A. Hutton, Dr. Mount Biggs, Sir Frederick and Mr. Walter 

38 The Idler, ifib., 189.. 

Pollock, Professor Vital de Bailly, and Maitre-d'armes Philippe 
Bourgeois, all good men and true, the two latter specially well 
versed in Vescrinu, Mr. Egerton Castle repeated his lecture on 
March 20th at the Lyceum, by the invitation of Mr. Henry 
Irving, at which H.R.H. the Prince of Wales was present. 

25 th. Criterion {revivals). — Sowing and Reaping, two-act 
comedy by C. Vernon, and Trying it On, farce by William 

26th. St. James's. — The Idler, four- act play by C. Haddon 
Chambers. After a prosperous run of about three months in 
New York, where it was produced at the Lyceum Nov. nth, 
1890, Mr. Haddon Chambers's play gained a complete success 
on its production here. The author has the happy faculty of 
fixing the attention of his audience by the interest it is compelled 
to take in the fortunes of his characters, and even though the 
comedy scenes were not quite original, and the main feature of 
the last act was a little hackneyed, every one regretted when the 
curtain fell. If Mr. Chambers could write the lighter parts of 
his play as ably as he does the more earnest portion, it would be 
quoted as one of the best that has been seen for years. As it is 
it ranks very high in dramatic work, and maintains his reputation. 
Mark Cross, ** the Idler," illustrates the manner in which a man 
may wreck his life by giving way to the gratification of his passions. 
As a younger man he has married beneath him ; his wife betrays 
him, and he leaves her, and yet, though still married, he allows 
himself to fall in love with a young girl. He has, however, the 
moral courage to fly, goes to America, leads a wild life among 
the miners, and there makes the acquaintance of ''Grentleman 
Jack." After a time he hears that his wife is dead ; he hastens 
home to win the girl he has loved, and finds her married, and 
happily, to Sir John Harding. The husband of his former love 
is no other than " Gentleman Jack " ; his youth has been tempes- 
tuous, and he has carefully concealed it from Lady Harding. She 
is of course ignorant that in a drunken bout he has fired his pistol, 
that his shot has killed a fellow-miner, and that, fearing the con- 
sequences, he fled. Cross knows that Simeon Strong has sworn 
to hunt down the slayer of his dead brother, that he is now in 
England, and Cross tells this to Harding. Presently Simeon 
Strong calls at the Hardings', and recognising the baronet at once, 
proceeds to lay plans for his punishment Cross sees his oppor- 
tunity; his lawless passion for Lady Harding masters him; he 
determines that it shall be gratified. He can do almost anything 
with Simeon, for he owes Cross a deep debt of gratitude for having 

Fm., 1891.] The Idkr. 39 

saved his life. Cross promises Lady Harding that if she will 
come to his chambers and respond to his advances he will save 
her husband. Loving Sir John as she does, she consents, the 
dropping of her bouquet being the arranged signal (reminiscent 
of All that Glitters). In a most ably written scene between 
the two men, Cross at length induces Simeon to forego his 
vengeance, and obtains from him a letter to that effect. Lady 
Harding keeps tryst, and Cross tries to enforce her portion of the 
contract, but she, strong and pure, combats him at first by imply- 
ing that he never can have intended more than to frighten her 
almost in jest ; but when she sees he is determined, her womanly 
appeal to the latent good that is in him conquers, and he is allow- 
ing her to depart when Sir John appears. He discovers that his 
wife has been at the chambers — ^for there she has left her fan — he 
remembers that Cross has been a former lover of hers, and he 
puts the vilest construction on her visit, and brands her as all that 
is infamous. The last act comes again in the chambers. Sir John 
demands a duel then and there, without witnesses even. Simeon 
Strong prevents this, he stands between the two men, and then 
Lady Harding convinces her husband of her purity and leads him 
away repentant. Mark Cross, despairing and disgusted with life, 
contemplates suicide; the sight of his mother, between whom and 
himself there is the deepest affection, moves him : he will not bring 
more sorrow on her; he puts down the pistol with which he has 
been toying, and calls to his servant to pack up for a long, long 
journey; he is going on an exploring expedition — whither will it 
lead.? "God knows" — and so the curtain falls. George Alexander 
has a complex character to illustrate, that of a man in whom good 
and evil are constantly at war, the latter prevailing so frequently 
through his want of control over his passions. For their gratifi- 
cation he becomes a fiend, an animal, but even at their worst stage 
his good angel will assert itself and save him. The author was 
most fortunate in securing one who could so ably depict the inner 
nature of the man, and even more so in having in Marion Terry 
an actress who was so pure and feminine and true that the beauty 
of Lady Harding's life and devotion to her husband and the pity 
for the man who so madly loved her were fully displayed. 
Herbert Waring supported the cast admirably with his firm grasp 
of character, and in John Mason, an American actor who made 
his first appearance in London, we had a gentleman who at once 
established himself as a leading spirit from his breadth of style 
and easy yet earnest manliness. His scene with Mr. Alexander 
was as finely rendered by both as could possibly be done. I have 


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40 Lady Barter, CF"-. ^sgi. 

laid but little stress on the light comedy scenes, for they bear but 
small relation to the play. They were, however, admirably inter- 
preted. Maude Millett is a spoilt child, but most bewitching in 
her sauciness and determination to have her own way. Her 
father, General Merryweather, domineered over by her, is anxious 
to marry a third time, and is nearly caught by Mrs. Glynn 
Stanmore, a brilliant coquette and fortune-hunter. Nutcombe 
Gould and Gertrude Kingston aided the author not a little by 
their impersonations, and Lady Monckton made a minor role 
important by her artistic skill. The luxury of the mounting of 
The Idler was only equalled by the exquisite taste displayed in 
all the ladies' costumes. During the run of the piece Miss 
Granvilleappeared as Mrs. Glynn Stanmore in the place of Gertrude 

28th. Princess's. — Lady Barter^ original comedy of modem 
life. Cynics will tell us that Charles Coghlan's play is really 
what he terms it : a representation of " modem life." It may be 
so, but how hideous is the picture it presents. A beautiful 
demon, abandoned, heartless to the very core, sends one noble 
fellow to his death, wrecks the life of another by destroying his 
faith in the purity of womanhood, does her best to inculcate her 
own evil principles into the heart and mind of an innocent 
ingenuous girl, makes contemptible a magnate in the Church and 
a general who has bled in his country's cause, and is finally 
rewarded with an enormous fortune that will enable her to live 
in luxury and sloth, and strengthen her power to work her wicked 
will on those with whom she comes in contact If this be our 
"modern life," how ashamed we ought to feel of our boasted 
civilisation ; but even if it exist, why should it be paraded before 
us, and the premium of reward held out to vice ? We have 
the supposed Lady Barter, really Nelly Marshall, a woman with 
an unenviable past, living in splendour in Park Lane. She has 
in constant attendance, receiving from them costly presents, 
Archdeacon Short and General Peters, and she is engaged to be 
married to Lord Brent, a young nobleman who believes her to be 
as estimable as she is beautiful. Colonel Pearce arrives from 
Egypt, where he has seen hot service, and has buried there a 
comrade, Hugh Chorlton, who has entrusted him with a packet 
of letters to be delivered to Nelly Marshall. The Colonel knows 
that Lady Barter is the Nelly, but she persistently denies it and 
professes to be insulted. When Colonel Pearce discovers that his 
friend, Lord Brent, is engaged to the woman, he vows that no 
marriage shall ever take place between them ; he has the greater 

fbb., 1891.] RachePs Messenger, 41 

interest in preventing it in that he loves Lord Brent's sister Mary, 
a charming girl whom Lady Barter does her best to inoculate 
with her own vicious ideas. The siren endeavours to make the 
Colonel believe that she cares for him ; failing this, she accuses 
him to \itx fianci of halving made love to her : but the Colonel is 
persistent, he will win the battle, and so he persuades Lord Brent 
to turn eavesdropper, and then the Colonel plays his trump card. 
He pledges his honour to Lady Barter that Hugh Chorlton left 
a fortune of ;^2 00,000 to Nelly Marshall if she can be found. 
This is enough for Lady Barter ; she owns to her identity, is 
glad to be rid of poor faithful Lord Brent, and goes off to a 
ball with her ancient admirers. Mrs. Langtry was dangerously 
fascinating, it must be admitted, although she did not for a 
moment conceal the baseness of the character she represented ; 
she has not acted better in anything she has hitherto done. 
Charles Coghlan was too studied and hesitating, though he had 
his good moments, particularly in his love scenes with the Hon. 
Mary Brent, most charmingly played by Helen Forsyth. Lewis 
Waller's part is not one in which he could shine very much, but 
he was manly, and simulated his faith and love well. Fred 
Everill as an oily, bland Churchman and Arthur Stirling as a 
foolish, love-stricken old warrior did justice to their characters. 
Some of the dialogue was particularly well written, and from the 
excellence of the acting one was bound to feel interested to an 
extent ; but the play, as I expected, did not find favour for long, 
and was withdrawn after some twenty representations. 

Lady Barter was preceded on the same evening by a one-act 
play from the pen of Malcolm Watson, entitled RacIieVs Messenger^ 
poetically written, but it required delicate treatment. May 
Gleddin (Hetty Dene) is to be married the next day to Stephen 
Hedley (T. H. Lechmere), a lawyer who has a hold upon her 
father. She has given her heart to Bruce Holden (Oscar Adye), 
and is therefore sacrificing herself. Her lover returns unexpectedly, 
and is led to believe that May is a willing bride by Rachel Vicary 
(Amy McNeill), who is in love with him, and he has left in 
despair, when Rachel learns that it was through saving her father 
from a felon's dock that Richard Gleddin (E. B. Norman) has 
fallen into Hedley's clutches. She makes reparation in calling 
Bruce Holden back. Amy McNeill had a difficult character to 
play, and was a little too melodramatic in her delineation, which, 
however, had its good moments. Hetty Dene was a sweet loving 
girl, and Ethel Hope a charming old lady as Mrs. Gleddin. 

28th. Ladbroke Hall. — Equality Jacky nautical operetta. 

42 MademaiseUe Cleopatra. cma«ch, isgt. 

libretto by William Poel, music by W. S. Vinning, Mus. Bac. 
Oxon. I have known an author go to a popular novel for his 
inspiration as to one character, but I do not think I have ever 
before come across a librettist who has endeavoured to lay under 
contribution the series of a novelist's works. Captain Marryat's 
delightful stories were thus maltreated. "Midshipman Easy" 
gave us the hero of " equality " in one Reuben Grubbins, an old 
country yokel, impressed to serve on board a man-of-war brig ; 
a mischievous middy, Horatio Smallfry, was Gascoigne from the 
same novel ; Ebenezer Bully was a cross between Chucks the 
aristocratic bo'sun and the swearing chaplain in " Peter Simple " ; 
Dick Short is taken from old Stapleton " Human Natur " in 
" Jacob Faithful " ; Sambo is a wretched travesty of Mesty in 
" Midshipman Easy " ; and Nancy, in her coquettish ways, is 
evidently suggested by the character of that name in " The 
Poacher." An incident which is set to one of the most musical 
numbers, the cutting off of the pigtail, is afforded by "Poor 
Jack " ; but the worst of it is that these characters are all spoilt, 
and there is no story beyond the fact that Nancy sails in the brig, 
conceals herself in the cookhouse (from which she is constantly 
popping out to flirt), masquerades as a sailor-boy, and makes love 
to Henry Truelove, her Orlando, after the manner of Rosalind, 
and eventually marries him. Would that the book had in any 
way approached in excellence the music ! This was bright and 
tuneful, and some of the choruses and part-songs were masterly. 
Nancy, agreeably played by Rose Mitchell, had some very pretty 
numbers ; Sidney Burt showed himself a musician as Bully ; 
O. B. Clarence was full of fun as Horatio Smallfry ; and Cecil 
Baker was almost as lugubrious a lover as Truelove as is 
Vanderdecken, whom he seemed to have endeavoured to make 
up to resemble. 

28th. Terry's. — Last night of /« Cftancery, 



2nd. Avenue. — Mademoiselle Cleopatra, W. Sapte, jun.'s bur- 
lesque, did not have a fair chance. There was much in it that 
was amusing, and the part of Marc Antony was very funnily played 
by J. J. Dallas. Edith Ken ward and Edith Charteris cleverly 

March. 1891.I Qur Aflgels, 43 

burlesqued a music-hall performance as the Sisters Stilton, and 
Frank Lindo gave a really wonderful imitation, not a travesty, 
of Wilson Barrett as Claudian. The whole was, however, made 
of no avail through the disfavour with which the performance of 
Floy Vita, an American actress, who filled the title rdle^ was 
accepted. Mademoiselle Cleopatra only ran a week. It was preceded 
by an original two-act drama, entitled Changes and Chances^ by 
an anonymous author, which would have done better if it had 
been written in one act The younger of two sisters, Deborah 
and Rachel Harbinger (Miss Schubert and Beatrice Adair), elopes 
with one Harry Vernon. She has been engaged to Fred Harrison, 
but before she returns after a lapse of years happily married and 
able to assist her family, who have fallen into difficulties, she finds 
that her former lover has transferred his affection to the more 
staid Deborah. 

2nd. Henry Irving elected member of the Marlborough Club, 
having been proposed by H.R.H. the Prince of Wales. 

3rd. Vaudeville matinie, — Our Angels. Original drama in 
three acts by G. H. R. Dabbs and Edward Righton. We are 
too much given nowadays to believe that every play is written 
with some special motive, and so it has been stated that Our 
Angels was intended by Dr. Dabbs to illustrate the demoralising 
effect produced by the abuse of morphia. The play, originally 
produced at Shanklin under the title of Our Paly in one act, but 
since then amplified into three with the aid of Edward Righton, 
does not bear on the face of it much evidence of this. It is 
simply a well-written melodrama, with a tragic end for the villain, 
Martin Farquharson (Lewis Waller), who, having long used the 
drug, eventually takes his own life through its agency. He has 
killed unfairly in Australia a " pal '* of Blinker's (W. H. Vernon), 
who vows to hunt him down and eventually does so. But before 
this happens, Farquharson, to remove Percy Fortescue (H. 
Eversfield), poisons him with morphia, and hopes to put out of 
the way Rupert Cardwell, M.D. (Ben Webster), who is engaged 
to Lily Tarbard (Beatrice Lamb), by getting him accused of the 
murder. The doctor's innocence is proved through the agency of 
Blinker and Lily, aided by Maud, a bright American girl who is 
a staunch friend to the doctor and his sweetheart. All the parts 
were well played, even to the small ones of Sir Beevor Vandyke 
(Lawrence d'Orsay) and Mr. Tarbard (Ernest Hendrie). W. H. 
Vernon and Lewis Waller were specially good, and Fanny Brough 
as Maud played with a depth of pathos that drew tears from her 
audience, and fairly surprised those who had only hitherto judged 

44 Two or One — Zephyr, [March. xBgx. 

the talented actress as one of our brightest and best light 

3rd. Avenue matinee, — Two or One and Zephyr. Miss Loie 
Fuller gave this matin^e^ and appeared as the principal character 
in two plays by Mrs. Bernard Wishaw. In the first, a farcical 
comedietta entitled Two or One, as Emmy Campbell, the clever 
actress simulated a mad Ophelia and other characters, in order to 
dissuade one Douglas McDougal (cleverly played by G. T. MinshuU) 
from a marriage with her twin sister. In this Miss Fuller sang with 
great taste. As Zephyrina Winn, the principal character in Zephyr y 
the actress represented a warm-hearted American girl, whose 
father has suddenly become a millionaire. She comes to England 
on a visit to an aristocratic family, who snub her on account of 
her unsophisticated nature, but she finds one friend in a young 
nobleman, who is lenient to her ignorance of the ways of the big 
world. Unfortunately his attentions are misconstrued by the 
girl to whom he is engaged, and a rupture occurs between them, 
but Zephyr brings them together again. Loie Fuller acted with 
a natural grace and pathos that won for her admiration, and 
Georgie Esmond played most charmingly as the ingenuous Lily 
Everitt. Sylvia Grey displayed quite unexpected talent in the 
rble of an Eton boy, and Arthur Forrest was a manly, loyal 
gentleman as Lord Kyrconncl. Isabel Grey exhibited great tact 
as a kindly, submissive old maiden lady. 

4th. Lyric — Love and Law, original operetta by Frank 
Latimer, music by Ivan Caryll, was not as good as some of the 
first pieces we have seen. It turns on the facility with which 
divorce cases can be arranged by an accommodating attorney, 
who has for his chief clerk Miss Justinia Taper (Adelaide 
Newton), and who employs none but lady clerks. They wear 
the divided skirt, are supporters of woman's rights, and go on 
strike. The two clients are Lord and Lady Belgravia (Michael 
Dwyer and Annie Schuberth), who have each a pleasing number, 
the gentleman the one commencing " Through daffodils " and the 
lady "Have pity upon a poor lady's distresses," both of which were 
so well rendered as to secure encores. Some of the choruses 
were effective. On this date La Cigale was played for the hundred 
and fiftieth time, and one of the most tasteful souvenirs of the 
opera was presented to every member of the audience. The 
souvenir contained beautifully executed pictures of the principal 

4th. Lyceum (revival). — Charles /. Since its original pro- 
duction, W. G. Wills's most poetical play has been several times 

marcm, X89X.] Culprits. 45 

revived, and though we must admit that the author has drawn a 
picture of the martyr king more favourable to his character than 
history allows, and has most unwarrantably vilified the memory of 
Cromwell, yet he has given us such a moving and pathetic whole 
that we forgive and forget the historical inaccuracy in the exquisite 
enjoyment of the performance. For Henry Irving presents to us 
in appearance a living reproduction of Vandyke's Charles L, and 
graces the character with a kingly digjnity and a noble melancholy 
that surpass, in artistic skill and their effect on his audience, 
anything that he has yet accomplished. Most marvellously did 
he assume in the first act the lightness of heart displayed in 
affectionately playing with his children, whilst all the while torn 
with the cares of state, and yet so unselfishly concealing his 
anxieties from his dear ones. Again, in his reproach to his 
Judas-like betrayer, Moray, the love of the King was so perfectly 
blended with the bitter sense of the ingratitude of the friend 
whom he had so favoured ; and in the parting scene with his 
queen and childreo the sublimity of pathos was reached. Ellen 
Terry was not one whit behind Henry Irving in general delicacy 
and refinement of treatment She was truly a worthy consort for 
such a king, and the most comforting of wives to such a man. 
Her opportunity really comes only in the last act, when she sues 
to Cromwell for her husband's life ; but her duty as a queen and 
mother to the future ruler of England was as perfectly conveyed. 
T. N. Wenman played Cromwell with a rugged strength cha- 
racteristic of the man, and yet showed us that his love for his 
daughter Elizabeth was the one soft spot in his otherwise iron 
nature. W.Terriss could have improved his Lord Moray by appearing 
less saturnine. Henry Howe was once more a faithful, dignified 
Lord Huntley ; and Minnie Terry was a charming Princess 
Elizabeth. The play was, as usual at the Lyceum, magnificently 
staged ; and Mr. Irving's appearance in his suit of steel armour 
will not soon be forgotten. There was one thing that struck me 
as strange, and that was, as Ellen Terry did not in the least 
affect the accent or mode of speaking of a foreigner, why Mr. 
Irving should have overlooked and allowed to remain Huntley's 
words in which he refers to the Queen's " pretty broken " 

4th. COVENT Garden. — Augustus Harris's fancy dress ball. 

Sth. Terry's. — Culprits, Arthur Law must be credited with 
remarkable ingenuity in the entanglement of all his characters. 
This forms the entire merit of his play, however, for the dialogue 
does not " bristle with repartee " or " charm with epigram." The 

46 The Gondoliers. CBfAKCH, 1891. 

principal character, Major Rackshaw (Eldward Terry), has been 
married before and has a daughter living, Mary Seymour 
(Eleanore Leyshon), who has been led to believe that he is her 
uncle, but of none of these facts has he informed Mrs. Rackshaw 
(Susie Vaughan). Lady Pendlecoop (Sophie Larkin) had also 
passed herself oflf as a spinster when she married Sir Joseph 
Pendlecoop (Fred Kaye), though she was a widow with one son. 
Imagine her horror when he turns up as a young artist, Philip 
Ashton ! (A. Kendrick). The Major is in a fright when he meets 
the Rev. Oriel Fanlight (Walter Everard), for he is the parson 
that married him to his first wife, who he had imagined had 
" gone down with all hand€ " ; but poor Rackshaw's situation is 
even more deplorable when he fancies that in the Countess de 
Loreauzane (Alice Yorke) he recognises his first wife. Then 
Ashton and Edward Pendlecoop (H. V. Esmond) and Mary 
Seymour and Gwendoline Fanlight (Eva Moore) are madly 
jealous of each other respectively, so it can be seen that ludicrous 
complications arise. The key to the riddle is the fact that 
Rackshaw's first wife was a twin sister of the Countess, and 
mutual explanation and confession all round sets matters straight 
Was there ever "confusion worse confounded," when half a dozen 
words on the part of the Major and Lady Pendlecoop would have 
made matters clear at once? I think Mr. Terry must have been 
tempted to produce this play on account of the ludicrous per- 
plexity and terror that Major Rackshaw suffers, but, though 
amusing, he has played far better characters, and his Irish brogue 
was occasionally forgotten. All in the cast exerted themselves 
to the utmost, and did everything that was possible to raise 
merriment, but even the clever people engaged were not altogether 
successful. A. Kendrick, a new-comer to the London stage, 
showed much promise in a very thankless part. 

Sth. Mr. Lacy, son of the veteran Walter Lacy, appeared at 
only half a dozen hours' notice as the Marquis of Huntley in the 
place of Mr. Henry Howe in Charles I. 

Sth. Meeting of the Royal General Theatrical Fund, Thomas 
Swinboume, honorary treasurer, in the chair. Robert Courtneidge 
and Charles Dodsworth elected directors of the fund. 

6th. The Savoy company, under the management of R. D'Oyly 
Carte, appeared in The Gondoliers before her Majesty the Queen 
and Court at Windsor Castle. The performance took place in 
the Waterloo Chamber. Stage and proscenium were erected. The 
actors and actresses and rest of the company were^>afterwards 
entertained in the Vandyke room. Digitized by LiOOgle 

mabch, 1891.1 Lady Bountiful. 47 

7th. Garrick. — Lady Bountiful 

" My masters, will you hear a simple tale ? 
No war, no lust, not a commandment broke 
By sir or madam, but a history 
To make a rhyme to speed a young maid's hour." 

Act I. — " Aunt Anne speaks her mind." Peele Lydgate. A Morning Room at Faun- 
court. Act II. — *' Dennis sets foot in a new world. The Hyde Park Riding Academy, 
Knightsbridge, three months after. Act III. — "Margaret prepares for her voyage." 
London eighteen months after. Act IV. — " Camilla goes to the altar." St Eanswythe 
Lydgate Old Church five years after. 

There is a tendency to hero-worship which is growing apace 
with Londoners, indeed, I might say, with Englishmen generally. 
Once let them be convinced in their own minds that a prominent 
individual has done something great or good, or, in some cases, let 
him be only sufficiently talked about, they set him on a pedestal, 
and seem to imagine that everything he does from that time 
forward must be worthy of praise. Actors and dramatic authors 
have of late shared in this worship, and A. W. Pinero is evidently 
one of those whose work must be taken as good. On no other 
principle can I account for the enthusiastic reception accorded to 
his latest play, Lady Bountiful^ at the Garrick on its initial pro- 
duction, and this reception was shared by the principal actor and 
actress, who were not by any means seen to the best advantage 
so far as the delineation of their respective characters was con- 
cerned. Mr. Pinero describes his play as original ; on the 
programme he acknowledges "the relationship" of one of the 
characters (Roderick Heron) to the well-known family of the 
Skimpoles. Roderick Heron is Harold Skimpole exaggerated in 
his selfishness and utter want of principle or anything approaching 
to honour. Act HI., where " Margaret prepares for her voyage," 
is obviously suggested by David Copperfield's child-wife and 
Agnes ; the resigning of Camilla's hand by Sir Richard Philliter 
is closely allied to the incident in which Esther Summerson, her 
guardian, and Allan Woodcourt figure as to the marriage ; and 
though it may be only a coincidence, we have in " Night and 
Morning'* a. young fellow who has been brought up to no pro- 
fession very wisely, I think, turning his only available talent to 
account and engaging himself as rpugh rider. All this would not 
matter, perhaps, if the author could have made the conduct of 
Camilla and Dennis Heron comprehensible to us, or their 
characters even sympathetic, but here we have a girl who is 
supposed to be eating her heart out for her cousin, treating 
him with almost brutal disdain and contempt, because he, ignorant 
that he is not wealthy, has enjoyed himself, after the fashion of his 
class, in field sports ; and, although he has discovered that he 

48 Lady Bountiful. [Ma«ch, 1891- 

loves Camilla, quixotically he marries a woman that he does not 
care for, simply because he has ascertained what it was never 
intended he should know : that the woman loves him. Then the 
manner in which Mr. Pinero brings about the two principal 
situations of his play is so hackneyed and conventional — by 
means of the delivery of two letters to Dennis, neither of which, 
except for the exigencies of the author, should have reached 
Dennis's hands at all, and in the natural course of things would 
not have done so. I am so great an admirer of Mr. Pinero, that 
I am sorry any play of his should afford one the opportunity to 
complain of it, but it must be remembered that the better the 
work an author has done in the past, the greater are the things 
that are expected of him in the future. The lines quoted at the 
head of this notice rightly describe the play ; it is " a simple 
tale," and one of its characters, John Veale, the horse-dealer, is 
more simple than we generally give gentlemen of his profession 
credit for. At Fauncourt Camilla Brent, a young beauty, reigns 
supreme ; she is the Lady Bountiful to the poor, and she supplies 
lavishly the repeated demands of her selfish spendthrift uncle, 
Roderick Heron. He and his son Dennis live under Camilla's 
roof, the latter supposing that his father is wealthy. Miss Brent 
thinks it time that he should be undeceived, and in doing this and 
referring to his position Camilla taunts him, without any mincing 
of the matter, on the useless life he leads. Dennis is shocked at 
what he hears, leaves Fauncourt, and goes to London to try and 
earn his living. Nothing comes in his way till he is offered the 
post of riding-master by John Veale, a horse-dealer of whom he 
had formerly bought hunters. Margaret Veale is educated above 
her station ; she objects to those with whom she has to mix. 
Dennis treats her as a lady, and so she falls in love with him. 
Taxed with this by her mother, she denies it, but, though living 
under the same roof with her, Margaret writes to her mother and 
acknowledges her love for Dennis. It is so arranged by the 
author that Dennis reads the letter and considers it his duty to 
respond to her affection, and so when Camilla and his family, who 
have found out his hiding-place, come to bring him home, he 
announces his coming marriage with Margaret, and Camilla is 
disgusted at the thought of the rndsalliance, John Veale has been 
taken in by the specious old rogue Roderick Heron, has become 
security for him, and is naturally sold up ; so Dennis Heron in the 
next act manages to set up as a livery stable keeper and support 
his wife, her parents, and his father. Margaret is an eight weeks' 
mother, and comes downstairs for the first time. Camilla has got 

March, 1891 Lady Boufitiful. 49 

over her disdain and holds forth the olive branch, is kind and 
sisterly to the invalid, who then confides to her that she had been 
jealous of her once, as she had discovered that Dennis had been 
attached to Camilla. Margaret evidently feels that she will not 
live long, and so she entrusts Camilla with a letter to be given to 
Dennis in the event of her own death stating that it is her wish that 
they should come together again ; and then, whilst Dennis is 
cheerily prattling to his little one in the cradle, the mother calmly 
and peacefully passes away to the land of shadows. This is one of 
the most beautifully written scenes that has ever moved an audience. 
Dennis emigrates to America with the Veales, his little child and 
father, and we hear nothing further of them save that the former 
are happy, and that Roderick Heron's plausibility has done him 
good service, and that he is a leader of the mining speculating 
fraternity. Having prospered during five years, Dennis returns to 
England, and his steps bring him to Lydgate Old Church. It is 
decked for a coming marriage. Camilla comes there to view the 
preparations. She has at length rewarded the persistent attentions 
of middle-aged Sir Richard Philliter, who has known her from a 
child and has long wished to make her his wife. When in the earlier 
stages of the play he had proposed to her (and been refused) he 
had done so by means of a particular passage in Horace, which he 
had pointed out to Camilla. She has kept the book, and now 
returns it to him. In opening it the letter written by Margaret 
drops out unperceived. When they are gone this letter is handed 
to Dennis. He reads his late wife's wishes, and so when Camilla 
returns in search of the missing letter he proposes to her. It is 
too late ; she is to be married the next morning to Sir Richard. 
And then we see this next morning, again in the church, and all 
the wedding guests assembled, and the clergyman just about to 
commence the ceremony, when Camilla's eyes rest on the sad 
hopeless figure of her lover. She rushes from the altar rails and 
leans against the font — a moment's pause — and Sir Richard 
announces, " There will be no marriage to-day, I think I know," 
and the curtain falls. It may be mentioned, en passant^ that the 
beauty of the last act was considerably marred by its being played 
almost in darkness. In all this my sympathies were not aroused 
for Dennis, though Forbes-Robertson played admirably, nor for 
Kate Rorke, partly because her character is unsympathetically 
drawn, and partly because this usually clever actress made her 
reading of the character objectionable by concealing its gentler 
side, and only showing us its pride and pettishness and want of 
true nobility. Mr. Hare was speciouslygenial, but not sufficiently 


so Ben-nty-Chne. CMarch, 1891. 

so ; his innate selfishness and want of principle were too apparent. 
The really interesting characters were Mr. and Mrs. Veale, natur- 
ally drawn and naturally acted, and deserving a better fate than 
was meted out to them when they were en evidence. To poor 
Margaret one's heart went out ; one could understand her admira- 
tion and love for the handsome young fellow who could and did 
treat her as one of his own rank, and the whole scene in which 
she is the most prominent figure as the dying wife was exquisitely 
rendered by Marie Linden. John Byron (son of the Henry J. 
Byron) and Gilbert Hare evidently inherit their respective fathers' 
talents, and made a most favourable impression on their first 
London appearances. Miss Webster (granddaughter of Benjamin 
Webster) made the hit of the evening, I think, as Amelia, an 
ingenuous little cockney servant, that she played to the life. 
R. Cathcart and Caroline Elton made much of the small parts 
of an antiquarian parish clerk and a voluble, cheery pew-opener, 
and little Beatrice Ferrar was very amusing as a violin-playing, 
fanciful young lady. All the stage pictures were realistic to a 
degree, and two of them, Fauncourt and the interior of the old 
church, extremely beautiful. 

7th. New Olympic matinee, — Ben-my-Chree. Ben-my-Chree, 
the powerful play founded by Wilson Barrett and Hall Caine 
on the latter's novel of " The Deemster," was revived. It was 
originally produced at the Princess's on May 17th, 1888, and is 
a story of the Isle of Man of many years ago. Many of the 
original cast were in the revival, but they assumed new charac- 
ters. Wilson Barrett was, of course, again the hero (Dan Mylrea), 
and played with his usual power. Winifred Emery succeeded 
Miss Eastlake as Mona Mylrea. She was a very tender repre- 
sentative of the part, but was scarcely strong enough for such a 
character. Austin Melford quite equalled in dignity and pathos 
poor Maclean, the original, as Gilchrist Mylrea. Cooper Cliflfe 
scored asthe impulsive Ewan Mylrea, and George Barrett brightened 
the scenes as the faithful Davy Foyle with his mingled pathos 
and humour. Of others that deserve favourable mention were 
W. A. Elliott (Thorkell Mylrea, the Deemster), T. W. Percyval 
(Mr. Harcourt, the Governor), Horace Hodges in the small part 
of Horning Beg, Lillie Belmore (Kitty), and Harrietta Polini 
(Liza Teare). The play is a melancholy one; but it possesses 
much interest, and is curious from its illustration of the laws that 
prevailed in the Isle of Man in times gone by. 

9th. Ladbroke Hall. — La Belle Clarisse^ drama in a two-act 
prologue and four acts. Author unannounced. The title rdle 

March. 1891.] Crime and Christening, 5 1 

was played by Madame Rita Carlyle, a handsome American lady 
possessing considerable dramatic power, but which was wasted on 
a part in which she has to represent a woman who, having been 
betrayed, vows vengeance and accomplishes it by the assumption 
of a villainous character. The drama itself was highly sensational, 
and what used to be known as of the "transpontine order." 

9th. Pavilion. — Capital and Labour^ four- act drama by W. J. 
Patmore and A. B. Moss. First time in London. 

9th. NOVELTV. — Love and Art, by Alfred A. Wilmot. This 
comedietta, which had been seen last year at the Lyric Hall, 
Hammersmith, dealt with the uneven course of the true loves of 
Ethel Ferndale (Georgie Harris) and Lester Durnstead (H. B. 
Clair) ; of Mrs. Lestrange (M. Denzil) and Sir Pompos Penygrin 
(J. G. Wilton), the imbroglio being complicated by Smartly (a 
servant, well played by Marie Brian). Of course the final ex- 
planations result satisfactorily for all parties, and the working out 
of the plot, if somewhat strained, led one to hope for better and 
more careful work from the same pen. At the same time, it 
must be conceded that, with the exception of Marie Brian, the 
representatives were not all that could be desired. 

loth. St. George's Hall. — Madge, comedy sketch by 
Florence Wade and H. Austin, the authors as Madge Arbuthnot 
and Harry Mervin; H. A. Saintsbury, Perry Parker; Cissy Wade, 

1 0th. Opera Comique. — Crime and Christening. Richard 
Henry's farce proved a merry little trifle that passed away 
pleasantly the few minutes that must elapse between the opening 
of the house and the commencement of the burlesque. Prowle 
is a myrmidon of the law. He is jealous and zealous — jealous 
of one Algernon, who is courting the policeman's sister, Lucinda, 
because he finds a letter addressed to Loo, Mrs. Prowle's Christian 
name ; zealous in his instructions to look after two notorious 
criminals. But he sinks the officer for the moment in the 
father in preparation for the christening of his infant son and 
heir, Charles Vincent Howard Munro Bradford Prowle. He is 
recalled to a sense of duty by the conversation of a male and 
female, who are taking a little refreshment and interlarding their 
amatory whisperings with scraps of French, and, satisfied that they 
are the criminals, he arrests them. His fond hopes of promotion 
are, however, rudely destroyed by his wife recognising her mother 
and uncle in the captives, neither of whom Prowle has ever seen. 
There was plenty of laughter as Prowle (E. Bantock, who 
reminded one of Buckstone) recalled his early courtship ; and 

52 Ghosts. [MAwai, 1891. 

Ethel Blenheim entered into the spirit of the thing as Mrs. Prowle. 
Katie Seymour was a sprightly Lucinda, and J. Ettinson and 
Linda Verner were amusing as Gribble and Mrs. Townley. 

loth. "Ought Plays to be Sermons?" a paper written by Alfred 
Paterson, was read by him before the Church and Stage Guild, 
the writer's opinion being that healthy amusement should be the 
object aimed at 

1 2th. Criterion (revival). — Nine Points of the Law, by Tom 
Taylor. W. Blakeley, Ironside ; George Giddens, Rollingstone ; 
Fanny Francis, Mrs. Smiley ; Cyril Maude, Cunninghame ; Mabel 
Hardinge, Katie Mapleson; Ella Terriss, Sarah Jane. 

13th. Royalty. — Ghosts. William Archer's translation of 
Henrik Ibsen's play. Unhappy the family which has not one, 
but several such skeletons in its cupboard, as the Alvings possess. 
We have a widow whose married life was one long misery, linked 
to a drunkard and a debauchee. He has not even respected his 
own roof- tree, but from an intrigue with one of his servants 
Regina is bom, and the wife, taking pity on her condition, has her 
to live in her house ; but the girl is vicious to the core, and find- 
ing from their relationship that Oswald's attentions can come to 
nothing, lets us know that she will probably follow in the footsteps 
of her mother. The son has inherited not only his father's vices, 
but (as Ibsen shows, though here medical science will tell us it is 
impossible) a disease which will rob him of his reason, and so he 
courts death. Pastor Manders is a well-meaning but weak man, 
whose fetish is "What will the world say?" and Jacob Engstrand 
is a hypocritical, canting scoundrel who encourages Regina in her 
downward course. I have only touched lightly on the plot, 
which in its development is too horrible and too terrible ; let 
those who wish to go into its dreadful details read the play for 
themselves. And, with all its loathsomeness, there is drawn an 
awful picture of the consequences of abusing " the joy of life " — 
Ibsen's theme — but that such a play could ever be produced 
before a mixed audience is in this country an utter impossibility. 
As, however, it was the first production at J. T. Grein's "Inde- 
pendent Theatre of London " (Theatre Libre), I have given the 
cast and this short notice as a matter of historical record of the 
" inaugural invitation performance." Mr. Grein called for aid 
in the shape of membership to support his enterprise, which 
embraces the production of plays of every country refused by 
managers and unlicensed by the Lord Chamberlain, but which 
from their intrinsic and artistic merit he thinks would be valuable 
acquisitions to the English stage, and tend to elevate the drama. 

March, 1891.] The Volcano. S3 

Esprits farts may go with him in his way of thinking, but English 
men and women generally will differ from him altogether. In one 
thing J. T. Grein and Cecil Raleigh, who stage-managed the 
play showed conspicuous judgment — in the choice of their cast. 
Mrs. Theodore Wright is to all intents and purposes an amateur 
now, though the lady had some stage experience in earlier years, 
and gave us a thoroughly human interpretation of the wretched 
Mrs. Alving, a Freethinker, with no hope or consolation but in 
her son, whom she must save from a living death by becoming his 
murderess. Frank Lindo showed great power as the wretched 
Oswald. Leonard Outram looked and faithfully depicted the 
smug parson. Sydney Howard was to the life the oily hypo- 
crite, who concealed every bad passion under the outward sem- 
blance of religious feeling ; and Edith Kenward came as near 
perhaps as was possible to the vicious, heartless Regina, although 
the part should have been played by an actress possessing, if I may 
use the term, " animal " beauty. Let us hope that Mr. Grein will 
see his way to give us a healthy play of Ibsen's — for he has written 
some that we have not yet seen in England — and then we may 
be able to judge and criticise openly and without reservation his 
work, and consider whether he is entitled to the exalted position 
his admirers claim for him. 

13th. Steinway Hall. — George Cameron^ sketch by Langdon 
Mitchell, and A Joint Household, sketch by Mrs. Hugh Bell. 

14th. Court. — The Volcano. The character of Mrs. Delancey 
Valentine was one so eminently suited to Mrs. John Wood in Ralph 
R. Lumley's new farce, and the first act so brilliant, that these 
combined must have induced the clever manageress of the Court 
Theatre to suppose that the shortcomings of the latter portions of 
the play would be forgiven, and that the company generally would 
be able, to work up the situations and render them as amusing as 
the opening. In this Mrs. Wood was mistaken. All concerned 
did their very best, but on the fall of the curtain even the plaudits 
of a generally friendly house were mingled with many sounds of 
disapproval. The author has hit upon a ludicrous idea, but fails 
to work it out satisfactorily. Mrs. Delancey Valentine is one of 
those wonderful women who have been everywhere and done 
everything. She is engaged by the editor of " The Volcano," a 
society journal, to interview " Notable Nonentities." Unaware 
that the Duke of Donoway, a nobleman who is ever indulging in 
some new fad, is the proprietor, she lays siege to him first. Even 
the Duke's household is ignorant of his connection with the 
print, and they are thrown into the utmost state of consternation 

54 Spring Leaves — La Cigale. [Ma»ch, 1891. 

by reading therein a libellous paragraph which states that the 
Duke contemplates an elopement with a celebrated lady. His 
Grace has himself inserted this communication to give spice to 
his bantling, little thinking that it will ever be seen by the 
members of his family. When the paragraph comes under the 
Duchess's notice, there is naturally a scene. The Duke still 
wishes to hide the fact of his being the proprietor of "The 
Volcano " from his belongings, and so he tries to sneak off and 
to get down to the office to insert an apology and contradiction, 
but as he is accompanied by Mrs. Delancey Valentine, the Duchess 
at once believes that the paragraph was correct, and that the two 
have eloped together. The Duchess pursues them, and eventually 
runs them down in the office of " The Volcano " in Fleet Street ; 
and here the author contrives, not very lucidly, to bring all his 
characters together, and the explanation ensues. The Duke is 
forgiven, Mrs. Delancey Valentine gives her hand to Captain 
Gumey, and the two young ladies, uninteresting characters, though 
well played, pair off with the two sprigs of nobility. Mrs. John 
Wood attacked her character forcibly and bore it out triumphantly 
to the close, and Mr. Arthur Cecil aided her much by his clever 
sketch of the pompous, silly old Duke. Weedon Grossmith 
posed very successfully as a young politician who imagines he 
can do everything, and that he is the cynosure of all eyes. His 
feeble singing of " The Wolf " was one of the funniest skits on 
the amateur musician that have been heard for some time. Brandon 
Thomas was a well-bred gentleman and a hearty outspoken sailor 
combined. Allan Aynesworth played naturally, and Fred Cape 
was quaint and original as Daniel Pultebeck, the editor of " The 
Volcano." Carlotta Leclercq was quite the grande danu^ though 
easily overcome by emotion' and subject to hysterics and fainting 
fits. If Mr. Lumley could have written up and made his last two 
acts only half as good as his first, he would have written a very 
amusing play, and perhaps a successful one. It was preceded by 
Spring Leaves^ a one-act comedietta adapted from the Dutch by 
J. T. Grein and C. W. Jarvis, which was not well received. 

