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Full text of "The Shakespeare promptbooks; a descriptive catalogue"

JL llv 

Shakespeare 
Promptbooks 




LIBRARY OF THE 

UNIVERSITY OF ILLINOIS 

AT URBANA-CHAMPAIGN 



x792.9 
cop. 3 

REFERENCE 




The Shakespeare Promptbooks 



University of Illinois Press, Urbana and London, 1965 



The 
Shakespeare 
Promptbooks 



A Descriptive Catalogue 




CHARLES H. SHATTUCK 





.U!UC 



© 1965 by the Board of Trustees of the University of Illinois. Manu- 
factured in the United States of America. Library of Congress Catalog 
Card No. 65-11737. 



C*V3 

Preface and Acknowledgments 

The terminal date of this catalogue of Shakespeare promptbooks 
is the year 1961. But this is not the real end of it. The Festival Thea- 
tres of the three Stratfords, whose books I have accounted for, have 
already added four seasons, and presumably they will march on to 
the millennium, accumulating more (and ever more illuminating) rec- 
ords of their productions. A fourth Stratford in New Zealand has been 
rumored. The newly established National Theatre in England, New 
York's Shakespeare in the Park, and many another festival theatre yet 
to be created or to be professionalized, besides independent produc- 
tions in usual frequency, will swell the records of the future. 

Nor is the catalogue final for the theatre of the more remote past. 
Although I have combed the well-known depositories of theatrical ana 
and canvassed by mail several hundred libraries, museums, and histor- 
ical societies where older promptbooks might be stored, undoubtedly 
I have missed a good many. Some now in private hands will eventually 
drift into public collections. Some now buried unrecognized in the 
general shelves of library stacks, or even taken for junk and scheduled 
for the dustbin, may become known for what they are and be moved 
to prouder places. 

In order that the record can be brought nearer to completeness, the 
editors of Theatre Notebook, the organ of the Society for Theatre 
Research, have generously agreed to print supplemental lists from 
time to time. If the discoverers of new-old material will communicate 
their findings to me, I shall assemble these lists, with full acknowledg- 
ment to the contributors. Here too can be corrected the grosser errors 
I have committed, as users of the catalogue point them out to me. 

This cooperative gesture by the Society for Theatre Research is not 
my only reason for gratitude to the officers and members of that organi- 
zation, for they have assisted in many ways to make my project known 
while it was in process and to direct me toward sources of material in 
England. The American Society for Theatre Research and Conference 
3 (Restoration and Eighteenth-Century Theatre Research) of the 
Modern Language Association have also afforded me opportunity in 
their bulletins and at their annual conferences to advertise my needs. 

I am grateful to nearly three hundred librarians and curators 
throughout America, the British Isles, Australia, and New Zealand, 
who have responded to inquiry about their institutional holdings; but 
there is room here to speak only of those who, having found material 
^> for me, have generously sent along detailed information or made the 
material accessible. These include John Alden of the Boston Public 
Library, Phyllis Ball of the University of Arizona, Anne Bolton of the 
Old Vic Theatre, Clara Mae Brown of the Joint University Libraries 



VI PREFACE AND ACKNOWLEDGMENTS 

of Nashville, Mrs. Cavanna of the Edwin Forrest Home, Flora Colton 
and William Miller of the University of Pennsylvania, Mary Isabel 
Fry and the staff of the Henry E. Huntington Library, Freda Gaye of 
the British Theatre Museum, Margaret Hackett of the Boston Athe- 
naeum, John Hayes of the Festival Theatre at Stratford, Ontario, 
Martin Holmes of the London Museum, James Kingsley of the Uni- 
versity of Minnesota, Marion P. Linton of the National Library of 
Scotland, Raymond Mander and Joe Mitchenson, June Moll of the 
University of Texas, Waveney R. N. Payne and the staff of the Bir- 
mingham Shakespeare Memorial Library, Robert Quinsey of the Uni- 
versity of Nebraska, May Davenport Seymour of the Museum of the 
City of New York, Alan Suddon of the Toronto Public Library, and 
Edwin Wolf of the Library Company of Philadelphia. At the Theatre 
Collection of the New York Public Library George Freedley and his 
staff, at the Enthoven Collection George Nash and his staff, at The 
Players Louis Rachow and the late Patrick Carroll have been partic- 
ularly hospitable and helpful during my protracted tours of study in 
those places. Alma De Jordy, Clarissa Lewis, Isabelle Grant, and Helen 
Welch of my own University's Library have been patient with demands 
for more books, more film-strips to work with. Mrs. Herbert McAneny 
of Princeton has found and described for me several documents not 
available during my visits there. Eileen Robinson of the Royal Shake- 
speare Theatre Library not only provided generous working accom- 
modations during a month's visit in 1962 but has reported new ac- 
quisitions and answered many queries since then. Helen Willard of 
the Harvard Theatre Collection has gone far beyond the call of duty 
to put the Harvard books and the whole working apparatus of the 
collection at my disposal. To Dorothy Mason of the Folger my indebt- 
edness can hardly be reckoned — except to say that she has encouraged 
this project from its inception, helped to define the method and from 
time to time criticized the results, invented the excellent numbering 
system of the great Folger collection of promptbooks, and spent many 
weeks of working days putting that collection in its present fine order 
so that I could proceed with it. 

Friends and professional fellow workers who have contributed ad- 
vice, information, and encouragement include Muriel St. Clare Byrne, 
G. B. Harrison, Hubert Heffner, Barnard Hewitt, Philip Highfill, 
Lucyle Hook, Laurence Irving, James McManaway, A. M. Nagler, 
A. H. Scouten, and J. Wesley Swanson. Paul Cooper of the Pratt Insti- 
tute and Frederick Hunter of the University of Texas have reported 
the facts about two important books that would not otherwise have 
been available. David MacArthur of Milwaukee Downer has supplied 



PREFACE AND ACKNOWLEDGMENTS Vll 

the chronology of Winthrop Ames's productions. Sybil Rosenfeld, 
from her knowledge of eighteenth-century actors and scene painters, 
has dated and localized several hitherto unidentifiable promptbooks 
of that era. My colleague G. Blakemore Evans, deeply versed in the 
mysteries of the oldest promptbooks, has steadily afforded me his 
counsel and the raw materials of his own research. Alan S. Downer 
and Arthur Colby Sprague have kept my courage up by friendly assur- 
ances that the catalogue would be worth doing, and have given to an 
early draft of the first fourth of it a severe and most helpful reading. 
Elizabeth Dulany, assistant editor at the University Press, has pre- 
vented innumerable errors and inconsistencies from going into print. 
Last and above all I am grateful to my wife, whose judgment, skill, 
and hard labor at note-taking made the gathering of materials pos- 
sible in the allotted time. To all these helpers my thanks. The mistakes 
are my own. 

The work has been sustained by a Folger Fellowship in the summer 
of 1961, a sabbatical leave from the University of Illinois and a Guggen- 
heim Fellowship through 1961-62, and several grants for purchase of 
tools and materials by the Graduate College Research Board of the 
University of Illinois. 

Charles H. Shattuck 
University of Illinois 
Urbana, Illinois 
June 1, 1964 



Contents 



Introduction 1 

Symbols and Abbreviations in the Older Promptbooks 14 

A Register of Libraries and Collections with Promptbook 

Holdings 24 

All's Well That Ends Well 29 

Antony and Cleopatra 33 

As You Like It 43 

The Comedy of Errors 67 

Coriolanus 73 

Cymbeline 81 

Hamlet 91 

Henry IV, Part 1 128 

Henry IV, Part 2 141 

Henry V 145 

Henry VI 154 

Henry VIII 155 

Julius Caesar 172 

King John 192 

King Lear 206 

Love's Labor's Lost 232 

Macbeth 236 

Measure for Measure 269 

The Merchant of Venice 276 

The Merry Wives of Windsor 303 

A Midsummer Night's Dream 322 

Much Ado About Nothing 333 

Othello 354 

Pericles 380 

Richard II 382 

Richard III 391 

Romeo and Juliet 411 

The Taming of the Shrew 433 

The Tempest 449 

Timon of Athens 462 

Titus Andronicus 466 

Troilus and Cressida 467 

Twelfth Night 469 

The Two Gentlemen of Verona 490 

The Winter's Tale 495 

Addenda 507 

Index 509 



Introduction 

The purpose of this catalogue of promptbooks is to promote new 
studies in the history of staged Shakespeare. When this history can 
be written entire, it will touch upon nearly everything that matters 
in the English-speaking theatre. For through all the centuries that 
our theatre has been professionally conscious of itself, the plays of 
Shakespeare have given the body its spine; and whatever fashions in 
dramatic form, production method, and social or esthetic intention 
have come and gone, the plays of Shakespeare have been keyed to those 
fashions. It does not matter very much, practically, whether the 
original author of the plays was Francis Bacon or Edward de Vere; it 
has often mattered greatly that the "effective" authors have been the 
Nahum Tates and Colley Cibbers and modern film scenarists who 
actually rewrote the plays, the multitude of Johnsons and Coleridges 
and Dr. Joneses who have told us what they "mean," and all the 
Garricks and Guthries whose stage imagery has spread upon the plays 
the form and pressure of their separate generations. 

There is no end to the vitality of "Shakespeare." Like the mythic 
John Barleycorn of Burns's ballad, he has always given us good whis- 
key. In every theatrical season "they took a plough and ploughed 
him down, put clods upon his head," but under the cheerful spring 
showers he rose again. 

The sultry suns of Summer came 

And he grew thick and strong; 
His head weel arm'd wi' pointed spears, 

That no one should him wrong. 

Came the autumn, "they've taen a weapon, long and sharp, and cut 
him by the knee"; they carted him, beat him, hung him up for the 
wind to blow through him, drowned him in a pit, macerated him, 
roasted him, crushed him between stones. 

And they hae taen his very heart's blood 

And drank it round and round; 
And still the more and more they drank, 

Their joy did more abound. 

No matter how barbarously Shakespeare-Barleycorn is murdered, he 
springs to new life, ripens to new sacrifice however peculiar. As cul- 
tural historians we are most fortunate in this Shakespearean suscep- 
tibility to fluctuant taste, style, and idea; for by the uses and abuses of 
Shakespeare in the theatre every period of our culture has made itself 
known and got itself recorded in terms understandable (even if laugh- 
able), rememberable (even if contemptible) to the periods that follow. 
What the theatre did with The Conquest of Granada, Pizarro, Riche- 
lieu, or Death of a Salesman is interesting to specialists, but we all 



INTRODUCTION 



have a stake in what Betterton, Kemble, Irving, Barrymore, Gielgud 
did with Hamlet. The memory of these master producers or mis-pro- 
ducers is pertinent to our interest in the play that lives on our own 
stages and hereafter. 