14th. Chevalier Scovel made his reappearance in La Cigale 
at the Lyric. 

15th. Henry Arthur Jones delivered his lecture "How to 
be rightly amused at the Theatre," in connection with the National 
Sunday League, at the Shoreditch Town Hall. 

1 6th. Alfred C. Calmour gave a most spirited reading on 
this night at the Playgoers' Club of a really interesting and 
most useful paper on " Practical Play-writing and Cost of 

March, iSqx.] Diamond Dcafie. 55 

Production.** He read letters from Sydney Grundy and A. W. 
Pinero as to their method of work, gave some valuable hints to 
budding dramatists, and illustrated his meaning by appropriate 
quotations. There was considerable difference of opinion ex- 
pressed on Mr. Calmour*s estimate as to the cost involved in 
producing a new play at a ntatinie^ the speaker having placed 
the amount at far too low a figure. His estimate was from £to 
to ;f 90, whereas to give a piece a chance of success by engfaging 
an adequate cast it can rarely be done under ;6^i20. 

1 6th. The Actors* Association held their meeting at the Lyceum 
Theatre, F. R. Benson, chairman of the provisional committee, 
in the chair, when the objects of the association were set forth, the 
principal of which were the establishment of an agency, the 
providing means for settling disputes by arbitration, doing its 
best to check bogus management, and the remedying unsanitary 
dressing-rooms. Upwards of three hundred and fifty actors and 
actresses already belong to the association. 

1 6th, Sanger's Theatre. — Driven from Home, The good 
old drama was revived by Andrew Melville on his commencing 
management at this theatre. 

1 6th. Sadler's Wells. — The Gombeen's Gold ; or, The Grasp 
of Death, Five-act drama. First time in London. 

1 7th. Henry Irving opened the Whitechapel Fine Art Loan 
Exhibition, and in his speech referred to the great influence which 
art exercised on the people. 

17th. Windsor Castle. — ^John Hare and the Garrick com- 
pany had the honour of appearing before her Majesty in A Pair 
of Spectacles, followed by A Quiet Rubber, Lord Kilclare, John 
Hare ; Charles, Gilbert Hare ; Mr. Sullivan, Charles Groves ; 
Mary, Miss Webster. In connection with this performance, her 
Majesty presented John Hare with a scarf pin bearing the Imperial 
monogram, " V.R.I.,** in diamonds, surmounted by the Imperial 
crown in gold set with diamonds. 

1 8th. Vaudeville. — Diamond Deane, play in four acts. This 
work, by Henry J. W. Dam, a young American journalist, showed 
great promise, though at the same time it gave one the idea of 
little experience in stagecraft, and was occasionally rather tedious 
from the recurrence of the same situation. Yet the theme was 
an interesting one, and the language scholarly. There was, how- 
ever, a considerable amount of sermonising ; and prayer on the 
stage should, to my thinking, however reverentially it may be 
introduced, be avoided. The motive is to be commended — it 
teaches that the most debased may be won again to virtue by 

56 Diamond Deane, [March, 1891. 

kindness, and that before we condemn we should charitably 
inquire into the antecedents of the erring one, and learn whether 
the sinner may not be the victim of circumstances. In Diamond 
Deane we have the heroine passing as Miss Young. She has an 
innocent face and an artless manner. Apparently she is all that 
is good, but she has been one of the most depraved. This may 
be accounted for from the fact that she has sprung from the most 
contaminated stock, has been reared in the surroundings of vice, 
and has never known the meaning of kindness or Christianity till 
she comes under the influence of the good angel of her life, the 
Rev. Thomas Grant. Could she have remained in his household, 
all would have been well, but the police are harrying her, and so 
through the clergyman's influence she obtains a situation as 
companion to a Mrs. Dennison. There, again, she soon finds that 
to escape a felon's punishment she must fly. As she cannot do 
this without the means, she impersonates her mistress, whom she 
resembles, and under the pretence of encouragfing the libertine 
advances of Lord Sheldon she gets from him a considerable sum 
of money. Their parting is, however, witnessed by Mr. Dennison 
and his brother ; and Mrs. Dennison is accused of being unfaithful 
to her husband. The assistance of the detective John Murray 
unravels the plot, if only Miss Young will confess ; and this she is 
induced to do by the earnest appeal of Mr. Grant, who works upon 
her awakened better self. Rather lamely the culprit is saved from 
the punishment of the law by betraying those with whom she has 
been implicated in some flagrant robberies in the past, and the 
perpetrators of which the authorities are anxious to discover, and 
Miss Young is for the future to become a daughter to Mr. Grant 
and his kind-hearted wife, who had learnt to love her as her own 
child, and to whom she had given the fondest attention in a 
dangerous illness. Jessie Millward embodied the heroine with a 
strange fascination and sympathetic strength, Dorothy Dorr, an 
American lady new to England, should become a favourite with 
us ; her method is good, and she never overstrained effect in 
picturing the agony of the wrongfully suspected wife. Thomas 
Thorne was a kindly, guileless clergyman, strong only in his belief 
that charity may win back to rectitude the apparently lost. 
Lawrance d'Orsay, J. S. Blythe, and Scott Buist much aided the 
general excellence of the cast by making their characters human 
and natural, and not mere stage puppets. 

1 8th. CovENT Garden. — Second fancy dress ball. 

19th. Alhambra. — A testimonial benefit, with a presentation 
of an address on vellum to Charles Morton, took place. The 

March, x89x.] Father BtiOfiaparte. 57 

committee were enabled to hand the beneficiare upwards of a 
thousand pounds, so universally is he esteemed. 

19th. New Olympic matinee. — Father Buonaparte. Three-act 
play by Charles Hudson. This is quite a one-part play. The 
Abb6 Buonaparte (Wilson Barrett) is a typical village priest, 
venerable, revered, and loved by all his parishioners. He teaches 
the children, and plays with them, mends their clothes even, has 
the quaintest names for his little ones, and watches over his flock 
with the deepest affection. The apple of his eye is Addle (Winifred 
Emery), who has been left at his door when a baby. He has 
reared her, and she is to him a daughter. Contentment and 
happiness reign in the little hamlet, when General Morivart 
(Edwin Irwin) arrives, stating that by the Emperor Napoleon's 
order the Abb6 is to be carried nolens volens to Paris to be made 
a bishop. The old Abb6 altogether refuses the elevation that his 
nephew wishes to press upon him, but presently he is made quite 
miserable, for the Countess d'Osa (Frances Ivor) comes to claim 
Ad^le as the child that she had deserted years before. There is 
a struggle in Ad^le's breast as to whether she shall remain with 
the one who has been a father to her or go to Paris and mix in 
all the gaieties of the capital ; but the decision is made for 
her. Dr. F6ndon (Austin Melford) and Suzette, a villager (Alice 
Cook), prove (to the satisfaction of the author) that she is not the 
Countess's child, and so Ad^le is left with the old Abb^ and her 
lover Stephano (S. Miller Kent, a gentleman who made his first 
appearance in England and created a favourable impression). 
Wilson Barrett was seen to much advantage. There was a quiet 
humour in some of his scenes that was highly diverting, and the 
pathetic portions were done the most excellent justice to. With 
the exception of a rustic waiting-maid, capitally played by Lillie 
Belmore, there is little sympathy or interest commanded in the 
rest of the characters which Mr. Charles Hudson has introduced. 
It was not the fault of those who filled them that they became 

19th. Outbreak of fire at the Grand Theatre, Cardiff*. It was 
quelled in about twelve minutes, but damage to the amount of 
;^I50 was done in that time. 

20th. Lawrence Barrett, the American actor who was such a 
favourite with English playgoers at the Lyceum in 1885, died at 
the Windsor Hotel, New York, after a few days' illness. 

2 1 St. Court. — A Mutual Mistake^ a merry little play by 
W. H. Denny, the actor, in which, through a similarity of names, 
the quarters of a confirmed woman-hater are invaded by a strong- 

58 The Bookmaker. [Ma^cm, 1891. 

minded female, whom he imagines to have come relative to his 
purchase of a yacht, she all the while upbraiding him for his cruel 
conduct to a wife and children that he does not possess. The 
trifle was humorously played by Susie Vaughan (Miss Letitia 
McGilligan), by John Clulow (Owen Smith), and by Charles Rock 
(John, a servant). On the same evening the amended version of 
"The Volcano" was submitted to the public. The alterations, 
particularly in the close of the second act, the curtain falling on 
little Lord Ratcliffe singing in his tiny voice " The Wolf," and 
some writing up of the dialogue, made the piece go more briskly 
than at the first performances. 

23rd. Comedy. — The hundredth performance of /tf/«^. Photo- 
graphic souvenirs of the principals distributed. 

23rd. Grand. — His Mother. Dramatic sketch by G. D. Day, 
a sympathetic little play, in which Mrs. Ernest Clifton played 
remarkably well as Mrs. Summerfield, a simple old country lady 
who would efface herself rather than lower her son in the world's 
estimation by letting it be known that he comes of humble 

23 rd. Death of Mrs. Fred Leslie, wife of the celebrated 

23rd. Grand. — Judah, by Henry Arthur Jones, produced. 
Harold B. Nelson, Judah Llewellyn ; Claire Ivanowa, Vashti 
Dethic ; J. F. Grahame, Professor Jopp ; Langley Russell, Juxon 
Prall ; J. B. Gordon, Mr. Dethic ; Hetty Williams, Lady Eve ; 
Ella Yorke, Sophia Jopp. 

24th. Terry's matinee, — Our Doctors. Three-act farcical 
comedy by Sir Randall H. Roberts and Joseph Mackay. This 
play scarcely deserved notice but for the excellence of sonie of 
the acting. The plot, if any, was almost unintelligible, but it 
appeared to be intended as a satire on the etiquette of the medical 
profession, and to show how easily a young artist may pass 
himself off as a doctor. H. V. Esmond was a merry rattler as 
Jack Worthington, the artist, and Fred Kaye dry and humorous 
as Mr. Joshua Morley, Sybil Grey pleasing as Lucy Morley ; and 
Cicely Richards gave us one of her successful portraitures of a 
servant as Susan. 

2Sth. Globe. — T/te Bookmaker. J. W. Pigott's comedy. Tke 
Bookmaker was revived August of last year when we saw it at 
the Gaiety, with Nat C. Goodwin as the good-hearted, shrewd 
ci'devant " bookie " ; Sir Joseph Trent, who unexpectedly comes 
into a baronetcy and a fortune, and who so thoroughly befriends 
Lady Jessie Harborough, and buys a horse at a fabulous price for 

March, xSqx.] A Mofith After Date. 59 

her, in order that it may win a race and put thousands into her 

pocket, thus enabling the man of her choice, Jack Carew, to 

marry her and clear off, at one and the same time, the liabilities 

of her father, the Earl of Harborough, and the objectionable 

attentions of Lord Budleigh. Further, Sir Joseph frees Lord 

Maidment from the foolish marriage he had contracted when at 

college with "Polly," the adventuress, by claiming her as the 

wife who had run away from him when she thought she 

had secured a greater "catch," and "bookie," like the honest, 

generous fellow he is, behaves nobly and settles on her a good 

annuity. I am afraid that there are not many such " pencillers " 

in the world, but Nat Goodwin, Edward Terry, Arthur Williams, 

and George Barrett had all of them made such a character 

possible, and Harry Paulton was, taken altogether, the best of 

all. Leslie Bell was excellent as Polly. Violet Raye was rather 

amateurish. Mary Ansell was a winning Sybil Hardwicke ; W. 

Farren, jun., an affable Earl of Harborough, yet not without 

distinction ; and C. Goold very good as Bubbles. J. W. Pigott, 

the author, who was an efficient Lord Budleigh, was called for at 

the close of the performance, which was favourably received. 

On the same evening was played A Month After Date, 

Sylvanus Dauncey's comedy- drama, first done in public Feb. 

27th, 1888, at the Reading Theatre. It is a fairly amusing and 

well-written little piece, turning on the trouble in which Frank 

Cliye is involved through the non-receipt of a letter. He has 

advanced a considerable sum to his mother, who has been very 

ill, and she has promised to return it in time to enable him to 

discharge the bill at the hotel at which he and Mr. Cumber, a 

cross-grained gentleman, to whom he is general factotum, are 

staying. Frank has made use of the money which Cumber had 

given him to square up with. The old gentleman makes himself 

so disagreeable to Whimple, the landlord, that the latter demands 

an immediate settlement of his account. Things are thus looking 

black for Frank, when Rosy, the landlord's daughter, to whom 

he is engaged, comes to the rescue with the long-delayed letter, 

and telling a little fib to save her lover, says that he had paid the 

bill to her, and that she had forgotten to tell her father, whereon 

Cumber, after the manner of choleric old gentlemen on the stage, 

immediately settles a handsome sum on Frank, and says that 

he shall make him his heir. The success of the piece was 

mainly indebted to A. E. Drinkwater, whose Benjamin Cumber, 

the hypochondriac, is a well-drawn character, the peculiarities 

of which the actor brought out to the best advantage. Mary 

6o The Henrietta, [March, xSqi. 

Ansell played agreeably as Rosy, and C. Goold was a gcxxi 

25th. Novelty. — Gran-a-Aille, patriotic sketch. 

28th. Avenue. — The Henrietta, Mr. Bronson Howard cannot 
write anything that does not command attention, and in the 
present instance he has once more proved that he is a past master 
in the art of dramatic construction, a litterateur in his diction, and 
a delineator of character with very few equals. He has learnt 
the secret of holding his audiences deeply interested, while 
throughout the play there is a vein of satire — of good-natured 
satire, if you will — on the foibles of the day that brings his story 
undoubtedly " up to date." Human nature is the same all over 
the world ; and whether the pitfalls of gambling are shown up 
on the green cloth at Monte Carlo, or on the Stock Exchange 
of London or of New York, the same sensations are aroused, the 
same anxiety is seen, and the same ruin is wrought The third 
act of this most fascinating comedy is a play in itself, and what 
can be more true to nature than the close of the second act.? 
It was charming in every sense of the word. " The Henrietta " is 
the name of a mine, and out of the history of this property 
is evolved a plot showing how to the greed for gain will some- 
times be sacrificed every family tie and every feeling of honour. 
Old Nicholas*Vanalstyne is the king of speculators ; he commands 
the market. He has two sons, Nicholas and Bertie. The former 
is a mauvais sujety and his ambition is to depose his father from 
his high position among financiers and rule in his stead The 
younger son, Bertie, is a man about town, and will not take to 
business. During the temporary absence of his father, young 
Nicholas tries to " bear " the shares in the Henrietta, and succeeds 
to such an extent that the elder Vanalstyne on his return can 
scarcely stem the torrent, for his hopeful son has even mortgaged 
the securities of the firm to raise money to compass his ends. 
Bertie is engaged to his cousin, Agnes Lockwood, a great favourite 
with her uncle, who, when he hears the young people are going 
to set up housekeeping, gives Bertie a cheque for ;f 100,000 
($500,000). An estrangement has arisen between Bertie and 
Agnes through his being suspected of having betrayed one 
Gertrude Reynolds. To shield young Nicholas, who is the real 
culprit, and to save his brother's wife, Rose, from unhappiness, 
Bertie permits himself to be under the imputation. Rose, 
imagining her brother-in-law to be an immoral man, tries to 
keep her sister from him ; but Agnes is true through it all. 
Bertie takes it a good deal to heart, however, and gambles away 

March, 1891. The Henrietta. 6i 

a little of the money that has been given him, but, fortunately, 
has the greater proportion left when his father is put to such 
straits. He goes into the market with it, and aided by Musgrave, 
the old clerk, and Watson Flint, the broker, they so operate that 
in ten minutes the whole aspect of affairs is changed — young 
Nicholas Vanalstyne's schemes are confounded, his honour is lost, 
and his father now knows his true character. Nicholas junior 
.has been subject to heart disease, and the shock arising from the 
knowledge of the discovery of his ill-deeds kills him. In the last 
act, through Mrs. Cornelia Opdyke, a merry widow, who pairs off 
with the elder Vanalstyne, Rose learns the truth about her late 
husband and Gertrude Reynolds, and so listens to the pleadings 
of Dr. Parke Wainwright, who has long been in love with her ; 
and Bertie and Agnes are made happy. Lord and Lady Arthur 
Trelawney and a hypocritical clergyman, the Rev. Dr. Murray 
Hilton, make up the cast and help in the light comedy scenes. 
There is a satire on speculation in the fact that, after his first lucky 
" operation," Bertie gets the reputation of being a great financier, 
for he is always fortunate, and yet he is guided entirely by the 
spinning of a coin — heads he buys, tails he sells ! So much for 
skill in financing. Of the acting nothing but praise can be 
written, and W. H. Vernon heads the list with a most artistic 
study of the difficult rdle of the American millionaire who buys 
a railway with less excitement than a schoolboy would invest in 
a "ha'porth of toffee." It was a character that needed exceptionally 
careful handling, for, if it had not been interpreted in the manner 
intended by the author, it would have become simply intolerable 
on the English stage. All the more credit then to Mr. Vernon ; 
it is a performance of which any actor may justly be proud ; and 
it only shows once again the incomprehensible supineness of 
London managers in not having given the public more frequent 
opportunities of late years for appreciating such a sound artist. 
Lewis Waller as Vanalstyne junior was — Lewis Waller ; in 
saying this it will be understood that the impersonation was an 
excellent one, for Mr. Waller is nothing if not thoroughly con- 
scientious and artistic. J. L. Shine as the dude was quaintly 
humorous, and once more gave evidence of painstaking and 
versatility. Yorke Stevens was quietly effective. Henry Lee 
acted in an earnestly incisive manner, and the other male parts 
were well filled. On an equality in different lines were Florence 
West and Fanny Brough ; they never played better. Mary 
Jocelyn surprised every one by her bright impersonationi of 
Lady Trelawney, and Marion Lea acted pleasantly. ' o 

62 Jephthcis Rash Vow. [Ma«ch, 1891. 

During the run of TA^ Henrietta^ F, Hamilton-Knight and 
Bassett Roe severally appeared as Watson Flint 

28th, Saturday afternoon, the new Lyceum Theatre was 
opened at Ipswich, to replace the old dingy and uncomfortable 
house in Tacket Street The site on which the latter was built 
bad been occupied for many years by playhouses, the first of 
which was originally built in 1736, and opened Nov. 22nd of 
that year with Jephthcis Rash Vow ; or^ The Virgin Transformed, 
The street was then known as Tankard Street Here it was 
that Garrick, under the name of Lyddal, first appeared, as 
Aboan in Oroonokoy and commenced his great career. A second 
theatre was built, in place of the old one, in 1803, ^^^ ^^ ^^ 
boards almost every actor and actress of note has appeared from 
that date down to the closing of the theatre, which is now the 
property of the Salvation Army. A most interesting story may 
be written of the old days of this house, but space forbids, and so 
attention must be turned to the new one. This is built in Carr 
Street, from the designs of Mr. Walter Emden, the well-known 
architect Carefully estimating the sum at his command, 
Mr. Emden very wisely determined that, instead of expending a 
great portion of it on outside show, he would make the exterior as 
simple as possible and have a greater amount to lay out on the more 
valuable interior. The result has been a thoroughly comfortable 
theatre, with a holding capacity for 1,250. The ornamentation by 
Messrs. Heighway and Depree is elegant and tasteful, and Messrs. 
Harker have made ample provisions in the event of an outbreak 
of fire. The stage is thirty-four feet wide by twenty-four feet deep. 
A beautiful act-drop, representing " Gainsborough Lane on the 
Orwell," has been painted by Mr. Wane, the very clever artist ; and 
Mr. Henry Emden, the excellent scene-painter, has provided some 
;f 500 worth of scenery. The architect has not forgotten the value 
of easy exits, of which there are eight, nor the wants of the actors, 
to whom he has allotted nine well-ventilated and comfortable 
dressing-rooms. The opening day will ever be a memorable one 
to those who were present, for they had the opportunity of hearing 
the veteran Mrs. Keeley deliver the following address, written 
expressly for her by Mr. Ashby Sterry : — 

Mrs, Keeley ^ first heard speaking outside : 

" Thanks, my good man, I ought to know the door ; 
I've often been upon this stage before 1 " 

And on reaching the stage she said : 

" It's very odd ! It's strange 1 Beyond a doubt 
In Ipswich I should know my way about ! C^ nkr\r\\o 

Perchance I've lost my way 1 I half susjMt^^ ^^ ^^UUg IC 

March, x89x.] Jcphthcls Rash VoW. 63 

*Tis not the playhouse that I recollect, 

Where Gamck first appeared, and where were seen 

Blanchard and Bannister, Incledon and Kean, * 

The house whereat— it seems but yesterday — 

I made my first appearance in a play ! 

You've moved your house ! Yes, it looks very nice ; 

I've moved a house myself— just once or twice 1 

" The house is changed — more spacious and more smart — 
But you are just the same in energy and heart 
As when, a girl, I ventured to express 
My gratefiil feelings in a brief address. 

" For in the Veteran's welcome do I hear 
An echo of your granddad's hearty cheer, 
That thrilled the young recruit and made her glow 
With ardour six-and-sixty years ago ! 

"*Twas June the Nineteenth— Eighteen Twenty-four ; 
Why, bless my heart, that must have been before 
Dear Pickwidc to the Great White Horse came down 
And made things lively in our good old town, 
Or Peter Magnus prosed, or Weller went to search 
For Job and found him near St. Clement's Church, 
Ere Dickens, my true friend in after-years, 
Had lured your laughter and compelled your tear 

" Then further back, when baby songs were sung 
When I and this good centuiy were young, 
The brightest pictures of my childhood's Szys 
Are Ipswich people, Sparrowe'g house, and pla3rs, 
Where childish reminiscences reveal 
A dream of Kemble and of Miss O'NeilL 

" And now I heartily enjoy to-day 
Dear Mr. Terry's most amusing play. 

*' You kindly asked me here, but goodness knows, 
You did not ask me here to come and prose 
With recollections of a bygpne age. 
Though * reminiscence * is just now the rage 1 

** I've shaken Henry Irving by the hand, 
And Edmund Kean's IVe clasped, so understand 
I feel I hither come with mission vast, 
A link between the present and the past. 
Full of traditions of the ancient rule, 
A warm admirer of the modem school. 

•* I come to wish you in my brief address 
Most heartily unqualified success 1 

** And so with these two lines my mission ends. 
The Veteran says good-bye to all her friends ; 
Good-bye — but stop ! before we close the scene 
We'll smg with heart and voice * God save the Queen I ' " 

The address was delivered with all the charm and natvet^ of a 
young actress, combined with ripened experience in elocution, 
which constant practice had ensured. There was no trembling of 
the voice, which was powerful and mellow, and every word was 
heard distinctly, even at the back of the pit and gallery. There 
was peculiar interest attaching to the event, for Mrs. Keeley was 
born in Ipswich Nov. 22nd, 1805. She was a Miss Goward, and 
under that name, at the age of sixteen, first appeared at Yarmouth 

64 Killiecrumper. [March. 1891. 

as Lucy Bertram (the young actress was originally intended to 
follow the musical profession), and, after some experience, returned 
to Ipswich in 1824, and at the close of a four nights' engagement 
spoke the following lines, written for her by Mrs. Cobbold, her 
first and lifelong patron and friend, and with whose family Mrs. 
Keeley has ever been on terms of the closest intimacy : — 

" Should I attempt in language to reveal 
The force, the tenderness, of alll feel. 
The mixed emotions utterance would subdue, 
And tears be all that I could give to yon. 

" Yet something I would say : would fain express 
Such thoughts as grateful hearts alone can fi[uess ; 
To speak mcir powers, I feel my own unable ! 
Allow me then to temper them with fable. 

" The new-fledged nightingale, when first she leaves 
The thorn on which a parentis bosom heaves. 
Her fluttering wing essayed, speeds back to rest. 
Trembling and panting, on the well-known nest ; 
There cherished, with renewed and strengthened wing 
^^ain she tidces her flight and tries to sing ; 
Then seeks the skies ; on ether dares to float, 
Visits each cUme, improves each thrilling note ; 
But still returns with gratitude and love 
To wake the echoes of her native grove. 

*• Though not like Philomers my song be heard, 
Can you not fancy me that trembling bird. 
Who, having tried my early song and flight. 
Seek on the sheltering nest again to light. 
To meet those fostering smiles, for ever dear. 
And grow in strength &om growing kindness here? 

" If through that kindness it be mine to claim, 
Bv persevering wing, the heights of fame. 
Should I again to these loved scenes belong. 
Matured in mind and perfected in song. 
Oh ! with what transport would that song be given 
In notes of grateful praise to you and Heaven ! 

•* Hope waves me on, presenting to my view 
Such blissful hour ; till then, adieu ! adieu ! " 

Returning to the opening of the Ipswich Lyceum Theatre, Mr. 
Terry's company gave the first performance in the house, and 
appeared in Pinero's farcical comedy In Chancery^ which was 
well received. Mr. Terry spoke a few happy words, and Mrs. 
Keeley led ofT the singing of the National Anthem, with which 
the proceedings concluded. The new theatre is really a boon to 
Ipswich, for managers of good companies will now include it in 
the towns that they visit when on tour. 

28th. Lyric, Hammersmith. — The Sleeping Beauty^ new version 
by Charles Daly of the fairy extravaganza. 

28th. St. George's Hall. — Killiecrumper, by Malcolm Watson, 
music by Edward Solomon. Killiecrumper possesses so much more 
of a plot than is usually bestowed on the German Reed sketches, 

Mabch, X891.1 Killiecrumper. 65 

that it is entitled to rank as a musical comedietta. The Laird of 
Killiecrumper (Alfred German Reed) is a retired Glasgow trades- 
man, who never goes about without his henchman skirling his 
pipes in front of him. The keep of the castle being supposed to 
be haunted, the Laird entrusts to its safe keeping his money- 
bags. The habitable part of the mansion is rented of him by 
a widow, Mrs. Alexander, a wealthy parvenne (Fanny Holland), 
who has taken it that she may besiege the heart of the Duke 
of Abemethy (Avalon CoUard), a young, but almost penniless, 
nobleman. He has raised money on certain bills, which the widow 
has bought up through her tool and confederate, Commodore 
Burnett (A. Wilkinson) (commodore of the penny steamboats, 
for he has no other title to the rank). The Duke has met Lady 
Muriel Merrion (Isabelle Girardot), who, being, like himself, poor, 
has accepted, under the alias of Miss Seagrave, the position of 
companion to Mrs. Alexander. The young people fall in love 
with each other, and the Duke proposes and has been accepted, 
when Mrs. Alexander causes immediate payment to be demanded 
of the overdue bills. This drives the Duke to despair, as it means 
ruin, whereas, if a little time were given him, he might arrange 
matters. Old Killiecrumper has taken a great interest in 
the young couple, more particularly on account of Muriel's like- 
ness to an old sweetheart of his, and when he discovers that she 
is actually the daughter of his former love, he has his strong-box 
brought out of the keep, and from its contents hands ;£" 10,000 to 
Muriel, who bestows the money on her lover. Mrs. Alexander 
has to pay a heavy forfeit for not completing the purchase of 
Killiecrumper Castle, and, being disappointed of her duke, pairs 
off with her commodore. Mr. Watson's lyrics and dialogue are 
happy, poetical, and witty ; and his collaborator has supplied some 
charming music. "The Legend of the Crumper Keep," a 
quartette; "The Indigent She," for Muriel; " Bonnie Scotland," 
a quintette ; " King and Duchess," duet for Mrs. Alexander and 
Burnett (with a gavotte) ; " Light upon Land and Sea," for the 
Duke ; and " The Pipes," for Killiecrumper, are all excellent in 
their various ways. Alfred German Reed is one of the best 
Scotchmen I have seen, and the part fitted him exactly. Fanny 
Holland was, as she always must be, most entertaining, but has 
not the opportunity to shine as much as usual. The little com- 
pany had been much strengthened by the engagement of Isabelle 
Girardot, who had a pleasing voice, which was used to the greatest 
advantage ; the young lady proved also no mean actress. Avalon 
CoUard is already a favourite, and Arthur Wilkinson possesses 


66 The Rocket cifAireH, isjt. 

much quiet fun. KiUiecrumper was a decided success, and was 
revived later in the year. Mr. Comey Grain also supplied a new 
satirical musical sketch, which will be found as acceptable as any 
of his preceding ones. It was entitled Then and Now, and, as 
may be imagined, compared society and institutions of the past 
with those of the present, not always to the latter's advantage. 
Old assembly rooms and old market towns, modem institutes 
and modem M.P.'s, blue-stockings and Girton girls, "swells," 
and masters of music of years ago and of to-day were all passed 
in review, and illustrated by witty songs and delicious parodies, 
any one of which was a feast in itself, but of which " The Old 
Fireside at Home " and a caf^ chantant song were perhaps the 
most amusing. 

28th. Lyceum. — Revivals of The Bells and The King and the 

29th. Death of Sophie Miles, a well-known actress. 

30th. Terry's (revival). — The Rocket. The Chevalier Walkin- 
shaw is reckoned as one of the best of Edward Terry's amusing 
impersonations. He does not exaggerate the character of the 
mean-spirited, boastful scamp, who preys upon his future son- 
in-law, affects to be the soul of honour whilst he is a regular 
cheat, and to be devoted to the silly widow whom he wishes to 
marry for her money while he has a wife yet living. Mr. Terry, 
therefore, did well in reviving A. W. Pinero's farcical comedy 
The Rocket, which was originally produced at the Prince of Wales's, 
Liverpool, July 30th, 1883, and brought to London to the 
Gaiety on Dec. loth of the same year, with great success, 
the Chevalier's expression, " What a mess I'm in ! " becoming a 
popular phrase. The dialogue is full of wit and humour, and the 
plot cleverly worked out. In a few words, the Chevalier is really 
named Mable ; he has been entrusted with the care of a young 
girl, Florence (Eleanor Leyshon), by his brother John Mable (Ian 
Robertson). The Chevalier has tried to make of her a decoy, but 
she has remained a charming, ingenuous gprl, and so has won the 
affection of Jocelyn Hammersmith (Philip Cuningham). Through 
this engagement the Chevalier gains an introduction to the mother. 
Lady Hammersmith (Sophie Larkin), a silly, gushing widow ; and 
she agrees to elope with him, as she is rather afraid of her son. 
She takes with her for propriety's sake her friend Rosaline Fabre- 
quette (Adrienne Dairolles), who is encouraging the attentions of 
an idle young nobleman, Lord I-eadenhall (H. V. Esmond), Rosa- 
line imagining that the Chevalier, her husband, who has deserted 
her, is dead. Her recognition of him upsets all the Chevalier's 

March, i89x.] Robirtsoft Crusoe, Esq, 6y 

schemes, and reduces him to a state of most abject, but irresistibly 
comic, misery. H. V. Esmond was a new and clever type of the 
idle swell, Philip Cuningham a manly young fellow, honest, straight- 
forward, and courteous, Robert Soutar excellent as a French hotel 
waiter ; Sophie Larkin was of course exactly suited as the widow, 
and Adrienne Dairolles equally so as the piquante Rosaline. 

30th. Chelsea Barracks. — Robinson Crusoe, Esq, A very amusing 
book by William Yardley, and bright and lively music by Edward 
Solomon ; and the two acts were gone through in a manner that 
rivalled the house where the sacred lamp of burlesque still burns 
so brilliantly. The title rdle was taken by Major F. C. Ricardo, 
singer, dancer, and actor combined, and excellent in each branch. 
As his rival. Will Atkins, we had Lieutenant G. Macdonal, a bom 
low comedian, who also can do his steps and sing a good song. 
Then Lieutenant G. Nugent came to the front again as Paul Prior, 
" special correspondent " and detective — a man who in his time 
plays many parts and assumes innumerable disguises ; who can 
foot it as nimbly as Lonnen ; can gag and introduce " business " 
as well almost as Arthur Roberts, whose method he adopts ; and 
who keeps his audience in a roar. Lieutenant F. G. Ponsonby was 
a cheery, humorous old Ben Bolt, Lieutenant H. Crompton Roberts a 
coquettish middle-aged lady, with a distinct appreciation of fun, 
as Mrs. Crusoe; and behind none of these in merit was Corporal 
Christian, as the dancing man Friday. Lieutenant Glynn gave us a 
nautical hero in Lieutenant Luff; and Private R. M'Greevy was 
the drollest of birds as Crusoe's cockatoo. The question of long 
or short skirts must now be decided, for there can be no doubt 
that the most graceful and intricate pas may be executed with 
even greater attraction in the longer dress. Mrs. C. Crutchley as 
Polly Hopkins, the Misses M. and K. Savile Clarke, and the 
exquisite grace they exhibited, especially in a valse composed for 
them by Lionel Monckton, took the audience by storm and were 
the talk of "society." They represented the most exquisite 
pink carnations. Mrs. H. Colvile was a beauteous Lady Vere de 
Vere, and we had lovely fisher maidens, who also danced a most 
perfect measure, in Miss Savile Clarke and her fair companions, 
Mrs. Wolton and Misses Briscoe, Chetwynd, and Davis, who 
appeared as Lily of the Valley, Fern, Daffodil, and Neapolitan 
Violet. The mounting of the piece was charming ; the pretty 
scenery had been painted by the Hon. Arnold Keppel (Viscount 
Bury) ; and Willie Warde had worked wondrous effects with such 
a small stage. The costumes and dresses, supplied by Charles 
Fox, were poems. Digitized by Google 

68 LEfifant Prodigue, [March, 1891. 

30th. Grand. — Revival of The Pharisee^ three-act play by 
Malcolm Watson and Mrs. Lancaster Wallis, the latter as Kate 
Landon ; Elwood, Lord Helmore ; E. Gumey, Geoffrey Landon ; 
J. G. Taylor, Captain James Darrell ; S. Herberte- Basing, Mr. 
Pettifer ; Gerald Gurney, Graham Maxwell ; Frederick Jacques, 
Brook ; Emily Miller, Miss Maxwell ; Louisa Peach, Maude ; 
Edie King, Katie ; Miss Ashwell, Martin. 

31st. Prince of Wales's. First of a series of fnatinies. 
V Enfant Prodigue. — V Enfant Prodigue proved one of the greatest 
attractions in London. The " musical play without words," written 
by Michel Carr^, fils, for some two and a half hours holds its audience 
interested and moved alternately to laughter and tears, though it 
must be admitted that the effect is produced as much by the 
skilful wedding of the music to the action, and for which so 
much credit must be given to Andr^ Wormser, who presided at 
the piano at the initial performance, the full orchestra being 
conducted by John Crook. The story of L Enfant Prodigue is 
the simple one of a young fellow so mad with love that he can 
neither rest, eat, nor sleep. It is only a worthless, pretty little 
laundress for whom he feels this insane passion ; but to gratify it, 
and induce the girl to run away with him, he robs his old father 
and mother while they sleep. He and his companion go to Paris 
and lead a life of extravagance which soon brings the lad to the 
end of his resources ; so he cheats at cards to replenish them, and 
when he returns with his spoil it is to find that his enslaver has 
left him for a rich baron. In the third act the prodigal son 
returns home, starving. His mother, who has prayed that he may 
be restored to her, receives him with open arms ; but the elder 
Pierrot, his father, cannot forgive the dishonour he has brought 
upon them all, and for the wrinkles his conduct has marked on 
the loved face of his dear old mother. Martial strains are heard 
in the street — an inspiration comes to the lad ; he will redeem his 
past on the battlefield ; and so the scene closes. The burden of 
the play falls on Jane May. Her pretty features are whitened, 
and she wears a black skull cap, as Pierrot junior (the prodigal). 
She goes through all the alternations of listlessness, the heat and 
passion of boyish love, the agony of shame at his own baseness, 
despair at the loss of the girl who has bewitched him, and the 
remorse of the repentant return home, which were all exquisitely 
rendered. There were some delightfully comic touches introduced, 
such as when writing a frenzied love-letter, or in catching a 
buzzing fly that disturbs his mistress's slumber. Equal to this 
acting was that of M. Courtes, the original Pierrot senior. First 

March, i89i.] RomeO Ofld Juliet, 69 

his comfort at home, then his love for his boy and horror at the 
discovery of the theft and desertion, and lastly the devotion to 
his partner of so many years, were expressed as plainly as though 
spoken. He was ably assisted by Madame Schmidt as Madame 
Pierrot, the tender, loving mother and fond wife. The Baron 
was humorously rendered by Louis Gouget (one of the original 
cast). Phrynette, the beautiful, seductive girl who lures the lad 
to his ruin, was allotted to Francesca Zanfretta, who looked hand- 
some enough to tempt St Anthony ; but it was only at times 
that her pantomime was as good as that of her companions. The 
servant even was most expressively rendered by Jean Arcueil 
(the original), a gentleman of colour, who had previously dis- 
tinguished himself in a French version of Uncle Tom's Cabin. 
The piece was a genuine success, and all concerned in it richly 
deserved the calls bestowed on them. The thanks of the 
community are due to Mr. Sedger for providing such an in- 
tellectual treat Numbers of our own actors and actresses could 
well profit by learning from this French company how thoroughly 
every emotion may be expressed without a word being uttered. 

U Enfant Prodigue was placed in the evening bill on April 1 8th. 
A touring company was sent out, and the piece was received with 
favour in the provinces. The company consisted of the following, 
who appeared at the Grand Theatre, Islington, for a fortnight, 
dating from Sept. 2ist, 1891, and of these it may be said that 
Charlotte Raynard had a charming method of her own, whether 
in her playful or pathetic moods, as Pierrot junior ; Eugenie 
Bade had a sweet face and sympathetic manner as Madame 
Pierrot ; and M. de Gasperi possessed great originality in his 
treatment of the elder Pierrot I would not wish to see a 
better or prettier Phrynette than Paula Lemeire, she was so de- 
lightfully coquettish. Her scene with the Baron (well played by 
Martin Virgile) went splendidly. 

31st Lyceum (revival). — Much Ado About Nothing. 

31st Romeo and Juliet was being performed at the Manchester 
Cathedral Schools, when T. W. Whalley, who was playing 
Mercutio, was supposed to have burst a blood-vessel, but it was 
found that a sword used in the Tybalt and Mercutio scene had 
inflicted such a severe wound that he died on his way to the 

Digitized by LjOOQ IC 

70 The School Jor Scandal. [ArRimsgi. 



I St. Criterion (revival). — The School for Scandal. Charles 
Wyndham " Criterion ised " Sheridan's play. By this I mean that 
he made it, as he thinks, more acceptable to the patrons of his 
theatre. He condensed the whole of the action into six scenes. 
Two of the original ones, which used to be represented in ** Lady 
Sneerwell's dressing-room" and "a room in Sir Peter Teazle's 
house," were represented in " The Mall, St James's," a very 
beautiful open-air picture. The scene between Trip and Moses 
(which was a clever satire on valets aping the foibles of their 
masters) was cut out altogether. An improvement was made in 
the dining-room scene, where Charles Surface sells the pictures of 
his ancestors, for all the guests were present at the auction, and 
imparted life and animation to the sale. At Lady Sneerwell's 
(Act IL) a pavane was danced by extra guests, not by the characters 
in the play, which would have been better appreciated, gracefully 
as the dancers acquitted themselves. Some of the speeches were 
transposed. The piece had been very handsomely dressed, though 
whether the gentlemen should wear swords will probably be 
questioned, as the date of the comedy is 1777, and the date at 
which the events are supposed to take place is fixed by reference 
to the " Pantheon " in the play. The present generation of play- 
goers may approye all this, but I do not altogether hold that the 
changes are warranted. Certainly on the first night of represen- 
tation under its remodelled form The School for Scandal did not 
go briskly ; in fact, until the dining-room scene it seemed almost 
oppressive: then things improved. William Farren is admitted 
to be, taken altogether, the best Sir Peter we have ; Charles 
Wyndham's Charles Surface is buoyant, and in the right spirit of 
comedy ; the Sir Oliver of H. H. Vincent left nothing to be 
desired ; Cyril Maude was excellent as the foppish poetaster Sir 
Benjamin Backbite, though under the Criterion regime his lampoons 
are treated as though boring his company instead of amusing 
them. George Giddens was a happy jovial Careless, and sang 
" Here's to the Maiden " in the right vein. S. Valentine made of 
Moses a good character sketch, without buffooning the part as is 
so frequently done. William Blakeley, Miss Victor, and Miss 
Fitzroy were all wanting in distinction. Arthur Bourchier's 
Joseph Surface was an attempt at an original reading which the 

A»Mi,x89x.i Linda Grey. yi 

actor had evidently not the power to carry out. Mary Moore 
was a gentle loving Maria, but intensely melancholy. Mrs. 
Bernard Beere was only worthy of herself in the screen scene ; 
there she was impressive and moving, but elsewhere we had no 
reminiscence of her former country life, nothing of even the 
remotest allusion to the bright and unsophisticated worker of 
samplers and player of backgammon. Mrs. Bernard Beere was 
what Sir Peter describes her — a woman of fashion, and nothing 
more. During Mary Moore's illness her part was played by 
Ellaline Terriss. 

4th. Ladbroke Hall. — Kissing Cup's Race, comedy drama in 
four acts adapted by Campbell Rae Brown from his own piece for 
recitation. Kathleen and Lena Dene, sisters of Dorothy Dene, 
made their dibut. 

4th. Drury Lane. — Last night of the pantomime Beauty and 
the Beast, 

4th. Eldward Sennett died suddenly while playing Captain 
Fairbrace at the Dewsbury Theatre. 

6th. Kilburn Town Hall. — The Golden Bait, original three-act 
comedy by H. C. Lunn. 

6th. Gaiety. — Herr Meyer Lutz gave his annual matinie. 
The usual attractive programme, assisted in by many of the best- 
known actors and actresses, secured, with the esteem in which the 
binSficiaire is held, a crammed house. The occasion is noticed 
more particularly as Nellie Farren made her last public appearance 
in England prior to her departure for Australia, and played Nan 
in Good for Nothings and also sang the " Street Arab " song. 
Arthur Playfair gave some extraordinary imitations of living 

7th. Avenue (revival). — My Lady Help, by Arthur Macklin. 
Florence West in her original character of Lady Eva Desborough ; 
Lewis Waller as Jack Desborough ; F. Hamilton-Knight, Benjamin 

8th. Princess's. — Linda Grey, by the late Sir Charles Young. 
This play was originally produced at the Royal, Margate, on 
Tuesday, June 9th, 1885, and was then in four acts. The author 
appeared zs Victor Broughton ; Mr. Francis Hawley as the brother, 
Sir Dennis ; Mr. Edward O'Neil as Lord Parkhurst ; Mr. Fred 
Eastman as Jay. Miss M. Caldwell (now appearing at the Court) 
played the part of Stephanie, known as Lady Broughton in the 
present cast The title rdle was filled by Lady Monckton, who 
toured with the piece and made a considerable success in her 
part. The play is of the melodramatic order, and, as may be 

72 Linda Grey, [ApRiL,x8gi. 

gathered from the title, the interest centres greatly in the heroine. 
The first act opens near Broughton Towers (a woodland set of 
considerable beauty), and there we find that Lady Broughton does 
not care for her husband, Sir Dennis, but has been for a long time 
infatuated with Lord Parkhurst, a rou^. His notorious character 
has at length opened her eyes to his worthlessness, and she almost 
hates him. Sir Dennis has, though a younger son, inherited 
Broughton Towers. His uncle, from whom the property came, 
thought it advisable that he and his elder brother Victor should 
travel. They accordingly went to America as a starting-place 
for a tour of the world. Victor is supposed to have been an 
impulsive young fellow and fond of high play. He and his 
brother meet Lord Parkhurst, and they are companions for some 
time, when, in one of his wild freaks, Victor leaves them to run 
off to San Francisco. There he falls in love with a beautiful 
actress, Linda Grey, and marries her. Suddenly he is recalled to 
his brother at New Orleans. There he is introduced to one 
Salvado, a man notorious for high play. Victor wins from him 
large sums of money, but the next night, when giving him his 
revenge, he loses heavily, and discovers that his opponent is 
cheating him. Victor immediately taxes Salvado with the crime. 
Salvado takes a high hand, and demands the eleven thousand dollars 
which Victor has lost. The latter goes to his hotel to get the 
money, and taking it to Salvado*s house, is ushered into a room, 
and there finds that Salvado has been murdered with a blow from 
a very fine stiletto. As he is leaving the negro servant seizes 
him, and he is handed over to the police, and eventually convicted 
of murder, the sheath of the stiletto, which was known to have 
been his, having been found near the dead man's body. The 
prison in which he is confined takes fire, and he and Zed Jay 
escape, though their charred remains were supposed to be found. 
Thus Sir Dennis comes into the property, and we learn almost all 
this in the first act, though Victor recounts it again later. Victor 
has entrusted when in prison a letter for his wife to Lord 
Parkhurst, so when he and Linda Grey, now known as Mrs. 
Colmore, a great London actress, meet, the conversation turning 
on how Sir Dennis came into the property, the nobleman, who 
has conceived a passion for her, gives it to her as a curiosity to 
read. Up to that time she believed her husband had deserted 
her ; but as his letter is couched in terms of undying affection for 
her, she declares his innocence, and determines, though of course 
she hears of his having been burnt to death in the fire at the 
prison, that she will endeavour to clear his memory Cffd^CLhe 

April, x89i.) Unda Grey, 73 

crime. With this view, as Lord Parkhurst has been a companion 
of her late husband's, she to a certain extent in the second act, 
which takes place at her house in London, encourages his attentions, 
having been warned of his true character by Lady Broughton. 
Victor and Zed, his humble follower, have found their way to 
England, and have visited Broughton Towers, and Victor has 
become interested in this Mrs. Colmore, of whom he has caught 
only a passing glance. The third act takes place in a London 
garret. Victor, anxious to learn more of this Mrs. Colmore, goes 
to the theatre to see her play. As she is coming out in company 
with Lord Parkhurst he recognises her as his wife, and rushing 
forward to speak to her, is knocked down by the horses. She 
traces the injured man through Zed, with whom he lives, and 
coming to proffer help, recognises Victor ; and the curtain falls 
on a fairly strong situation. In Act IV. Victor has been removed 
to his wife's house, and Zed is installed as her manservant He is 
a valuable witness as to the murder in one sense. Linda has 
inquired of her husband whether any other person was in Salvado's 
company the night the crime was committed. Victor has learned 
from Zed that shortly before the latter had seen Salvado pass 
with a man whose face he should not be able to recognise, but 
he should the voice, which he heard utter, " Only give me time ! " 
A parcel <:ontaining some sketches has to be opened. Lord 
Parkhurst has no knife, no scissors are at hand, and so he takes 
from his waist belt a stiletto, which Linda recognises as one that 
she had given to Victor, and the sheath belonging to which was 
the evidence that caused him to be convicted. She is now 
persuaded that Lord Parkhurst committed the crime, but how to 
make him confess it.^ She plays a desperate game. In the last 
act she has invited him to a tite-d-tite supper unknown to Victor. 
Zed, who is jealous of his benefactor's honour, though dismissed 
from any further attendance, conceals himself behind the curtain. 
It should be mentioned that Salvado bore the reputation of a 
notorious libertine, who stopped at nothing to compass his ends. 
Linda leads Lord Parkhurst to suppose that she had been 
Salvado's victim, and that she would reward with her love the 
man who had killed him. Then Lord Parkhurst reveals himself 
as the murderer, recounts the events of the evening — ^how he 
owed Salvado a large sum of money, which his creditor was 
relentless in claiming — and uses the very words he had then used : 
**Give me time." These are overheard by Zed and by Victor, 
who is also in ambush. They rush out and confront Lord 
Parkhurst, who sees that he has been trapped, and the curtain 

74 Unda Gr^. [April, 1891. 

falls. I am inclined to think that the prominence of the character 
of Linda Grey throughout the piece must have induced Mrs. 
Langtry to accept the late Sir Charles Young's play, which is 
crude, unsympathetic, and none too interesting. The interest of 
the story lies in the past, and we have that story told and retold 
so frequently that we become positively as weary of it as we do 
of the mention of Salvado's name, which is so constantly cropping 
up. The only real cleverness displayed by the author in the 
construction is that he keeps his secret well, almost to the last, 
as to who really committed the murder, and there is absolute 
daring in Lady Broughton's open confession to her husband of 
her intrigue with Lord Parkhurst, in order to rouse some manly 
spirit in Sir Dennis Broughton and so avenge her on the lover who 
has tired of her. It was an early work of the author, who, after 
all, except in Jim the Penman^ displayed but little dramatic 
strength. It would be difficult under any circumstances to work 
such a play as Linda Grey into a London success, and Mrs. 
Langtry does not possess that power and intensity that can 
dominate an audience and raise the heroine into a character of 
absorbing interest Mrs. Langtry is beautiful, dresses to per- 
fection — her gowns in this production were in the most exquisite 
taste — and she can be winning and seductive at times, but here 
her capabilities end, and though the actress had her happy 
moments, yet as a whole the performance was disappointing. 
Bernard Gould did not give one the idea of a high-spirited, 
hot-tempered gentleman as Victor Broughton ; his hastiness 
degenerated into ill-nature, and he was much wanting in the 
romance that should accompany the character. Still he was 
earnest in his endeavours, if not altogether successful. For 
Herbert Standing as Lord Parkhurst great consideration should 
be felt. He is a strong actor in the " polished villain's " parts. 
He had on this occasion to bear in mind the relative strength of 
those with whom he was playing, and was to a certain extent 
fettered by their weakness, and could not, therefore, let himself 
go. With all this, he acted remarkably well, and was unconven- 
tional in a conventional part. The character of Sir Dennis 
Broughton is such an eminently despicable one that E. B. Norman 
could not do much with it, though he contrived to show what 
a mean-spirited, miserly creature the baronet is. Zed Jay, the 
grateful ci-devant thief and impostor, was played with finish and 
humour by Fred Everill. S. H. Lechmere as the gamekeeper, 
Ashby, did not convey the impression of a man accustomed to 
the woods, but rather that of an East End bird-fancier. As Lady 

April, 1891.] Mofiey. 75 

Broughton, clever May Whitty did her best to give some point to 
the character, and succeeded so far as was possible ; and in her 
one opportunity, where Lady Broughton avowed her infidelity, 
rose to the occasion most successfully. Priscilla Royal, who is 
supposed to be a devoted American friend of Linda Grey's, and 
who tyrannises over her complaisant lover Captain Beaufort, was 
made fairly amusing by Laura Linden ; but the American accent 
was frequently forgotten altogether. E. Maurice gave us the 
usual vapid, good-tempered officer as Captain Beaufort Ethel 
Hope played naturally as the lady's-maid, Jane, and the minor 
parts of Dean and Wilson were satisfactorily filled by Messrs. 
Kingscote and Hubert Druce. Although there were no absolute 
expressions of disapproval on the fall of the curtain, the reception 
of Linda Grey was but lukewarm by a certainly friendly audience. 
Linda Grey was produced at the Fourteenth Street Theatre, 
New York, by Henrietta Chanfrau, Sept. 20th, 1886, under the 
title of The Scapegoat^ and was a failure. It only ran in London 
until April 17th. 

9th. Terry's (first time in London). — The Baby, a sketch by 
Lady Violet Greville, gave satisfaction, for it was a merry trifle, 
the fun arising from a young father hypnotising for crying his 
first baby, and finding himself unable for some time to restore it 
again. H. V. Esmond was very amusing in the part. 

9th. Vaudeville. — Money. In the revival of Money at the 
Vaudeville the scene which goes best is the one between Graves 
and Lady Franklin, so often given as an incidental feature of 
a benefit performance. The illustration of the merry widow's 
influence over the dismal widower has no doubt a tendency to 
develop into a kind of " variety " duologue ; but its present ex- 
ponents, Mr. Thomas Thorne and Miss Kate Phillips, certainly 
afforded in their very laughter-moving performance ample excuse 
for their departure from the strict lines of high comedy. Mr. 
Conway, who played Evelyn at the memorable Haymarket revival 
in 1 880, again acquitted himself very creditably of a difficult task in 
throwing earnest conviction into the delivery of the stilted dialogue 
thought so beautiful half a century ago ; whilst as Clara Douglas 
Miss Dorothy Dorr, though inclined to put into the part more 
tragic emotion than it would hold, fully confirmed the favourable 
impression of her powers which she created in Diamond Deane. 
Mr. F. Thome's breezy method lacked the finish needed for Sir 
John V€&^y ; but Mr. Elwood as Smooth and Mr. Righton as 
Stout were both capitally placed, and gave useful help to what 
promised to be a reproduction of the comedy hardly less popular 

76 The School for Scandal. cAPFiL.1891. 

than that given here in 1882. Lawrence d'Orsay was the Sir 
Frederick Blount. F. Grove during the run appeared as Sir 
John Vesey, Lord Glossmore, and Sharpe. 

nth. Drury Lane. — Ifs Never Too Late to Mend. This 
revival saw Charles Warner again in the part of Tom Robinson, 
one that is always grateful to the public. Kate Maccabe as 
Josephs was sympathetic, but *her voice was not well controlled. 
The Isaac Levi of Henry Loraine elicited much approval, and 
Mark Quinton appealed strongly to his audience as the Rev. Mr. 
Eden. Harry Fisher elaborated the part of Jacky, the Australian, 
with much success. Jessie Millward and Edmund Gumey were 
both thoroughly acceptable as Susan Merton and George Fielding. 
Charles Reade's play was revived with that lavish mounting and 
realism that distinguishes Augustus Harris's productions, 

I ith. Death of Keeley Halswelle. Died in Paris, aged fifty-nine 
Painted the sketches of most of the scenery for the Lyceum 
revival of Macbeth. 

13th. New Olympic (revival). — Hafnlet. Wilson Barrett gave 
his accustomed reading of the character of the Danish prince, 
save that it lost some of its power by the lengthened pauses 
which the actor made. Winifred Emery was a very beautiful 
and a poetic Ophelia, though there was nothing strikingly original 
in the impersonation. The Laertes of H. Cooper Cliffe was 
satisfactory, and the Polonius of Stafford Smith a sound per- 
formance. The First Gravedigger of George Barrett is already 
known for its excellence. The Ghost of W. A. Elliott left much 
to be desired, as did the Claudius of Austin Melford. Louise 
Moodie was a melodramatic Queen Gertrude. Lily Hanbury was 
an acceptable Player Queen. 

1 3th. Mr. and Mrs. Kendal commenced their second American 
engagement at Palmer s Theatre, New York. 

13th. Parkhurst Theatre. — V.C. One-act drama by 
Sutton Vane, a little reminiscent of Edithds Burglar, the child 
Elsie, very well played by Mabel Hoare, betraying innocently the 
presence of her uncle, Reginald St. John (Sutton Vane), an 
escaped convict, who has taken refuge in the house of his brother, 
Captain John St. John, V.C, who gives the title to the play. 
This part was played by Julius Knight; and the warder, Sergeant 
Young, in search of the prisoner, was excellently acted by Gilbert 

14th. Queen's Gate Hall. — E. J. Lonnen, after a lapse of 
some six years, once more played in comedy : the screen scene 
from The School for Scandal. In this Mr. Lonnen appeared as 

April. 1891.) Our Daughters. jj 

Charles Surface. The traces of burlesque with which the actor 
has now so long been associated were very apparent in his 
method. The Sir Peter of the occasion was Henry Nelson, 
whose performance, though not wanting in merit, lacked court- 
liness. Frank MacDonnell played Joseph Surface, but in far too 
modem a style, and without finesse. P. R. Macnamara appeared 
as the servant, and did credit to his livery. As Lady Teazle 
Olga Garland made her first appearance in London, and showed 
much promise. The lady has great natural advantages — a pretty 
and intelligent countenance, expressive eyes, mobile features, and 
a good stage presence. Her reading was sound, and she was in 
perfect sympathy with her audience. Had she shown a little 
more bitterness in Lady Teazle's contempt for Joseph after his 
baseness has been discovered, she would have strengthened the 
situation, but the pathetic appeal to Sir Peter could scarcely have 
been better rendered. 

15th. Strand matinde. — Our Daughters. This play .was 
originally tried at the Royal, Portsmouth, June 30th, 1890, and 
was then entitled only Daughters. The present Fred and Mrs. 
Danby figured as Fred and Dolly Webster ; there was then no 
Montague Jarvis, a character that has since been introduced, and 
various alterations made in the play, which has also been written 
up. It turns on mistaken identity. Nelly Mayhew, having met 
at the Battle of Flowers in Mentone, where the first act takes 
place, a young gentleman with whom she has fallen in love, 
strongly objects to her hand being bestowed on Harold Winyard, 
as her father wishes, particularly as she has not seen the man 
intended for her. She and her sister Mimi put their heads 
together, and as their father insists on a portrait of Nelly being 
sent to Winyard, Mimi substitutes for Nelly's a very unpre- 
possessing one of herself. The next two acts take place at 
Richard Mayhew's house in London. Barnaby Trotter is an old 
and intimate friend of the family, and resides with the Mayhews. 
He is a kindly, fussy old fellow, with a droll system for winning 
at the gaming-tables, and who speculates now and then on the 
Stock Exchange. He sends for his broker. Bob Bounder, and it 
has been arranged between the girls that when Winyard calls 
Mimi is to personate her sister, and in order to disgust him she 
determines to appear as a girl who sings music-hall ditties, smokes 
cigarettes, and talks slang. When Bounder arrives, through a 
complication Mimi imagines him to be Winyard, and wastes all 
her resources on him, and he being rather a fast young gentleman, 
IS quite taken with her. On the other hand, as Nelly does not 

78 Our Daughters. [AptiL,i89i. 

wish her real name to be known to Winyard, Mrs. Danby intro- 
duces her under her own maiden name, Dolly Webster, and as a 
lady-help in the family ; and Nelly mistakes Winyard for Bounder. 
When Winyard proposes to Nelly, she accepts him, and is actually 
in his arms when her father comes in, and then the young fellow 
promptly refuses to marry Nelly, and Mr. Mayhew, who has been 
in the dark as to all that is going on, cannot understand the 
situation. Presently Bamaby Trotter enlightens him, and he 
then turns the table on the young people by turning Winyard 
out of the house ; but of course matters are cleared up, and they 
are to marry. Mimi pairs off with Montague Jarvis, Mr. Mayhew 
with the winsome widow, Mrs. Courtney, and Trotter blesses them, 
for he has been in salutary dread that the widow was setting her 
cap at him. Fred and Mrs. Danby are a young couple that are 
always quarrelling and separating, but are really very fond of each 
other, and are eventually reunited, through the kind fatherly 
advice of Trotter, a very pretty scene beautifully played by Lilian 
Millward (Mrs. Danby) and Mr. Edouin ; in fact, Miss Millward 
was excellent throughout, and in a very hot dispute with 
the husband she was well seconded by S. Barraclough (Mr. 
Danby), who with her made this one of the best bits of the play. 
To secure a London success Our Daughters will have to be 
shortened by at least half an hour, for, cleverly as the play is 
written, the second act can spare twenty minutes, and the third 
ten. Willie Edouin (Bamaby Trotter) was admirable as a genial, 
humorous, and hasty old gentleman — not a touch of extravagance, 
but altogether amusing, and at times almost touching. John 
Beauchamp played firmly as Richard Mayhew, and H. Reeves Smith 
was earnest and true-hearted as the lover Harold Winyard. 
Percy Marshall gave us an excellent bit of comedy as the astute 
Bob Bounder, and Herbert Sparling did what was possible as an 
empty-headed man-about-town, Montague Jarvis, but his make-up 
was too old. Mr. Hackney was most useful as a French postman. 
Miss Alice Atherton (Mimi Mayhew), who received a most cordial 
welcome after two years' absence from the stage, and was presented 
with no less than thirteen baskets and bouquets of flowers, was as 
gay and brightsome as ever, the life and soul of the piece, which 
she kept going whenever she was on the stage ; and that was 
almost incessantly. May Whitty was a charming foil to her as 
the more sedate sister (Nelly). Ruth Rutland was a cheery Mrs. 
Courtney, and Ina Goldsmith, who speaks French as to the 
country born, was intelligent and winning as Marie. The scenery 
was remarkably pretty, and at the close the authors were called 

April, x89i.] LoV^S LaboUf^S Lost, 79 

for. Our Daughters was placed in the evening bill on April 

iSth. Terry's matinee, — The Lady Guide; or^ Breaking the 
Bank, play in three acts, author unannounced. Hon. Peter F. 
Chomleigh, W. Cheesman ; M. Hercules Lebeau, H. Austin ; 
Allan Armitage, A. B. Cross ; M. le Commissaire, H. Bayntun ; 
Mrs. Rushforth, Elsie Chester ; Queenie, Cissy Wade ; Miss 
Whilen Chetwood, Florence Wade. The piece was very well 
acted, but is not strong enough in motive, turning on the 
entanglements of Peter Chomleigh by the supposed lady guide, 
really an adventuress of the name of Devereux. 

iSth. Park Town Hall, Battersea. — Lov^s Labout^s Lost, 
arranged in three acts and one woodland scene by Elizabeth 
Bessie. In the arrangement of the play its best features had 
been retained, and the excisions judiciously made. Elizabeth 
Bessie appeared as the Princess of France, Mary Bessie as the 
quick-witted Rosaline ; they did ample justice to the characters. 
Of others that deserved favourable mention were S. Herberte 
Basing (who directed the performance) as Biron ; Frank H. 
Westerton, particularly good as Boyet ; and Wakelin Dry, who 
was a humorous Costard. Alexander Watson appeared as Don 
Adriano de Armado, and Gerald Phillips as Ferdinand; these two 
gentlemen would probably improve. May Lamboume was the 
dairymaid Jaquenita, and sang with considerable charm the 
" Cuckoo " song. The play was handsomely costumed, and the 
representation thoroughly approved. 

1 6th. Vaudeville. — This date saw the twenty-first anniversary 
of the opening of this theatre, the management of which 
three plucky and then young actors, H. J. Montague, David 
James, and Thomas Thome, had originally the courage in 1870 
to take upon their shoulders. Needless to say that the house, as 
Mr. Clement Scott pithily and brightly told in the pages of the 
Ladys Pictorial (reprinted on the souvenir of the anniversary 
occasion), saw the production of the two greatest successes of 
comparatively " modem " times, Two Roses and Our Boys. H. J. 
Montague has left us never to return ; David James remains to us 
the best Perkyn Middlewick possible, and equal to George Honey 
(alas ! also gone) as " Our Mr. Jenkins " ; and Thomas Thorne, 
the original and best Caleb Deecie, has, since he has been the sole 
manager, given us many an interesting play. The numerous 
friends that Mr. Thorne possesses thought the anniversary should 
be duly celebrated, and Messrs. Irving, E. Righton, Alport, and 
E. Ledger formed themselves into a committee and received sub- 

8o Anniversary of Opening of Vaudevilk. [Aful, ss^z. 


scriptions (limited to two guineas), and with the amount purchased 
a handsome silver ^pergne and massive silver bowl, duly inscribed. 
After the performance of Money in the afternoon, the curtain drew 
up. The gifts and an illuminated address were displayed on a 
table in the centre of the stage, which was filled by old friends 
and celebrated people (among them Walter Lacy, the original 
Sir Frederick Blount in Money)^ with the gratified recipient of the 
handsome remembrances, and the original and inimitable Digby 
Grant in Two Roses^ in the person of Mr. Henry Irving, who 
delivered the following address, written for the occasion by 
** Tom " Thome's old friend Clement Scott : — 

'' Welcome, old friends ! dear comrades, greeting I 

'Our Boys' in heart, though hair turns grey 1 
No need to ask the cause of meeting — 

The Vaudeville's of age to-day I 
Years twenty-one have o*er us glided* 

Since stood the young triumvirate. 
When Harry, Tom, and Dave decided 

Fortune to woo or fight with fate ! 
How did we start ? With Lave and Money ! 

The Money came. £h, Tom and Dave ? 
Dear Harry Montajgue ! George Honey ! 

Our love rests with you in the grave ! 
Years twenty-one of peace and plenty 

Are reckoned up— their race is ran ; 
And we the friends of 1870 

Are friends, thank God, in '91 ! 

** Years twenty-one ! What Love reposes 

In that sweet section of our days ! 
Twas here we twined the double Roses 

Around the porch of English plays 1 
"Twas here that Albery made merry, 

And changed from poetry to wit ; 
Here Digby Grant quaffed sampled sherry — 

I knew old Digby Grant a bit — ■ 
Here Amy Fawsett, merry creature, 

Gushed o'er her Jack, and proved so true ; 
Here women idolised each feature 

Of handsome Harry Montague ; 
Here life seemed ever two-and-twenty. 

And care lay basking in the sun : 
Ah me I but that was A.D. '70, 

And now it's A.D. '91. 

" Beloved days I I bid you linger 

Before our sun of life has set ; 
Let's stay old Time's effacing finger, 

And still remember— not forget ! — 
Here Byron wittily and gaily 

Joked over life, its cares and joys ; 
Here for three years the players daily 

Proclaimed the humour of * Our Boys.' 

** Thome, Farren, Warner, scores of lasses, 

Earned on these boards their honoured names ; 
Here Middlewick and middle classes 

Were magnified by David James : 
Though Vaudeville spelt pluck and plenty. 

An end must come to every run ; 
Still what we loved— well, circa '70, /^^^^T^ 

We don't forget in '91, ' Digitized by vjOOQ IC 

April, 1891.] Richard Savage. 8 1 

" Say what we will of days departed, 

Of good, or better, or of best. 
Here plays were English, noble-hearted, 

Here comedy has found a nest ; 
Here Sheridan was honoured yearly 

As much as in the patent days ; 
Here players loved their Lytton dearly. 

And Fielding lived in honest plays ; 
Here Farrens, Warners, new editions. 

Here Nevilles, Rightons, Conways, stop ; 
Here Fanny Stirling left traditions 

Of Candour and of Malaprop — 
Old plays, yet ever in the season, 

Old authors basking in the sun ; 
If twenty-one's the age of reason, 

How wise must be this '91. 

" Before this day of welcome closes. 

And ere another decade's bom. 
Cherish what's left of fallen Roses, 

Our best of Boys— a blameless Thome I 
Through past and present, none resent him. 

He raced his rivals neck and neck ; 
From friends and comrades I present him 

With proceeds of— a iittie cheqtu I 
Take up our gift, old friend, remember 

To-day the past with present blends ; 
Warm June may change to chill December, 

But we remain your faithful friends. 
May all your life be peace and plenty, 

And when your honest race is run, 
Remember, friends of 1870 

Had warmer hearts in '91." 

At the close of the address, which was loudly cheered, Mr. 
Thomas Thome spoke a few grateful words of thanks to all 
present, referring specially to his old friends and the committee 
and Clement Scott, and concluded with the same writer's lines 
written for him as a reply : — 

" A mist before my eyes is fedling, 

Dear friends, most generous, most kind ; 
Voices from yesterday seem calling, 

Wake 1 Caleb Deecie, you're not blind ; 
Wake from a dream of life so pleasant. 

Of friends so faithful, love so true. 
Wake and behold this priceless present 

That binds me to the past ana you. 

" 'Tis not alone this costly treasure 

That mingles utterance with tears. 
But feirly words that dare not measure 

The faithfulness of vanished years ; 
True hearts of gold, though distant '70 

Recalls the <£ivs of boys at play, 
As comrades still we're one-and-twenty. 

And friendship is of age to-day." 

The outside of the theatre was profusely decked with flags and 
bunting, and the interior was filled by an enthusiastic audience. 

1 6th. Criterion matinie. — Richard Savage, by J. M. Barrie 
and H. B. Marriott Watson. With the programme of this play 
was issued a prologue, written by W. E. Henley, in which he 


82 Richard Savage. iafml, 1891. 

claims indulgence for the authors for the liberties taken by them 
with the actual facts of the life and death of the " poet and 
blackguard/' ''spirit of fire, manikin of mud/' and states that 
they show him 

** Not as he was, but as he might have been 
Had the unkind gods been poets of the scene.** 

Some such apology was necessary, for " the strange wild 
creature" is painted in far more pleasing colours than those in 
which history • represents him. It may also be said that the 
language used by the characters is at times very modern, and 
that the introduction of ladies into the " Kit-cat Club *' is daring, 
to say the least of it In the play the poet is shown as a wild, 
passionate, hard drinker, beset by duns, but with one firm friend 
in Sir Richard Steele, and humanised by his love for Betty Steele 
and by the passionate longing he feels to find his mother. 
Through the aid of Tonson the publisher, he obtains proofs that 
Lady Macclesfield is that mother. She is made to be in the play 
as loving as, in the accepted version, she was hard-hearted and 
cruel to the offspring she had deserted. She would at once ac- 
knowledge him and brave the shame of the illicit amour of her 
girlhood but for Colonel Jocelyn, a suitor of hers, who, fearing 
that she may bestow her wealth on her new-found son, has him 
waylaid and put on board ship for the American plantations. 
Richard Savage escapes, and traces the Colonel to Lady Maccles- 
field's house, but through his craft is induced to believe that he 
is yet his staunch friend, and believing his mother to have been 
the cause of his being kidnapped, declares himself before her 
assembled guests to be her son. At the Kit-cat Club he dis- 
covers Colonel Jocelyn to have been his enemy, and challenges 
him to fight with him the next morning. It is to be an eventful 
day for the poet, for he is to be married to Betty Steele. She is 
giving herself to him out of pity, and to please her father, though 
she loves Aynston. Presently Savage arrives at Sir Richard 
Steele's house ; he has killed Colonel Jocelyn, and is himself 
sorely wounded. There he finds his mother, who acknowledges 
him as her son. He faints from weakness, and is supposed to be 
dead. A screen is drawn around the couch, and recovering from 
his swoon, he overhears that Betty does not really care for him, 
that his existence will be a lasting disgrace to his mother, and 
that his own ungovernable temper will probably be his ruin ; and 
so he sacrifices himself — tears the bandages from his wounds, and 
dies. Bernard Gould gave a powerful rendering of the principal 
character. Cyril Maude also appeared quite to understand the* 

AraiL, 189X.1 Richard Savage, 83 

nature of Sir Richard Steele. Helen Forsyth played with con- 
siderable feeling. Louise Hoodie's performance was very uneven. 
Leonard Outram was absurdly melodramatic, and Phyllis 
Broughton was not seen to advantage. The small part of Will 
(proprietor of the coffee-house) was very naturally played by 
W. Lugg. The play is an interesting one, and, unlike most, 
requires amplifying for the better development and understanding 
of the motives that influence the characters. This done, it would 
in all likelihood be a success with the public, and be favourably 
accepted for an evening bill. Richard Savage was played in four 
acts, the scenes of which were as follows : — 

Act I.— Will*s Coflfee-house. Act II.— Reception at Lady Macclesfield's. Act III.— 
Kit-cat Club. Act IV.— Savage's Wedding. 

The following is the prologue referred to, which was not, 
however, delivered from the stage : — 

" To other boards for pun and song and dance 1 
Our purpose is an essay in romance, 
An old-world story where such old-world facts 
As hate and love and death, through four swift acts — 
Not without gleams and glances, hints and cues, 
From the dear bright eyes of the Comic Muse ! — 
So shine and sound that, as we fondly deem. 
They may persuade you to accept our dream. 
Our own invention mainly, though w« take, 
Somewhat for art, but most for interest's saJce, 
One for our hero who goes wandering still 
In the long shadow of Parnassus' hill. 
Scarce within eyeshot, but whose tragic shade 
Compels that recognition due be made 
When he comes knocking; at the student's door. 
Somewhat as poet, if as blackguard more. 

** Poet and blacks^uard ! Of the first how much I 
As to the second, in such perfect touch 
With folly and sorrow, even shame and crime. 
He lived the grief and wonder of his time. 
Marked for reproaches from his life's b^inning ; 
Extremely sinned against as well as sinning ; 
Hack, spendthrift, starveling, duellist, in turn ; 
Too cross to cherish, yet too fierce to spurn ; 
Berimed with ink or brave with wine and blood ; 
Spirit of fire and manikin of mud ; 
^^ow shining clear, now fain to starve and skulk ; 
Star of the tavern, votary of the hulk ; 
At once the child of passion and the slave ; 
Brawling his way to an unhonoured gprave — 
That was Dick Savage. Yet ere his ghost we raise 
For these more decent and less desperate days 
It may be well and seemly to reflect 
That, howbeit of so prodigal a sect. 
Since it was his to call until the end 
Our greatest, wisest Englishman his friend, 
• Twere all too fatuous if we cursed and scorned 

The strange, wild creature Johnson loved and mourned. 

" Nature is but the oyster — art's the pearl : 
Our Dick is neither ^cophant nor churL ^ i 

Not as he was, but what he might have been Digitized by VjOOQ IC 
Had the unkind gods been poets of the scene. 

84 Hedda Gabler, (Amul^iSji. 

Fired with our fmnqr» shaped and tridced anew 
To touch your hearts with love, vour eyes with rue, 
He stands or falls, ere he these boards depart, 
Not as dead naturej but as living art'* 

1 6th. Steinway Hall. — A Pair of Ghosts, by Campbell Rae 
Brown. In this skit (after Ibsen) Rose Kenney appeared as 
Flossie Speckleton. 

1 8th. The Royal Circus of Varieties, Nethergate, Dundee, 
the property of W. Smith, entirely destroyed by fire. Total loss 
estimated at about ;f 2,000. The artists lost their dresses, valued 
at about i^200. 

20th. Vaudeville matin/e. — Hedda Gabler. This, the latest 
of Henrik Ibsen's plays, appears to average common-sense people 
the most motiveless of any he has written. The initiated, or 
those who fancy they are, may discover hidden meaning in the 
''master's'' work, may be able to understand what moral he 
teaches in the conduct of his heroine, but I must confess I can 
only see in her a spiteful, blasie woman, none too virtuous, of ill- 
regulated mind, and deceitful. What has made her exist without one 
redeeming characteristic ? What is it that wearies her of her life 
and makes her take it ? What but petty jealousy makes her drive 
a man back into his former fallen state, and ultimately herself 
commit suicide ? To me she is simply incomprehensible and 
repugnant, and yet I have read Mr. Edmund Gosse's translation 
carefully three times. Hedda {n^e Gabler) has married George 
Tesman, why we know not, for she evidently did not care for him, 
and he was no great catch. They come home from their honey- 
moon, during which, though George worships her, he appears to 
have paid quite as much attention to the collection of materials 
for some great work he is to write as to his wife. Soon after 
they arrive, Mrs. Elvsted (Thea), an old schoolfellow of Hedda's, 
calls, and we learn that she is madly in love with Ejlbert Lovborg. 
He has been secretary to her husband, and because Ejlbert has 
left the house she has followed him. The man has evidently 
been in the past a drunkard and a debauchee, and has forfeited 
his claims on society. During his stay with the Elvsteds he has 
recovered his mental balance. If Hedda has ever cared for any 
one it has been for this Lovborg ; and so, finding that he looks 
upon Thea as his guardian angel, she at once proceeds to destroy 
him. Knowing his weakness, he refuses to drink. Hedda by 
her covert sneers induces him to do so ; in the same way sheT sends 
him to a bacchanalian party at Judge Brack's, where he gets mad 
drunk, and on his way to a disreputable house loses the manuscript 
of a work which is to bring him fame and fortune. George Tesman 

April, 1891')] Hedda GablcT, 85 

picks it up, and brings it to his wife, who as soon as he is gone 
deliberately burns the manuscript leaf by leaf, whispering to herself, 
" Now I am burning your child " — Thea's and Lovborg's child. 
When Lovborg calls on her and bewails his backslidings and the 
loss of his book, which he pretends he has torn up in his frenzy, 
Hedda hands him one of a pair of revolvers (she has used it on 
him in the past), and advises him to use it on himself in taking 
his life. " And do it beautifully, Ejlbert Lovborg ; promise me 
that," and she has done all this because, as she says, " I wish for 
once to have power over the fate of a human being." Presently 
Judge Brack comes to Hedda, and tells her that Lovborg has 
committed suicide, but he has not done it " beautifully"; he has not 
shot himself in the head or in the heart, but evidently in the 
stomach, and he has chosen as the place in which to commit 
suicide the disreputable house. This is very disappointing to 
Hedda, and when the judge tells her that awkward questions 
may be asked about the pistol, who it belongs to, and that he 
knows, but will hold his tongue if Hedda will intrigue with him, 
Hedda takes the other pistol and retires to the far end of the 
room, behind some curtains. Thea Elvsted has possession of the 
rough drafts of Lovborg*s book ; she is busy arranging them with 
George Tesman, who finds her a congenial companion at such 
work, when a shot is heard within. Tesman pulls back the curtains, 
and shrieks, " Shot herself! Shot herself in the temple ! Fancy 
that I " and Brack (half fainting in the armchair) ejaculates, 
^* But may God take pity on us ! People don't do such things as 
that." The audience that was present was one, the members of 
which for the most part believe * in Ibsen, but I will also say that 
the remainder appeared interested, but then this was, one might 
say, a picked audience, prepared at least to think on the play and 
critically watch the acting. The latter was really excellent, and 
to it may be attributed the favour with which Hedda Gabler 
was received, for parts of it so border on the ludicrous that only the 
consummate acting prevents a titter. Elizabeth Robins was subtle 
and refined, and, as nearly as it was possible, convinced one that 
such a woman could exist and act as she did. Marion Lea, by her 
delicate handling of the character of Mrs. Elvsted, made such a 
platonic and pure attachment as she felt for Lovborg capable of 
being understood — the grosser element was entirely absent. 
Seldom has Charles Sugden acted the cold, scheming voluptuary 
so well as he did as Judge Brack. The reformed man who weakly 
allows himself to return to his former devil's life, and then, 
ashamed and disgusted, ends it, was finely conceived and carried 

86 The Mountebank. tAmi,i89i. 

out by Arthur Elwood ; and Scott Buist was delightfully natural 
as the simple, confiding man of letters. Henrietta Cowen as the 
kindly old aunt, who will always find some good work to do, 
played sympathetically, and Patty Chapman was the model of a 
faitiiful old servant. The version used was that of Mr. Edmund 
Gosse. Mr. George Foss was the stage manager, and the maHnies 
from April 20th to 24th were under the joint management of 
Miss Robins and Miss Lea. Hedda Gabler was placed in the 
evening bill May 4th, and ran till May 30th, to good houses. 

20th. Lyric, Hammersmith. — The Little Widow, three-act 
farcical comedy by Fred Jarman, originally produced at the Theatre 
Royal, Liverpool, February 2nd, 1891. 