The whole history has yet to be written, and probably we need 
much more spadework, bit-and-piece work, before it can be written. 
Forty-five years ago the late Professor Odell made a brave first go at 
it in Shakespeare from Betterton to Irving, a book to which we are 
immensely indebted. By now, of course, Odell's work is sorely inade- 
quate. He wrote of the London theatre only, without reference to the 
theatre of America or of the English provinces. Half a century has 
passed since the close of his record. His evaluations of the theatre 
nearest to him — his adulation of Irving and Beerbohm Tree, his dis- 
taste for such new men as Barker and Craig — are absurd. Everyone 
who has got beneath the surface of his older history is aware of errors 
of fact and queer lapses of judgment which must be corrected. This is 
not to speak ill of a pioneering hero, but rather to reproach ourselves 
that forty-five years later we can do little better than be grateful that 
Odell's book has lately come back into print. 

Meanwhile much excellent work has gone into partial studies con- 
tributory to the whole history and into the perfecting of tools to work 
with. One thinks offhand of the many fine histories of special periods — 
by Alwin Thaler, Ernest Bradlee Watson, James Lynch, George Rowell, 
Allardyce Nicoll; of such theatrical biographies as Hillebrand's Kean, 
Baker's Kemble, Laurence Irving's Irving; of Bertram Joseph's The 
Tragic Actor. More immediate to the subject are G. Blakemore Evans' 
Shakespearean Prompt-Books, which are providing us facsimiles of the 
important marked copies of the plays used in the theatres of the 
seventeenth century; James McManaway's studies of various prompt- 
books of the early eighteenth century; George Winchester Stone's 
many essays on Garrick's handling of Shakespeare and Kalman 
Burnim's book which treats Garrick as a stage director; Charles Beecher 
Hogan's Shakespeare in the Theatre, 1701-1800; the gigantic redoing 
of Genest called The London Stage; Odell's Annals of the New York 
Stage; the Kemp and Trewin history of the theatre at Stratford-upon- 
Avon; A. C. Sprague's several studies, including his record of tradi- 
tional stage business in Shakespeare and the Actors and his recent 
Shakespeare's Histories; Marvin Rosenberg's The Masks of Othello; 
Muriel St. Clare Byrne's classic essay on Shakespeare production in the 
twentieth century and J. C. Trewin's recent book on the same subject. 
None of these (and the list is as incomplete as it is haphazard) was 
available when Odell wrote. 



INTRODUCTION 



In working over the documents of this catalogue I am convinced 
that we can do with many further contributory studies before we are 
quite ready to rewrite Odell and discard him. We ought to know a 
great deal more about what actually happened and what those hap- 
penings meant in dozens of significant productions of Shakespeare's 
plays: the text, the scenery, the dresses, the blocking and movement, 
the acting, the audience — the ideas that went in and the results that 
came out — together with a thorough regathering and reinterpreting of 
the published reports of the critics. For such studies, promptbooks 
and related primary documents from behind the scenes can bring us 
countless vivid illuminations which Odell knew nothing about. 

The work to be done is not easy. Promptbooks are tricky, secretive, 
stubborn informants. They chatter and exclaim about what we hardly 
need to know: that certain characters are being readied by the callboy 
to make their entrances; that the scene is about to change or the 
curtain to drop; that the orchestra is about to play at the act-end. 
They fall blackly silent just when we most hope to be told where the 
actor stood or how he looked or what he did. Rarely do they give us a 
hint of voice or temper or histrionic manner. They tell lies, as anybody 
knows who ever produced a play and failed to write into the book his 
own last-minute revisions or the happy inspirations that come to the 
actors midway in a run of performances. I have been taught a lesson 
in discretion in these matters by one of the finest Shakespeare direc- 
tors of our time, who assured me that she would rather see her own 
books burned than be judged in travesty by their misleading contents. 
Even if the actor's movement is recorded, she protests, the motive for 
it is not, and the movement without the motive is an absurdity. One 
can only respect the integrity of the protest, and promise oneself never 
to conclude anything about the work of the artists, even the un- 
harmable dead ones, without the utmost conscientious and sympa- 
thetic effort to perceive the whole truth. A promptbook is indeed a 
Rosetta stone to the uninitiate, and those of us who are teachers should 
be wary of loosing upon promptbooks any but our best-trained and 
most theatre-wise students, except in the way of laboratory exercise. In 
the measure that we bring knowledge and understanding to these docu- 
ments, they may give back more knowledge to us. I think no one can 
read Kalman Burnim's chapter on Garrick's production of Macbeth 
without acquiring valuable insights into that play in that day at Drury 
Lane Theatre; and one reason is that Mr. Burnim had a promptbook 
of Garrick's period into which he could organize his knowledge of 
Garrick's way of working. That particular promptbook is, compara- 
tively speaking, a rather thinly marked one. In later generations, as the 



4 INTRODUCTION 

actors and prompters learned to keep fuller records, the opportunities 
abound for replacing vaguely general impressions with vivid, specific 
ones — sometimes with true ones. 

Another kind of lie that promptbooks tell, or perhaps in all inno- 
cence suggest, has to do with origin or authority. It is never safe 
to deal with any given promptbook in isolation, for the very bit of 
stage business or scenic arrangement which appears most novel or 
significant may in fact be older than the promptbook writer's grand- 
father. The working of "tradition" is more likely to be detected in 
books of, say, pre- 1920 vintage, before the age of the modern director, 
whose price is gauged by the originality of his inventions. Yet even 
today one can purchase from Samuel French copies of the plays 
marginally annotated with stage business, in several of which I have 
noticed gobbets of business which were practiced in Augustin Daly's 
theatre. Daly himself got it, or much of it, by way of his old stage 
manager, John Moore, from such long-dead producers as William 
Burton, Mme. Vestris, and William Charles Macready. Daly is some- 
times credited or blamed for introducing certain non-Shakespearean 
drinking songs into Twelfth Night; but these songs had been heard 
in every performance of Twelfth Night at least back to the days of 
John Philip Kemble. 