2 1st. New Olympic — The Acrobat,^A^,1pt^X\oxihyVf\\son Barrett 
Paillasse of MM. Dennery and Marc Foumier created such a. 
sensation at the Gaiet^, Paris, when it was produced in 1850, 
from the wondrous acting of Lemaitre, that Benjamin Webster, 
the then lessee of the Adelphi, soon made an adaptation and 
produced the first English version at his theatre January 13th, 
1851, under the title of Belphegor the Mountebank ; or. The Pride 
of Birth, he appearing in the title r6le, Madame Celeste as Made- 
line, Miss Chaplin as Henri, and Miss Woolgar as Nini Flora. 
O. Smith was the Chevalier de Rollac. Webster was not long the 
only one in the field with an adaptation, for on January 19th, 
185 1, William Creswick appeared at the Surrey as Guillaume 
(Belphegor) in a version called Belphegor the Itinerant, by J. 
Courtney, with Miss Cooper as Madeline, Harriet Coveney as 
Catherine, and Jane Coveney as Nini Flora. Treading immediately 
on its heels (January 26th, 185 1) came the "new and most 
superior" version Belphegor the Buffoon ; or. The Assassin of the 
Revolution, by T. Higgle and T. Hailes Lacey, J. T. Johnson in 
the title rdle, at the Victoria. In this version most of the names 
of the characters were changed. Charles Dillon made his first 
appearance in London in Charles Webb's version at Sadler's 
Wells April 21st, 1856; Mrs. Charles Dillon was the Madeline, 
Rose Edouin was the Henri, and James Rogers Fanfaronade : and 
when Mr. Dillon became lessee of the Lyceum he commenced his 
season with the same play, and in it Marie Wilton (Mrs. Bancroft) 
made her London d/but as Henri, and J. L. Toole was the Fan- 
faronade. On April 17th, 1865, Charles Fechter revived the 
play in a different version at the Lyceum, under the title of The 
Mountebank. He appeared as Belphegor, and his own son. 
Master Fechter, was the mountebank's son, called here Paul ; the 
cast was a strong one, and included Carlotta Leclercq (Violet de 

April, 1891.] The Mountebank. 87 

Boisfleury), Mademoiselle Beatrice (Madeline), Sam Emery (Due de 
Montbazon), John Ryder (Savarennes), and H. Widdicomb (Far- 
faron), but the version was not a good one, though Fechter and 
his little son, a very handsome boy, made it attractive. Wilson 
Barrett has of course followed the main lines of the story 
fairly closely, but has made some good alterations in its develop- 
ment Louis Belphegor is supposed to be a mountebank who 
travels the country with his wife Madeline and his two children, 
Jeannette and Henri, the latter assisting him in entertaining the 
public. Though poor, they are happy as the day is long, until 
Lavarennes, a thief and adventurer known as De Rollac, informs 
Madeline that she is the long- lost grandchild of the Due de 
Montbazon. Lavarennes has been a companion of the real 
Chevalier de Rollac in America, has learnt all the incidents of 
his life ; he subsequently killed him, took his papers, and came 
back to France to trade on the information he had obtained. He 
informs Belphegor that he will have to give up his wife, and offers 
him a large sum of money to consent, and the poor mountebank, 
knowing the power of the noble family, flies with his wife and his 
children. They are followed up by Lavarennes and the Count 
de Blangy. The little girl Jeannette is very weakly; and the 
doctor informs Madeline that, unless she has change and every atten- 
tion, she will certainly die. The mother's feelings are so worked upon, 
that she consents to go to her rich relatives for a time at least, 
hoping to induce them to receive her husband, so that when 
Belphegor returns to his poor lodgings he finds himself, as he 
imagines, utterly deserted. After being hunted down by the 
Duke's agents, he at length discovers the whereabouts of his wife 
and child at Mademoiselle Flora's chateau, and there he forces 
Lavarennes to give up the papers which proved Madeline's iden- 
tity. The guests at the ffite have munificently rewarded his 
efforts to amuse them, and so he purchases fine clothes and arrives 
at the Duke's chateau, passing himself off as De Rollac Here, 
when he acknowledges who he really is, there is a powerful scene 
between him and the Duke, who is at first determined to have 
him sent out of the country and his marriage with Madeline 
annulled, but Belphegor's nobility of soul and Madeline's steadfast 
determination to follow the fortunes of her husband at length 
prevail, and the Duke not only accepts him as his son-in-law, but, 
under the powers granted him by the King, obtains for Belphegor 
the title that the Duke's son bore. In one version I think the 
dinouenunt was brought about by the discovery that it is not 
Madeline, but Belph^or, who is the Duke's grandchild. There is 

88 A Nighi in Town. [AnuL,i89i. 

a mingling of light-heaxtedness, pathos, and complete honesty in 
the character of Belphegor exactly suited to Wilson Barrett ; and 
from the time that he entered on the scene in the showman's van, 
drawn by the piebald horse with Flip Flap (capitally played by 
George Barrett) on the box beating the big drum, until his scene 
with the Duke in the last act, Wilson Barrett completely held his 
audience. Winifred Emery looked the aristocrat, though for a time 
so poorly clothed, and played with great feeling. Edie King was 
clever and pathetic as Henri. H. Cooper Cliffe was incisive and 
yet easy as Lavarennes ; and others who deserve favourable men- 
tion are Austin Melford, Horace Hodges and Lillie Belmore, 
Lily Hanbury, Harrietta Polini, and little Pollie Smith, a pretty 
and engaging child. The piece was beautifully put upon the 
stage, and the scenery and costumes were of the best In the 
third act a very tasteful ballad was executed, accompanied by the 
singing of an excellent choir, and the gardens of the chateau 
presented a brilliant appearance. The humours of a French 
village fdte with a sabSt dance were also well depicted in the first 
act On this evening a strong protest was made against the 
payment of fees. Between the first and second acts, a very large 
slip of calico, having on it, printed in big letters, " All fees should 
be abolished," was hung along the front rail of the gallery, 
and this action was accompanied by the dropping of a great 
number of handbills amongst the audience. These handbills 
contained a protest against payment for programmes, etc., and 
gave a list of the managers who made no charge and of those 
who were guilty of the so-called " extortion." The little affair 
ended satisfactorily, the " protestants " rolling up their banner 
and allowing the performance to proceed in quiet. On the fall 
of the curtain, Wilson Barrett referred to what had happened, and 
said that it was rather hard upon him to be singled out for this 
movement, as during his long career at the Princess's he had 
abolished every sort of fee, but he promised that in the future no 
charges should be made at the Olympic so long as he was 
manager. It is a well-known fact that managers often have to 
suffer through contracts having been made with the refreshment- 
bar keepers previously to their entering into possession of the 
house, all fees under this contract going to the refreshment 

2 1 St. Strand matinee. — A Night in Town^ farcical comedy 
in three acts. Had this only been done justice to by thorough 
study, it would have been a success ; as it was, the piece created 
much laughter. Imagine Arthur Williams as an outwardly 

April, 1891.1 Back in Ftve Minutes, 89 

respectable but much-sat-upon husband, who has sufficient of the 
old Adam in him to enjoy a surreptitious visit to a theatre, which 
visit eventually lands him in a police-station. Give him a tract- 
distributing but leather-lunged wife (Madeline L'Estrange), who 
follows up not only him, but her son (capitally played by Cecil 
Ramsey) and her son-in-law, who is supposed to be carrying on 
with an opera singer (Marie Lewes). Then two pretty nieces 
(Alice Maitland and Kate Bealby) get into trouble at the same 
theatre, and are hectored by a strong-minded boarding-house 
keeper (a remarkably clever sketch by May Protheroe). A little 
light flirtation is thrown in by Mrs. Gordon Ascher as a fascinat- 
ing but dangerous beauty, and the whole brightened by the 
constant presence of Polly Parker (Julia Warden — one of the best 
soubrettes I have seen for many a long day), with just a few other 
characters who help to make up the fun. Mr. Sherburne's piece 
was preceded by Lov^s Young Dreant^ by Eva Bright, poetic and 
with much tender feeling, but this wanted severe pruning. 
Florence Bright played very sweetly as Iris, a young girl whose 
dream is dispelled by discovering that her idol is a cad of the 
first water, and is going to throw her over for her young and rich 
stepmother, Edith de Brisey (Amy McNeill). Iris should be 
made to open Edith's eyes, instead of holding her tongue and 
allowing the scamp to prosper. The playlet was very favourably 
received ; and, cut down, it should be acceptable as a first piece. 

2ist^ Death of Charles Knox Furtado, many years acting 
manager to Wilson Barrett 

22 nd. Strand. — Back in Five Minutes^ which was tried at the 
Parkhurst Theatre February 22nd, was on this evening placed in 
the evening bill here. Greorgie Elsmond was very clever as Mary 
Maybird, who masquerades in her lover's wig and gown, said 
lover being a barrister, Roscoe Robinson, smartly played by 
Sydney Barraclough. Lillian Millward was amusing as Theresa 
Tompkins, a supposed heiress and jealous waiting-maid. Robert 
Nainby got some fun out of the character of her sweetheart, 
Peterkin Prosser, and W. Lugg was the fussy, eccentric attorney, 
Bedford Roe. 

22nd. Lyceum. — Revival of Olivia. 

23rd. Toole's (revivals). — Hester's Mystery and The Upper 
Crust. J. L. Toole was heartily welcomed on making his re- 
appearance in London after his Australian tour, and chose these 
two for his opening pieces. Mr. Toole made one of his usual 
amusing speeches. Ccm 

23rd. Drury Lane.— Benefit in aid of the^''K?(^j^af X^eneral 

go Romeo and Juliet. [Af«ii,x89i. 

Theatrical Fund. The use of the theatre was generously given by 
Augustus Harris. His Last C/tance^ from the Gaiety ; Cut Off' with 
a Shillings with Sidney and Fanny Brough and Charles CoUette ; 
a scene of Antony and Cleopatra^ from the Princess's ; first act of 
Jane, from the Comedy ; and The Gay Lothario, from the St 
James's, were given, and Chevalier Scovel, E. J. Lonnen, Letty 
Lind, Dan Leno, Albert Chevalier, Charles Cobom, Arthur 
Roberts, and Charles Danby also gave their services. 

25th. Death of John Beer Johnstone, father of Eliza Johnstone. 
He wrote more than a hundred and fifty dramas and panto- 
mimes. He was eighty-three years of age when he last appeared 
at the Princess's, under Wilson Barrett's management Buried in 
Brompton cemetery. 

2Sth. Ladbroke Hall. — The Shadow Hunt, four- act comedy 
by Arthur Davey and Walter Pollock. (Played for copyright 
purposes.) Augustin Daly bought the American rights. 

26th. H.R.H. the Prince of Wales dined at the Garrick Club, 
at the invitation of Henry Irving, J. L. Toole, S. B. Bancroft, 
John Hare, Charles Wyndham, Arthur Cecil, Beerbohm Tree, 
Wilson Barrett, and Edward Terry. The other guests invited 
were Augustus Harris, Walter Lacy, A. W. Pinero, and Fr C. 

27th. Grand. — Romeo and Juliet. Romeo, E. H. Vanderfelt ; 
Friar Lawrence, George Warde ; Mercutio, William Calvert ; 
Apothecary, W. B. Harrison ; Tybalt, Sydney Compton ; Lady 
Capulet, Claire Pauncefort ; Nurse, Kate Hodson ; Juliet, Miss 
Fortescue. The representatives of Romeo and Juliet had both 
greatly improved on previous performances. 

27th. Wilton Jones, dramatic author, etc., read a clever paper 
on " Parody and Burlesque " before the Playgoers' Club. 

27th. Parkhurst Theatre. — Terry; or, True to His Trust, 
one-act play by Sutton Vane. 

27th. About this date there was considerable stir in the 
theatrical world with reference to the subjoined letter, a copy of 
which is given as a matter of history, and which was sent round 
to various London newspapers : — 

*' London, April ijth, 1891. 

*' Sir, — ^We the undersigned managers beg to inform you that on and 
after Saturday next, May 2nd, it is our intention to withdraw our advertise- 
ments from the Era newspaper. 

"We feel reluctantly compelled to take this step as a protest against the 
attitude recently adopted by the Era towards the stage, of which it professes 
to be the recognised organ, and particularly to mark our sense of disapproval 
of the personal paragraphs contained in last week's issue, which we consider 

April, xSgx.i Husbatid and Wife. 91 

to be quite unjustifiable, and likely to be prejudicial to the interests of our 
profession and the respect in which we desire to see it held, 
** We remain, your obedient servants, 

' Henry Irving. 

JOHN Hare. 
L. Toole. 
B. Tree. 
" George Alexander. 
'* Edward Terry. 
" Mrs. John Wood. 
*' To the Editor of the Era?" 



28th. Death of Edward Chessman at Liverpool after a short 
illness, aged about 48. Was a principal in William Hogarth's 
Cloches de Comeville Opera Company. He was bom at Brighton, 
and commenced his career as an actor under Mr. Wyndham at 
the Theatre Royal, Edinburgh. Was a good all-round actor. 

29th. Royalty. — Our Boys and Dream Faces were chosen by 
the St. Swithin's Amateur Dramatic Club for their annual perform- 
ance. In the last-named piece J. W. Williams was a little hard, 
but otherwise good, as Robert, F. C. Althaus a very good-looking 
Philip, Agnes Verity a sweet Lucy, and Cicely Richards a 
thoroughly sympathetic and tender Margaret. I knew this latter 
actress's powers, but I did not believe them to be so great Our 
Boys followed. With all respect for David James, I would not 
wish for a better Perky n Middlewick than E. C. Silverthome's — 
not a slavish copy, but a hearty, original reading. R. C. Lochlien 
was good as the pompous Sir Geoffry, J. W. Williams excellent 
as Talbot Champneys (considering he had to take the part at 
seven hours' notice, owing to S. G. Asher's illness), W. F. Lee 
a manly Charles Middlewick, E. J. Mercer and J. Fairlie as 
Kempster and Poddies, Lucy Buckstone a captivating, well-bred 
Violet, Agnes Verity a bewitchingly saucy Mary Melrose, Florence 
Haydon an amusing Clarissa, and Cicely Richards as the one and 
only Belinda and the original of the character. The St Swithin's 
is one of the best of our amateur dramatic clubs, and is wise 
enough always to engage professional talent to support it The 
performance on this occasion was so good, taken all round, that 
I have selected it as showing what amateurs can do. 

30th. Criterion 'matinie. — Husband and Wife^ by F. C. 
Phillips and Percy FendelL At the time this was first tried I 
wrote the following: "With considerable revision and 'pulling 
together' this piece can be made acceptable, for there was much 
fun in it, despite the fact that insufficiency of rehearsal was very 
apparent. That fruitful subject for farce the patient, hen-pecked 
husband, who ultimately revolts, is the theme. A body of ladies,i 

92 That Woman in Pink. ihrun^i^. 

at the head of whom are Mrs. Greenthome and Mrs. Smith, have 
formed themselves into a society for * Married Women's Protection/ 
and the amelioration of the morals of peccant spouses. Under 
their vigorous measures the men are reduced to feeding babies 
and hemming dusters. The ladies have a club called the ' Tiger 
Lilies.* Mrs. Springfield, a pretty widow, takes the part of the 
men, and induces them to form a rival club, ' The Dandelions,' 
and this is established in the very next room to the ladies' meeting- 
place. The emancipated husbands celebrate the event by a 
champagne supper and baccarat, and the police appear upon the 
scene and take ladies and gentlemen alike oflf to the station as 
having been found in a common gambling-house. Up to this the 
piece was decidedly amusing, but in the third act a new element 
was introduced. Mrs. Springfield comes to Greenthome's house, 
and, afraid of being seen by her jealous admirer, Alfred Stepit, 
conceals herself behind some window curtains, and presently 
emerges as a stable-boy, a supposed admirer of the housemaid 
Mary, who has furnished her with the disguise. Carlotta Addison 
and Miss Victor, and George Giddens and W. Blakeley, were 
excellent ; indeed, all the characters were understood, but would 
have been done more justice to had the parts been better conned 
Husband and Wife was received with sufficient favour and 
encouragement for the authors to revise their work, and they may 
be recommended not to reproduce it until it has been thoroughly 
rehearsed." This play was afterwards produced at the Comedy, 
when considerable alterations were made in it, which will be 
noticed under their proper date. 

30th. Terry's matinie. — Herbert and Ethel Harraden pro- 
duced " four of their one-act original musical comediettas." The 
first, Charlie, is another version of a subject that has been used 
before, of a couple of young ladies who imagine that they are in 
love with the same man, until they discover that their sweethearts 
are cousins. Miss St Quinten (Kitty) and Loie Fuller (Lizzie) 
had some pretty numbers, which they sang well, and by their 
lively acting made the piece acceptable. All About a Bonnet 
told of a tiff between husband and wife, in which the male has 
to surrender unconditionally to the weaker sex. Mr. and Miss 
Harraden, who appeared as Herbert and Ethel, should have 
entrusted the characters to professional talent ThcU Woman in 
Pink proved thoroughly bright and entertaining both in music 
and dialogue. Loie Fuller and G. T. MinshuU depicted with 
spirit and humour the characters of Florrie and Jack, an engaged 
couple. Florrie is ridiculously jealous about Jack's attention to 

May, X891.1 Trust 93 

" That Woman in Pink,'* who is no other than Jack's sister, the 
two having plotted to cure Florrie of her devotion to the ** green- 
eyed monster." For Aunt Agathds Doctor nothing could have 
secured a favourable reception. Miss Harraden was the Aunt 
Agatha, who, knowing that Rosie (Miss St. Quinten) very much 
regrets having broken off her engagement with her swain, but is 
too proud to make the amends, induces the girl to avow her real 
feelings to the family doctor (Mr. Harraden), who, after he has 
heard the confession, pulls off a false beard and moustache and 
stands revealed as the lover. One of the pleasures of the afternoon 
was afforded by the excellence of the orchestra, under the direction 
of Mr. Barter Jones. 

30th. Ladbroke Hall. — Trusty "conventional drama" in 
four acts by Horace C. W. Newte. This was a conventi6nal 
melodrama, but might have passed muster had not the author 
entrusted his principal female character to the Princess Eugenie 
di Christofero, a lady who possessed not a single qualification to 
appear as an actress. Miss Berkeley, a pupil of Sarah Thome's, 
showed great promise in a part that required some power. 

Adelphl — The English Rose ran until the end of April. 
During the run A. B. Cross and W. B. Sutherland played Harry 


2nd. Death of Katty King (Mrs. Arthur Lloyd), daughter of 
T. C. King, the tragedian, a great favourite in Dublin. The 
deceased lady, though she had acted on the regular stage, had 
made her principal reputation in variety theatres. 

3rd. Death of Barry Sullivan at his own residence, Albany 
Villas, Hove, Brighton, after nearly three years' severe illness, 
he having had a paralytic seizure in August, 1888. Bom at Bir- 
mingham in 1824, he made his d^but at Cork in 1840, but had 
been intended to follow the draper's business. After playing for 
some time in Ireland, joined W. H. Murray's company at the 
Theatre Royal, Edinburgh. Made his first mark as Sir Edward 
Mortimer in The Iron Chest (Theatre Royal, Edinburgh), May 
3rd, 1847. London cUbut as Hamlet (Haymarket) February 7th, 
1852. Amongst the characters he appeared in were Angiolo 
in Miss Vandenhoff's Woman's Hearty Evelyn in Money^ Hardman 

94 Ptf «/ Jones. cmay, 1891. 

in Lytton's Not so Bad as We Seem^ Valence in Browning's 
Colomic*s BirtAday, Claude Melnotte, Franklyn in Lovers Martyrdom, 
Tihrak in Nitocris, Jaques in As You Like It. These were previous 
to 1857. Then he went for an American tour, and made a con- 
siderable sum of money. Reappeared in London August, i860, 
at the St. James's as Hamlet Went to Australia for six years. 
Returned to England in 1866 ; in September of that year 
appeared as King John and Macbeth at Drury Lane, and became 
manager of the Holbom Theatre. Appeared again in America 
and Australia, and from 1875 to 1879 starred throughout the 
United Kingdom. June 4th, 1887, saw his last appearance as 
Richard III. at the Royal Alexandra Theatre, Liverpool He 
was a very great favourite in the provinces, and particularly in 
Shakespearian characters. His acting was of the robust school 
He was buried in the Glasnevin cemetery, Dublin. 

4th. Chelsea Town Hall — The Reckoning, original play in 
three acts by Ernest Genet, was unconventional in idea and contained 
some good situations ; with compression, a little rearrangement, 
and a strengthening of the love interest, it could be made acceptable 
to country audiences. The author, who appeared to advantage as 
Allen Raymond, received valuable aid from Charles W.Glassington 
as Bernard Currie, and from Louise Franklin as Daisy Bradmore. 

4th. Sadler's Wells. — Marishka, five-act drama by Wanda 

4th. Standard. — Paul Jones. This comic opera was given 
by Charles Wibrow's company, which had been touring for some 
time. The cast was as follows : — Paul Jones, James Leverett ; 
Rufino de Martinez, Walter Ashley ; Bicoquet, Mat Robson ; 
Don Trocadero, W. S. Hartford ; Kestrel, Barton de SoUa ; 
Bouillabaise, Charles Wibrow ; Petit Pierre, H. O. Clarey ; First 
Lieutenant, B. Barton ; Second Lieutenant, G. W. Barte ; Yvonne, 
Louisa Henschell ; Malagurna, Marion Erie ; Delphine, Leslie 
Melvin ; Chopinette, Ivy Warner. 

Sth. Opera Comique. — Betrayed by a Kiss, one-act comedy 
by "Jay Nibb." This was based upon a countess and a chevalier 
changing characters with their respective man and maidservant, 
and these four characters were represented by Marie de Valge, 
H. A. Saintsbury (the author), J. G. Taylor, and Mrs. Campbell 
Bradley, the two latter excellent Loie Fuller was not at her 
best as Gabrielle St Aubert, but Maud Digby was charming as 
Adile de Vernois. 

5th. Lyric. — The Anonymous Letter, original three-act comedy 
by Mark Ambient and Frank Latimer. The title almost tells the 

Mat, 1891.] The Anonymous Letter. 95 

story. Helen Grant is a popular actress, known as the " Siren " 
from the witchery she exercises over men. A Bohemienne in the 
best sense of the word, she disregards appearances, and is, 
therefore, the subject of disgraceful scandal. She has won the 
heart of Charles Credit, a good fellow, who believes in and trusts 
her implicitly. Ernest Sinclair, a wealthy playwright, has written 
a part specially for her, and therefore is almost compelled to visit 
her constantly. He has married straight from a convent his wife 
Marie, and both are deeply attached to each other. The serpent 
in their Eden is Lady DoUary, who, having once been desperately 
in love with Sinclair, though he never encouraged her passion, 
only awaits the opportunity to revenge herself. This arises out 
of his frequent association with the " Siren," for Lady DoUary 
breathes suspicions into Mrs. Sinclair's ears, and finding these of 
no avail, at last writes the " Anonymous Letter," which points at 
a liaison between Sinclair and Helen Grant When this letter 
reaches Marie's hands she at once leaves her house and takes 
refuge with Lady Dollary, who has been her pretended most 
attached friend throughout Sir Daniel Dollary is a promoter of 
companies ; he is floating one, for the success of which only 
one thing is necessary : the securing of a patent of which 
Baron Goldschein is the possessor. The Baron, a great admirer 
of Helen Grant's, strives his utmost to induce her to place herself 
under his protection, but she persistently refuses all his advances. 
He also possesses a wonderful formula, the imprimatur of which 
is absolutely necessary to the success of a speculative company. 
We must candidly own that we cannot understand what this 
formula is ; but anyhow Helen obtains possession of it She 
openly tells the Baron this, and offers to buy its use with the 
return of the diamonds he has lavished on her. He will consent 
to part with it on the condition that she yields herself to him ; 
and she refusing, he is so in love with her that he offers her 
marriage. This she also refuses, millionaire as he is, and he is 
then so struck with the nobility of character of one of whom the 
world thinks so lightly, that he not only gives her the formula, 
but the patent necessary to the success of the company, and so 
saves her lover Charles Credit's fortune, Charles having invested 
the whole of it in the said company. Lady Dollary has discovered 
that her husband is on the verge of bankruptcy, for his company 
is not a success. She informs Sinclair of this, and he thinking 
her his friend, offers to help her husband to tide over his difficulties. 
When Sinclair learns that Helen Grant is the possessor of the 
patent, he tries to purchase it of her, but she says she has other 

g6 The Anonymous Letter. [Mat. isgt 

uses for it She has all along suspected that Lady Dollary has 
been the writer of the anonymous letter, and taxes her with being 
its author. Of course there is a denial, but Helen Grant conquers. 
She shows that she can have faith in the better nature of a 
woman. She gives Lady Dollary the patent and the incriminating 
letter, so that it shall never be traced, and Lady Dollary goes to 
Mrs. Sinclair, and, we are led to suppose, confesses to her the 
wickedness of which she has been guilty, and so restores the 
young wife to the arms of her husband. The conduct on the 
part of Helen Grant is quixotic, but we presume that the authors 
wish to prove that an actress and a Bohemienne is capable <A 
exalted actions. There was some smart writing in the play, but 
the acts may be said to be split up into a series of duologues. 
The drawing of the characters is much exaggerated, and is 
faulty. Baron Goldschein, a notorious libertine, suddenly becomes 
an ardent admirer of virtue. Sir Daniel Dollary, M.P., is supposed 
to be an able financier, and yet is the silliest of men, who employs 
his leisure moments in using a skipping-rope like a schoolgirl. 
Mrs. Sinclair, fondly attached to her husband, yet believes in the 
inculpating letter almost without hesitation. Lady Dollary, 
taking the deepest interest in her hen-pecked husband, can be 
guilty of a despicable act to satisfy her revenge on a man who 
has never really wronged her. Helen Grant, given to Bohemianism 
and flirtation and acceptation of valuable presents from a worthless 
individual, the attentions from whom are an insult, is yet an 
angel of purity. But the parts were so well played as almost to 
make one forget their inconsistencies. W. H. Vernon as Baron 
Goldschein was the type of a rich, sensual, and generous libertine. 
George Mudie (Sir Daniel Dollary) played wisely his character 
on broad farcical lines, and made it amusing. Lewis Waller's 
Sinclair was a gay, light-hearted fellow, fond of a joke, his only 
trouble being his wife's temporary disbelief in him. Eric Lewis 
was natural and quaint as the confiding lover Charles Credit, 
and Cecil Frere the model of a respectable servant Annie Rose 
enlisted sympathy and looked very pretty as Mrs. Sinclair. 
Edith Vane as Lady Dollary had a difficult part to portray, a 
woman who by turns was swayed by love and hatred, and 
acquitted herself admirably. Alexes Leighton gave one of the 
best renderings I have seen of a talkative, faithful Scotch servant, 
Paterson. Florence West was thoroughly Bohemian, yet always 
ladylike, loving, and making one believe in Helen's sincerity and 
power, despite the flirtations, etc. The character was a risky one, 
but the actress handled it with great tact. The Anonymous 

May, 1891.1 TIte Late Lamented. 97 

Letter^ with some alterations, was afterwards played at several 

6th. Court. — Tlie Late Lamented. No droller farce was 
perhaps ever written than Bisson's Feu Toupinely but it had its 
objectionable features. Those who saw Mr. Homer's version at 
once admitted that the fun throughout was clean and honest, for 
the adaptor had eliminated everything distasteful, without losing 
one iota of the humour. What is more, the scenes presented 
were thoroughly English, not French characters and events merely 
transplanted on to English soil. The original idea is very funny. 
Mrs. Stuart Crosse is a lady who, having revered all her life and 
after his death held up the late Mr. Nicholson as a pattern of all 
the virtues, bestows her hand on Mr. Crosse, and takes good care 
to frequently remind him of the excellency of the " Late Lamented." 
She even carries her adoration so far as to have the picture of her 
worship, representing him as the most solemnly respectable of 
individuals, hung in her drawing-room. But a terrible revulsion 
comes over her feelings. Mr. Fawcett, the lawyer, comes to settle 
up her late husband's estate. He was a wine-merchant, with a 
branch house in Cyprus, which he used to visit every year, spend- 
ing six months in the island. Though Mrs. Nicholson never 
accompanied him, just as he was preparing for one of his journeys 
she was taken ill, not seriously enough, however, to detain him. 
On arriving at Cyprus he received a telegram leading him to 
suppose that his wife was dead, though the communication 
referred to a wealthy aunt of his. He was then seized with 
the country fever, and a rather fast young lady known to the 
garrison as " Larky," a terrible, but good-natured flirt, nursed him 
through his illness. Out of gratitude, and believing himself a 
widower, he married her. Thus when he died he left two widows. 
In going through the accounts Mrs. Crosse discovers that he 
possessed a handsomely furnished villa in Cyprus, and had paid 
various heavy milliners' bills ; and her indignation is proportionately 
great. " Larky " has in the meantime married Richard Webb, 
has come to England with her husband, and by chance they have 
taken up their abode in the flat above the Crosses — with whom 
they become acquainted — in West End Mansions. Mrs. Crosse 
has an attached old butler, Parker, who unintentionally makes 
much mischief. He and his new master hate each other, so when 
Parker is discharged he tells his mistress that Crosse is " carrying 
on " with Mrs. Webb, and Mrs. Crosse's suspicions are confirmed 
by finding a jeweller's bill for a ;^700 diamond necklace in her 
husband's pocket. Then Major Marshall comes to see his friend 


98 The Doubk Event. [Mat, isgt. 

Crosse. The Major has just returned from Cyprus, where he was 
quartered and knew Nicholson, and pours into Crosse's horrified ears 
the story of " Larky *s " doings and her marriage to the " Late 
Lamented," that he (Marshall) was a great admirer of " Larky's," 
that he has seen her and means to follow up his conquest, and 
that " Larky " had a great liking for Richard Webb. Crosse, 
naturally believing that Nicholson only left one widow, imagines 
that he has married " Larky," and so becomes intensely jealous, 
and in order to prevent his wife and the Major meeting, hurries 
him over his luncheon to such an extent as to bring back a 
severe return of some form of jungle fever, which is excruciatingly 
and funnily exhibited. Then in the third act Mrs. Crosse sees 
the diamond necklace on Mrs. Webb's neck (it had been given 
her by the " Late Lamented," and the bill had been sent 
in to his successor). The Crosses both behave so strangely from 
their mutual jealousy that Webb takes them for a pair of lunatics, 
and in the Webbs' rooms is found another portrait of the " Late 
Lamented," painted in Cyprus as a jaunty individual, with eye- 
glass and curled moustache, in absurd contrast to his other 
likeness. With the exception that the second act is a little 
prolonged, the farce created the very heartiest laughter from the 
commencement to the end. Mrs. John Wood's method was 
exactly suited to the part of Mrs. Stuart Crosse, and she made 
the character a most amusing one. Arthur Cecil, too, though a 
little nervous on the first night, grasped the absurd jealousy and 
bewilderment of his situations. Herbert Standing had not been 
seen to greater advantage for years ; his acting was the very 
essence of light comedy. Fred Cape made an excellent character- 
part of Parker, and the remainder of the cast was all that could 
be desired. The reception of The Late Lamented was a most favour- 
able one. A play entitled The Late Lamented was written by Tom 
Taylor, and was produced at the Haymarket Nov. 19th, 1859. 
It only ran three nights. It was acted by Charles Mathews and 
Miss Reynolds as a marquis and marchioness, and by J. B. 
Buckstone and Mrs. Charles Mathews as the two servants. The 
only similarity to Feu Toupinel was the constant regret and 
admiration expressed by the Marchioness for her former husband. 
The subject was perhaps better treated by Henri Drayton in his 
musical duologue, Never Judge by Appearances, played at the 
Adelphi July 7th, 1859. Fred Homer's Late Lamented was 
afterwards transferred to the Strand (Aug. ist). 

6th. Kilbum Town Hall. — The Double £z/^«/, threi^-act comedy 
by James East, for copyright purposes. Digitized by CjOOglc 

May, X891 ] The Director. 99 

7th. Terry's matinee, — Three-act farce by Harry Green- 
bank. A very weak production was Tke Director^ which was only 
accepted on account of the excellence of the acting. Mr. Syden- 
ham Sudds, chairman of the Central African Clothing Distribution 
Society, quietest and most submissive of husbands to an imperious 
wife, is induced by the prospect of large dividends to becom e 
chairman of the Harmony Music iHall. He visits the place of 
entertainment on the plea that he is attending a meeting of the 
African Society, and the fact is discovered by his wife, also by 
Tom Ashford, who gets the whip hand of him, and compels him 
to consent to his marriage with Dolly. Rebecca Sudds, a gush- 
ing spinster of a certain age, has a passion for comic songs, and 
yet has a fervent but most bashful admirer in Joseph Jonquil. 
Augustus Sudds, to please his aunt, invites Charlie Chiffins, a 
music-hall lion comique, to one of his father's quiet musical 
evenings, and the " London Warbler " horrifies most of the com- 
pany by singing one of his evening melodies. The final touch to 
Sydenham Sudds's miseries comes in a deputation of serio-comic 
ladies from the ** Harmony," who, to enlist his sympathy for their 
gfrievances, chuck him under the chin and dance a " lively 
measure," making him the centre of the group, in which situation 
he is discovered by Mrs. Sudds. There were some very clever 
lines in the farce ; had all the work been as good, the young 
author might have accepted the plaudits of his friends as genuine. 
Edward Terry (Sydenham Sudds), Henry V. Esmond (Augustus 
Sudds), E. M. Robson (Joseph Jonquil), and Sophie Larkin 
(Rebecca Sudds), in the comic parts saved the piece. Philip 
Cuningham (Tom Ashford) and Alice Maitland (Dolly Sudds) 
played naturally as the lovers. Mr. Terry had at one time some 
idea of putting the farce in the evening bill. 

7th. Vaudeville matinSe, — Leak the Forsaketiy perform- 
ance given in aid of the Women's Trades Union League. 
Bessie Byrne, in the title rdle, did not shine ; Bassett Roe was 
powerful as Nathan ; A. B. Cross was fairly good as Rudolph ; 
and Fred Thome contrived to extract a few laughs as Ludwig. 
Annie Hill elicited sympathy as Madalena, and Miss Culrik made 
a favourable impression as Sarah. 

7th. St. George's Hall. — Pretence^ by S. Boyle Lawrence. 
Herbert Linmere is secretly engaged to Kate O'Connor. In 
order to avert the suspicions of her aunt, who wishes her to marry 
a rich man, she prevails on Herbert and her sister Nelly to pre- 
tend to be in love. From pretence they come to real earnest, 
but when, during the absence of Kate, Herbert declares his 

lOO Streets of London, [May, 1891. 

passion for Nelly, the girl, though she owns she loves him, tells 
him also that she despises him for his falseness, and bids him 
be true to her sister. Just then Kate and Fred (whom she had 
previously refused) enter the room. The curtain falls on Nelly 
promising to be Fred's wife. Rather weak and confused in plot, 
but dialogue good. Acted by amateurs. 

7th. Adelphi (revival). — Streets of London. Often as this 
play of The Streets of London has been revived, it always appears 
to appeal to an audience, the secret being that it is a human play, 
and shows us how among the poorest and the lowliest kindliness 
and charity are most to be found, and that even a rogue such as 
Badger has a heart. There is no occasion to tell the story. At 
the Adelphi the great sensation scenes of Charing Cross on a 
snowy night, with its kaleidoscope of humanity, its real cabs, hot- 
potato sellers, beggars, and young swells, were faithfully reproduced ; 
and the ** house on fire," with the arrival of the real engine and 
horses, and the marvellous escape of Badger from the blazing ruins, 
created the same sensations as they ever did. Leonard Boyne 
imparted an amount of jovial devil-may-care-ism to Badger that 
made one forget what a rascal he is, but he could be firm and 
incisive enough when occasion required, and in the scene where 
he is nearly suffocated with the fumes of the charcoal he held the 
house. Genial kind-hearted Mr. and Mrs. Puffy found capital 
exponents in Lionel Rignold and Mrs. H. Leigh, clever Clara Jecks 
was a saucy good-natured Dan, and T. B. Thalberg and Olga 
Brandon were effective in their parts. Frederic Glover was not 
quite the Crawley one would expect ; he did not seem to grip the 
character. As good a performance as any was that of Ada 
Ferrar as the imperious and stony-hearted Alida. The revival 
was a decided success. 

7th. Criterion matinie. — Charles Wyndham gave a per- 
formance of David Garrick in aid of the Actors* Benevolent Fund, 
which realised ;^200 clear. 

8th. Vaudeville (revival). — Confusion^ for a series of matin^es^ 
farcical comedy in three acts by Joseph Derrick. This wildly 
diverting farce was first tried at a matinie May 17th, 1883, and 
was placed in the evening bill at the Vaudeville July i6th of the 
same year, when Mr. Thomas Thorne commenced his summer 
season. Of the original cast only one, Fred Thome, still appeared, 
and he filled the character that he played from the first. It will 
perhaps be remembered that the mistakes in the play arise 
through a telegram and a vaguely worded letter. Lucretia has 
accepted the attentions of the bachelor Blizzard, when she picks 

May, 1891.] The Cohur Sergeant. lOl 

up a telegram which she thinks will account for his sudden 
summons to London. In it she reads, " Your baby is worse/' and 
concludes that he is a father and a Don Juan. The communication 
has really been addressed to James and Maria, who, secretly 
married, but passing as single people, have been obliged to leave 
their "offspring" in town. Blizzard has gone to fetch a pug-dog 
as a present for Rose; and as the husband objects to a dog in the 
household, she leaves for him an ambiguously worded letter, in which 
she claims kindness and sympathy for the " little thing," so that 
when Mumpleford sees the baby he imagines it to be the " little 
thing," a child of his wife's. Then he behaves so strangely that 
a doctor is called in, and he is taken for a maniac ; and overhearing 
a conversation in which, to quiet Mumpleford, Blizzard says to 
Rose that the only way out of the difficulty is to drown " the 
little thing," the husband imagines that they are plotting the 
drowning of the baby. The farce played so crisply that the 
situations produced the heartiest laughter. Thomas Thorne might 
have made Blizzard a little more jovial, but the actor warmed to 
his work as the play progressed, and was droll in his represen- 
tation of the wrongly suspected admirer of the strait-laced 
Lucretia, a character played with great humour and vivacity by 
Emily Thorne, whose assumption of juvenility was most amusing. 
Fred Thome's stolidity of countenance as James tickled his 
audience immensely, and Kate James was very clever in playing 
up to him as Maria ; their scenes together went splendidly. H. B. 
Conway's consternation and horror when he as Mumpleford 
fancies that his wife has brought to his house a child of hers, and 
not his, were in the truest spirit of comedy ; and his acting was of 
the best Dr. Jones was neatly played by F. Grove. J. Wheat- 
man made a hit in the small part of Muzzle. Ella Banister 
looked very pretty, and was earnest in style. Annie Hill was 
wanting in animation as Violet Oswald Yorke as Rupert 
Sunbury was far from an engaging lover. 

9th. New Olympic. — Mr. Wilson Barrett brought his season 
to a close on this date. The strain upon him as manager and 
actor had been very great, and had certainly told upon him, for 
he appeared quite exhausted at the close of the performance. 
The evening was also made the occasion of Wilson Barrett's 
benefit, and a varied programme enabled him to appear in several 
of those characters which he reckons amongst his greatest successes. 
First came Brandon Thomas's The Colour Sergeant^ which has 
been lately seen ; and though it has in it no part for the 
bin^ficiaire^ it embraces favourite members of his company. This 

102 The Miser. cmat, 1891. 

was followed by (for the first time in London) a one-act phantasy, 
by S. Weir Mitchell, M.D., LL.D., entitled Tfu Miser: The 
Miser, W. Barrett ; Death, A. Melford ; Satan, Cooper Cliffe ; A 
Woman, L. Belmore. This piece, though short (it only played 
some twenty minutes), is effective, but weird and almost "uncanny." 
It was received with <:onsiderable approval in America, and if 
gloomy, is powerful. The " Miser " has made his gold his god ; 
nothing shall tear it from him, shall win it away from him, or 
induce him to part with it It is his life, and he will not barter 
any portion of it even for the sensuous kisses of woman. He 
mocks at Satan, who tempts him and warns him that he cannot 
carry the gold with him to the grave, which is open for him, and 
to which Death draws him with its bony arm, for as it does so 
the " Miser," with an unearthly scream, falls dead. Wilson Barrett 
assumed the voice and senility of age with* great cleverness, and 
completely sank himself in the character. The other members of 
the cast were thoroughly effective. The third act of The Lights 
d London followed (cast as before) ; and this was succeeded by 
the second act of Hamlety with Barrett as Hamlet and Winifred 
Emery as Ophelia. The only change in the characters last seen 
here was that S. M. Carson played Rosencrantz. This was suc- 
ceeded by the masquerade scene from The Acrobat^ including the 
Watteau ballet, and the whole concluded with ChaiterUm^ with 
Wilson and George Barrett and L. Belmore in their original 
characters, L. Hanbury as Lady Mary, and A. Cooke as Mrs. 
Angel. To have appeared in such an arduous round of characters 
in one evening was a strain upon any actor : but notwithstanding 
Mr. Wilson Barrett's evident fatigue, a speech was insisted on, 
and briefly, in a heartfelt manner, he returned thanks for the kind 
feeling displayed towards him by the public, a feeling which he 
hoped and believed would be ever maintained ; disclaimed ener- 
getically any connection with or approval of the "no-fee" demonstra- 
tion which had lately taken place ; spoke of how he had always 
endeavoured to uphold the dignity of his profession ; and said that, 
had he perhaps been more of a showman and less of an artist in 
the past, he would have been a richer man. And then Mr. 
Barrett admitted that, having had no holiday for five years, 
acting, management, and authorship combined had told upon him, 
so that he should be glad of a little rest. He was happy to say 
that when the theatre reopened Mr. Charles Wilmot would relieve 
him of a portion of his labours. He finished by promising that 
he would produce several new plays which he possessed. The 
bhi^ficiaire was most cordially as well as enthusiastically received 

Mat, xBqx.] The Lody from the Sea. 103 

and cheered, and his speech was several times interrupted by 

9th. St. George's Hall. — Made/, original play in 3 acts by 
George Fox. 