Henry Irving had a compilation of the traditional business in 
Macbeth made for him by Percy Fitzgerald; Fred Williams made one 
of Hamlet for E. H. Sothern. Winthrop Ames, though one of the "new 
men," systematically investigated the stage history of any play before 
launching into his own production of it. Robert Mantell's prompt- 
books of Julius Caesar and The Merchant of Venice are derived from 
Edwin Booth's. Charles Hanford's Cymbeline is a replica of Viola 
Allen's. One cannot evaluate Henrietta Crosman's As You Like It of 
1901 without reference to Julia Arthur's 1898 book, of which it is 
largely a copy: one wonders how much of it was original with Miss 
Arthur. When Beerbohm Tree was first preparing The Merry Wives 
in 1889 he hired Edward Hastings, the oldest prompter in England, 
to coach him in the Falstaff business as George Bartley played it in 
1840; Bartley had first played Falstaff, following who knows how much 
"tradition," as early as 1815. John McCullough's King Lear book is 
literally a Charles Kean book modified by erasure and writing over. 
Macready's promptbooks were widely copied, and, as I have shown 
elsewhere, Charles Kean's celebrated New York production of King 
John was essentially a pilfering of Macready's London production. 
Macready himself in his early years, as did everyone in the first decades 
of the nineteenth century, took text and basic stage arrangements of 



INTRODUCTION 5 

the standard plays from the authority of John Philip Kemble. In this 
catalogue I have called attention to some of the major borrowings 
and symbiotic relationships, but am certain that I have missed a great 
many more. 

The word "promptbook" in the title of this catalogue is to be inter- 
preted rather loosely. I have described all the marked copies of Shake- 
speare used in English-language, professional theatre productions from 
the 1620's to 1961 — all, that is, that are held in public collections and 
in the production departments of the late Old Vic and the Festival 
Theatres at the three Stratfords. "Marked copies" include many 
varieties of document. A promptbook proper is the book actually used 
by prompters or stage managers in conducting performances, and al- 
though some promptbooks contain "everything," many of them are 
rather barren, showing little beyond the working essentials of cuts, 
calls, and cues for effects. Somewhat more interesting is a "final or 
souvenir promptbook," which is a perfected copy of the promptbook 
of a famous production, often handsomely written and decorated, 
sometimes profuse in detail, made up as a record or keepsake or as the 
model for future reproduction. A "memorial book" is still more fruit- 
ful, being a book written up during or after a production by an in- 
terested participant or observer who wants to preserve his own account 
of the scenery, the stage business, the histrionics, etc. "Stage managers' 
workbooks," "rehearsal promptbooks," and directors' "preparation 
copies" are likely to contain much more productional data, albeit in 
scrambled, chaotic form, than appears in the tidied-up promptbook 
proper. "Studybooks," "rehearsal copies," and "partbooks" are the 
working documents of the individual actor, sometimes little marked 
and of no more than fetishistic interest, sometimes scored and anno- 
tated in detail, with the personality of the actor implicit in every note. 

I have not listed books now in private hands, since presumably they 
are not available for general inspection. Occasionally, although a 
book is housed in a public collection the rights to use or reproduce it 
are reserved: I have entered books of this sort with a note on the 
ownership. 1 

I have not included books of the modern nonprofessional theatre 
for the obvious reason of space; but I have included the few amateur 
or private theatre books that are old enough or curious enough to 
have been prized by collectors: the Douai manuscripts of the 1690's, 



1 A special warning about the Beerbohm Tree Books: Tree's entire theatre li- 
brary, Shakespearean and non-Shakespearean, has recently been deposited in the 
Enthoven Collection at the Victoria and Albert, but at present none of it can be 
reproduced without special permission of the Executors of the Tree Estate. 



b INTRODUCTION 

Lumley Skeffington's schoolboy Cymbeline of 1785, a Cambridge Uni- 
versity Henry IV of the 1850's which derived from Charles Kean's, a 
school King Lear from 1913 in which Lear's daughters became Lear's 
sons, etc. The very few foreign-language books that have turned up 
(including some excellent German ones) I have listed with "other 
books" at the end of each section. Although I have made no effort to 
find extra-textual productional material — scene designs, costume de- 
signs, music scores, stage managers' work-sheets, etc. — when these have 
come to hand as part and parcel of promptbook collections I have 
listed them. The user of the catalogue would presumably rather know 
than not know that these items exist, and will understand that this 
part of the record is accidental and fragmentary. 

The documents for each play are entered in chronological order 
(except the group at the end of each section called "other books," 
which are mostly books without interesting marking, of association 
value only). The documents are numbered serially and they are in- 
dexed not by pages but by document number: AYL, 28; PER, 5; 
TN, 17. Each document is described in four "lines." The following 
explanations and cautions about the descriptive system should be 
examined with some care. 