I ith. Terry's matinee. — The Lady from the Sea, Eleanor Marx 
Aveling's translation of Henrik Ibsen's five-act play. Even those 
who do not worship Ibsen are compelled to admit that as a reading 
play The Lady from the Sea is poetic, imaginative, and interesting. 
It is in a degree hypnotic, for an unseen and far-distant human 
being exercises an extraordinary influence over another with whom 
for a time he has been brought in contact, and the work appears to 
endeavour to inculcate that perfect freedom will enable woman to 
resist phantasies and listen to the dictates of common sense, 
whereas so long as she is fettered by conventional rules and 
customs she will be a slave to her fancies and act in defiance of 
all moral law. And yet this play, that promised more perhaps 
than any other if it were put upon the stage, proved in represen- 
tation the most disappointing of any of Ibsen's yet seen in 
England. EUida Wangel, whilst living at a lighthouse shut off 
from society, from her abiding near the sea has become imbued 
with its restless, perpetually changing spirit A shipwrecked 
sailor crosses her path. He is daring, and from his calling is ever 
on the waters. He appears to her to be a spirit from the deep. 
He is her affinity; and she betroths herself to him, nothing more. 
He leaves her, but some day promises to return ; and she must 
then be prepared to follow him. Years elapse, EUida marries 
Dr. Wangel, a widower, with two gjrown-up daughters, and she 
goes to live with her husband on a fjord. Here a child is born 
to her, but she insists that the child has the eyes of her affinity, 
which were ever changeful as the sea. She feels that, like Nora 
in Tlie DolPs House, she has been living with a " strange man," 
that there is not that communion of soul between herself and her 
husband that should exist She is restless, preoccupied, and has 
no interest in life, but is perpetually haunted by the unseen 
presence of the man to whom she betrothed herself. At last he 
appears in the flesh and commands her to leave home and husband, 
and follow him. A great struggle takes place within her. She 
has learnt to love the man with whom she has united herself, and 
yet the other possesses an almost irresistible influence over her. 
To decide with which of the two her future shall be passed, she 
must have absolute freedom. Her husband must give her back 
her liberty without reserve. Dr. Wangel, a weak man, does so. 
The stranger, her affinity, is disposed to enforce his claim, and 

104 On Lease, [Mat, 1891. 

draws a pistol. Ellida throws herself into her husband's arms to 
shield him. She makes her choice, now that it is left unreservedly 
to her own volition, and remains with Dr. Wangel ; and " the 
stranger " departs, never to cross her path again. As sketches of 
character that have no absolute bearing on the main interest, we 
have Amholm, an old teacher of Bolette's, who accepts him with- 
out feeling for him one spark of affection, but that she may see 
something of the great outer world, to which he promises to 
introduce her ; a consumptive sculptor, Lyngstrand, a type of 
utter selfishness ; and Ballested, a curious creature, with an aptitude 
to turn his hand to anything. Rose Meller's Ellida Wangel was 
a conscientious, thoughtful study, but it lacked inspiration ; it 
was graceful, but commonplace ; it was the ruffled surface of a 
pond instead of the majesty and power of an ocean storm. 
Violet Armbruster in a more conventional character was thoroughly 
satisfactory, and Edith Kenward was decidedly clever as Hilda, a 
girl that is just stepping into womanhood — thoughtless almost to 
cruelty, but that yearns for love and affection. Charles Dalton's 
part as " the stranger," Ellida's betrothed, was what is generally 
accepted as a " showy " one, but the actor did not overstep the 
bounds of prudence, and made it effective and poetic Herbert 
Sparling's Lyngstrand was commendable. A consumptive sub- 
ject, who is quite unaware that he will never recover, is difficult to 
impersonate. Of the remaining characters, I can only say that 
Ibsen had evidently not inspired them or made them other than 

1 2th. Criterion matinie. — Mr. Charles Wyndham kindly 
lent his theatre for a special matinie^ organised in aid of the 
Clewer Mission Work and Schools, which were much in need of 
assistance. The lessee, Mary Moore, and George Giddens 
appeared in Delicate Ground and gave great satisfaction. The 
programme included, among other items, scenes from Macbeth by 
Hermann Vezin and his pupil, Laura Johnson (who was powerful 
in Scene L, Act H., and in the " sleep-walking " scene), assisted 
by A. Kendrick and Lockhart and Kate Selwyn, and concluded 
with " a musical farce of the future," written and composed by 
Cotsford Dick, entitled On Lease : Lady La Rose, Mrs. Grodfrey 
Pearse ; Sir Charles La Rose, C. P. Colnaghi ; Colonel Fitz- 
Bluster, Mr. Walkes ; The Registrar, Cotsford Dick. Although 
this trifle had been tried at the Lyric Club, it had not hitherto 
been heard in public. It is a merry skit on a supposed new 
marriage law, whereby the contracting parties can " lease " each 
other for a term of six months or three, seven, fourteen, or twenty- 

May, X89X.) The Corsican Brothers. 105 

one years, and then determine the lease by going before the 
registrar, a very busy official, humorously played by the author. 
The " book " is smart, and the music lively and catching. The 
choruses of " Bridegrooms " and of " Brides " were redemanded, 
as was also Lady La Rose's song, " I was a society beauty," most 
charmingly sung by Mrs. Godfrey Pearse, a daughter of the great 
Mario, from whom the lady inherits her expression and tuneful 
voice. There is a little under-current of fun through the mistakes 
arising from the acquisition of a poodle, in which all but the 
registrar are mixed up, and the three sing a lively trio, ** When a 
husband would a-wooing go." The whole winds up with the appear- 
ance of Cupid heralding the approach of an old couple who have 
gained the prize awarded for fifty years of uninterrupted wedding 
bliss — a pretty and fanciful idea. C. P. Colnaghi was quaint and 
droll in his part. Though reminiscent of Trial by Jury^ the trifle 
is decidedly acceptable. The matinie was under the patronage 
of royalty. 

1 2th. Lyric Opera House, Hammersmith, put up for sale by 
auction at the Mart, Tokenhouse Yard, but bought in at a reserve 
price of ;f 10,000, ;^8,ooo having been the highest price offered. 

1 2th. Lyceum (revival). — The Corsican Brothers. Henry 
Irving first produced this play, Saturday, Sept i8th, 1880. 
He then, as also W. Terriss, Mr. Tyars, Mr. Archer, and Mrs. 
Pauncefort, filled their present rdles^ and A. W. Pinero was M. 
Alfred Meynard, Miss Fowler Emilie de L'Esparre, and Alma 
Murray Coralie. Whilst on the subject of the past, I may recall 
that the play was first produced in England at the Princess's 
Theatre, under Charles Kean's management, Feb. 24th, 1852, 
when Kean created a perfect furore as the Dei Franchi, and Alfred 
Wigan was the Chelteau Renaud. Walter Lacy was afterwards 
a most successful representative of the last-named character ; and 
in France, when Les Frhes Corses was produced at the Th^dtre 
Historique, Paris, Aug. loth, 1850, Charles Fechter, "the 
original interpreter," was praised " for the subtlety with which he 
marked the characteristic differences between the town-bred and 
the country-bred brothers." The Corsican Brothers is essentially 
a one-part play, for Chateau Renaud, the hectoring libertine and 
duellist, is after all but a feeder to the character of the Franchi. Mr. 
Irving had not much altered his original reading of the last-named 
brothers. Louis he makes poetical, gentle, and heroic in his devotion 
to Emilie. Fabien is a veritable Corsican, impulsive, generous, but 
relentless. He completely makes one believe in the strange 
mystic tie between the two brothers. The cold-blooded ruthless 

io6 Nance Oldfield. [Mat. xb^i. 

savagely of the man was exhibited in the duel scene, which was 
magnificently fought. W. Terriss again showed considerable 
power as Ch&teau Renaud, but not so much as might have been 
expected in such an actor. Annie Irish was a delicate and graceful 
Emilie de L'Esparre, Mrs. Fauncefort a dignified kindly Madame 
dei Franchi, and Mr. Haviland excellent as M. Alfred Meynard. 
The other characters were quite satisfactorily represented. Some 
improvement was anticipated in the method of appearance of the 
ghost, but even modern science does not seem able to better the 
solidity of the supposed disemtxxlied apparition. The visions 
were well arranged, and the scenes representing the chateau 
in Corsica and the " forest glade " in Fontainebleau were per- 
fection. It was on the Bal de TOp^ra scene that Mr. Irving had 
expended his greatest efforts. A more realistic and brilliant coup- 
(Tail has never been seen ; it was a reproduction of the interior 
of the opera-house, with its boxes full of gaily-dressed people, 
massive diandeliers shedding their light on hundreds of fantastic 
forms whirling in the dance, and special ballets of Chicardes, 
Debardeurs, and Pierrots. The house rang again and again with 
applause, although the play itself is old-fashioned and not quite 
so readily believed in as it was years ago. 

1 2th. Lyceum (revival). — Nance Oldfield, one-act comedy 
by Charles Reade. There was no part in Dion Boucicault's piece 
that afforded sufficient scope for the display of Miss Terry's 
talents, and therefore Mr. Irving wisely gave her an opportunity 
of appearing in a character for which the actress is eminently 
suited. Charles Reade's play is but David Garrick (which, by 
the way, was taken from the French) in petticoats. Alexander 
Oldworthy, a poet and budding dramatist, has been bewitched by 
the attractions of Nance Oldfield, the great actress. His father 
implores her to cure him of his passion. She does so by making 
herself out to her boyish lover all that is mercenary, unlovable, 
and slatternly. But the youth being reduced to abject despair by 
being disillusioned, she gives him an object in life by promising to 
get his tragedy produced, and to play the leading character in it 
Miss Terry was perhaps suffering from nervousness on the first 
performance, and consequently the prompter was frequently heard, 
but there were moments when the actress showed us what a vein 
of rich and enchanting comedy would be struck in her delineation 
when she was thoroughly at home in the part Gordon Craig, 
though he has not sufficient experience to play Alexander, sur- 
prised me by the improvement he had made. Wenman was a 
little too bucolic as the country attorney. Kate Phillips was 

May, 1891.] HandfasU 107 

excellent as a rather simple waiting-maid. It should be men- 
tioned that this comedy is not the only version of Fournier's 
Tiridate ; ou^ Comidie et Tragedie, a very old French play. Mrs. 
Bracegirdle was the heroine in An Actress by Day lights played 
by Mrs. John Wood during her St. James's management John 
Oxenford's adaptation, The Tragedy Queen^ found favour, with Mrs. 
Stirling as Mrs. Bracegirdle, at the Olympic, May, 1856. The 
present version was originally entitled Art^ but under the now 
used title was last played by Genevieve Ward at the Lyceum 
during her short season, commencing April 2nd, 1888. 

1 2th. Steinway Hall. — Hearts or Diamonds, duologue by 
Ina Leon Cassilis, and A Folded Page, monologue by Mrs. 
William Greet 

1 3th. Terry's. — The season came to a close. The manager 
and his company went on tour. 

14th. Toole's. — A Broken Sixpence, Paul Pry and The Birth- 
place of Podgers were revived at this theatre. 

1 6th. The New Olympic, after a week's cloture, reopened 
with The Silver King, The cast was in nowise changed, save 
that Lily Hanbury appeared as Nellie Denver, and exhibited very 
great pathos. 

1 6th. Shaftesbury. — Handfast, by Henry Hamilton and Mark 
Quinton. This was originally produced at a matinie at the Prince 
of Wales's Dec 13th, 1887. Caroline Hill made her reap- 
pearance, after five yeai-s' absence in America, as Beatrice Culver. 
The full cast was given in Dramatic Notes, 1888. I then stated 
that the play possessed considerable merit, but must be re- 
modelled. The authors have cut down the play, doing away 
with the prologue, which is merged into the first act, but it is 
still too long ; its action is delayed by colloquies, which, though 
admittedly couched in good language, are superfluous. The 
playful gushings of the amorous Mrs. Trefusis (admirably 
done by Carlotta Leclercq) and her flirting with the Vicomte 
de Jamac (of whom H. de Lange makes, as before, a most 
amusing and clever sketch) become, despite good acting, a 
little wearisome, and most of these should have been sent by 
the board. Attention should be drawn to the markedly un- 
conventional manner in which the authors gradually clear off* 
their people, instead of, as is too often the case, dragging them on 
for the final scene ; by their method the interest is concentrated 
on the denouement between the two principal characters, who have 
been the main factors throughout. Jocelyn Woodville (afterwards 
Earl of Cirencester) is at death's door. He has inherited his 

io8 Handfast [Mat, iB^t. 

estates from Mervyn Woodville, who was drowned, leaving a 
widow, who is unable to satisfactorily prove her marriage. 
Jocelyn, always much attached to Mervyn, has made her a 
handsome allowance ; but as with his decease this will come to 
an end, he determines to marry her while strength remains to 
him, as she will then inherit all his property. This course does 
not fall in with the views of the next heir, Austin Woodville, who, 
with the assistance of his infamous friend Lambert D'Arcy, con- 
trives to administer to the sick man an Eastern drug which has 
peculiar qualities, but which they imagine will poison. They do 
not know its powers. " In moderation, life," is its motto, and the 
dose has this effect on the patient. He is enabled to go through 
the marriage ceremony ; and his new-made wife, who has been 
veiled, leaves the house at once. Two years later he has com- 
pletely recovered, and we find all the characters assembled in 
Naples. Jocelyn has heard nothing of his wife beyond one letter, 
in which she acknowledges his goodness to her ; and he does not 
know her whereabouts. He is much struck by a beautiful artist, 
Madame de Ligniac, who has also attracted the attention of the 
Comte de Pr^ville. Lambert D'Arcy has been led to believe that 
Jocelyn's wife is dead. If the Earl of Cirencester were out of the 
way, Austin Woodville would inherit, so D'Arcy and his tool 
malign the character of Madame de Ligniac, making out that she 
is no better than an adventuress, and induce De Pr^ville to press 
his advances on her to such an extent that they become an 
outrage. Jocelyn enters at the moment, strikes De Pr^ville, and 
the result is a challenge, the end the conspirators have in view, for 
the Comte is a dead shot. Madame de Ligniac has by this time 
learnt that Jocelyn is her husband ; the ceremony was so brief, 
and his appearance was so different, that she had not hitherto 
recognised him. She loves him deeply now, and implores of the 
Comte not to meet him ; but her entreaties are of no avail until the 
Frenchman discovers that Jocelyn was the saviour of his little 
daughter, to whom he is much attached. He then apologises to 
Jocelyn, and finding that he (the Comte) has been made the tool 
of D'Arcy, calls him out and shoots him. Austin Woodville's 
intended attempt on the life of Jocelyn is brought home to him, 
and he sneaks away in an agony of fear, and the play closes with 
an exquisite scene in which husband and wife are reunited. A 
more charming and sympathetic character than that of Madame de 
Ligniac, as represented by Winifred Emery, has seldom been seen ; 
her acting was all that could be desired, and Lewis Waller played 
in such a manly, noble style as to support her admirably. W. L. 

May, 1891.] UTilJ OutS. IO9 

Abingdon was a cool incisive villain, and William Herbert the 
embodiment of a French nobleman (the part he filled originally), 
a gentleman at heart, but allowing himself to be carried away by 
his passions. Annie Hughes and H. Reeves-Smith had some 
delightful love scenes, which they played with freshness and 
naYvet6 ; and Henry Beauchamp was a genial but astute family 
lawyer. Elizabeth Bessie was of assistance, though in a small 
part. The hit of the evening was made by Cyril Maude as 
Austin Woodville (the original). The craven fear, the attempted 
bluster, and utter selfishness of the character were wonderfully 
simulated ; and the young actor was deservedly honoured with 
a special call. The manner in which Handfast had been 
staged reflected the greatest credit on the new lessee, Cuthbert 
Rathbone, and S. Herberte Basing, his general manager. More 
beautiful or more tasteful sets had not been seen on any English 
stage. The final verdict of the evening was full of promise for 
the success of the new venture. 

1 6th. Henry Neville presented at the Boston Theatre, U.S.A., 
with an album, containing the signatures of three hundred friends 
and well-wishers, and a loving cup of silver on the part of Mr. and 
Mrs. Tomkins. The occasion was the close of the run and the 
hundred and sixty-ninth performance of The Soudan^ in which the 
recipient played Major Temple. 

1 6th. Universal regret was felt on hearing of the death, at the 
age of fifty, of Henry Sampson, proprietor of the Referee^ better 
known perhaps as " Pendragon." As a writer on all kinds of sport, 
his capacity was great, and he was no mean dramatic critic. He 
was fearless and outspoken, and thoroughly honest in the expres- 
sion of his opinions. 

1 8th. Criterion (revival). — Wild OatSy comedy by John 
O'Keefe, arranged in three acts by Charles Wyndham. Wild 
Oats is a capital type of the old comedy that used to amuse our 
forefathers, and Charles Wyndham arranged it so cleverly for his 
Criterion audiences that they enjoyed the hearty robust fun of the 
play. Mr. Wyndham is eminently suited for the part of Rover, 
alias " the bold Thunder," with his merry devil-may-care nature. 
If possible, he played it even better at the revival than when he 
originally produced it The part of Lady Amaranth, the sweet 
and gentle Quakeress, is made for Mary Moore, with her bewitching 
manner and her shy love for the gallant histrion. David James 
could not speak for some time owing to the shouts of welcome on 
his return to the stage after his long illness. He is a splendid 
John Dory — a real true-blue representation of the old sailor. His 

no A Pair of Spectacles. [Mat. xs^s. 

scenes with his former commander, Sir George Thunder (admirably 
played by Edward Righton) were rich in comedy. Then William 
Blakeley as the sly old humbug, Ephraim Smooth, and George 
Giddens as Sim, could not be improved upon ; whilst EUaline 
Terriss is now a delightful, frolicsome country maid as Jane. W. 
E. Gregory was a manly young fellow as Harry Thunder, and 
Sidney Valentine played the curmudgeon. Farmer Gammon, well 
Mrs. C. J. Smith was a kindly Amelia. 

19th. Stein WAY Hall. — The Supper Dance duolc^e, by 
William L. Young. 

2 1 St. Terry's matinie in aid of the Hospital for Sick Chil- 
dren. — In Caste Edward Righton gave his own reading of Eccles, 
which was not the best. Violet Raye showed very great promise 
as Esther Eccles, and Olga Garland was decidedly good in the last 
act as Polly. Philip Cuningham was a little too melodramatic as 
George D'Alroy. Harding-Cox was for an amateur a fair Sam 
Gerridge ; but Fanny Coleman showed us how the Marquise ought 
to be played. For the first time 

Sweepstakes, a musical comedy by Ernest Lake. Some of his 
numbers are tuneful, and his " book " is not bad at all, except that 
it wants cutting. Richie Ling as Bertie Grant showed he could 
act, and he sang like an artist. Holmes Kingston joined him 
well as Courtnay ; and Mrs. Harding-Cox proved herself, as she 
has always been considered, an accomplished musician as Chrissie 

2 1 St. Lyric. — A La Cigale. Hayden Coffin appeared for the 
first time as Vincent Knapps, and Geraldine Ulmar made her 
rentrie as Marton, her part having been played during her absence 
by Marie Halton, and also by Annie Schuberth. 

23rd. Garrick (revival). — Pair of Spectacles. John Hare did 
not find that Lady Bountiful answered his expectations, and there- 
fore very wisely withdrew it, and revived Sydney Grundy's charm- 
ing adaptation of Les Petits Oiseaux. It should be mentioned that 
during the last five performances of Mr. Pinero's play Sidney 
Brough filled with remarkable success Mr. Hare's part of the 
selfish Roderick Heron. A Pair of Spectacles was again received 
with the greatest favour ; and the programme was strengthened by 
the revival of Charles Coghlan's admirable little play A Quiet 
Rubbery with John Hare in his original part of the proud pauper 
peer Lord Kilclare, Gilbert Hare as his son Charles, C. Groves as 
the hot-tempered but good-hearted Mr. Sullivan, and Lizzie Webster 
as his daughter Mary. 

25th. Shaftesbury. — Hubby, farcical comedy in two scenes by 

Mat, 1891.3 Dinners and Dtners. 1 1 1 

H. A. Sherburn (originally produced at Lyric Hall, Ealing, April 
22nd, 1884). The above play is not noticed for its merits — for 
it was but a sorry piece of fooling — but it became interesting as a 
matter of record from the reappearance of Victoria Voices, after 
an eight years' absence in America. Mr. Hopscotch (Walter 
Everard) is a gentleman who is tyrannised over by his mother- 
in-law, Mrs. Cattermole (Annie Fawdon). He enters into a wild 
flirtation with an unknown lady, who pretends to come and consult 
him about her teeth. She has been for some time separated from 
her fire-eating husband, Major O'Braggerty (Fred Mervin), whom 
she wins back to her affections by dancing to him, having pre- 
viously coached her admirer in that art and also in singing, as he 
is going to take part in some private theatricals. Victoria Vokes 
(as Mrs. O'Braggerty), who was an immense favourite formerly 
with the public, lost but little of her hold over them, for she sang 
well, danced with peculiar grace, and was full of spirits. Thanks 
to her and the remainder of the cast. Hubby passed muster. 
OroUo, who figured in the cast, is a handsome St. Bernard, the 
property of Herbert J. Winter, and he is the original of the dog 
shown in the painting "Victims " (i 1 56) in this year's Academy, 
and also " sat " for the well-known picture ** Trust." 

25 th. St. George's Hall. — Dinners and Diners, It has 
passed into a proverb that an Englishman cannot celebrate any 
event without a dinner. The late E. L. Blanchard illustrated this 
in an amusing brochure years ago entitled Dinners and Diners^ and 
Comey Grain adopted the same title for his most amusing new 
musical sketch. In it he discoursed on dinners good, bad, and 
indifferent, public and private, on the guests, their conversation, 
how that mauvais quarUdheure is passed in anticipation of the 
meal, on the wine, and on the dishes. The prettiest, and 
a very touching, number is that which Corney Grain gave as 
" No Dinner " — a satire on gormandising, in which two little 
urchins push their starving little noses through the railings and 
witness the feast that is going on in a mansion, whilst their poor 
stomachs ache for food. This was specially encored, for it 
touched every heart; but the rest of the sketch was more 
laughable and amusing than any perhaps that the entertainer 
has yet given. 

25th. Gaiety matinee. — E. J. Lonnen took his benefit, when 
Stage-struck was played, and he appeared in the title rSle of 
Robert Macaire ; his performance was, however, too much of a 
low-comedy one. Lonnen Meadows made a hit as Jacques Strop. 
There was one new feature in the afternoon that I must specially 

112 Formosa. cma*, 1891. 

mention ; this was the little " play without words " written by C. 
D. Marius, to which he gave the name of 

TA€ Silver Line. In it he depicted, with wonderful fidelity, 
the anticipation, disappointment, rage, despair, and contemplated 
suicide of a lover who imagines that his lady fair has been false to 
him, and the revulsion of joy when a second letter informs him 
that she is all the fondest heart could wish. This was all done 
without descriptive music 

25 th. Sadler's Wells. — Wedded to Crime^ four-act drama 
by Fred Jarman and Wilford Selwyn. First time in London. 

26th. Drury Lane (revival). — Formosa. When this play was 
first produced in 1 869 (see casts at end), Mrs. Grundy professed 
herself to be terribly shocked ; but though she blushed at the so- 
called immorality of the play, she went to see it so much that it 
put some thousands into the pockets of its lucky author and F. B. 
Chatterton, from whom it indirectly produced the now historical 
motto that " Shakespeare spelt ruin and Byron bankruptcy," this 
of course when he was taxed with having deserted the legitimate 
drama. Formosa is one tissue of improbabilities from beginning 
to end. The fair frailty who drives such splendid equipages and 
lives such a life of luxury in London goes home for a change to 
a quiet riverside inn that her parents keep, and they, not knowing 
her evil career, look upon her as really the sweet modest girl she 
appears to be. Tom Burroughs falls a victim to her charms ; and 
though he is stroke of the Oxford eight and is to row in the 
coming race, he sits up all night, gambles, drinks champagne, and 
yet is supposed to keep himself in condition, for the very 
night before the great event comes off he is leading this life, he 
is locked up for "contempt of court," but in the nineteenth 
century the rest of the crew, assisted by prize-fighters, rescue him 
from the " myrmidons of the law," and he rows stroke and wins 
the next day. Then his sweetheart, Nelly Saunders, after having 
been brought up all her life as a lady by Dr. Doremus, is suddenly 
claimed by her evil dog-stealing father ; and off she goes to penury 
with him, leaving benefactor and sweetheart almost without a 
tear. But there is plenty of good scenery. There is a heap of 
vice and villainy in Formosa in Compton Kerr and Major Jorum ; 
the sentiment dear to the gallery in Sam Boker, ex-pugilist, and 
his honest good wife ; and a plucky little nobleman in Lord Eden. 
There are the crowds on the towing-path, and real men pulling 
in real outriggers (at least, they appear to be doing it), and 
imitation steamers, etc., etc., and so the curtain fell to plenty of 
applause. Jessie Millward was a little out of her element as a 

Mav, X891.1 Shakespeare. 113 

vicious woman : she is better in virtuous characters ; and Katie 
James, though she played the boy nobleman admirably, is a little 
too small for a man. Charles Glenney, Julian Cross, and Mrs. 
Billington (in her original character) were excellent ; and Harry 
NichoUs as Bob Saunders made as great a feature of the " D'ye 
want to buy a leetle dawg ? " as did Brittain Wright, who leapt 
into favour by his acting of the part. Mary Ansell played very 
sweetly, and Miss Le Bert was a good contrast to her as the more 
assertive Edith Burroughs. Alice Kingsley was distinctly clever 
as the vulgarian Mrs. Dudley. Neither Mark Quinton nor Austin 
Melford was quite successful in characters on the proper illustra- 
tion of which so much depends. 

26th. Vaudeville matirUe (revival). — Miss Tofnboy^ Robert 
Buchanan's three-act comedy. Mr. Thome's company having 
undergone some changes, there were naturally alterations in the 
cast H. B. Conway now filled the rdle of Tom Fashion, and 
was an impulsive, hearty fellow, and aped the affectation of Lord 
Foppington to perfection. Ella Banister played Fanny Hoyden, 
but not successfully. A "tomboy" she was, but there were 
wanting the witchery and artlessness that were so attractive in 
the former representative. J. Wheatman was promoted in life, 
and was acceptable as Sir George Matcham. L. D'Orsay threw 
a good deal of humour into the part of Lory, Tom Fashion's 
valet ; and C. Ramsey was a good rustic, Jabez. As an agree- 
able Mrs. Sentry, the none too faithful duenna, we had Miss 
Owen. Hilda, another handsome member of the Hanbury family, 
succeeded her sister Lily as Nancy Ditch, and showed promise. 
Annie Hill was a very subdued Dolly Primrose. Thomas and 
Fred Thorne resumed the characters of Lord Foppington and Sir 
Tunbelly Clumsy. 

27th. Shakespeare^ original comedy in four acts by Eden E. 
Greville. We have not had many plays written absolutely on the 
life of the "bard of Avon." In this, Shakespeare is betrothed 
to Anne Hathaway (the sweetest of girls), goes to London to 
seek his fortune, is presented at Court, is bewitched by Queen 
Elizabeth's maid-of-honour Elizabeth Throgmorton, who en- 
courages him to bring Sir Walter Raleigh to her feet Anne 
Hathaway is for a time demented through his faithlessness, but 
his return to her restores her to her senses. The rise of 
Raleigh, the Queen's attachment to Leicester, the deer-stealing, a 
tavern brawl at the Tabard, and the introduction of players and 
poets of the period, help to fill in the plot P. M. Berton was 
the Shakespeare, Alice Adlercron a most successful Anne 


114 Ibsetfs Ghost. [Mat, 1891. 

Hathaway, Beatrice Selwyn a queenly Elizabeth (the delivery 
of her lines of the best), and Aida Jenoure was a sprightly and 
captivating Dorothy, the waiting-maid of " Ye Tabard," and sang 
sweetly. The remainder of the cast, a long one, was made up by 
members of the local dramatic amateurs, and was acceptably 
filled for the most part 

30th. Toole's matinie, — Ibsen*s Ghost; or^ Toole up to 
Date. Although the author was not publicly announced, I after- 
wards found I had to thank J. M. Barrie (part author of Richard 
Savage) for twenty-five minutes' incessant laughter, and it was 
laughter that one did not feel shamefaced about, for one felt it 
had been produced by a really clever pen, the novel theories of 
the "master" were so deliciously burlesqued. Here is Thea, 
formerly so innocent in her platonic love, now wedded to George 
Tesman, and she feels she must leave him, for she cannot control 
her propensity for kissing every man she meets. Whence comes 
this mad passion ? she asks her grandfather. As she dilates upon 
her mania he responds with " Ghosts ! ghosts ! " and then he tells 
her it is all due to " heredity." He erred with the opposite sex 
in that way many years ago. On his wedding day he kissed a 
pretty bridesmaid, and so he has handed down to her the un- 
fortunate osculatory propensity. Then it suddenly becomes dark 
from a heavy storm without, and when the light breaks in on us 
again we find Thea transformed into Hedda, and Peter Terence 
appears as the very counterpart of Henrik Ibsen, as we know 
him from portraits of him. Hedda's tearing up the " hundreds 
of children " (the letters) is cleverly burlesqued ; and then there is 
a delightful satire on the emancipation of women in Delia 
Terence's reproach of her husband in that he has led far too 
moral a life, never introduced any but the most irreproachable 
characters to her, and never even given her a chance of being 
anything but the most orthodox of wives. Then comes the skit 
on the suicidal tendencies of Ibsen's heroes and heroines. These 
three characters shoot themselves with popguns, and, to make 
the slaughter complete, George Tesman is shot down by his 
secretary. Irene Vanburgh very cleverly parodied the method of 
Marion Lea as Thea, and in a lesser degree that of Elizabeth 
Robins. G. Shelton was a second Scott Buist as George Tesman, 
and had caught the exact tone of his voice. J. L. Toole was 
very funny, and Eliza Johnstone droUy caricatured the outraged 
feelings of the wife who has been compelled to lead such a virtuous 
life. In the revival of Chawles ; or, A Fool and his Money, Mr. 
Toole filled his original character with his accustomed drollery. 

juNB, xSgi.i The Love Chase. 115 

30th, Novelty. — Winning Defeat^ four-act drama by 
Duncan Campbell and Marcus Quaire. 

Of the subjects most interesting to theatrical readers in this 
month's exhibitions, I may mention : — At the Royal Academy : 
" Antoinette Sterling," by J. Doyle Penrose, not the most pleasing 
perhaps ; " Mrs. Charles Kettlewell " (Edith Woodworth), by 
Frederick Goodall, idealised to a degree, but very beautiful ; 
"Herr Wiener," by F. Burgess; "Alice Gomez," by Ernest G. 
Beach ; and a water-colour, a very happy likeness, by Josephine 
Gibson, of George Alexander. The best of all is that of A. W. 
Pinero, by Joseph Mordecai. Among the sculpture, attention 
may be called to " Houp-la," a relief, by Gilbert W. Bayes, to 
Beatrice M. Brown's " Cupid," and to a posthumous bust of the 
late Charles Hengler, by H. Richard Pinker. At the New 
Gallery : " Rudyard Kipling," by John Collier ; " Beatty Kings- 
ton," by F. Goodall ; " Herr Joachim," by Sir Arthur Clay ; " Julia 
Neilson," by W. Graham Robertson ; and " Henry Irving," by 
W. H. Bartlett. 



I St. Shaftesbury. — For a series of five matinies. The Love 
Chase (in three acts), by Sheridan Knowles. This prosy comedy 
was first seen at the Haymarket Oct. 9th, 1837, ^"^ on that 
occasion Mrs. Nisbett made her great success as Constance ; 
Mrs. Glover was the Widow Green ; Miss Vandenhoff, Lydia ; 
Benjamin Webster, Wildrake ; Strickland, Fondlove. Miss Amy 
Sedgwick made her appearance as Constance at the same theatre 
March 7th, 1858, when Mrs. Wilkins made her dibut as the 
Widow. In 1877 Miss Sedgwick again appeared in the character 
at the same theatre, with Miss Marion Terry as Lydia, Mrs. 
Chippendale as the Widow, and Mr. Howe as the Baronet. For 
the first of her Saturday afternoon performances at the Olympic, 
Jan. 25th, 1879, Mrs. Bernard Beere chose this comedy to 
appear in as Constance to the Wildrake of Hermann Vezin, 
William Farren as Fondlove, W. Herbert as Waller, Mrs. 
Chippendale as the Widow; and Mr. J. C. Buckstone made 
his first appearance in London as Trueworth. Miss Blanche Henri 
(Mrs. F. H. Macklin) was the Lydia; and there also appeared in 

Ii6 A Nights Frolic, tjunB, 1891. 

it Misses Huntley, S. Fane, Saville, and GiflTord, with Messrs. 
Rowland Buckstone, Jesse, and Rolt to make up the cast This 
was the last occasion on which the play had been seen in town ; 
and though it may be acceptable to provincial audiences, its day 
has gone by for London playgoers. It is antiquated, and the 
humours of the principal characters, whether as romantic or 
comic, appear out of place. Miss Fortescue, when she acts 
after her own method, shows great improvement ; she is 
vivacious, spirited, and has gained power. What a pity it was, 
then, that a clever actress should so adopt in the earlier scenes 
the mode and method of a " reigning favourite," and not rely 
on her own strength ! The Widow Green has been famous in 
the hands of Mrs. Glover, Mrs. Chippendale, and Mrs. Stirling, 
but Kate Hodson was wanting in that humour that is so 
requisite for the display of the self-complacency and perfect 
reliance on her matured charms that the character demands. 
George Warde was a gallant though fatuous old gentleman, and 
E. H. Vanderfelt had his good moments as Wildrake. The 
Trueworth of William Calvert was meritorious. Helen Ferrers 
erred a little on the side of earnestness as Lydia. 

1st Strand. — A Nights Frolic. Farcical comedy in three 
acts, by Gus Thomas and Helen Barry. The piece had not been 
sufficiently rehearsed, and Florence West was visibly not anything 
like recovered from her illness, though she acted with remarkable 
humour and spirit ; whilst all the artists seemed nervous. There 
are many good points in the adaptation of Von Moser's play ; but 
the second act required to be cut into very much, and the 
dinouement brought about more rapidly in the third. Claude 
D'Elmont and Nellie Stanton are a couple of young people 
desperately in love with each other, but Commodore Stanton 
intends his daughter for a Captain Alfred Chandon, a French 
officer. So Lady Betty Vane, a madcap widow, in order to 
disgust the Commodore with his prospective son-in-law, assumes 
the disguise of a Chasseur d'Afrique, and effectually disillusions 
the gallant old seaman as to the alliance. But she gets into 
sad trouble herself, for she is shut up for the night in the old sea- 
dog's cabin, as he calls it (a very quaint and original scene), and 
is obliged to confess herself to the real Captain Chandon, who is 
an admirer of hers. Complications then arise from Mrs. Sedley 
passing herself off as Nellie Stanton ; and her husband, returning 
from a night's " spree," is led to believe that his wife has been 
masquerading in the military apparel, and has eloped with the 
real French officer. Taken at lightning speed, an amount of 

juNB, x89i.] A DolVs House. 117 

fun might perhaps be got out of the piece ; but it did not prove a 
success in Lx)ndon, though it had in America with Helen Barry. 
Alice Atherton was, as she would necessarily be, droll and 
fascinating as the disguised and pretended fire-eater, with her 
assumed braggadocio and real terror; and it must be confessed 
that she had the most valuable assistance from C. S. Fawcett, 
who played Captain Chandon with a lightness of touch and the 
ease of a French gentleman, that were most praiseworthy. 
Percy Marshall gave us excellent light comedy as Oakley Sedley, 
and William Lugg broad character-acting as an old sailor, Phil 
Sawyer. I have spoken of how well Florence West acted as 
Mrs. Sedley. Greorgie Esmond was a bright little ingSnue as Nellie 
Stanton. I have left Willie Edouin to the last ; he had no great 
opportunities as the Commodore, but he made the part amusing 
and original, and, as he always does, if he chooses, caused much 

1st Grand. — The Cloven Foot^ drama in four acts. Adapta- 
tion by F. Mouillot and Janet Steer from Miss Braddon's novel. 
First time in London. Janet Steer as Laura Treverton and La 
Chicot ; Charles Eaton as John Treverton ; Charles Herbert as 
Antoine Desrolles. 

1st. Standard. — 714^ Middleman, The cast of the touring 
company which appeared at this theatre was as follows : — Cyrus 
Blenkam, Robert Pateman ; Joseph Chandler, Henry Crisp ; 
Captain Julian Chandler, Wilton Heriot ; Batty Todd, John 
Phipps ; Jesse Pegg, E. Dagnall ; Sir Seaton Umfraville, Gerald 
Godfrey ; Epiphany Danks, Talbot Fell ; Mary Blenkarn, Alice 
de Winton ; Nancy Blenkam, Miss Hall Caine ; Mrs. Chandler, 
Miss A. EUerslie ; Maude Chandler, Evelyn Darrell ; Lady 
Umfraville, Emma Rivers; Felicia Umfraville, Jessy Lee. 
Robert Pateman's performance of Cyrus Blenkarn was a very fine 

1st Lyceum. — A Regular Fix. In consequence of Ellen 
Terry having an attack of influenza, Nance Oldfield had to be 
taken out of the bill, and A Regular Fix substituted. William 
Terriss surprised every one by the excellent manner in which he 
sustained the character of the rattling Sir Hugh de Brass. 

2nd. Lyric Club. — A Superfluous Lady, comedietta by Mrs. 
Hugh Bell. 

2nd. Criterion matinie. — A Dolts House. Miss Norreys, 
a young actress who loses no occasion of endeavouring to g^in 
experience, considered that the heroine in one of Ibsen's plays 
would afford her opportunity for a fresh departure, and therefore 

1 1 8 The Gifted Lady, Qumb. "89x. 

appeared as Nora Helmer. It was a performance of very great 
merit, but I think that nervousness had something to do with the 
actress's striking the keynote of the character too early in the 
play. Nora should be quite thoughtless and without any under- 
standing of right and wrong until Krogstad absolutely threatens ; 
but almost from the first Miss Norreys let us see that she felt 
she had done wrong in obtaining the money in the manner in 
which she did, and without her husband's knowledge. Her way- 
ward moods were almost hysterical ; they did not give one the 
impression of being the outcome of animal spirits ; but later, 
when the child«wife realises that she is a woman, the young 
actress displayed an intensity and a tragic power that was a 
revelation. The facial expression in the last act and her outburst 
to her husband were all that could be desired. The perseverance 
in becoming proficient in anything Miss Norreys undertakes was 
strongly illustrated in her dance. The Mrs, Linden of Lucia 
Harwood was deserving of very high praise ; it was so firm and 
yet so tender. It was the realisation of the character of a 
completely unselfish woman, whose happiness consists in devoting 
herself to the service of others. Frank Rodney appeared to 
understand the manner of man Thorval Helmer is supposed to 
be — fond of his wife and good-natured to her, as many a selfish 
man is so long as nothing that she does affects his credit or 
comfort ; not angry at the commission of an ill deed so long as 
it is not found out and does not reflect upon him. He was also 
best in the third act The Dr. Rank of W. L. Abingdon was 
not perfect, but he introduced some very natural touches in his 
final appearance in the play. The Nils Krogstad of Charles 
Fulton was, as on a former occasion, excellent ; and Mrs. E. H. 
Brooke was a kind, motherly woman as the nurse. 