Line 1. Here are given: a) the actor, director, prompter, or stage 
manager with whom I have associated the book; b) the city and theatre, 
or sometimes only the country, where the book was first or significantly 
used; c) the date or approximate date of first or significant use. It 
rarely happens that all three of these items appear upon the book 
itself. Sometimes none of them appear. Sometimes ambiguous or mis- 
leading notations have led to former ascriptions or datings which I 
have altered. In short, more often than not one or two or all of the 
items of the first line are derived from secondary sources of informa- 
tion: biographies, histories, annals, playbills, or journals of the day. 
To have documented all these items would be otiose. The user of the 
catalogue is warned that they may be fallible. 

An example or two may be instructive. Consider number 12 of 
Henry IV, part 1. Unquestionably it is James H. Hackett's, being part 
of his set of books in the Enthoven Collection. Written upon it — but 
I think by a modern annotator (here a quick curse upon those meddlers 
who write their own notes or helpful hints upon the pages of prompt- 
books) — is a dating at the Haymarket Theatre as of May 15, 1833. 
Perhaps Hackett did use the book then and there. Inside it, however, 
and unquestionably in an "old" hand, is the date 1828. I prefer then 
to assign the book to the New York Park Theatre as of May 15, 1828, 
the occasion of Hackett's first performance of this play. For a more 



INTRODUCTION 7 

complicated problem, consider number 19 of King John. This hand- 
some promptbook, owned by the Newberry Library, is inscribed "The 
Private Property of the T.R.D.L.," and it is endorsed "H. Scharf/ 
Nov r - 1844." In November of 1844 Henry Scharf was, I believe, a 
member of Samuel Phelps's company at Sadler's Wells, and Phelps 
had produced King John a month or two earlier. Thus the book might 
have been entered under Scharf's name, or, since Scharf was neither 
then or at any later time responsible for an independent production 
of the play, under Phelps's name. But those words "The Private 
Property of the T.R.D.L." make plain that the book is simply a 
transcription of Macready's Drury Lane book of two years earlier, and 
I have chosen to enter it along with Macready's. Phelps's own book, 
incidentally, although also a transcription of Macready's, is entered 
under Phelps's name because he used it and modified it for his own 
known and datable productions. The point here for the user of this 
catalogue is that he should not ask at the Newberry for "Macready's" 
King John, for it is not likely that the book is recognized as Macready's 
in the Newberry catalogue. 

Line 2. Here are given the library or collection where the book is 
to be found, and, if catalogued, the call number. As an aid to librarians 
and a safeguard against error, inquiries ought to carry not only the 
call number but enough descriptive details of the book to make identi- 
fication easy and certain. 

Line 3. Here are given details of the physical makeup of the docu- 
ment — not, obviously, such as would gratify a scientific bibliographer, 
but merely enough to rough out an image of the book so that it can 
be recognized. Since most of these documents are "home-made" objects, 
their variations of form are extremely numerous. 

The first important item is the physical and editorial nature of the 
text. Manuscript promptbooks are generally rare and are no longer in 
use. Sir Edward Dering's Henry IV, which is perhaps the oldest prompt- 
book in the catalogue, is a manuscript; Edwin Booth used manuscript 
promptbooks as late as 1875. Typescript promptbooks are, of course, 
modern and are more common in America than in England. The 
earliest I have noticed are Edwin Booth's in the late 1870's. Sothern 
and Marlowe used typescripts almost exclusively from the beginning 
of their collaboration in 1904. Mimeographed promptbooks begin to 
be seen in the late 1940's and are increasingly common, especially in 
the American theatre. 

The usual form in which the text is given is, of course, some sort of 
printed book. A very few marked copies of early but uncertain 
provenience are made upon original Quartos; the "Padua" prompt- 



8 INTRODUCTION 

books (e.g., MAC, 1), which probably date from the 1630's or 1640's, 
are in an unbroken First Folio; the Dublin Smock Alley promptbooks 
of the 1670's and 1680's, though long since divided and bound sep- 
arately, were originally in an unbroken Third Folio. Garrick seems 
regularly to have used separate editions of the plays, either in complete 
texts or in "acting editions" such as those derived from Betterton. 

The acting edition, cut for performance, became regularized and 
popular in the profession with Bell's Shakespeare, which appeared in 
1773 and was widely used for promptbook-making for two or three 
decades. Kemble's acting editions of the separate plays in his own 
repertoire were printed and reprinted in the 1790's and down to about 
1815, and they generally displaced Bell for professional uses. After 
the turn of the century "standard" acting editions proliferated: Mrs. 
Inchbald's about 1808, Oxberry's by 1820, Cumberland's about 1830 
and after, Hinds English Stage in the later 1830's, Thomas Hailes 
Lacy's from the 1840's to about 1864; in America, the Dramatic Re- 
pository about 1810 to 1815, Oxberry's in a Boston reprinting in 1822, 
the Modern Standard Drama in the 1840's, which became French's 
Standard Drama in the 1850's, Spencer's Boston Theatre in the 1850's. 
All these standard acting editions were widely used. In the 1850's 
Charles Kean revived the Kemble practice of publishing his own 
versions of the plays as he staged them, and after him Charles Calvert, 
Henry Irving, and others followed suit; in America Edwin Booth 
published one series with Henry Hinton as editor in the 1860's and the 
more important Prompt-Book edition with William Winter as editor 
in the 1870's and after. In the 1880's and down to the 1920's, many 
individual actors — Mary Anderson, Richard Mansfield, Beerbohm 
Tree, Viola Allen, Julia Marlowe, E. H. Sothern, etc. — occasionally 
brought out an acting edition of a single play. But as the fashion in 
production became increasingly individual, even idiosyncratic, few 
of these actors' editions, except perhaps the Booth-Winter Prompt- 
Book, were much used except by their "authors." 