2nd. Avenue. — The Gifted Lady, There was some little 
difficulty as to using Heredity as the title for his new play, and so 
Robert Buchanan called his three-act " social drama " The Gifted 
Lady. Drama it was not, neither was it farce, nor was it 
burlesque. It was intended, I suppose, to satirise the cult of 
Ibsen and to ridicule his works, and, if I am right in my 
conjecture, it was not cleverly done, for the piece was dull, the 
writing commonplace, and the entire work not in good taste. 
Mr. Buchanan took the opportunity of letting out at one and all 
who have " trod on the tail of his coat " ; but he hit with a 
bludgeon, and did not pink with the sharp, incisive touch of a 
rapier. Under the guise of a story of a good fellow whose home 
is destroyed through the " emancipated " ideas of his wife, he 

juNB, 89.] A Trip to Gretna. 119 

makes the husband turn the tables on his spouse by pretending 
to follow her course ; and thus he cures her. In one act of thirty 
minutes the idea could have been made amusing ; but, as it was, 
the subsequent hour and a half only brought weariness of the 
flesh and vexation of spirit W. H. Vernon and Fanny Brough, 
as Charles and Badalia Dangleton, by their inimitable "go," 
saved the play from becoming utterly boring ; and they had good 
aid from Harry Paulton as Algernon Wormwood, Cicely 
Richards (Felicia Strangeways) (excellent in her travesty of Thea 
and her flaxen locks), Ivan Watson (Vergris), and Lydia Cowell 
as Amelia (an emancipated housemaid). With reference to The 
Gifted Lady^ the following was printed on the programme: — 
"Author's Note. — In venturing to present to English audiences 
the last great social drama of Eric Pluddermund, I have taken 
two daring liberties by transferring the scene to London and by 
altering the tragic ending. In the original, as every student of 
the master knows, Badalia and Gronost (the Algernon of my 
adaptation) hang themselves together in the linen closet, while 
Felicia and Amelia emigrate to Utah with the hero. For the 
rest, I have followed the spirit of the original as reverently as the 
Lord Chamberlain would allow me. The power of the work lies 
in its colossal suburbanism, and in its savage satire of the master's 
own theories of feminine emancipation. Pluddermund has the 
supreme artistic merit of eternally contradicting himself as well 
as everybody else ; hence his sobriquet of ' The Chameleon.' 
If the present serious play meets with approval, I propose to 
follow it with one of Pluddermund's humorous pieces ; some of 
his admirers, however, see a certain grim humour in Arvegods 
{Heredity). — Robert Buchanan." 

In the first piece. The Viper on the Hearth, which was seen 
once more, J. L. Shine as John Baxendale was good, in a 
different sort of character from that which he usually assumes ; 
and Eleanor May, a handsome young actress, pleased me much 
in a sympathetic part as Ethel Lydyard. 

3rd. Vaudeville matirUe. — A Trip to G^r^/«^^, two-act come- 
dietta. This proved as bald a production as I had seen for some 
time. Richard Travers elopes to Gretna with Kate Beauchamps. 
They are caught by her father ahd brother. So her lover enlists 
and returns later as a Lieutenant Pomeroy, disguised with a mani- 
festly false beard, to claim his sweetheart. It was a kindness on 
the part of all concerned to appear in characters so unworthy of 
them. But I must mention the excellent Scotch of J. T. Mac- 
millan, the sturdy acting of P. C. Beverley, and the brightness of 

I20 Gcod Old Queen Bess. U»««. «89t. 

Cissy Farrell. The part of Richard Travers was actually played 
by Roydon Erlynne, though not so set down in the programme. 
The author had intended to give the title of Gretna Green to his 
play, but this was claimed by Messrs. Collette and Marie Forde. 
A musical trifle of this title by John O'Keefe and Stuart was 
played at the Hay market Aug. 28th, 1783. Four years later it 
was revived at the Hay market, and in 1827 (Oct. 13 th) was 
again revived at Covent Garden. The travesty that followed made 
ample compensation, for it is briUiantly written and full of humour 
and cleverness, and was capitally acted all round. The travesty 
was in three tableaux, the work of W. S. Gilbert, and entitled 
Rosencrantz and Guildenstern^ the cast of which was as follows : 
Rosencrantz, Sidney Herberte-Basing ; Guildenstern, C. Lam- 
bourne ; King Claudius, Alexander Watson ; Queen Gertrude, 
Mrs. Theodore Wright ; Hamlet, Frank Lindo ; First Player, C, 
Stewart ; Ophelia, Mary Bessie. The points of the author (who 
superintended the rehearsals) were adnxirably taken up, and the 
skit produced the heartiest laughter. F. Lindo (with his extra- 
ordinary imitation of Mr. Irving), A. Watson, C. Stewart, and 
Mary Bessie specially distinguished themselves. The burlesque 
sketch on CItatterton, written by Albert Chevalier, was another 
novelty, and was entitled Shattered' Un^ Frank Lindo in the title 
rdle ; Bold 'Un, Charles F. Barrett ; Mary, Edith Kenward. The 
fate of the unhappy poet was treated in the wildest spirit of 
burlesque. He is supposed to be a disappointed sonnet-writer for 
society journals, and feigns death to secure the love and pelf of 
Mary, played with due mock-heroic extravagance by Edith 
Kenward. F. Lindo, of course, in make-up and voice closely 
followed the original of Chatterton. Charles F. Barrett as an 
itinerant and bibulous photographer might have done better but 
that he hesitated with his lines. Also on this afternoon was 
played for the first time a " new and original burlesque in one act 
and five scenes," written by Walpole Lewin, music composed and 
arranged by William Robins, and entitled : — 

Good Old Queen Bess ; or^ The Pearly The Peer^ and the Page, 
The author describes it as the only " true version of an old story." 
An old story it is ; a true one history could scarcely call it further 
than that it tells of our Virgin Qiifeen's flirtations with her courtiers 
in general and with a Don in particular, who is the page and envoy 
of Philip of Spain. There were many parts, good, bad, and 
indifferent, lively choruses and dances and well-known airs fitted 
in, besides two pretty numbers sung by Amy Farrell and Emily 
Spiller, the latter of whom was the life and soul of the piece. 

Junk, X89X.1 Serge Panine. I2i 

Charles H. Kenney burlesqued Elizabeth well and had a good 
topical song, as had also Frank Smithson, who was clever and 
amusing as Julius the Jester. Minnie Thurgate danced charm- 
ingly, and was bright and animated. The remainder of the 
artists exerted themselves efficiently, and there were many pretty 
faces in the ladies of the Court, etc. One of the most delightful 
items was Nelly Ganthony's musical sketch. In Search of an 
Engagement. The young lady is not only a brilliant singer, but 
has a distinct sense of humour, and may certainly take rank as 
the female Corney Grain. The matinee was given in aid of the 
Serpent Relief Fund. 

4th. Grand. — For Old Virginia^ dramatic sketch by Henry 
Hermann. Sad but impressive. It is of course a tale of the 
American war. A girl, Belle Evered, who favours the non- 
Unionists, carries a secret despatch for General Lee. Her father, 
who is a staunch Unionist, discovers it, and in his rage at finding 
a traitor in his own family, shoots her. Janet Steer, for whom it 
was written, played the character of the girl remarkably well. 

4th. Avenue matinee. — Serge Panine, M. Georges Ohnet's 
Serge Panine^ the dramatisation of his own novel of the same 
name, was first produced at the Gymnase Dramatique, Paris, on 
Jan. 5th, 1882. It was seen at the French plays at the 
Gaiety June nth, 1883, with Madame Pasca as Madame 
Desvarennes, M. Lagrange as Herzog, M. Landrol as Cayrol (the 
originals), and M. Barbe as Serge Panine (in Paris it was M. Marais 
who created ^furore in the title rdle). Mesdemoiselles Lina Munte 
and Aug^ were respectively Jeanne and Micheline. In the mean- 
time, an English version, Lov^s Anguish^ a four-act drama by 
Oscar H. Schou, had been tried at the Adelphi on May 3rd, 
1882. A drama of the same name as the French, by J. H. 
Thorp, was done at Ipswich Aug. i8th, 1884, and in Mr. 
Charles Bernard rest the English provincial rights of the French 
drama, which he has exercised to advantage. Mr. Clement Scott 
adapted the play for Mrs. Langtry ; it was afterwards handed on 
to Lady Monckton, and subsequently to Miss Genevieve Ward, 
and, though alterations have been made, I believe I may state 
that Mr. Scott's work is very prominent in the Avenue production. 
The play is gloomy, but interesting. Micheline, the daughter of 
Madame Desvarennes, a hard-headed business woman, immensely 
rich, has given her whole heart to Prince Serge Panine, a hand- 
some, dissolute pauper, but a gambler whenever he gets the 
chance. He is willing to marry the girl on account of her wealth, 
though he loves Jeanne, the adopted sister. Madame Desvarennes, 

122 Serge Pamne. Uu»«, i«9«. 

against her own convictions, gives consent to her daughter's 
marriage ; and Serge Panine has such an ascendency over Jeanne 
that he induces her to accept Cayrol, an honest, loving, middle- 
aged lover of hers. The two weddings take place on the same 
day, and immediately after the ceremony Jeanne betrays her dis- 
like to her husband, and Madame Desvarennes learns that a 
mutual passion exists between Jeanne and the Prince. Three 
months elapse, and the Prince and Jeanne are thrown together 
again, and their illicit love is renewed, and Micheline is a witness 
to the passionate love scene between them. Serge Panine has 
gambled to such an extent that he has fallen into the power of 
Herzog, an unscrupulous promoter of companies. Through him 
he is mixed up in such a very shady transaction that he is abso- 
lutely a swindler. To endeavour to conceal this from the world, 
for the sake of her own good name, Madame Desvarennes is on 
the point of despatching Cayrol to London to try and hush the 
matter up, but she learns from Micheline that directly he is gone 
Jeanne and the Prince are to meet. Cayrol is warned of this, and 
returns and finds the lovers together. He is about to dash out 
the Prince's brains, when Jeanne shields him, and Cayrol's love for 
her stays his hand. In the last act the officers of justice are on 
the Prince's track ; they are almost at the door, when Madame 
Desvarennes points out to Serge Panine that he can only wipe out 
his dishonour by suicide. The Prince has for a moment thought 
of such an end to his difficulties, but determines to fly instead. 
Madame Desvarennes tries to prevent his escape ; he struggles 
with her ; she seizes the loaded pistol ready to her hand, shoots 
Serge Panine down, and the curtain falls. The character of 
Madame Desvarennes is one thoroughly suited to the firm, incisive 
method of Genevieve Ward, and the actress was seen in it to the 
very greatest advantage ; in fact, the burden of the play rested on 
her shoulders. Miss Ward had the gfreatest assistance from W. 
H. Vernon as Cayrol, a man of a loving but sluggish nature till 
roused, and then terrible in his rage. Mr. Vernon's scene where 
Cayrol discovers his wife's infamy was grandly played. Miss 
Webster played Micheline in a tender and sympathetic manner 
The rdle of Jeanne was chosen for the dibut of Estelle Bumey, a 
handsome young lady, with remarkably intelligent features and 
expressive eyes. She had well profited by training, and showed 
herself possessed of considerable power and some pathos. Lewis 
Waller filled the title rdle most effectively, portraying the diflferent 
aspects of the character with great skill, and making love with 
much fervour. Hamilton Knight's make-up as Herzc^ was good, 

June, 1891.] The Lodtes' Battle, 123 

and he well brought out the nature of the financier. Webster 
Lawson was too subdued in manner as Pierre de la Rue. 
Compton Coutts had not much to do as Henry Desvarennes, 
and Mr, Drew and Miss Baines were of assistance as Jules and 
Cecile. Serge Panine was received with marked approval, arid 
repeated calls were deservedly bestowed on the principals. 

5th. Opera Comique matinJe. — The Highwayman^ original 
comedietta by Justin Huntly McCarthy. This is very neatly 
written round a gavotte, the incident having perhaps been sug- 
gested by the noted Claude Duval's doings. Sir Harry Bellairs 
having been for some time coldly treated by Lady, Betty Bassett, 
lays a wager that he will dance with her within one week. He 
obtains admission to her house in the dead of night, and, masked 
and disguised as a highwayman, confronts her just as she has 
retiuned from a ball, and her servants have all retired. He makes 
her dance a gavotte with him, and acknowledge in writing that she 
has done so. Presently, having incautiously laid aside his pistols, 
Lady Betty seizes them, and makes him unmask, destroy her letter, 
and write another confessing the ungentlemanly action of which he 
has been guilty. But they are lovers, and when he pleads his 
cause, and explains away an innocent flirtation, he is taken into 
favour again. Letty Lind not only danced very prettily, but 
showed fairly well as a light comedy actress. C. P. Colnaghi did 
well as Sir Harry. 

The Ladie^ Battle followed. The two characters, the Countess 
D*Autreval and Baron de Montrichard, were filled with grace and 
sparkle by Henrietta Lindley, and with considerable skill by 
Charles Sugden. Jenny McNulty did not shine in the ingAiue 
rdle of Leonie de la Villegontier. A. Vane Tempest showed some 
sense of humour as Gustave de Grignon, and H. Lechmere Stuart 
played neatly as Henri de FlavigneuL The performance was in 
aid of the Irish Distressed Ladies* Fund, and was organised by 
Adolphus Vane Tempest and Arthur Bourchier, and for this 
George Edwardes kindly lent the theatre. The programme 
commenced with some very clever imitations of Mr. Beerbohm 
Tree, Mr. Willard, and Mr. Terriss by Mr. Arthur Playfair, The 
Chevalier Scovel gained much applause for his artistic and sym- 
pathetic singing of " Bonnie Sweet Bessie, the Maid of Dundee." 
Mr. Harrison sang for the first time Edward St. Quintin's " True 
to Thee," to which he did justice. There was also given the 
quartette from Rigoletto, and some pleasing selections were most 
artistically rendered by Mademoiselle Zelliede Lussan, Mademoiselle 
Giulia Ravogli, M. Montariol, and M. Devoyod, of the Italian Opera, 

124 ^^ Lancashire Sailor. Uuwb, «89«. 

and the whole concluded with the pas de quatre from Faust Up to 
Date^ danced by Misses Maude Wilmot, Alice Gilbert, Mclntyre, 
and A. Astor. 

6th. Death of Edmund Leathes, real name Donaldson. Born 
hi 1847. Was at one time a great athlete, and for a while 
studied medicine. First appeared on the stage Theatre Royal, 
Dublin, April, 1 869. Was well known throughout Australia and 
America. Reappeared in London in 1872 at the Princess's. He 
made a hit at the Queen's as James Annesley in The Wandering 
Heir. Played Laertes two hundred nights at the Lyceum under 
Henry Irving. Was the author of " The Actor's Wife " (after- 
wards dramatised) and *' The Actor Abroad," and of the drama 
For King and Country ^ produced at the Gaiety May ist, 1883. 

6th, Terry's. — On this date George Edwardes made a new 
departure, and introduced a system which I had long advocated, 
viz., a programme consisting of three short and amusing plays, 
each of which should occupy about an hour. That the departure 
was fully appreciated by the public was proved by the length of 
run, even though the programme was transferred to three different 
theatres, at each of which the pecuniary results were most satis- 
factory. At Terry's the performance commenced at eight with 

The Lancashire Sailor^ one-act drama by Brandon Thomas. 
There is much humanity in this little play, and the dialogue, if 
rather extended (as is sometimes the case with this author), is 
good. Alfred has been brought up by Ralph Ormerod, a farmer, 
and the lad and Alice have fallen in love with each other, some 
three years before the play begins. She was something of a 
coquette, and so they had a tiff, and Alfred went off to seek his 
fortune abroad. Alice regrets her thoughtlessness and turns to 
acts of kindness to those around her, and in nursing some poor 
people she is brought to death's door, but eventually recovers, 
though with loss of sight. Evil times come upon the old farmer, 
and he is likely to be evicted from his farm, when Alfred returns. 
He does not know of Alice's blindness, but proves himself constant 
and the same noble-hearted fellow he ever was. He discovers 
almost at the same time that he is wealthy and noble and that 
his sweetheart is blind, and at once implores her to be his wife. 
Edith Chester played very sweetly ; Brandon Thomas was a fine 
manly fellow ; Dolores Drummond was most amusing as a faithful 
and garrulous old servant ; and Compton Coutts made a capital 
character sketch of Erasmus Ellerby, the solicitor. There were 
some tender moments in this little play, which the audience 
appreciated. This was followed at nine o'clock byyGoOgIc 

juMB,x89i.] A Pantomime Rehearsal. 125 

A Commission. Marshall, a well-to-do amateur painter, shares 
a studio with his poorer friend Thangen, who has gone to Rome 
to complete his Academy picture. Mrs. Hemmersley, a rich young 
widow, sends a cheque with the "Commission" that the absent one 
shall paint her portrait. Marshall, afraid that Thangen would lose 
the good chance, impersonates him ; and the handsome widow 
falls in love with him during the great number of sittings he has 
insisted on. When she discovers the fraud through the chattering 
of Gloucester, the model, who takes her for one of his own 
fraternity, she is very indignant, as she thinks Marshall has 
defrauded his friend from interested motives, but Marshall soon 
explains matters away — for he is an ardent wooer — and the widow's 
heart pleads for him. Weedon Grossmith treated his subject 
cleverly and made it pass the hour very pleasantly. He was 
excellent in his calm, undisturbed demeanour as the valet Shaw. 
Lily Hanbury was exactly fitted for Mrs. Hemmersley, and played 
with great charm. She had a good lover in Forbes Dawson, and 
Brandon Thomas was humorous as the good-natured model. 
At ten o'clock, to wind up with, was given 

A Pantomime Rehearsal^ Cecil Clay's comic sketch. This was 
performed by the " Old Stagers '* at Canterbury' last year, and 
Rosina Yokes has been most successful with the skit in America. 
Jack Deedes is the unfortunate author of the pantomime The Babes 
in the Wood^ and his troubles as the stage manager of the amateurs 
are droUy set forth. Lord Arthur Pomeroy is a little nobleman, 
who, having conceived certain notions as to how the part of " first 
robber" should be played, throws up his part whenever his 
absurdities are thwarted. Sir Charles Grandison is the amateur 
scene-painter and limelight man, neither of which followings he 
understands. Lady Muriel Beauclerc is the Demon King and 
Queen of the Fairies. The Misses Eaton Belgrave are the 
" babes," who sing and dance ; and the other ladies are fairies. 
When I say that all representing these characters entered 
thoroughly into the spirit of the burlesque, that there are some 
pretty songs and lively dancing (more of these were afterwards 
introduced with advantage), it may be gathered that the audience 
went away in high good-humour, none the less so perhaps because 
it was on its way home by eleven o'clock. 

6th. Gaiety. — Frank H. Celli appeared as Escamillo in 
Carm£n up to Data^ and during the illness of Letty Lind Loie 
Fuller appeared as Mercedes. 

8th. Strand matinee. — A special benefit matinee took place 
here on this date for a most deserving object. It was known 

126 Leave It to Me. jini«,T89i. 

that nothing but a sea voyage could prolong Tom Squire's life, 
and so his numerous friends in the profession set to work to 
organise a benefit and collect subscriptions. Willie Edouin gave 
the first assistance, for he lent his theatre free of all charges ; and 
then C. F. Quicke, who acted as secretary, and W. Lestocq and 
Willie Edouin, who stage-managed, arranged the following pro- 
gramme. First came Arthur Williams's amusing one-act farce 
Leave It to Me^ in which the author appeared as Joe Sprouts, 
and was most capably assisted by G. T. Minshull, Philip Cun- 
ingham, Fred Emery, Kate James, and Violet Raye. The first 
act of Handfast was given by the Shaftesbury company, and went 
well, and after an interval the first act of Jane by the company 
from the Comedy, the vagaries of the pretty housemaid, her 
jealous husband and untruthful master, producing shouts of 
laughter. The incidentals were particularly strong. Among those 
who recited was Lewis Waller, who chose that striking composition 
by Florence Warden " The Cynic's Drinking Song," and Annie 
Hughes gave with pathetic force G. R. Sims's " The Road to 
Heaven." Harry Paulton convulsed the audience with his clever 
lecture on " Figures." Kate James sang and danced with plenty 
of go her well-known " Would you let me see you home ? " M. 
M arius repeated his sketch without words The Silver Line^ which 
elicited much applause. Charles Capper whistled melodiously. 
Dan Leno amused with his song "The Shopwalker." Harry 
NichoUs, who was not immediately recognised and therefore was 
not so warmly received, and remarked thereon that he thought 
that the audience was not glad to see him, sang as the old 
Chelsea pensioner "The Lord Mayor's Show." E. J. Lonnen 
appeared early in his " pearlies " to sing " Won't yer } " Albert 
Chevalier had to repeat the last verse of " Knocked 'em in the 
Old Kent Road," and then had to sing " The nasty way he says 
it." Arthur Roberts gave "I went to find Emin," which was 
vociferously redemanded. Ben Davies, who was in magnificent 
voice, sang "Dost thou know how to love?" and Julia Neilson, 
with exquisite expression, contributed " Courage." Florence St. 
John first gave " The Dear Home-land," and in response to per- 
sistent demands sang, with charming sensibility, " Home, Sweet 
Home." Franklin Clive succeeded well in " I'm off to Phila- 
delphia." W. Lestocq, after reading a telegram sent from Mr. 
Squire on his sick-bed, expressing his warmest gratitude for 
every one's kindness, had the gratification of announcing that, with 
subscriptions received and promised and the results of the 
afternoon, some ;f2 5o would be handed to the binificiaire\ and 

juN», 1891.] Esther Sandraz, 127 

it should be remembered that this amount was got together for 
the main part from members of the profession, and also through 
the exertions of the acting manager, C. St. John Denton. 

8th. Grand. — EstJier Sandrazy by Sydney Grundy. Henri 
Vandelle, Charles Eaton ; Oliver Deschamps, Hamilton Piifard ; 
Fourcanade, Charles Herberte ; Boisgommeux, Augustine Knight ; 
Justin, Maurice Richardson ; Henrietta, Mary Clayton ; Madame 
Fourcanade, Mrs. C. A. Clarke ; Clarisse, Susie Rignold ; Blanche, 
Miss St. Leger ; Esther Sandraz, Janet Steer. On the same 
night was played Idols of the Hearty play in one act by Janet 
Steer, who appeared as Lady Irene. This lady, the principal 
character, had been seduced in the past by Lord Duncastle, 
to whom she bore a child. Her offspring dying, Lady Irene 
steals a little girl, who has been born in marriage to Lord 
Duncastle, and brings her up as her own, calling her Editha. Lord 
Duncastle, hearing of Editha's engagement to his stepson, Henry 
Sinclair, comes to see Lady Irene on the subject; and mutual 
explanations ensue, with the result that the nobleman does his 
best to repair the evil of the past by offering his hand to Lady 
Irena Both sentiment and writing were fresh and natural, and 
the authoress filled her part with great delicacy. 

8th. E. S. Willard arrived in London from his American 

8th. SURREV. — Land of the Livings five- act drama by Frank 
Harvey. First time in London. Originally produced at Prince 
of Wales's, Great Grimsby, March i6th, 1889. 

9th. Novelty. — Matrimonial. Three-act comedy (for copy- 
right purposes). 

loth. Mr. and Mrs. Kendal arrived at Liverpool from their 
American tour. 

nth. Ladbroke Hall. — The foumeys Endy one-act drama 
by Horace C. Newte. A prettily written, sympathetic piece of 
work. It is only about a young girl returning home, thinking 
she is engaged, to find that her lover is on the point of marriage 
with her sister, to whom she unselfishly resigns him. If anything 
could have ruined the play it would have been the acting of the 
lover; but it survived, thanks to its merit and to Mrs. Ernest 
Renton's pathos and humanity. In a scene from Richard III. 
Acton Bond proved that he knew the value of Shakespeare's text. 
In Aunt Charlotte's Maid T. Herbert Terriss showed that he had 
plenty of " go " in him as Horatio Thomas Sparkins. Low comedy 
would appear to be his forte. A very pretty young actress, Beatrice 
Clive, is a Lottie Venne in embryo ; and Master Alfred Field- 

128 The Poison Flower. [jwn^iXqx 

Fisher gave a comical sketch, well made up, and also played 
Pivot, the high-dried old lawyer. 

1 2th. Globe matinie. — The Mischief-maker ^ three-act 
farcical comedy by Edith Henderson. In tfiis there is an old 
gentleman, " The Mischief-maker," who carries about with him a 
detective camera, with which he takes the portraits of every one, 
from the servant to the lady who masquerades in barrister's wig 
and gown and goes to an artist's to have her likeness taken — the 
likeness being intended to pass for her grandfather's — and so 
sends her brother-in-law into fits of jealousy. The piece was 
afterwards put on at the Vaudeville for a run. 

1 3th. Toole's matinie. — Id on (tte) Park {pas) Franqais. J. L. 
Toole, encouraged by the success of Ibsen's Ghost, produced another 
novelty in the shape of the old farce, a favourite with the public, 
transformed into a " play without words." It was very amusing. 
Mr. Toole as Spriggins, with a whitened face and black skull cap, 
told the story well ; Irene Vanbrugh as Angelina made delightful 
love in dumb show to C. M. Lowne as M. Victoire Dubois, an 
impressionable son of Gaul in uniform ; Eliza Johnstone was in 
the fashion, and forcibly " struck " as Anna Maria ; and H. 
Westland and Mary Brough as Major Regular and Mrs. Rattan, 
with Effie Liston as Mrs. Spriggins, by their excellent mimeing, 
made the story thoroughly comprehensible and laughable. The 
complete success attained was more than half owing to the 
sense of humour evidently possessed by William Robins in the 
selection of the various tunes which helped to illustrate the rage, 
love, despair, hatred, longing, and delight which animated the 
different characters. 

1 5 th. Vaudeville. — For a series of matinees. A Sicilian Idyl, 
by John Todhunter, M.D. This was fully noticed in Dramatic 
Notes of last year. During the revival T. B. Thalberg was the 
Alexander, Cecil Crofton Daphne, Florence Farr Amaryllis, and Lily 
Linfield Thestylis, in which 'character she again danced the " Bac- 
chanal " with the same abandon and artistic skill which she had 
previously exhibited. On this date was produced the new blank 
verse play, 

The Poison Flower, by Dr. Todhunter, founded on a story by 
Nathaniel Hawthorne, but which was quite unsuited to stage 
representation. Though containing some excellent verse and 
many gleams of true poetry, the language used was at times 
almost bombastic. It may be summed up as an allegory implying 
that all the labours of one who strives to benefit his fellows may 
be as nought through the selfishness of man, and that perfect 

joini,x89x.i Esther Sandraz. 129 

unselfish love is not to be found. Beatrice Rappacini (Florence 
Farr) and Giovanni Guasconti (Bernard Gould) were the promi- 
nent characters ; the latter was less modern than usual, and 
delivered his text in many parts admirably. T. B. Thalberg 
(Giacomo Rappacini) also appeared. Malcolm Bell (Celio Ruffini) 
hurried his Hnes so much as to be incomprehensible at times. 

15 th. Criterion. — David Garrick was revived, and attracted 
as large houses as ever it had. Charles Wyndham's many friends 
appear never to tire of seeing him in this character. The cast 
was the same as had already been so frequently seen in T. W. 
Robertson's play. 

15 th. Alhambra. — Oriella, the new ballet by Carlo Coppi, 
proved one of the greatest successes ever achieved at this theatre. 
The music by Jacobi is some of his best work ; the plot, if slender, 
is original, and an excellent vehicle for the picturesque and 
beautiful Japanese and other dresses furnished by M. and Madame 
Alias, and for the dancing of Signora Legnani, Charles Lauri, 
and Mademoiselle Marie, the beautiful scenery by Ryan, and the 
graceful movements of one of the best-trained corps de ballet in 

15th. Sadler's Wells. — Flying from Justice^ four-act drama 
by Mark Melford. 

15 th. Marylebone. — The Irishman^ sensational drama in 
four acts by J. W. Whitbread. 

1 5th. Vaudeville. — Miss Tomboy placed in the evening bill 
with practically the same cast as had appeared in it at the matinie 
May 23rd. On the same evening Perfection was played as the 
first piece. In this Dorothy Dorr not only proved herself an 
admirable comedienne as Kate O'Brien, but a most accomplished 
and winning vocalist, and possessed of a charming voice. 

1 6th. Critekioi^ matinee. — Esther Sandraz. Violet Thorny- 
croft gave a matinie at this theatre before a large audience, and 
appeared as Esther Sandraz. This handsome young actress had 
been but a short time before the public, and had made rapid 
strides in favour, but was disappointing in the rdle she assumed. 
The strength that was wanting may come with further practice, 
but on this occasion Miss Thomycroft was altogether too gentle 
and subdued, and quite missed her great opportunity at the 
end of the first act. Eleanore Leyshon played, with infinite 
tenderness, grace, and dignity, Henrietta ; and she, and H. Reeves 
Smith as Olivier Deschamps, secured the honours of the afternoon. 
Miss M. A. Victor and H. de Lange as Mrs. Fourcanade and Bois- 
gommeux were excellent. Willie Drew played Fourcanade after 


130 A Golden Sorrow. [Jum, x?^ 

the manner of one bom within the shadow of Bow Bells, and Bassett 
Roe was but a tame Henri Vandelle. 

17 th. Globe matinee. — A Golden Sorrow^ three-act drama by 
A. E. Drinkwater. If this be a first attempt of the author's his 
play shows promise, for experience will teach him to economise 
the good language he has put into the mouths of his characters, 
and to bring his cqrtain down finally with somewhat stronger 
effect Mr. Drinkwater's plot runs thus : Mr. Bellamy is an old 
gentleman well off, and with only one daughter, but with a carping 
sorrow that he will not explain to her. It appears that he has 
inherited his property through his elder brother having been sup- 
posed to have died without issue. This was not the case, for he 
lefl a son, Edouardo, and daughter, Francesca (having married a 
Corsican lady). The daughter had for a time enslaved Philip 
Denzil, and embittered his life some ten years before by leaving 
him to marry one Barozzi. This Barozzi has learnt of the death 
of Edouardo Delamini, the name his father had assumed in 
Genoa, which Mr. Bellamy has always supposed he accidentally 
brought about, but which Barozzi threatened him constantly with 
asserting was intentional, in order that Bellamy might remain in 
possession of the estate. Barozzi at length has the audacity to 
come to England and declare himself to be the deceased man, but 
consents to forego his claim on payment of a large annuity. At 
last the weak-minded Bellamy confides his secret to Philip Denzil, 
a clever lawyer, who has by this time learnt to love once more a 
worthier object in Mary Bellamy. He steadily traces out all the 
transactions of Barozzi — identifies him through the aid of Mr. 
Sunderland, in whose house the real Edouardo died, and also by 
the spirit of revenge that animates Francesca on account of her 
husband's desertion of her. The poisoning is brought home to 
Barozzi by means of Csesarini, the analyst from whom Barozzi had 
stolen the drug. Caesarini evidently possesses some further hold 
over the plotter, for by means of some mysterious paper he hands 
him, Barozzi is induced to return to Italy, never to trouble any one 
again ; and the curtain falls on the acceptance of Denzil by Mary. 
Mr. Leigh, remarkably well played by Scott Buist, is an excres- 
cence on the play, for he is but a neighbouring friend who drops 
in, and whose weaknesses appear to be a love of shooting and a 
forgetfulness of his friends' names. Lilian Revell, the giver of 
the matin^e^ was ladylike and gentle as Mary Bellamy, and showed 
sufficient promise of becoming an acquisition in sympathetic parts. 
A. E. Drinkwater should not have acted such an important cha- 
racter in his own play as that of Philip Denzil. He was naturally 

juKK, i89i.] Shylock and Co. 131 

nervous, and his wish to be impressive caused him to dwell too 
much upon his sentences. He wanted some sparks of fire and 
real earnestness. C. W. Somerset was good as Mr. Bellamy, and 
quite realised the idea of a crime-haunted, weak gentleman. 
Ronald Bayne, who took the part of Signor Barozzi at short 
notice, owing to the unavoidable absence of Sydney Valentine, 
played remarkably well. He was constantly in evidence, and 
gripped the character of an unscrupulous adventurer ; but excep- 
tion must be taken to his very awkward attempt on the life of 
Denzil, an incident which should have been cut out altogether. 
C. Dodsworth was very true to nature as the old curiosity 
dealer, Mr. Sunderland. Alice Yorke gave colour to the 
character of Francesca, and Annie Goward was remarkably 
clever as the little servant Angelina, producing many hearty 
laughs. The company and author were called for at the close 
of the piece. 

1 8 th. Criterion matinee. — Shylock and Co. Money-lenders 
and their doings are not generally very diverting, but this cannot 
be altogether said of Shylock and Co., the farcical comedy by Greorge 
Canninge and Albert Chevalier, adapted from V Article 7 of 
Bataille and Feug^re, and which had been tried before at Rich- 
mond, under the title of 1. 0,17,, on Jan. 17th, 1891. The fun 
turns on the persistent care exhibited by two old gentlemen for 
the health of a young one who owes them money, also on the 
presumption that the said young gentleman is in love with the 
two old gentlemen's wives ; whilst another, a " gentleman of 
colour," falls in love with one of these, and is quite willing to wait 
— or, if it pleases the lady better, to immolate every one — in order 
that his passion may be gratified. The second act was intensely 
funny. All sorts of misconstructions arise, and Prince Zannibulu 
plays an important part in it (an original introduction by the 
authors, and not taken from the French, as the rest of the play is). 
This prince, dressed in the height of fashion, was played with a 
perfection of quiet humour by H. Eversfield. H. V. Esmond was 
a good light comedian, after the Wyndham method, as Hector 
Rolleston, the young gentleman ; but neither W. Blakeley nor 
S. Valentine made the most of Elijah Quarm and Dr. Gossage. 
Marie lUington must be highly commended for her interpretation 
of the character of a lady who, because she is writing a novel 
called " The Soul's Chase," takes the name of Zenobia and flirts 
with every one. Ellaline Terriss as a nice little English girl, 
Minnie, was quite lovable. The first act was thin ; aiid> the third 
wanted a very great deal of spirit, infused into it^gti^edby^^OOgle 

132 Dick Wilder, Uonb,iB9i. 

1 8th. Shaftesbury matinee. — As You Like It. Mrs. Patrick 
Campbell as Rosalind. The actress disappointed her admirers ; 
her reading was too effeminate for the character. Frank Worthing 
was a promising Orlando. Nutcombe Gould did not do himself 
justice as Jaques, from his nervousness. Violet Raye, a handsome 
young actress, did not shine in Shakespearian text as Celia. The 
Audrey of Alexes Leighton was rich and humorous. 

19th. Ladbroke Hall. — Auld Lang Syne^ one-act play by 
Lorna Lee. 

20th. Vaudeville matinie, — Dick Wilder, four-act play. 
Those who had so laughed over the whimsicality of Our Flat must 
have been terribly disappointed at Mrs. H. Musgrave's last produc- 
tion, for it was stilted in language and very commonplace in plot. 
Eustace Davenport is secretary to Sir Harry Heathcote, and is 
thoroughly esteemed by him ; his daughter Molly falls in love 
with the young fellow. Lord St. Maur aspires to her hand, and 
at the instigation of Barbara Morris, whose unrequited love for 
Davenport has turned to hate, charges the latter with being the 
noted highwayman Dick Wilder, this freebooter being none other 
than Davenport's twin brother, to whom he bears the strongest 
resemblance. Davenport has made a vow that he will always 
shield his brother, and so does not attempt to deny the accusation. 
He is allowed to go free at the intercession of Molly, who buys 
his escape at the cost of her betrothal to St Maur. The noble- 
man is got rid of by our being told that he has been killed in a 
street brawl. Then Barbara Morris returns penitent, confesses her 
share in the plot, and she having been all along married to Dick 
Wilder, brings a deathbed confession clearing his brother, and 
Davenport comes back covered with glory, which he has gained in 
the wars, to claim his sweetheart. The events are supposed to 
take place in Queen Anne's reign. The cast was as follows : Sir 
Harry Heathcote, Fred Thorne ; Lord St. Maur, L. D'Orsay ; Mr. 
Eustace Davenport and Dick Wilder, H. B. Conway (who doubled 
the parts and showed us the highwayman robbing the Heathcote 
party when on their way to London) ; Jacob, Fred Grove ; Molly 
Heathcote, Dorothy Dorr ; Barbara Morris, Adrienne Dairolles ; 
Margaret Clark (an old nurse), Mrs. C. Owen. The three ladies 
were excellent in their several characters, but none of the gentle- 
men distinguished themselves. 

20th. Lyceum. — Ellen Terry reappeared as Nance Oldfield in 
the afternoon. Tlie Corsican Brothers made up the programme. 
At night Tlie Bells was played. 

20th. Harry Monkhouse assumed the rdle of Matthew Vander- 

June. 1891.] Watching and Waiting, 133 

koopen in La Cigale in the place of Lionel Brough, who went on 
a holiday. 

20th. Last night of the Vaudeville, Adelphi, and Savoy seasons. 

20th. Fire at Louis Tussaud*s. Waxworks totally destroyed* 
Signor Delavanti's orchestra lost all their instruments. 

20th. St. George's Hall. — A FooVs Tricky one-act come- 
dietta, and Prudes and Pros, two-act farcical comedy, both by 
Adeline Votieri. 

20th. During the week ending on this date Augustus Yorke, 
known on the stage as A. Danemore, son of Reginald Yorke, died 
in St. George's Hospital from the effect of burns. His night-shirt 
caught fire ; and being unable to put out the flames, he rushed into 
the street and was taken to the hospital. He had been appearing 
as Sir Charles Grandison in A Pantomine Rehearsal at Terry's. 

22nd. Sadler's Wells. — Leaves of Shamrock, five-act drama 
by J. P. Sullivan. First time in London. 

22nd. St. James's Hall. — The Unfinished Story, duologue by 
Ina Leon Cassilis. 

23 rd. Terry's matinee. — Watching and Waiting, three-act 
comedy by Agatha and Archibald Hodson. This was neither a 
strong or a very interesting play. Julian Dalziel, " the villain of 
the play," is wicked enough to fall in love with Evelyn, the wife of 
his steward, Hugh Hel^tone, who has a weakness for gambling, 
which his employer rather strangely fosters. They sit down to a 
game of &arte, and the Squire pops a little sedative into Helstone's 
drink, when the latter at once drops off into a deep sleep. Now is 
the coast clear for the Squire's base designs. He almost persuades 
Evelyn to " fly with him," for she is weak and bewitched. But 
he has not reckoned on Montague Helstone, a very nice lad, who 
is "watching" over his sister-in-law, and "waiting" to catch 
Julian. The latter, finding his passage barred, incontinently 
knocks " poor Monty *' down, but leaves the lady. The blow 
must have been a severe one, for Monty loses his memory for six 
months. Julian Dalziel, who has been away all this time, returns 
to make more burning love ; but Evelyn has cooled down in the 
meantime, and so the evil Squire walks off with his tail between 
his legs. The sight of him, however, restores to Monty his reason. 
A very delightful widow, with just a soupqon of fastness (capitally 
played by Gertrude Warden), entangles a very soft, apron-string- 
tied curate (amusingly filled by Sydney Jerram), and these two 
afford the light portion of the entertainment, assisted by " a young 
girl's fancy " for Monty, prettily displayed by Lily Linfield as 
Norah Marsden. Emily Miller as the curate's " ma " was quite 

134 Drink, Utrw.r89i. 

at borne in the character ; and Grerald Gumey appeared as Norah's 
brother Gilbert. Philip Cunningham's Juh'an Dalziel disappointed 
me. He wanted passion ; was gauche. Cecil Crofton was very 
good as Montague Helstone ; he was a brave, cheery boy, who 
honestly loved his brother's wife and was determined no harm 
should come to her. Annie Hill as Evelyn Helstone had her 
good moments, but she had not yet gained sufficient experience 
for a trying emotional part Julian Cross had not very much to 
do as Hugh Helstone, but he was of assistance. 