Meanwhile, beginning about with Macready in the late 1830's and 
after, Phelps in the 1840's and after, and others of the "restorers," the 
usual practice was to eschew the acting editions with their petrified 
"errors" and to work from a "true text," using sheets from one or 
another well-printed, good paper, multi-volume complete Works. Many 
such editions came out in the first half of the nineteenth century, and 
since promptbooks made from them rarely include title pages, I have 
not usually been able to identify the exact publishing auspices — points 
to be settled by further research. About the beginning of the twentieth 
century the beautifully printed little Temple edition came into par- 



INTRODUCTION 9 

ticular stage favor in England, followed by the New Temple edition in 
the 1930's. The Eversley edition, the National Classics, and by now 
the Penguin and other inexpensive modern texts have also been pop- 
ular. In promptbooks where the text pages stand free and whole, I 
have given the page size in inches, and have regarded this measurement 
as the fundamental one, rather than the outside measurement, since 
bindings are variable and alterable. The page size does not, to be sure, 
mean much where we seek a clue to identity of edition, for sometimes 
the pages are cropped to less than "normal" size, and sometimes they 
are quite untrimmed, as if taken from the printer's shop directly to 
the theatre workrooms before binding. 

The next point regularly noticed is that of interleaves. The makers 
of the earliest promptbooks using printed text marked them upon the 
text, between the lines, and along the margins. About the 1780's the 
practice arose of inserting blank sheets between the text sheets to 
provide more room for the prompter's markings. Interleaving was 
extremely common throughout the nineteenth century, and occasion- 
ally, even with typescript or mimeographed texts, it is still used. If the 
interleaves are larger than the printed sheets, thus enlarging the whole 
book, their size is also given in inches. Watermark dates in the inter- 
leaves are recorded if those dates are later than the date of publication 
of the text. As a substitute for interleaving, from Charles Kean's time 
(the 1850's) on, copies of the actor's own edition were sometimes 
printed on recto only, so that the left-hand pages were left blank for 
actors' and prompters' notations. I have sometimes, but not consist- 
ently, noted this phenomenon with the phrase "proof sheets of" such- 
and-such an edition. 

Beginning about the end of the nineteenth century arose the further, 
and by now very common, substitute for interleaves of pasting the 
printed text sheets onto the large pages (the right-hand pages usually) 
of a ledger or workbook. This provides very wide margins and a 
wholly blank left-hand page for the most elaborate systems of anno- 
tation. For books of this kind the fundamental measurement given is 
not that of the text sheet but that of the workbook sheet. 

The binding is described only to show the material of which it is 
made — paper, paper boards, cloth boards, leather, etc. — and the color 
or colors. The term "half" means what is sometimes called "three- 
quarters": "half brown leather" means "spine and corner-tips of brown 
leather." I regret not to have distinguished between "original" binding 
and "library" binding. And here I must protest against the misplaced 
piety of librarians and curators who damage the integrity and sometimes 
obscure the identity of promptbooks by dressing them up in sturdy 



10 INTRODUCTION 

buckram boards or elegant showcase gilt-and-tooled leather. One 
knows where he stands when he handles a Covent Garden book of 
1810 bound in full calf with its distinctive theatre-library symbols 
stamped on the spine, just as John Kemble left it; or one of John 
Moore's foul books wrapped in tattered paper pasted over with scraps 
of old playbills. Who would dream of replacing (and destroying) the 
original boards of a 1623 Folio? (but the promptbook First Folio at 
Padua has been "handsomely" rebound within the last decade!) Boxing, 
not rebinding, is the proper way to care for old promptbooks. Their 
very filth is part of their history. 

External titles and other identifications printed or handwritten on 
cover or spine ("on," "down," or "up" the spine) are usually indicated 
and are given in full if of special interest. 

Line 4. Describing the contents of a promptbook is something like 
describing a bowl of soup, and an adequate description would be co- 
extensive with the contents. But in a catalogue one can report only 
the barest essentials according to a system or formula more or less 
consistently adhered to. The items of the formula I have tried to follow 
occur (when they do occur) in the following order. The kind of book. 
Each document is designated as a "promptbook," "studybook," "prep- 
aration copy," etc., according to its contents. Most modern books — 
those, that is, since about 1920 — may be assumed to be promptbooks 
unless otherwise stated. The actors, the designers. The modern books — 
this being the "age of the director" — are with few exceptions entered 
under the name of the director (in England until recently called "pro- 
ducer"). Yet this is also still the "age of the actor," and partly too the 
"age of the designer," and one is more likely to remember a Coriolanus 
as Olivier's, an Othello as Robeson's, or a "show" as Motley's or 
Moiseiwitsch's, than remember the production by its director's name. 
I have therefore regularly given for the modern books the names of a 
few of the principal players and of the designers. Identifying data. For 
older books of questionable provenience there may be given notes on 
the handwriting, dating, or signs of authorship or original ownership. 
Cuts, alterations, restorations. All texts are "cut," of course, or some- 
how tinkered with for acting, however urgently the producer claims 
fullness of text and faithfulness to the original. The fact of "cuts" is 
noted when the cuts are plainly and conspicuously marked. When 
the words "cuts on full text" occur, the user of the catalogue may 
anticipate that a proper and complete Shakespeare text has been 
used and the cuts are therefore instantly discernible; if an acting 
edition has been used, or a Shakespeare text scissored and pasted, or 



INTRODUCTION 1 1 

if the text is in manuscript or typescript, he will understand that a 
heavy labor of collation is in store for him. 