23rd. Drury Lane (revival). — Drink. Charies Reade's adap- 
tation of Busnach and Gatineau's drama written on Zola's 
LAssommair (produced at the Ambigu, Paris, Jan. i8th, 
1879) was first seen in England, at the Princess's Theatre, June 
2nd, 1879. Charles Warner was the original English Conpeau; 
G. Redmund, Lantier; William Rignold, Gouget; H. Beauchamp, 
Poisson; T. P. Haynes, Mes Bottes ; Strickland, Pierre Colombe; 
Amy Roselle, Gervaise ; Fanny Leslie, Phoebe Sage ; Ada Murray, 
Virginie ; Katie Barry, Little Nana. The play has been revived 
since then, and has invariably created a great sensation from the 
terrible realism of Charles Warner's acting when falling once 
more under the influence of drink, and his death from delirium 
tremens. The actor has lost none of his power; his features 
appear to be completely changed, and his form shrunken under 
his sufferings from the awful disease, and he shows its ravages so 
effectively as to exercise a horrible fascination over his audience. 
The story of Drink is too well known to require being told 
over again. We see how Gervaise is deserted by Lantier, her 
first husband in the play, how Virginie, her rival, brings about 
the ruin and death of Coupeau ; and throughout we have the 
steadfast love of the abstaining Gouget for the industrious 
Gervaise, which is finally rewarded, Virginie and her paramour 
Lantier meeting their deaths at the hands of Poisson. The novel 
has been considerably altered to suit English notions. In the 
present cast Charles Glenney was an admirable representative of 
the worthless villain Lantier, and Ekimund Gumey a fine noble 
fellow as Gouget ; his ** abstinence *' speeches were splendidly 
delivered, and were much applauded. Julian Cross played firmly 
as Poisson, and William Morgan was a characteristic Mes Bottes. 
Jessie Millward quite understood the gentle, yielding nature of 
Gervaise, roused only once to indignation by the insults of 
Virginie in the " Wash-house " scene, where the two women fight 
like demons, and deluge each other with pails of real water. 
Ada Neilson was altogether too stately as Virginie, and was not at 

jtmK,i89x.] faspef's Revenge, 135 

all the debased creature the author intended. Kate James was a 
very bright and saucy Phoebe Sage, and little Daisy Stratton was 
an endearing child as Nana The other parts were well filled, 
and Augustus Harris has staged the piece with that perfection 
that is always found at his theatre. The revival was a distinct 

24th. First dinner of the Actors' Benevolent Fund ; it was 
held at the Whitehall Rooms, Hotel Metropole, Henry Irving in 
the chair, who proposed the toast of the evening, Edmund Yates 
proposed "The Stage," to which John Hare replied. Comyns Carr 
gave the toast of " The Drama," to which A. W. Pinero replied. 
Charles Dickens proposed the chairman's health, and J. L. Toole 
that of the artists who had contributed to the evening's entertain- 
ment. Lionel Brough returned thanks for the fund, which had 
benefited to the amount of ;f7SO. 

2Sth. Shaftesbury matinee. — Jasper^ s Revenge^ one-act play. 
Wynn Miller's Dream Faces has been so universally admitted to 
be one of the most charming pieces ever written that we all 
hoped this new play of his would be of something like equal 
value. We were doomed to disappointment. Jaspet^s Revenge 
told a conventional story, possessing neither freshness in incident 
or dialogue. In a small cottage live Jasper Langley (Lionel 
Brough) and his adopted daughter Mary (Miss Webster). The 
pretty girl has won for herself the heart of Ernest Bagot Chumley 
(Sydney Brough), the heir to an earldom. His uncle, the Earl of 
Denesbrook (John Beauchamp), an impoverished peer, feeling that 
it is necessary his nephew should marry money, comes to Langley 
to persuade him to prevent the union. Jasper then shows his 
hand. His life has been devoted to one scheme of revenge. He 
has accumulated wealth, bought up all the mortgages on the 
Denesbrook estate, and means to ruin the Earl, because he 
imagines the nobleman betrayed and deserted the woman Jasper 
loved. The Earl explains that, instead of betraying, he had 
married her, that he was forced to go on foreigfn service, that his 
letters to her were returned to him, and that he has ever since 
been seeking his daughter, who, it is needless to say, turns out to 
be Mary Langley. The parts were well acted, Lionel Brough 
appearing in the character of an almost morose, embittered man 
to considerable advantage. 

25 th. Shaftesbury w^//W^. — Cy^t?/^/r^, adaptation by Arthur 
Shirley. Les Amours de Cleopatre had already been used by 
Tom Robertson for the groundwork of his play A Breach of 
Promise^ produced at the Globe April loth, 1869, and which was 

136 KcUti. Owe, 1891. 

specidUy written with a view that the late E. L. Sothem should 
appear as the gentleman who, engaged to one woman, wishes to 
marry another. Cleopatra Collins, the engaged lady, is an actress, 
and a determined woman ; and she takes care that Edwin Vane 
shall not escape her. He has had the audacity to put up the 
banns for his marriage with Milly Rawkin, and has locked 
Cleopatra up in her room ; but she escapes and comes to Simon 
Rawkin's house, representing herself to be Vane's sister, and mad. 
The marriage is postponed for a week, and this time Vane takes 
Cleopatra out in a boat, and leaves his persistent lady-love on a 
rock ; she gets back in time to accuse him of having murdered 
her, for she is known to the Rawkin household as Mrs. Jellicoe, 
Vane's sister. In the meantime Milly has discovered that Vane's 
friend. Bob Lupton, is a much more engaging young man, and 
so pairs off with him; and Cleopatra is rewarded for her per- 
severance by eventually securing Edwin Vane for herself. Though 
very amusing, there is scarcely material enough in Mr. Shirley's 
farce for three acts, and I think it would prove more acceptable 
to provincial audiences than London ones. Maud Milton was so 
full of spirits, and acted so cleverly, that to her may be ascribed 
the success of the afternoon ; and Fred Mervin was very nearly as 
good. Harry Paulton was quaint as a wealthy retired sausage- 
maker, whose thoughts are always running on his late business ; 
and Lilian Kingston played well as his more aristocratically 
inclined daughter. Stephen Caffrey was excellent as a policeman 
of nautical turn, and Scott Buist amusing as a rather silly but 
very good-natured young fellow. H. de Lange made much of a 
small part as a heavy tragedian, a friend of Rawkin. 

27th. Lilian Hingston appeared as Irene Kingston in Hand- 
fast during Annie Hughes's illness. 

27th. Strand. — Katti. The full cast and description of 
the plot of Kaiii was given in Dramatic Notes, 1889, Mr. 
Fawcett's "domestic" farce, as it was then called, having been 
first produced at the Strand Theatre Feb. 25th, 1888. The 
humours of the play turn on Katti, the family help, a soft-hearted 
German girl, who is so moved by her master's (Mr. Finnikin 
Fluffy) playing " Ehren on the Rhine," that she invariably smashes 
some crockery. Richard Fluffy (E. Dagnall) is a madly jealous 
individual, secretly married to a lady who has been known as " La 
Sylphide " at the Alhambra, and to whom the young cad Bob, 
not knowing who she is, sends presents and bouquets, and Mrs. 
Finnikin Fluffy (Marie Illington) is the fond and doating parent 
of Bob, in whom she can see no fault The piecej^)BO^I@'ery 

juHB,i89x.i The Rule of Three, 137 

amusing one, and gives full scope for drollery on the part of 
Willie Edouin as the clarionet-playing hypochondriac, and for that 
pretty stolidity and charming singing of which Alice Atherton is 
mistress. H. Eversfield was wonderfully natural as the caddish 
Bob, and Ruth Rutland as Mrs. Richard Fluffy played with much 
spirit, and her dance was very well done. Sidney Barraclough was 
very stiff* and " stagey " as Dr. Easyman, and Georgie Esmond and 
Nenie Bennett as Alice Somers and Miss Perkins helped the 
play very much. 

29th. Grand. — The Daughter of the People^ five-act drama 
by Frank Harvey. First time in London. 

30th. Shaftesbury matinie. — The Rule of Three, by Pierre 
Leclercq. The author made two great mistakes in writing this 
play. In the first place, he should not have dramatised the ex- 
cellent plot that he had conceived in the shape of a modem play 
or in the form he did ; and also he should not have mixed " the 
language of the spheres " with the commonplaces of everyday 
life. If he felt impelled to dramatise his ideas at all, why did he 
not put back the clock a couple of centuries, and give us a dress 
piece } The revenge and the almost Divine sacrifice of the woman 
would then have been more comprehensible to nineteenth-century 
minds. I think, however, that the author would have done more 
wisely altogether had he utilised his conception in the shape of a 
novel. In that form he could have dilated to his heart's content, 
and made agreeable that which on the boards was at times drawn 
out and wearisome. Arnold Seago is a gentleman who in his 
youth has suffered from hot rebellious passion ; the consequence 
is that, being on a visit to the Earl of Flinthouse, he has fallen 
in love with the Lady Constance, the Earl's daughter, and, she 
loving not wisely but too well, mischief comes of it. Valentine 
May hood introduces himself to the house of Seago with but one 
purpose — that of revenging the dishonour of his sister (for he is 
really the young Earl Flinthouse) — and this he means to do by 
betraying Bemice Seago. Being a man of two natures (like many 
of us) — one evil, on« good — so fast as he nearly succeeds his good 
angel steps in, and he determines to fly from temptation. It is 
no use — the Seagos come into his neighbourhood, Bernice is left 
behind by mischance at the owl-inhabited and lonely old castle, 
and so Valentine prepares a drug for her and intends to spoil her 
reputation. She, however, being high-spirited, shows no fear ; and 
so he repents and swallows the drug himself, Bernice, not to be 
behind him in valorous deeds, stabbing herself as a peace-offering to 
the memory of the departed Constance. But neither of them dies. 

138 The Naukh Girl apwB»i89i. 

Gertrude Banks, whom Bemice imagines to be her lost half- 
sister, but who is not, is a young lady who dreams dreams ; in 
consequence of one of these she returns to the castle, and is the 
means of saving both their lives. Gertrude's father and his 
brother Stephen, old retainers of the family, then produce that 
mysterious paper which is so invaluable on the stage ; and the 
paper proves that Valentine is Lady Constance's son, and that 
Bemice is therefore his half-sister. The two would-be suicides 
therefore fall on Arnold Seago's neck, and vow to be the truest 
brother and sister to each other. There is a little underplot of a 
"jobbing broker," one Tom Chantler (very cleverly played by 
Walter Everard), who fancies he loves Bemice, but consoles him- 
self with the little half-sailor maiden Gertmde, a character that 
Mary Jocelyn made a very pretty one. Frederick Mervin, in a 
line that we have not seen him in of late — that of the broken, 
sickly Amold Seago — played remarkably well. The burden of 
the play fell on Alma Murray and Fuller Mellish. The actress, 
whom we cordially welcomed once again, had a character worthy 
of her, for it was no light task to realise the conflicting emotions 
that swayed her ; but Alma Murray is an actress, and so she 
succeeded as Bemice Seago. Fuller Mellish had to embody the 
conflicting spirits of good and evil in Valentine, and he did so 
with considerable power, fairly balancing the angelic and the 
fiendish. The Rule of Three may add to Pierre Leclercq's 
literary fame, but will not improve his position as a dramatic 

30th. SAVOY.-^rAr Natach Girl; or, The Rajah of Chutney- 
pore. It was a very happy thought of George Dance to bring to 
life an idol that had been seated in its niche in the temple for 
some two thousand years, and there is no doubt that the intro- 
duction of this episode materially strengthened The Nautch Girl, 
and considerably aided in achieving the success of the new comic 
opera. The subject is comparatively a fresh one ; we have not 
had a comic musical work on Indian lines, and the rigorous 
laws of "caste" afford fruitful matter for humorous treatment. 
Punka, the Rajah of Chutneypore, is a gentle ruler, whose too 
easy-going nature allows him to be victimised by a horde of 
blood-suckers, who, claiming to be relations, absorb all the offices 
of the State, and render their ruler painfully impecunious. 
Besides this, Pyjama, his Grand Vizier, is ever plotting against 
him. Then poor Punka has other troubles. The left eye of 
Bumbo, the presiding idol of the temple, has been stolen by some 
miscreant ; and the Rajah is always in dread that some misfortune 

juHK, 1891.] The Nautch Girl. 139 

should befall him in consequence of the abstraction of the diamond. 
Next, his son and heir, Indru, has fallen in love with Beebee, but 
cannot marry her, as she has lost caste through a pariah having 
pulled at the rope which saved her respected parent from drown- 
ing. Indru sinks to her level by publicly partaking of " potted 
cow," but unfortunately, just after he has done so, the case which 
has been going on for forty years is decided, and it is found that 
Beebee has not lost caste, so, as Indru and his love are now 
married, by the laws of the State they must die for having 
infringed the laws. Baboo Currie, the manager of the troupe of 
Nautch girls, of which Beebee is the bright particular star, saves 
her by taking her with all his company to Europe. In the 
second act Indru is confined in prison, but is liberated by Chinna 
Loofa, a young lady who is ever seeking her affinity. She 
presses her love upon him, but he asserts himself to be true to 
his Beebee, and so departs for a while. And then Bumbo 
suddenly appears in a very lively state of vitality, and in a 
remarkably incensed frame of mind. He is especially angry at 
the loss of his eye. He is of opinion that for a considerable time 
past he has not had that attention paid him in the way of paint- 
ing and gilding that an idol of his importance demands, and he 
looks upon the misalliance that Indru has formed as deserving 
condign punishment, and so he decrees that Punka and all his 
relations, numbering some three hundred and seventy-four, shall 
be thrown to the sacred crocodiles. Punka, whose milk of human - 
kindness has been turned to the bitterest gall by the persistent 
" squeezing " of his relatives, is in a high state of glee, for he has 
been promised that he shall be the last on the string of sacrifice, 
and he will have the satisfaction of witnessing the consumption 
of his uncles and his cousins and his aunts by the sacred 
saurians. In the meantime Chinna Loofa has found her affinity 
in the idol Bumbo, who is on his side much struck with her 
personal appearance ; and she consents to be the " idol's bride " 
and " sit " with him on a shelf for ever. All those who are to 
be thrown to the crocodiles having repudiated any relationship 
with Punka, his joy is much damped, but he has the satisfaction 
of denouncing the wily Pyjama as the stealer of the diamond 
eye, which is restored to Bumbo by the timely return of Beebee, 
who is wearing it as a charm, it having been left as an offering 
for her from some youthful admirer at the " stage door " during 
her European wanderings. Bumbo is so delighted at the 
recovery of his eye that he forgives every one but the wicked 
Pyjama, who alone is to serve as a toothsome morsel for the 

Digitized by VjOOQK; 

,=r- ^-^ 

juNB,i89i.] French Plays. 141 

Fayolle ; Marthe, Mdlle. du Minil. — i6th. P^pa, by Henri 
Meilhac and Louis Ganderax. Raymond de Chambreuil, 
Febvre ; Jacques de Guerche, Boucher ; Ramiro Pasquez, Leloir ; 
Jean, Roger ; Benito, Deroy ; P^pa Nasquez, Mdlle. Reichenberg ; 
Yvonne Chambreuil, Mdlle. du Minil ; Mosquita, Mdme. Bertiny. 
— 1 8th. Les Petits OiseatiXyhy Labiche and Delacour. Blandinet, 
Coquelin cadet ; Frangois, Leloir ; Aubertin, Joliet ; Joseph, 
Roger ; Mizabran, Villian ; Tiburce, GravoUet ; Leonce, Letner ; 
Un Bottier, Deroy ; Henriette, Mdlle. du Minil ; Laure, Mdme. 
Bertiny. It is perhaps well to note that the original Les Petits 
Oiseaux^ as played at the Royalty, has only touches of pathos in 
it ; the play is a bright, laughable one, and all the characters, 
except the two brothers, Blondinet and Frangois, admirably 
played by Coquelin cadet and Leloir, are quite secondary ones. 
Sydney Grundy, on the other hand, makes of his adaptation, A 
Pair of Spectacles^ an infinitely more sympathetic play, and has 
made every one of his characters of value in completing one har- 
monious picture. Both plays are, however, delightful. Coquelin 
cadet appeared in two monologues : Le Professeur de Geste and 
Les Chansons Enfantines. — 20th. Chamillac^ by Octave Feuillet. 
Le G^n^ral, F. Febvre ; La Bartherie, Joliet ; Chanteloup, Roger ; 
Gaillard, Villain ; Maurice, Leitner ; Hugonnet, Jean Coquelin ; 
Robert, Gavoret ; Carville, Deroy ; Chamillac, Coquelin aln6 ; 
Clotilde, Mdme. Fayolle ; La Baronne, Mdme. Amel ; Jeanne, 
Mdme. du Minil ; Sophie, Mdlle. Bertiny ; La Comtesse, Mdme. 
Malck ; Mdlle. Godemer, Mdme. Degredes. — 22nd. Margate by 
Henri Meilha«. Boisvillette, Febvre ; Jean, Roger ; Leridan, 
Villain ; Georges, Gravollet ; Francois, Leitner ; Pinard, 
Gavoret ; Margot, Mdlle. Reichenberg ; Madame Monin, Mdme. 
Fayolle ; Carline, Mdlle. du Minil ; Valentine, Mdlle. Bertiny ; 
Madame D'Arcy, Mdme. Febvre-Brindeau ; Ad^le, Mdme. 
Degredes. — 25th. LAmi FritZy by Erckmann-Chatrian. Fritz 
Kobus, F. Febvre ; Fr^d6ric, Joliet ; Christel, Villain ; Joseph, 
Gravollet ; Hanezo, Jean Coquelin ; David Sichel, Coquelin atn^ ; 
Suzel, Mdlle. Reichenberg ; Catherine, Mdme. Febvre-Brindeau ; 
Lisbeth, Mdme. Bassett. — 30th. Les Fourberies de Scapin^ by 
Moliere. ^rgante, Coquelin atn^ ; Octave, Boucher ; G6ronte, 
Joliet ; Carle, Roger ; L^andre, Leitner ; Scapin, Jean Coquelin ; 
Sylvestre, Deroy ; Zerbinette, Mdlle. Reichenberg ; Hyacinthe, 
Mdlle. Bertiny; Nerine, Mdme. Brunet — 30th. La Joie Fait Peur, 
by Moliere. Noel, Coquelin atn^ ; Adrien, Boucher ; Octave, 
Gravollet; Blanche, Mdlle. Reichenberg; Madame des Aubiers, 
Mdme. Fayolle; Mathilde du Pierreval, Mdlle. du MiniOOgle 

142 Moonflowers. U^r, 1891. 


1st Gaiety matinee. — Moonflowers. This was quaintly 
described as a cobweb. In the case of this ''play without 
words," it would have been advisable if some printed description 
of the plot had been issued, for we are sure to the average play- 
goer the meaning was incomprehensible. The scene takes place 
in a garden at night The student, immersed in his books, is 
disturbed by the distant sounds of revelry and dancing. He 
makes of a glowworm a lamp. The girl enters, fresh from the 
ball-room. She endeavours to lure the student from his books by 
dancing to him and exercising on him her pretty blandishments, 
but he flies from her. Presently enters a young man who flirts 
with her, and gives her presents, and seems to win her heart, this 
being typified by what appears to be a shell casket which she 
carries. Having gained his purpose, the young man dashes her 
heart to the ground, and the girl is inconsolable. But the student 
returns, and, by the aid of his knowledge, he repairs the broken 
casket, and the curtain falls upon the girl weeping with happiness 
upon his shoulder. I can only imagine Moonflowers to be an 
allegory of the worthlessness of selfish, pleasure-seeking lovers as 
compared with steadfast and sober affection. It was said to be 
the work of Augustus M. Moore, but it is sadly deficient in action. 
Nor was Ivan Caryll's music of such striking or original character 
as would redeem the poverty of the libretto, if so it may be called. 
Miss Norreys's facial expression was good ; her action expressed 
but little. She danced very gracefully a new pas, Herbert 
Pearson's every movement told his story, and E. Webster Lawson 
was also clever in typifying the male flirt His dress was an 
extraordinary one — a scarlet coat and harlequin pattern panta- 
loons. None of the faces were whitened. There was some 
disapprobation at the length of the play, which dragged along 
for forty minutes. The occasion was a matinie given by Florence 
St John, and as part of the programme the first act of La Mascotte 
was rendered by Arthur Roberts as Laurent XVII. ; Frank Celli, 
Tippo ; Litton Grey, Prince Fritellini ; Arthur Williams, Rocco ; 
Phyllis Broughton, Fiammetta ; Florence St John of course 
appearing as La Mascotte. 

1st Shaftesbury. — Last performance oi Handfast. 

1st. CRITERION matinie.- Mrs. ^««^^^J^.,,J;G?)0^ke 

jutv, 1891.] For Clauduis Sake. 143 

wanted but a very little more knowledge of stagecraft to have made 
Mrs. Annesky a good play ; as it stands, if a little sombre, it is 
interesting, and infinitely above the average of maiden efforts. 
Without there being anything specially new in his plot, his 
characters are freshly drawn and human. Mrs. Annesley is a 
widow, who, having married an old man out of pique and for his 
wealth, so soon as she is free sets to work to win back Frank 
Seagrave, a former lover. He is now engaged to Estelle 
Brandreth, and Mrs. Annesley separates them for a time, but 
Estelle's health failing from her disappointment, she and her lover 
are reconciled, and then the widow establishes herself as Estelle's 
most attentive and sympathetic nurse, all the while that she is 
slowly poisoning her rival. The widow, determined to wait no 
longer for the death of Estelle, prepares an extra-strong dose of 
poison for her, and is led to suppose that Frank Seagrave has 
swallowed it Despair and horror induce her to take poison 
herself, and as she dies she learns that she is the half-sister of 
the girl she has done her worst to kill. Beatrice Lamb showed 
remarkable power, and yet was extremely fascinating, as the 
handsome, revengeful Mrs. Annesley ; her ruthlessness of purpose 
was artistically veiled. May Whitty was quite in sympathy with 
her audience as Estelle, and Frederick Harrison's clear, incisive 
delivery and earnestness made me wish he were still a regular 
actor instead of being only occasionally seen. William Herbert 
played with the nicest discrimination the part of a young cleric, 
who catechises himself as to whether he still is or can ever have 
been in love with Estelle. 

2nd. Vaudeville matinie. — For Claudicts Sake^ comedy 
drama in three acts by Mabel Freund-Lloyd, was not original in 
idea or treatment, and merely worked out the sacrifice that Sylvia 
Talbot makes for her twin sister, Claudia, even going so far as to 
bear the imputation of almost dishonour for a time. The sisters 
were fairly well represented — Sylvia tenderly by Edith Jordan 
and Claudia by Ida Logan, a remarkably handsome young lady. 
Two impossible servants were played by Foster Courtenay and 
Miss Marlow ; Acton Bond did well as Lord Vivian ; and H. A. 
Saintsbury was good, though a little melodramatic, as Sir Lionel 
Urquhart. In Sacrificed^ a one-act drama by the same authoress, 
we had the artist who is going blind and the young girl whom he 
has befriended, cutting off her beautiful hair and selling it to pay 
the rent, and giving up her handsome poor lover for the rich old 
baronet, who of course overhears how she is sacrificing herself, and 
makes the artist his steward and the handsome poor lover his 

144 GabriePs Trust. CJuly, 1891. 

secretary. Rhoda Larkin was the artist's wife, Elsie, supposed to 
be fading away from care and trouble, and Helen Bayard the 
self-sacrificing Helen Percival ; George Hughes, H. A. Saintsbury. 
and Leo Leather were respectively Sir Gilbert Trevor, the artist, 
Hugh Berington, and Tom Locksley ; and Kate Brand was clever 
as a lodging-house servant, Sarah Ann, though the character was 
too strongly drawn by the authoress. 

2nd. Steinway Hall. — The Strange Adventure of a French 
Pianiste, monologue, and Little Jessie, duologue, both by Frederic 

4th. Vaudeville. — GabriePs Trust. Mr. Harrington Baily 
opened the Vaudeville Theatre on July 4th with A. C. Calmour's 
play as a first piece. It was one of the author's earlier efforts 
(written in 1877), ^°d I think he would have done wisely in not 
producing it in London, although it shows how much better he 
can write in the present day. It is merely the story of a very 
old, kind-hearted cowkeeper, Gabriel Stroud, being led to believe 
that his grandson, George Field, is everything that is bad through 
the evil reports of Thomas Rhodes, a malicious gamekeeper, who 
is trying to separate the young fellow from Mary Mason, Stroud's 
adopted daughter. To strengthen his statements, Rhodes steals 
some money from a bureau, and taxes Field with the theft ; but 
the money being found on the real thief, his schemes are frustrated. 
Mr. Calmour threw considerable feeling into his character, but his 
voice was at times strangely at variance with his apparent great 
age ; his make-up was that of a man of ninety, and he assumed 
the gentleness of a patriarch well, but every now and then his 
voice was that of a. strong, lusty man. Alice Bruce played the 
ingSnue part very naturally, and Philip Cunningham acted well, 
but his dress, faultless in itself, was too aristocratic for his sur- 
roundings. Florence Haydon was excellent as an old housekeeper. 
This was followed by 

The Mischief -maker y three-act farcical comedy by" Edith 
Henderson When this was tried at a matinie the verdict 
passed upon it scarcely warranted placing it in an evening 
bill. Since its trial performance the piece, particularly the 
third act, had been strengthened, and appeared to afford plenty of 
laughter to the cheaper portions of the house. Oliver Tapperton 
is a meddlesome old gentleman, who goes about with a " demon " 
camera, taking likenesses of everybody with a view of discovering 
if there be any indications of future crime in their physiognomy. 
Through his tittle-tattle he separates Mr. and Mrs. Loggerhead, a 
young couple ; and all the characters eventually, including Miss 

juLV, 189X.] Husband and Wife. 145 

Pryce, a middle-aged spinster, who still has an aifection for 
Tapperton, her first and only love, find themselves visiting a 
private asylum, kept by Dr. Middleton, and one and all mistake 
each other for inmates confined in the maison de santi. The act- 
ing was good. Harry Paulton as " The Mischief-maker," Tapperton, 
played with that grim humour which distinguishes him. Florence 
Haydon was clever as Miss Pryce ; Charles Fawcett and Edith 
Bruce gave the requisite " go " to the characters of Mr. and Mrs. 
Loggerhead ; and John Carter was thoroughly professional, yet 
kindly, as Dr. Middleton. Master E. T. Smith was very amusing 
as a precocious page, Alfred, and Alice Bruce smart as the 
soubrette Alice. The play would have gone better had some one 
else filled the character of Lucy Wentworth, Mrs. Loggerhead's 
sister ; Phyllis Ayrian was quite unsuited to the part. 

4th. Gaiety. — Last night of Carmen up to Data in London. 

6th. Surrey. — A Big Fortune, four-act drama by William 
Bowne. First time in London. 

7th. Comedy. — Husband and Wife. When this three-act 
farce, by F. C. Philips and Percy Fendall, was tried at the 
Criterion on April 30th, I thought it would be seen again. Its 
weak point was the third act, and that has been completely 
changed. The fun arises from the rival factions of " The Tiger 
Lilies " and " The Society for the Protection of Married Women 
and the Improvement of the Morals of Husbands," headed 
respectively by Mrs. Greenthome and Mrs. Springfield, and 
these two factions, holding their meetings in the adjoining flats 
in Montmorency Mansions, are confounded by a dunderheaded 
inspector of police with a notorious gambling club in the same 
building, and are all taken into custody. Up to this point there 
is but little alteration in the piece, save that the characters have 
more to do. But in the third act a fresh personage is now intro- 
duced in the person of Sir George Muddle, the police magistrate 
who presides over the court in Shine Street All the characters 
appear here after having been locked up all night, most of them 
in custody on the charge of gambling, Mary in search of her 
master and mistress, and the coquettish Mrs. Springfield as a 
witness who captivates the susceptible Sir George, and is invited 
to take a seat on the bench beside him. In this act the fun is well 
kept up, though it is reminiscent of Aunt Jack and other plays, and 
might be a little curtailed ; but it sends away the audience in high 
good-humour. George Giddens resumes the character of Adolphus 
Greenthome, with Lottie Venne as Mrs. Springfield, and Vane 
Featherston as Mrs. Greenthome. These three are the life and 


146 The Scapegoat auLv. 1891. 

soul of the piece until Charles Brookfield appears on the scene as 
Sir George Muddle, and then his clever skit of the dispenser of 
justice produces shouts of laughter. His make-up is admirable, 
and his mingled sententiousness and sly admiration of Mrs. 
Springfield are very ludicrous. Mary was capitally played by 
Edith Kenward. The cast was a very good one, but special 
mention should be made of Ada Murray and W. F. Hawtrey. 
During the run of the piece, Jenny Dawson appeared in Lottie 
Venue's character. 

7th. Globe. — The Scapegoat^ four-act play by Wilton Jones. 
It is hardly just to say that this is an Ibsenite play, although its 
theme is hereditary insanity, for Mr. Wilton Jones has founded his 
play on a novel published by Gertrude Warden two years ago. 
The fact that the authoress is a great admirer of the Norwegian 
writer may have influenced her style, and suggested the idea 
which her husband, Mr. Wilton Jones, has developed in his work. 
It will probably be- generally admitted that the author has shown 
his greatest strength in the character of Aubrey de Vaux. This 
is a young fellow whom the world would take for sane, but the 
germs of insanity are only lying dormant To please her father, 
Lola Marsden accepts Aubrey when he proposes. Immediately 
on his mother, the Marquise, becoming cognisant of the engage- 
ment, she hurries to England and imparts the one dread secret of 
her life to the doctor. Her husband is a homicidal maniac, is 
now, though supposed to be dead, kept in strict confinement, and 
as insanity has been in his family for generations, she fears it may 
break out in her son. So the doctor withdraws his consent, 
and after a time Lola makes a happy marriage with Bruce 
Laidlaw. Aubrey, after travelling for some time, reappears, and 
his passion for Lola is consuming him and bringing on his dread 
disease. Ellen Granville, a woman who wished to marry Laidlaw, 
lays traps for Lola, into which she falls, and her husband is led to 
believe that she has a lover in Aubrey. He confirms the sus- 
picions by persistently following her and forcing his presence on 
her, till at length Laidlaw drives his wife from him. And here 
comes the weak part of the play. Lola, an innocent woman, 
loving her husband, goes straight to Aubrey's hotel. By this time 
he is a raging lunatic. He first tries to strangle her, imagining 
her to be Laidlaw, and then hurls himself from the window, 
believing that he is taking her with him to another world. There 
is very much that is powerful in Wilton Jones's play. Careful 
revision and the strengthening of the character of Lola (most 
admirably played by Florence West) and of Laidlaw (with which 

July, i89x.] Love tH U Mtst 147 

part William Herbert did all that was possible) would make of 
The Scapegoat a play that would be thoroughly acceptable in an 
evening bill. There is another point that could be improved. 
The Marquise is such an interesting character (it was most im- 
pressively acted by Mrs. Theodore Wright) that we regret her 
dropping out of the action of the play during two entire acts. A 
turncoat journalist, Mr. Smith, is an amusing character ; and 
Mabyn Laidlaw was winsome in the hands of Annie Hughes. 
The Rosa Dartle-like character of Ella Granville did not suit 
Gertrude Warden ; and in more able hands than those of Adela 
Houstan the character of Miss Fox-Willoughby, a lady society- 
journalist, might have stood out well. Carlotta Leclercq as the Tory 
Lady Ermyntrude Laidlaw, horrified at anything approaching to 
Radicalism, was full of humour. I shall hope to see The Scapegoat 
again, and when that occurs I trust Lewis Waller will once more 
be the Aubrey de Vaux, for a more sterling performance I do not 
wish to see. The young actor must have thought out every 
intonation, look, and action, and his last scene was most powerful 
in its maniacal frenzy. 

7th. Ladbroke Hall. — Waiting for the Coach and Bumble. 
Two comedy operettas, written and composed respectively by 
Frank A. Clement and Oliver Notcutt, were produced, and were 
found to be very amusing, for the dialogue in each was humorous, 
and the music bright and at the same time scholarly. Bumble 
was founded on the beadle's proposal to Mrs. Corney over tea and 
muffins in " Oliver Twist." 

8th. Death of Johnson Towers, aged 78. When quite young 
he gained provincial experience, and obtained his first engagement 
with Phelps at Sadler's Wells, and afterwards became a great 
favourite at the Victoria under Osbaldistone's management. He 
became lessee of the theatre on Miss Vincent's death, but was not 
fortunate and left the theatre early in the sixties. Became stage 
manager to Mr. Hobson at Leeds, and afterwards served in the 
same capacity to John Coleman. 

{ 9th. Crystal Palace. — Love in a Mist^ musical fairy tale, 
did credit to Louis N. Parker's vein of poetic fancy and to Oscar 
Barrett's music. Alexes Leighton as the enchanted Queen 
Eglamour, Roland Attwood as Oberon, Florence Tanner as 
Titania, G. R. Foss as the gnome Oakapple, Frank Rodney as the 
conceited knight, Sir Gengaline, were worthy of much praise in 
their several parts. 

gth. Death of Robert Reece, aged 5 3. Bom in Barbadoes May 
2nd, 1838. Was an M.A. of Balliol College, Oxford, and was a 

148 A Summet^s Dream. CJitly, 1891. 

clerk in the Colonial Office, Emigration Branch. In 1865 his 
first dramatic effort was in the libretto of Castle Grim^ followed by 
the burlesque of Prometheus ^ both produced at the Royalty Theatre 
in that year. In the following year Love's Limits Ulf the Minstrel^ 
Lady of the Lake, and Guy Mannering were produced ; in 1867 
A Game of Dominoes, A Wild Cherry, and Honeydove's Troubles ; 
in iZ72Ali Babad la Mode and The Vampire \ in 1876 William 
Tell Told Over Again ; Whittington funior 1871; Little Robin Hood 
and The Forty Thieves in 1880. He was also the author of 
Knights of the Cross, The Wicklow Rose, Gulliver in Lilliput,, He 
also wrote the libretto of Girouette, and contributed to those of La 
Mascotte and Boccaccio. Was a polished writer. Robert Reece 
was buried at Kensal Green. 

13th. Grand. — Augustus Harris's Italian Opera Company 
appeared for a fortnight // Trovatore was given. On the 14th 
Carmen, 1 5 th Faust. 

14th. Steinway Hall. — Both Sides of the Question, a very 
smartly written duologue by Malcolm C. Salaman, was brightly 
played by Rob Harwood and his sister, Lucia Harwood. The 
trifle would do well for a first piece or for amateurs. 

14th. Avenue. — A Summer^ s Dream. Miss Meller's sketch 
is unpretentious, but it has much poetry of feeling, and the 
dialc^e is natural and human. Dahlia has run away from home 
to follow the fortunes of a man who deserts her. Joan, her sister, 
has always pleaded the absent one's cause with their father, 
Farmer Fielding. Garth, who has been jilted by Dahlia, transfers 
his affections apparently to Joan, and makes her very happy, for 
she has always loved him. A week before their intended 
marriage Dahlia returns ; Garth's old love for her revives ; he 
forgives everything, and behaving shamefully to poor Joan, takes 
the selfish, vain, and heartless Dahlia for his sweetheart again. 
Mrs. Bennett acted tenderly, and Isabel Maude's portrayal was 
clever. Henry Dana made love so naturally that it was not 
surprising the two women were fond of him. The authoress was 
called for on the fall of the curtain. On the same evening was 
produced for the first time " a mediaeval romance " in two acts 
by Leonard Outram, entitled 

A Mighty Error. It is generally understood that Mn 
Outram's " romance " is a reconstruction of a five-act tragedy 
which he had founded on the late Robert Browning's poem 
" In a Balcony." It is a theme giving scope for strong 
dramatic situations ; and conveyed as it is in blank verse of 
very considerable literary merit, the play was listened to with 

July, 1891.] A Mighty EfYor. 149 

interest, and elicited much applause. The verdict was decidedly 
favourable, and would have been even more enthusiastic had 
the second act been a little shorter. Joan, Queen of Spain, is 
represented as a woman whose life has been embittered by the 
discovery of her husband's (Miguel's) faithlessness. He has in- 
trigued in the past with Oriana, Joan's dearest friend. Inez, the 
fruit of the intrigue, has been brought up by Joan almost as her 
own child, and is at the time of the opening of the play eighteen 
years of age. The Queen's visage is supposed to be scarred from 
the effects of the plague ; and she has conceived the notion, 
amounting almost to insanity, that it is impossible for any one to 
love her for herself. The State is in revolt ; Joan is deserted by 
all, and is likely to lose her throne, when, at the solicitation of 
Inez, Amadis, a young noble, fills the post of Minister, crushes 
Joan's enemies, and takes Miguel prisoner. He has done all this 
for the love of Inez, but the latter persuades the Queen that it has 
been accomplished by Amadis through his love for Joan as a 
wotnan^ not from devotion to the sovereign. Xante, for his own 
aggrandisement, and that he may win Inez, confirms this 
erroneous impression of the Queen. Joan signs the death- 
warrant of Miguel, and he is executed, and then she openly 
informs Amadis of the honour that is in store for him : he is to 
be her husband and prince consort, for she imagines it is only 
modesty and awe of her exalted position that have hitherto closed 
his lips. And then the half-crazed Queen's house of cards falls 
to pieces. Amadis tells her he has loved but one, and that one 
Inez, and that he intends to make her his . bride. In the first 
moment of her baffled desire, Joan contemplates a terrible revenge. 
She will make the lovers pledge her in poisoned wine, but as they 
are about to do so she relents; she alone drinks, and dashes their 
goblets from their hands. She summons her guards, and Amadis 
conjectures that they are to lead him to execution, when, as she 
dies, the Queen, pointing to him, proclaims him their future 
sovereign. There is an uncertainty in the drawing of the character 
of Inez : one is left until the last moment to conjecture whether 
she really loves Amadis. This should be amended. Frances 
Ivor gave a magnificent rendering of Joan, a character that has 
much in it of our Queen Mary : craving for love, only to be 
disappointed ; cruel and relentless, yet gentle and sweet ; complex 
and requiring great dramatic capacity ; and Miss Ivor proved 
herself possessed of this. Mary Ansell was charming in the 
sunny side of Inez's nature ; it was where the character required 
the intensity of the woman that there was a little want of strength 

1 50 The Sequel. jitlv, xSgx. 

But this will come, and Miss Ansell must be very highly praised. 
Leonard Outram was too much of an " Admirable Crichton " ; his 
Amadis was polished and at times earnest, but it was not robust 
enough — it was even almost feminine in its gentle chivalry. 
Frank Worthing was an admirable Miguel, self-possessed, bold, 
and incisive. S. Herberte-Basing played with much finesse as the 
crafty, obsequious courtier Xante. Taken as a whole, A Mighty 
Error afforded a most interesting evening, for the play was very far 
in advance of anything we had seen of late. In the provinces it 
should be a distinct success. 

iSth. Vaudeville. — The Sequel^ one-act play. On a modern 
instance that might figure in the columns of a newspaper as an 
ordinary divorce case, Louis N. Parker has written one of the 
most exquisitely poetical plays that have been seen for some time. 
Clarissa, mated to a scoundrel, is deserted by him ; she hears of 
his death and becomes engaged to Lord Somerville. Her husband 
returns, and she flees with the man who idolises her. For a year 
they live hidden from the world on an island in the iEgean Sea 
— it is their world, and her lover is the world to her. " Love is 
of man's life a thing apart ; 'tis woman's whole existence." It is 
so in her case. Mr. Foljambe, an old friend of Lord Somerville's, 
comes to bring him back to the political career that he has 
resigned for love, and then the politician, the man of the world, 
regrets the sacrifice he has made. He does not love the less, but 
love cannot be all-sufficient. Clarissa overhears him say that he 
almost longs for death to part them. She takes him at his wish. 
She poisons herself, and, pillowed on his heart, she " follows the 
silvery path," and this is " the sequel " to an unhallowed love. 
The acting was worthy of the play. Alma Murray as Clarissa 
faithfully and beautifully depicted the absolutely unselfish love of 
woman. Philip Cuningham as Lord Henry Somerville, on the 
other hand, gave us the grosser aspect of man's passion and love 
combined, and Charles Fawcett as Foljambe showed us the man 
of the world, who cannot believe in an earthly paradise, of which 
love alone shall be the god. Alice Bruce as the faithful little 
handmaid Mary and H. Nelson as Peters, a typical London 
servant, were unobtrusively of assistance, and did not mar the 
poetry of the idea. The author may be sincerely congratulated 
on his work. 

17th. St. James's. — Molihe, by Walter Frith. The close of 
a most prosperous season was celebrated by the production of 
this new one- act play. George Alexander filled the title rdle 
of the great dramatist, and was made up to bear a strong 

July, 1891.I Molihrc. 1 5 1 

resemblance to his portraits, though rather young-looking. Moli^re 
returns from playing Le Malade Imaginaire for the last time, to 
find Armande, Madame Moli^re de Poquelin {nie B^gart), prepared 
to entertain at supper a frivolous, empty-headed marquis, who is 
her admirer. Moliire is at the point of death, his wife has long 
neglected him for others, and the sight of her latest coquetry 
rouses him to action. He induces the two to take part with him 
in the rehearsal of a new play which he says he has written, and 
called The Vengeance of Georges Dandin^ and in this he lashes 
his wife's admirer with his tongue, and holds him up to ridicule, 
eventually striking him and having him driven from the house. 
The exertion is too much for him ; it has shamed Armande and 
brought her to his feet, suing for pardon, but it has given him his 
death-blow. As he hears the trumpets proclaiming the passing 
of the greatest ruler France ever possessed, he utters the words, 
" The King ! His Majesty must not be kept waiting," and falls back 
dead, winding up the play with that impressive address to the 
king of terrors. Mr. Frith's idea was well conceived, but he 
had not the power to carry it out, and the play would have failed 
but for George Alexander's acting, which was earnest, and at 
times almost great. There was nothing for Marion Terry, the 
Armande, to do ; Ben Webster was remarkably good as the 
licentious and supercilious Marquis, and Herbert Waring was 
professional as Moli^re's old friend and schoolfellow Dr. Dacquin ; 
Laura Graves and V. Sansbury as Catherine, the waiting-maid, 
and L'Epine, Molifere's valet, were good, and Howard Russell and 
George Gamble as a couple of chairmen made up the cast. The 
piece was splendidly mounted, and the Nathans had provided 
correct and handsome dresses, and Walter Slaughter some very 
appropriate music. 

20th. Pavilion. — Man of Metal, drama by C. A. Clarke and 
H. R. Silva. First time in London. 

20th. Standard. — Faust, burlesque. 

20th. Marylebone. — Flashes, musical absurdity in three acts 
by J. J. Hewson and E. Lewis West (originally produced at New 
Theatre Royal, Liverpool, April 7th, 1890). 

20th. Elephant and Castle. — Noble Love, play in four acts 
by C. A. Clarke and James Hewson (originally produced at 
Theatre Royal, Goole, Jan. 27th, 1890). 

20th. Opera Comique. — Last performance oi foan of Arc. 

2 1 St. Criterion (Tuesday) matinee, — David Garrickyfzs 
given in aid of the poor of Camberwell ; ;^3So was realised. 
The same evening saw the last performance of the piece and 

1 5^ Miss Decima. CJuly. 1891. 

appearance of Mr. Wyndham and his company, the stage being 
occupied on the Thursday by Miss Decinta. 

23rd. Criterion. — Miss Decitna. When Mr. Bumand under- 
took the adaptation of the Parisian success Miss Helyetty it was 
generally surmised that he would have considerable difficulty in 
eliminating that which would prove objectionable to English 
audiences, and yet retain some amusing motive. He accomplished 
this successfully ; the piece is droll, and is written in a humorous 
style, and is much assisted by the graceful lyrics contributed by 
Percy Reeve. Miss Helyett was originally produced in Paris at 
the Bouffes Parisiens, Nov. 12th, 1890, with Mdlle. Bianca 
Duhamel in the title rdle. When the piece was played in Brussels, 
Mdlle. Nesville took the town by storm as the heroine. .The 
story is really of the flimsiest, and depends almost entirely on the 
cleverness of the representatives of the different characters to 
make it go dramatically. Miss Decima is the tenth and only 
unmarried daughter of the Rev. Dr. Jeremie Jackson, of New 
Orleans. He has brought up his girls in almost Quaker-like 
severity of conduct, and has written a book of moral precepts in 
doggerel verse, one of which on reference will invariably be 
found suitable to advise them in any moral emergency. He and 
his daughter are touring in Switzerland, and are temporarily rest- 
ing at Interlaken. There a dreadful accident happens to Decima, 
who slips in climbing a mountain, rolls down it, is caught by a 
bush, and is rescued from her perilous position by an unknown 
gentleman, who carries her to a place of safety. She has not 
seen his face, or he hers — for she has held her cloak over it — but, 
according to the " Jackson " tenets, a young woman who has been 
in the arms of a man must marry that man, and none other. She 
christens her unknown preserver her " Man of the Mountain," and 
commissions her father to discover him. She has encouraged a 
good-hearted, silly young fellow, Marmaduke Jessop, to believe 
that she will marry him, and so her father, tired of his unsuccess- 
ful search after her preserver, persuades Marmaduke to pass him- 
self off as the ** Man of the Mountain "; but Decima soon discovers 
the imposture. Then she overhears a conversation which 
induces her to believe that Chevalier O'Flanagan is her hera 
He is a braggart and a poltroon, and is already engaged to 
Senora Inez, the daughter of the strong-minded Senora de Var- 
ganaz. This is nothing to Decima or her father, who in the 
quaintest way produces a very pretty little revolver, which he 
states that he shall be regretfully compelled to use on O'Flanagan 
if he- does not marry his daughter. Decima, however, has 

juLv, X89X.1 Fate and Fortune, 153 

really lost her heart to Peter Paul RoUeston, who is madly in 
love with the little slyboots and declares his passion, but as she 
is engaged to another, asks to be allowed to take her portrait 
Whilst doing so Decima looks over his sketch-book, and in it 
discovers a sketch of herself, evidently taken when the climbing 
contretemps occurred. Here is her real ** Man of the Mountain," 
to whom she is only too pleased to give herself, and he to accept 
her. There is a charming espikglerie and piquancy about Made- 
moiselle Nesville that at once rendered her a favourite. Her voice 
is thin, but very sweet, and her English as she speaks it, though 
not perfect, is very attractive ; added to this. Mademoiselle 
Nesville is pretty and sympathetic. In the last act the young 
actress has a charming love scene with Rolleston ; and in it she 
was very ably assisted by Charles Conyers, who, though new to 
London, has made his mark in the provinces, and has a good 
voice. David James and Miss Victor were irresistibly funny, the 
former in his own quiet effective manner and the lady in her more 
pronounced style. She dances a cachtica with the drollest abandon. 
Chauncey Olcott, an American actor, made his first appearance in 
England, sang with spirit and feeling, and made a favourable im- 
pression. Wei ton Dale was seen and heard to advantage. 
Templar Saxe, who should have had more to do, and Josephine 
Findlay were of much assistance. Among the best numbers may 
be quoted " Maiden's Modestee " and " Dear Father used to say 
to Me " (Miss Decima), " Shall we Never Meet ? " (Paul), and the 
duets, " Coquetting " and " The Portrait," for Decima and Paul ; 
the duet, " The Ideal She," for Paul and Bertie ; the trio, " Mother 
of a Daughter Splendid," for the Senora, Inez, and OTlanagan ; 
and O'Flanagan's serenade, " Divine and True." Miss Decima was 
a distinct success. 

27th. Novelty. — Right against Mighty original comedy drama 
in three acts by M. White. 

27 th. Princess's. — Fate and Fortune ; or^ The Junior Partner^ 
four-act drama by J. J. Blood. The public that is fond of melo- 
drama looks for a downright villain, who hesitates at nothing, and 
in fact rather prefers to go out of his way to commit a murder. 
As a contrast to this, the author must give them the simplest and 
most confiding of heroines, and the comedy scenes must be of the 
homely sort — a kind-hearted policeman with a large family of 
small children, with enormous appetites, and a domestic heroine 
who has an admirer in the force, but who will also coquet with a 
son of Mars. James J. Blood has accomplished all this in his 
Fate and Fortune^ and the audience at the Princess's departed 

1 54 Fate and Fortune. [July, 1891. 

after having been highly amused. It did not for a moment con- 
sider that twenty times before it had seen the same sort of thing 
in a dozen different plays. The author is so skilful a workman 
that, like the Chinese, he can piece and join so deftly that it 
cannot be discovered where the piece is let in. So Mr. Blood 
makes the merchant in very great straits for money ; and Kopain, 
a Russian, immediately appears on the scene, and offers to set him 
right if he is made the " junior partner," and is thereon without 
further parley installed in that position. Kopain is really Varbel, 
a thief, swindler, and card-sharper. He has cheated Ralph 
Glendon in Paris, and as this gentleman is likely to tell his father 
some unpleasant stories of his antecedents, Kopain gently pushes 
him over a precipice, and disposes of him in the first act This 
gives Swagg, a burglar, his opportunity. He happens to be taking 
, a little relaxation from his more arduous occupation by having a 
day's innocent " bird's-nesting," and is a witness to Kopain's sum- 
mary proceeding, and is consequently a thorn in that gentleman's 
side for the future. Grace Hasluck is an heiress and Mr. 
Glendon's ward. She has determined she will marry none but 
Walter Halmshaw, Glendon's stepson, and to plight their troth 
gives him a ring, which he is never to take off his finger. The 
ruthless Kopain has, on his part, determined that Grace would 
make him a very nice wife. Halmshaw opportunely loses his 
ring, and of course Kopain finds it, and he tells the young lover 
that he can get it back if he will go to Mr. Glendon's City offices, 
where it is locked up in the private safe, of which the key is 
handed to him. Unsuspicious Mr. Halmshaw goes on his errand, 
and is caught by Mr. Detective Marklow, who has been set on the 
job by the wily Kopain, and poor Halmshaw is accused of pur- 
loining various moneys to which the "junior partner" has been 
helping himself. Then Grace takes refuge with her old nurse, 
Mrs. Tranter, married to the kind-hearted Bob Tranter, the police- 
man ; and we see his voracious youngsters feeding on bread-and- 
treacle, and perfect " Oliver Twists " in their demands for more. 
And here Matilda Jane is made fierce love to by Tom WooUett, 
who has joined the force for her sake, and the interloper, Swadler, 
a stalwart lifeguardsman ; and the rivals come to blows. Grace 
is meantime looking for a situation, and is found a supposititious 
one by Mrs. Prowse, an infamous decoy of Kopain's. So in the 
last act we find poor Grace very much disturbed at Kopain's 
forcing his unwilling attentions upon her ; and things are getting 
very serious for her, when her lover, Walter Halmshaw, drops 
through the skylight and rescues her, at the same time that a 

July, xSqx.^ The Plebeian. ISS 

desperate encounter is going on above on the roof between burglar 
Swagg and his timorous companion Springe and the police, where 
shots are fired and life-preservers used, etc. This was a cleverly 
managed scene. The view of the London housetops and the 
great city by night was picturesque and vivid. Such a melo- 
drama would not be complete without the handcuffs, which are 
neatly fitted on to Kopain, for he is arrested under the extradi- 
tion treaty for another murder he has committed in France on an 
unfortunate bill-broker. W. L. Abingdon was the most uncom- 
promising of villains. He accomplished everything with "the 
craft of smiles," and was " most smiling, smooth, detested " ; but 
there is no doubt that he was powerful, and the gods approved his 
acting by repeatedly calling for and yelling at him. May Whitty 
was not by any means the conventional heroine as Grace Hasluck ; 
she struck out her own line, that of a fresh English girl, brave and 
true-hearted, and was a genuine success. Bassett Roe played 
judiciously as the rather scampish Ralph Glendon. Henry 
Pagden was good as the staid but troubled City merchant ; and 
W. R. Sutherland was fairly acceptable as the lover Walter 
Halmshaw. George Barrett was a genial Bob Tranter, his style 
fitting exactly the anti-Malthusian character. Henry Bedford, as 
far as acting was concerned, was entitled to the honours of the 
evening. The part of Swagg is not a great one, as lines go, but 
it was played with a vigour and characterisation that were most 
admirable. In a lesser degree, great praise was due to Huntley 
Wright as Springe, bird-catcher by profession, but at the same 
time a sort of amateur " cracksman." Gracie Muriel gave a 
pathetic rendering of Madge, a match-girl, a sort of female *' Jo." 
Cicely Richards was clever and amusing as Matilda Jane ; and 
Elizabeth Bessie, Sallie Turner, Stephen Caffrey, and J. F. Doyle 
also deserved favourable mention. Sidney Herberte- Basing, who 
produced the play, did so in a most efficient manner, and gave us 
good scenery, one set in particular, the "Ruins of Abbotslea 
Abbey," being very beautiful. I was glad to see that Arthur E. 
Godfrey directed the orchestra ; we are always sure of a good 
selection of music under his bdton. In consequence of George 
Barrett's departure for America on a starring tour, his part was 
played from the 17th by Frank Wood. 

27th. Grand. — Retaliation, comedietta by Rudolf Dircks. 

28th. Vaudeville matinie, — The Plebeian, comedy drama in 
four acts. Miss Costello, of Dublin — for, though the author was 
not announced, it was an open secret that the young lady had 
launched The Plebeian on the world — gave us a play, not only 

156 The FerrymafCs Daughter. quly xsgi. 

interesting, but that had much good work in it, many a bright 
sally of wit, and considerable epig^m ; indeed, I think it was 
generally admitted that the good turned the scale against the 
commonplace. What if the main idea did remind us of Sweet 
Nancy and New Men and Old Acres ? May not even the germ of 
these be traced back in modem times to Delicate Ground^ and 
farther back even than that ? " The Plebeian " is a foundling, one 
Thomas Armstrong, who has made a large fortune in vitriol and 
tanning. He has purchased Nutsgrove, the old home of the 
Lefroys, an aristocratic but selfish family, and he falls in love 
with Norah Lefroy, the eldest girl, an honest-hearted, outspoken 
woman. She accepts him as her husband, urged on to do so by 
her miserably poor brothers and sisters, who see that a wealthy 
brother-in-law will be of use to them. Her husband, after their 
honeymoon, is led to believe that she does not care for him ; the 
breach widens, and at last, when Norah's disreputable father. 
Colonel Lefroy, who has deserted his family years ago, reappears 
under a cloud, having committed forgery, Norah gets the money 
from her husband to rescue him, and then leaves the home in 
which she believes she is unwelcome, her husband imagining that 
she has eloped with an old sweetheart. She returns after three 
years' absence to warn Armstrong that he is likely to be robbed ; 
and then explanations take place, and husband and wife are 
reunited. It was not the play that was so good, because much 
in the construction is very faulty, but the characterisation was 
admirable. Robert and Pauline Lefroy, two as selfish creatures 
as one may picture, were wonderfully naturally drawn and very 
well played by Orlando Bamett and Kate Bealby. Lottie 
Lefroy, an enfant terrible, was capitally filled by Henrietta 
Cross, who already understood the meaning of comedy. Then 
there was a natural, soft-hearted young English fellow in Dick 
Everard that Reginald Stockton rendered well. Colonel Lefroy 
was intended, I suppose, to show how low even a colonel can 
sink, but John Carter did not make much of him. As to the 
two principals, the authoress had written their parts so that they 
were kept at high pressure the whole time, and had but little 
relief. Under these circumstances Mrs. Bennett and Julian 
Cross were entitled to much praise for the manner in which they 
acquitted themselves in their arduous rdles. Miss Costello in all 
likelihood will give us something very good by-and-bye. With a 
little help from some one of more experience, The Plebeian could 
be made into a good play. 

31st Lyric, Hammersmith. — The Ferrymaris Daughter, a 

August, i89x.] The Trumpet Call. 157 

drama in five acts by H. T. Johnson and C. Cordingley. The 
plot is taken from the novel " A Ghastly Fraud," which it follows 
with tolerable closeness. The piece went well from start to 
finish, but one or two of the acts needed the pruning-knife. The 
authors and principal performers received a call, and there is no 
doubt that, although the audience was friendly, a success was 
scored. As the Ferryman, Charles Hudson was excellent ; 
George R. Foss as Dudley Carstairs showed that he had 
thoroughly grasped the character, and kept himself well in hand ; 
and Charles Field as the Major gave an excellent rendering of 
a certain type — it was a fine piece of acting. Horace Barri did 
good work as the detective. As Dick Bramley, Talbot Fell 
struck too melancholy a note, and need not have been so lacka- 
daisical. George Skinner was good as a loafing but warm- 
hearted miner. The part of Claribel was a rather trying one for 
a young actress to assume, but Florence Radclyffe was equal to 
the occasion, and threw herself heart and soul into the character. 
Daisy Leslie as the orphan child who converts the Major merits 
a word of praise. The incidental music, which was appropriate, 
was composed by Guillaume Leone. 

31st. Lyric — La Cigale. Hayden Coffin appeared as Franz 
de Bemheim on this (the three hundredth) performance. 

31st Lyceum. — ^The season came to a close with a repre- 
sentation of Muck Ado About Nothing for Ellen Terry's benefit. 

French plays : 3rd. Z^ Gendre de M. Poifier^ by Emile Augier 
and Jules Sandeau. Poirier, Coquelin atn^ ; the Marquis, Valbel ; 
Verdelet, Jean Coquelin ; Francois, Roger ; Vatel, Deroy ; 
Hector, Gavoret ; Antoinette, Mdlle. du Minil. — 4th. Les Sur- 
f rises du Divorce^ by M. Bisson and Antony Mars. Henri Duval, 
Coquelin ain^ ; Corbulon, M. Leitner ; Champeaux, Jean 
Coquelin ; Bourganeuf, Deroy ; Diane, Mdlle. du Minil ; Madame 
Bouivard, Mdlle. Patey ; Gabrielle, Mdlle, Depoix ; Victoria, 
Mdme. . Brunet. Mr. Mayer's twenty-fourth season concluded 
on July 4th. The latter part of it was highly successful. 



1st Adelphi. — The Trumpet Call. William Makepeace 
Thackeray wrote a novel without a hero. Messrs. Sims and 
Buchanan have actually written a melodrama without a villain, 

158 The Trumpet Call, CAugust, isgr. 

and this for the Adelphi ; and yet their new departure proved as 
successful as they could wish. For they contrived to give just 
that suspicion of baseness to one of their characters (Featherston) 
that keeps the audience on the alert to watch whether he will not 
develop something villainous ; and then Bertha is a very wicked 
and vengeful woman indeed. Perhaps the " refined " melodrama 
that we have had at the Haymarket and St. James's has had its 
influence on the authors, and this is a tentative work to see 
whether the Adelphi audience will be satisfied with the loss of 
contrast between almost sublimated virtue and the obtrusive 
defiant villainy. Its reception on the first night was most 
flattering. The fortunes of the hero and heroine turn on a 
supposed bigamous marriage. Cuthbertson elopes with Constance 
Barton, and after a year or so she returns to obtain her father's 
forgiveness. This he refuses unless she will leave her husband. 
She clings to the latter, but on the very evening Cuthbertson 
recognises in a vagabond clairvoyante, known as Astraea, the 
Bertha whom he had married years before, who had deserted him, 
and whom he supposed to be dead. The poor fellow, to free 
Constance, enlists under another name in the Horse Artillery, 
previously confiding his history to Featherston, and as nothing 
is heard of him for six years, Featherston, who has been a rejected 
suitor of Constance's, makes fresh advances to her. Presently 
Cuthbertson returns covered with glory, having fought in a 
Burmese campaign, and saved his colonel's life. He is being 
decorated on parade, when Constance fancies she recognises him, 
but to her questions he absolutely denies that he is other than 
John Lanyon, the name he assumed on enlisting. A moody, 
reckless companion of his, James Redruth, has confessed to him 
that his life has been ruined by a woman, whom he swears he 
will kill whenever he meets her. Redruth is put in the guard- 
room for some breach of discipline. He escapes and takes refuge 
in a "doss-house in the Mint," where he meets with Astraea, who 
proves to be the wife who had wronged him. He stabs, and 
would kill her outright, but is prevented by Cuthbertson, who 
recognises in her the woman who has been the cause of all his 
misery. Redruth is taken prisoner, and, we are led to understand, 
commits suicide. In the last act Featherston has persuaded 
Constance to accept him, and they are at the altar, when Astraea 
stays the marriage service by confessing that she was already a 
wife when Cuthbertson married her, and points to him among the 
spectators as Constance's lawful husband. It will be said that 
portions of this play are reminiscent of In the Ranks and Lights 

August, i89x.] The Trumpet Call 159 

d London, but the incidents are quite differently treated, and if 
there is only one strong " sensation," the interest is steadily main- 
tained throughout. It would be too great a wrench from old 
associations if there were not plenty of the comic element at the 
Adelphi; and this we are supplied with by Lionel Rignold, who 
is most amusing as Professor Ginnifer, a showman and a sort of 
"universal provider" of entertainments, by clever Mrs, Leigh, 
who is jealous of Ginnifer's " bearded lady," by clever, saucy Clara 
Jecks, who as a " serio-comic " artist " winks the other eye," and 
by R. H. Douglass as the young trumpeter, Tom Dutton, who 
makes very comical love to her in excellent bits of low comedy. 
Leonard Boyne played the hero most impressively, the audience 
sympathising with him throughout ; and in the scene where he 
cannot kiss his little child in the barrack yard he was very 
moving. Mr. Boyne also deserves great praise for the generous 
manner in which he supported Elizabeth Robins, whose intensity 
and earnestness were much to be admired ; they were more really 
artistic, though not quite so dramatic, as the usual Adelphi heroine. 
Hers is a part with but little relief of brightness ; indeed, this may 
be said of both hero and heroine ; the exponents are therefore 
the more worthy of praise. Mrs. Patrick Campbell has an 
infinitely more showy character as the dissolute, mocking Astraea. 
She has conceived the character well, both as to make-up and 
execution, but the latter showed signs of the amateur. It was, 
however, a performance that promised to place Mrs. Campbell 
among our foremost actresses in the future. James East 
worked up the character of James Redruth ; moody and reckless 
at first, he let you see that there was a good, brave fellow 
spoilt by his misfortune, too weak to combat his despair, who 
flew to drink to make him forget his troubles, and at the finish, 
when he met the woman who had destroyed almost all that was 
best in him, his mad passion and revenge were finely wrought 
out. Charles Dalton had a most thankless part, and yet he 
managed to make a great deal of it and to show how deep and 
constant his love was. J. D. Beveridge was the beau ideal of a 
gallant non-commissioned officer as Sergeant-major Milligan, 
cheery and genial ; and good work was done by W. and J. 
Northcote, Royston Keith, H. Cooper, and Miss Vizetelly. The 
scenery was of the best. The interior and exterior of the 
"Angler's Delight," "The Doss-house," and "The Interior of 
the Chapel Royal, Savoy " (with its choristers, etc), reflected the 
greatest credit on the painters, Bruce Smith and W. Hann, 
and on Frederick Glover, who produced the play. Helen 

i6o Theodora. CAucwr, 1191. 

Hastings later took the place of Elizabeth Robins, as did 
also Essex Dane. Mrs. Patrick Campbell's part was afterwards 
taken by Mrs. Bennett for a while, and subsequently by Claire 
Ivanova. Royston Keith appeared in Leonard Boyne's part 

1st New Olympic — Theodora^ six-act play adapted by Robert 
Buchanan from the French of Victorien Sardou. The revival of 
Theodora at this theatre was received with every mark of approval. 
Advantage had evidently been taken of the lower scale of prices, 
for the cheaper parts of the house were crowded, and the manage- 
ment had little cause of complaint as to the more expensive seats. 
On the first production of Theodora at the Princess's I gave Mr. 
Buchanan every credit for his adaptation of Sardou's play. The 
stirring and eventful life of the courtesan queen, the murder of 
Marcellus, and the death of Andreas and the Empress again 
powerfully swayed the audience. Grace Hawthorne Has gained 
in strength and subtlety from her continued performance of the 
title rdle^ and was greatly applauded. The manageress has sur- 
rounded herself with a new company, the members of which for 
the most part acquit themselves well. Fuller Mellish was an earnest 
and sympathetic Andreas, and some of his scenes were remarkably 
well played. Murray Carson drew a faithful picture of the craven, 
superstitious, and wily Emperor Justinian, but the honours of the 
evening may be claimed by Geoi^e W. Cockburn, whose rendering 
of Marcellus was powerful and dramatic The Euphlatus of 
T. W. Percyval was treated in a humorous vein, and the Callirhoe 
of Lillian Seccombe was bright and engaging ; but we missed 
Dolores Drummond as Tamyris. The scenery and dresses left 
nothing to be desired, and the piece was adequately mounted in 
other respects. 

1st Strand. — The Late Lamented. With the exception of 
Herbert Standing, Frederick Cape, and Mrs. Edmund Phelps, 
who so well fill their original parts, the transfer of Frederick 
Homer's very amusing adaptation of Feu Toupinel from the Court 
to the Strand Theatre had brought together a new company to 
represent it. It is always difllicult to succeed when following 
those who have acquitted themselves so ably as did Mrs. Wood 
and her company, but fortunately the present exponents have 
struck out fredi lines, and in most cases very happy ones. Fanny 
Brough is so genuinely humorous and earnest that she readily 
catches the comedy of her situations as Mrs. Stuart Crosse, and 
her reading of the character was a complete success. Willie 
Edouin makes Mr. Stuart Crosse more racy than his predecessor 
in the part, perhaps not quite as finished, but quite-as amusing, 

Jigitized by VriOC 

August, x89i.] The Block Flag. l6l 

and was more unlike himself than we have seen Mr. Edouin for 
some time. Eva Moore was a piquante Mrs. Richard Webb, with 
much sly humour and attractiveness. Harry Eversfield played 
Mr. Richard Webb quietly, but effectively, and G. P. Hawtrey, 
after he had recovered from the nervousness from which he 
evidently suffered at first, was an amusing Mr. Fawcett. Both 
the piece and its representation were quite to the taste of a 
Strand audience, and The Late Lamented entered on another 
prosperous career. Fanny Brough's part was afterwards played 
by Cicely Richards. 

1st. Ladbroke Hall. — The Spiritualist^ farcical comedy by 
H. Durez. Was not without merit, but a first production should 
not have been entrusted to amateurs. The humour turned on a 
young and pretty wife being compelled through stress of "farcical" 
circumstances to figure as a waiting-maid in a boarding establish- 
ment, and being very attractive, she is made love to by all the 
gentlemen in the house. 

3rd. Surrey (revival). — The Black Flag, Henry Pettitfs 
drama, was the attraction during the week, and recalled fond 
memories of the old Grecian Theatre, where it was first produced 
just twelve years ago, when Harry Monkhouse won his spurs as the 
Jew, Sim Lazarus. The play takes its name from the hoisting of 
a black flag whenever a prisoner escapes from Portland, in which 
memorable spot one of the greatest sensations takes place. At 
• the Surrey Clarence J. Hague and Annie Conway gained great 
applause as the hero and heroine, Harry Glyndon and Naomi 
Blandford ; Greorge Conquest, jun., was droll as Lazarus ; and 
Cissy Farrell played remarkably well as Ned, the runaway cabin 
boy, who is the deus ex machind of the drama. C. Cruikshanks, 
E. Leicester, Annie Travis, and F. Conquest did good work in 
aiding the principals ; and the mechanical changes and scenery 
were excellent 

3rd. Shaftesbury. — George Edwardes removed his entire 
programme from Terry's to the Shaftesbury ; and though one 
might have imagined that the class of entertainment was not so 
well suited for the larger house, the three pieces never went better. 
The audience seemed thoroughly amused, and laughed heartily at 
A Pantomime Rehearsal. In this Rose Norreys appeared as one 
of the " babes." She was very quaint ; and her dances were 
deservedly encored, particularly the shadow dance, as was her duet 
with Edith Chester. Lizzie Ruggles also danced very gracefully. 
Beatrice Lamb was the Fairy Queen, and was delightfully 
grand and ignorant of theatrical business — as she should be in the 


i62 " Old SiagersP [Adgutt, 1891. 

part. This handsome actress was also cast for Mrs. Hemmersley 
in A Commission^ and played remarkably well. Rose Norreys 
threw a great deal of feeling into the character of the blind girl, 
Alice Ormerod, in Brandon Thomas's Lancashire Sailor. I have 
previously spoken of the excellence of Weedon Grossmith and 
Brandon Thomas (the latter of whom appears in all three pieces), 
who are unapproachable in their respective lines. Edith Chester, 
Dolores Drummond, and Forbes Dawson also rendered valuable aid; 
in fact, the company and the pieces deserved every success. 
During the run of these pieces at this theatre Sybil Grey took 
up the character of Alice Ormerod in A Lancashire Sailor, and 
Miss Lily Eaton-Belgrave in A Pantomime Rehearsal. Wilfred 
Draycott also appeared as Marshall in A Commission. 

3rd. " Old Stagers," The week commencing on this date was a 
great one for Canterbury, for not only was it the Canterbury week, 
but it was the jubilee of the " Old Stagers," whose doings contri- 
bute so much to the enjoyment of the carnival. T. Sydney 
Cooper, R.A., had painted a new act drop, which represented a 
rocky pass, with a river running through it In the immediate 
foreground the well-known animal painter introduced some of his 
beautiful cows and a herdsman and a dog watching over them. 
The orchestra was composed of members of the St Lawrence 
Amateur Musical Society, conducted by C. M. Gann, and gave the 
greatest satisfaction. The Old Stagers always select a light and 
amusing programme for their performances, and this year the pieces 
chosen were Sydney Grundy's In Honour Bound ; Charles Thomas's 
Paperchase (first played at the Strand June 9th, 1888, and later in 
the year transferred to Toole's and the Royalty theatres, under 
Lionel Brough's management) ; Tom Taylor's (himself an Old 
Stager) Nine Points of the Law, in which Carlotta Addison 
(Mrs. Latrobe) conspicuouMy scored ; Morton's Thumping Legacy^ 
in which Colonel Naghi was very droll ; and the musical triumvi- 
retta Cox and Box, in which the Hon. S. Whitehead (the Hon. S. 
Ponsonby Fane), Oliver Twist (Mr. Quinton Twiss), and H. 
Percival were once more heard to the greatest advantage. The 
professional element consisted, besides the lady already mentioned, 
of Annie Irish, who was charming as Lady Carlyon, Mrs. Pomfret, 
and Rosetta ; of pretty Mary Ansell, who played Rose Dalrymple, 
Nellie Busby, and Katie Mapleson, and proved very attractive ; 
and of Adah Barton, who was voted delightful as Mrs. Basker- 
ville. The other " Old Stagers " who took parts consisted of 
Augustus Montague (A. Spalding), the McUsquebagh (C. Drum- 
mond), Herr Scrobbs (Eustace Ponsonby), Motcombe,(^d(|^mm 

August, 1891.] The Fifteenth of October, 163 

(Mr. Whitmore), Dodson Fogg (Mr. Fagg), Signer Nuovo Genti" 
luomo, II Capitano Gucini (Captain Gooch), and Mr. Benjamin 
Banjo. Most of these are so well known as the best of amateurs 
that they might take professional rank. But the event was 
the delivery of the epilogue written by W. Yardley in honour of 
the Old Stagers' jubilee, which was pronounced to be full of 
wit and one of the best that have been delivered for years. 
The characters that appeared in it were — Spirit of Old Stager, 
Claud Ponsonby ; Decrepit Old Stager, T, Knox Holmes ; Cox, 
Hon. S. Ponsonby Fane ; Box, Quinton Twiss ; Bouncer, Sir 
Henry de Bathe ; Spirit of Jubilee, Colonel Naghi ; Influenza, 

E. Ponsonby ; Argentina and Naval Exhibition, Captain Nugent 
(with one of his wonderful dances) ; Genius of Kent, Annie 
Irish ; Genius of I Zingari, Mary Ansell ; Genius of Band 
of Brothers, Adah Barton. The epilogue was full of happy 
hits and quaint references, and had some clever songs in it (one 
paraphrasing the "House that Jack Built," another "Round 
the Town," and another "Sailing"), also a processional march, 
and words of kindly memory for Mr. Grace, Lord Harris, and 
absent friends, winding up with the singing of " God Save the 

3rd. Standard. — Jane Shore, historical drama in a prologue 
and five acts by Max Goldberg. Richard, Duke of Gloucester, John 

F. Preston ; Matthew Shore, F. R. Vere ; Anthony Yeaste, John 
Serjeant ; Jane Shore, Georgia Walton ; the Queen, Nelly King ; 
Prince of Wales and Duke of York, E. Price and Marie Jones. 

3rd. J. J. Dallas appeared for a month as Punka in The Nautch 
Girl at the Savoy, and was succeeded by W, S. Penley. Kate 
James most successfully took up the character of Chinna as a 
substitute for Jessie Bond. 

3rd. From this date Mrs. Bennett took up Miss Bruce's part in 
The Mischief-maker. 

5th. Death of Thomas Cook Foster, journalist and dramatic 
critic and editor of the Weekly Times and Eclto, aged 78. Was 
seized with a fit in the Adelphi Theatre. Was much esteemed. 

8th. Prince of Wales's. — The Fifteenth of October, military 
farcical operetta in one act by E. Leterrier and A. Vanloo, music 
by G. Jacobi, lyrics by G. Capel. The music was worthy of a 
much better "book." Some of the numbers are exceedingly 
charming, and the concerted pieces and orchestration are cleverly 
written. Miss Cranford made an excellent Camille, and sang the 
tuneful valse air which opens the operetta with considerable effect. 
Harry Parker was amusing as Private Larry Owen* Leonard 

1 64 Houp La ! [August. 1891. 

Russell gave a lively sketch of an impecunious captain, and 
George Marler was good as the customary old man of farce. 

loth. Pavilion. — On the Frontier. 

loth. Greenwich Theatre (revival). — King Henry V. 
Henry IV., George W. Rouse ; Henry, Prince of Wales, Osmond 
Tearle ; Chief Justice Gascoigne, Charles A. Aldin in prologue ; 
Henry V., Osmond Tearle ; Duke of Gloucester, Henley Wame ; 
Fluellen, Philip Gordon ; Williams, G. W. Rouse ; Nym, J. J. 
Gallier ; Bardolph, Richard Cowell ; Pistol, Edwin Lever ; Dame 
Quickly, Miss Charles. The version, arranged by Osmond Tearle, 
included two extracts from Henry IV. 

lOth. Mr. Lawrence, second son of Henry Irving, made his 
professional dibut as Snug the Joiner in Mr. Benson's company in 
A Midsummer Nighfs Dream at the Birmingham Theatre Royal. 

15th. New Olympic. — Two in the Bush, farce by Murray 
Carson, the new lessee of the Olympic. It was not very novel 
in idea, but proved amusing. A retired tradesman is determined 
that his daughter shall marry the son of an old friend of his. 
She has pledged herself to a medical student. The proposed 
suitor, objecting to anything like tyranny on the part of a parent, 
assumes the dress and manners of a thorough cad, and altogether 
disgusts the old gentleman, Murray Carson played with great 
spirit and humour as Major Frere, the gentleman who masquerades 
for a while and then appears in his own proper character to 
announce that he is already married. Louie Wilmot was charm- 
ing as Nettie Carr, the unwilling intended bride, and Leslie 
Corcoran was most amusing as Cyrus Carr, the retired tradesman. 
The writing of the farce was above the average merit of such pro- 
ductions. Two in the Bush, a peculiar name taken from the old 
proverb " A bird in the hand," etc., was received with great favour. 

1 8th. Comedy. — Houp La ! by T. G. Warren. This comedietta 
has in it much that is praiseworthy, for it is a true picture of 
human nature, but it has in it too much and too little. The plot 
could readily have been developed into a three-act drama ; as it 
stands, the piece is sketchy. Chevalier Maurice Maroni is the 
owner of a travelling circus, of which his daughter Rosabel is the 
bright particular star. She is paid considerable attentions by a 
wealthy young suitor, Owen Fleetwood, who makes her presents 
and sends her handsome bouquets by his " tiger " ; at the same 
time, Rosabel has an humble but devoted admirer in " The Great 
Little Sammy," the clown of the circus. Maroni, who is a 
thoroughly unprincipled scamp, takes advantage of Fleetwood's 
affection for his daughter by borrowing money of him, which so 

August, 1891.] The Fiat of the Gods. 165 

soon as Rosabel discovers she tries to put a stop to, for she is an 
honest, proud girl, and is ashamed that the man she loves should 
be victimised. At last, whilst doing a trick act, she nearly faints, 
and Fleetwood, determined that she shall no longer risk a life so 
precious to him, proposes to her, and is accepted, Maroni's consent 
being obtained by the promise of an annuity of ;^ 150. As he is 
to touch the first instalment the day his daughter is married, he 
suggests that there should be no delay, and that they had better be 
wedded on the morrow ! Great Little Sammy, whose plain little 
offerings of flowers have been comparatively ignored, we are led 
to suppose, will be comforted by-and-by with the love of Lena, 
another circus girl, who sees his worth, and artlessly lets him 
know that she appreciates him. The whole scene takes place in 
the dressing tent attached to the circus, and what strength there 
is in the comedietta lies in the faithful reproduction of the manners 
and conversation of those engaged in circus life, and in the 
admirably drawn character of the mean, hard-drinking, and selfish 
Maroni. This part was admirably played by W. Wyes. He looked 
the character of the dissipated ringmaster of the old school to the 
life, and his scraps of plays, delivered in an ultra-tragic manner, 
were highly amusing. As a picture of a girl brought up in the 
rough, hard life of a travelling circus, Jenny Dawson's Rosabel 
was very effective. Artistically her reading was a correct one, 
but the general public would probably have liked her to have 
shown a little more feeling. Gerald Gurney played firmly, and 
in a manly, honest way, as Mr. Owen Fleetwood. Ernest Cosham 
was amusing, and yet at times almost pathetic, as the clown 
Sammy; and Lena was a very nice engaging girl in Helen 
Lambert's hands. Master G. Holmes was a judiciously cheeky 
tiger," and E. Copping, J. R Hale, and H. Hudson gave us a 
good idea of the sayings and doings of circus grooms when 
behind the scenes. There is some good writing in Mr. Warren's 
play, which was received with favour, the principals in the cast 
being honoured with a double call. Ten days after the production 
Mrs. Stannard (John Strange Winter) claimed the right to the 
title, and the author courteously rechristened his piece Rosabel^ 
under which title it was played from that time. 

22nd. E. S. Willard sailed for America. 

2Sth. Avenue. — The Fiat of the Gods, by Leonard Outram. 
The author would have acted more wisely perhaps had he 
refrained from endeavouring to reduce to one act the powerful 
situations and to an extent involved plot which assured him 
such an American success in Galba, the Gladiator^ his five-act 


1 66 The Fiat of the Gods. [August, 1891. 

play. In the short space of thirty-five minutes it is almost 
impossible for an author to do justice to his subject and to 
himself, to show the influences that are brought to bear upon 
the noble Flavian before he decides to manumit all his slaves. 
As judged by his words and actions in the " idyl," he gives us 
but the idea of a sensuous voluptuary, urged to do a great action 
solely through his love for Neodamia. Galba, again, a leader of 
the people, and a grand one, as his speeches would lead us to 
suppose, writhing at the tyranny exercised over them, and appa- 
rently prepared to give his life and even that of his daughter to 
liberate his fellow-citizens, almost suddenly changes from the 
Roman father to a soft-hearted forgiving being, whose abrupt 
volteface produces in his audience a feeling akin to contempt for 
him. And Faustina, a proud and pitiless queen and sensual 
woman, of a sudden becomes ennobled in our estimation by 
maternal love for her son, and forgets her rank, her new-bom 
passion for Flavian, everything, to crouch at the feet of a slave 
and beg of him the life of the young Caesar. To explain con- 
sistently the changes wrought in the feelings of the principal 
characters requires more time, and the play more development 
The story arises from a prophecy sent forth by the oracles that 
the lives of Neodamia and the young Caesar are closely inter- 
twined — should Neodamia die, so will Faustina's son. The 
Empress has conceived a passion for Flavian, and has determined 
that he shall, with her, rule the destinies of Rome. He has, 
however, given his heart to Neodamia, one of his slaves, and that 
he may marry a free woman, and at her entreaties, liberates not 
only herself, but all his slaves, and refuses the hand of the 
Empress. She, not to be baulked of her desire, determines on 
the death of Neodamia, and orders Galba, the gladiator, to 
despatch her. His reward shall be the recovery of his daughter, 
stolen from him years before. He is about to stab the girl, when 
he discovers that she is his own child. He has suffered much from 
the cruelty of the Empress in the past : his wife has been foully 
murdered in his very presence at her commands ; his life has been 
a lonely one ; his friends — the people — are downtrodden and 
oppressed. In the disorder that will arise from the death of 
Caesar, he foresees the opportunity for the people to rise and 
assert their strength, and, even though at the cost of his child's 
life, he can be avenged of all his wrongs ; his patriotism and his 
revenge urge him to Neodamia's death, but he is not proof 
against the pleadings of Faustina, The Empress, casting aside 
her haughtiness, her obduracy, and even her passion, shows herself 

August, 1891.1 The Fiat of the Gods, 167 

in the nobler character of the mother. She prays as woman only 
can pray in such a cause at the feet of Galba, the slave ; and her 
tears and entreaties prevailing, he allows his natural feelings as a 
parent to master him ; and so Rome may suffer, but his child will 
at least be happy. This spoils in a degree the character of Galba 
the patriot, and the audience should be shown the emptiness of 
the chances of a rising or the hollowness of its leaders, to excuse 
his weakness. Austin Melford gave a very fine rendering of 
Galba, swayed alternately by the memory of his own and his 
countrymen's wrongs, by the tender recollections of his fondly