Scenic indications. This catchall term indicates that all or some of 
the scenic units have been described or specified. In the oldest books 
this will mean no more than the appearance of such words as "Towne" 
or "Castle"; in late eighteenth- or in nineteenth-century books it may 
mean only reference to stock units — "Carvers Garden," "Gothic Hall," 
"Wood and Cut Wood"; in books preparatory to new productions the 
scenery may be described in suggestive or even fulsome detail. Scene 
designs, sketches, groundplans. Only Charles Kean's books regularly 
contain full watercolors of the scenery. Old prompters often scribbled 
rough sketches or drew neat ones to remind themselves of the arrange- 
ment of properties and scenic units. The scientifically plotted ground- 
plan is not common until near the end of the nineteenth century. 
Grooves. In eighteenth- and nineteenth-century books of the "wing-and- 
shutter" theatre, the numbers of the grooves in which the flats stood 
are often given at the heads of scenes. 

Calls. Every efficient promptbook down through the nineteenth 
century shows neat lists of the characters to be summoned, together 
with their hand properties, a page or two before their entrance. Occa- 
sionally the callbook, into which these were transcribed for use of the 
prompter's assistant or callboy, has been preserved. 

Stage business. The amount of stage business to be found in these 
documents varies immensely according to era and type of book. The 
oldest promptbooks typically show nothing beyond entrances and 
exits, and even these are usually unlocalized. By the end of the 
eighteenth century entrances and exits are regularly marked as to 
side of the stage; and certain major or significant movements — "Pistol 
crosses the stage behind Falstaff," "Benedick leads her forward by the 
hand" — are recorded. With the growth of more elaborately scenic 
productions involving crowd scenes, from perhaps the 1830's onward, 
the written directions become increasingly meaningful in terms both of 
"picture" and "motive": "The Nobles, &c, have broke into various 
groups, by the end of his speech, and appear to be remarking on the 
proposal, and its effect on the Kings." The intention of these directions, 
however, is mainly to govern and manipulate the crowds and secondary 
characters as part of the supporting background. The central characters 
were in the hands of accomplished actors who supplied their own 
histrionics and did not need to be told their "business," at least not by 
the prompter. 



12 INTRODUCTION 

By the end of the nineteenth century there appear many books 
which attempt to capture in explicit statement the whole picture, 
rationale, and psychology of the production, with the business of the 
central characters, too, written out in full. In some of these the senti- 
mentality and melodrama is pretty amusing — self-consciously noble 
Brutuses, rose-dropping Juliets, apron-twisting, coy, kiss-throwing 
Rosalinds hang their hearts up in their promptbooks for us latter-day 
daws to peck at. About the turn of the century, too, incidental local- 
color effects — street musicians, flirtatious sailors lounging along 
wharves, old crones telling fortunes beside wishing wells, maids a- 
spinning, children bobbing for apples, ambulating monks doling out 
their benedicites — proliferate oppressively, teaching us of the double 
drive inherent in the theatre of the time: toward the cinema, which 
would discard language entirely and tell the whole story in pictures; 
toward the new art of theatre, which would clear the stage of such 
irrelevant detail and try once more to "get back to Shakespeare." 

In promptbooks of our own day, put together "for the record" by 
stage managers and their crews, the ideal appears to be to set down in 
the most economical (almost telegraphic) form every minutia of the 
blocking, but with no reference whatever to the "meaning" of what 
goes on. Modern promptbooks often appear in pairs: the full record 
for the archives; the "working" promptbook actually used for running 
the show, stripped down to barest essentials of text, calls, and cues 
for effects. 

To suggest the amount or interestingness of stage business in the 
documents, I have used the words "little," "some," "considerable," 
"much," and "copious." My usage is loose and impressionistic, how- 
ever, and it varies according to era. The "much" stage business of 
Kemble's King Lear, remarkable for its time, is not comparable to the 
muchness of a fully developed book a century later. 

Maps. This term, following after "stage business," signifies those 
patterns of dots and lines (and sometimes little sketches) showing the 
positions of actors relative to each other or to furniture in the stage 
space. 

Cues for effects. In this phrase, economy of space has been peculiarly 
defeating, for I have lumped together all the markings for lights, 
music and sound, operation of traps, slotes, and other machines, scene 
change, and curtains. To have recorded all of these, and the symbols 
by which they were effected, would be impractical. 

Further notes. I have mentioned the presence of timings; of working 
papers (free sheets containing cast lists, rehearsal schedules, property 



INTRODUCTION 1 3 

plots, light plots, business and lines for extras, dressing room assign- 
ments, touring schedules, etc.); of playbills, programs, reviews, and 
other insertions; of ownership later than the original. For those docu- 
ments which have been written up by modern investigators or pub- 
lished in facsimile, I have given bibliographical reference. Cross-refer- 
ences are given between documents which are significantly related. 



Symbols and Abbreviations in 
the Older Promptbooks 

The investigator whose experience with promptbooks is limited to 
those of the modern theatre may, upon looking into the older books, 
be somewhat puzzled by various markings which once were a lingua 
franca among prompters and stage managers but have long since passed 
out of use. The following notes, though neither exhaustive nor 
definitive, may dispel doubts. 

Lengths. In several books marked by John Philip Kemble and 
occasionally in books of later managers (HAM, 11; TEM, 3; WT, 5), 
one finds alongside the names of "Persons Represented" numerals 
ranging from a fraction to as high as 15 or 20. These signify the sizes 
of the roles in terms of "lengths" — i.e., manuscript sheets of speeches 
and cues. In practice these sheets were of varying sizes, but the 
standard which Kemble probably measured by was the traditional one 
of 42 lines. George Frederick Cooke put down the role of Hamlet as 
26 lengths (HAM, 7). William Creswick noted in his King Lear book 
(KL, 92) that Kent was, including cues, "6 lengths + 32 lines." 

Property manuscripts. At the front of a promptbook or at the heads 
of acts there often appear production lists — costumes, properties, 
scenic units (especially wings and shutters with their groove numbers), 
processions, supernumeraries, etc. — which are self-explanatory. Among 
these, somewhat cryptically, are lists of "papers required." In the 
older theatre it was the prompter's duty to see that all letters, scrolls, 
treaties, bills, challenges, etc. were in good order for every perform- 
ance. If a letter was to be read aloud, it had to be legibly written 
out, for the actor was not expected to have memorized it' (MAC, 80); if 
a paper was only to be delivered it could be blank. Common abbrevia- 
tions are Lre (letter); Pap (paper); W, W n , Wrt, Wrot, W* (written); 
B, Blk (blank). One of Charles Kean's touring notebooks (HAM, 22) 
contains the text of several stage messages for prompters to transcribe. 

Stage carpet. At the head of most of Kemble's promptbooks is the 
call for "Green Cloth," and this is variously expressed in other books 
as "Green Cloth down," "Stage Cloth," "Green Baize down," "Green 
Baize Carpet." The earliest stage carpets were small squares of green 
baize laid out only late in the play for tragic heroes and heroines to 
spread themselves and their gorgeous costumes upon at death. Thus, 
in the Garrick Macbeth book (MAC, 8), the words "Stage Cloth on" 
do not appear until the beginning of the fifth act; in a Boston Othello 
book of the 1820's (OTH, 13), "Green cloth down next act" is written 
at the end of Act IV. But in the better-equipped theatres of the 
nineteenth century, unless the stage floor was to be broken up with 



SYMBOLS AND ABBREVIATIONS IN THE OLDER PROMPTBOOKS 15 

trap work, a cloth covering (usually green) became an expectable 
feature of the decor. Charles Kean's early Hamlet book (HAM, 20) 
calls for "Green Cloth laid" at the beginning, but just before the play 
scene someone must also "See Carpet laid all over Stage to float lights," 
and after it "See Carpet taken up now." Kean was perhaps the first 
to incorporate the stage cloth into the overall scene design by painting 
patterns on it: in the first act of his King John the cloth exhibited a 
huge design of the royal arms of England surmounted by a crucifix 
(KJ, 39). By the end of the century, in such a production as Viola 
Allen's Twelfth Night (TN, 55), we find not only "ground cloth" 
but "mosaic cloth," "dark brown cloth," and "tesselated cloth." Beer- 
bohm Tree's floor coverings of "real" grass with pluckable flowers 
and scampering rabbits carried the art of the stage cloth to the limit. 

Call-lists. At the head of each act, under a boldly inscribed number 
one, there is usually a list of all the characters for the first entrance, 
together with their hand properties if they are to carry any. In some 
very early (seventeenth-century) books the names of the actors are 
given instead of the characters' names (CE, 2; MM, 2); and occasionally 
this happens, thanks to the prompters' informal scribblings, in prompt- 
books of the nineteenth century and after (AYL, 18; CYM, 15). A 
character who is to make two or three entrances during the act may 
be marked 2 ce or 3 ce ; or if he is simply to keep himself available 
throughout the act he may be marked Act. As the act proceeds, fur- 
ther numbered lists are posted some 30 to 50 lines in advance of the 
entrances. Each act begins a new numbered series, so that the normal 
Shakespeare promptbook contains five series of calls. (Down through 
the nineteenth century, with such rare exceptions as Macready's cut- 
down Henry V, George Ellis' one-act Comedy of Errors, or the long- 
popular Garrick reduction of Taming of the Shrew, Shakespeare's 
plays were presented in five acts; Beerbohm Tree popularized the 
three-act form, chopping the texts about mercilessly to make them fit; 
the occasional two-part divisioning is a recent development pendent 
to modern efforts toward fullest possible restoration.) The call-lists were 
also written upon slips of paper made up into tall narrow booklets, 
which the callboy carried to summon the actors from the green rooms 
(AYL, 20; JC, 13). Since the prompter needed only to speak out the 
number to the callboy, who found the actors, many promptbooks show 
only numbers where the call-lists ought to be. 

The numbering system seems to have been invented in the eight- 
eenth century: the earliest books to use numbered call-lists that I have 
noticed are John Ward's Hamlets of about 1740 (HAM, 3, 4). A 
peculiarity of many books of the seventeenth and early eighteenth cen- 



16 SYMBOLS AND ABBREVIATIONS IN THE OLDER PROMPTBOOKS 

turies (down through Ward's) is that the exact moment of entrance 
is marked by a long horizontal line with several vertical slashes, thus: 



Groove numbers. Some promptbooks of the eighteenth century and 
most of those of the nineteenth show at the head of each scene not 
only a word or two to indicate what sets are to be used (Old Palace, 
Carvers Rock, Prison Arch, Wood and Cut Wood), but also the num- 
ber or numbers of the grooves in which the wings and shutters (flats) 
are to stand: 1 G., 3 & 4 Gr., A Set to 7th Gro s ., etc. Sometimes only 
the numerals appear without the word Groove or its abbreviation. 
(These numerals are not to be confused with those attached to enter- 
ing characters denoting the order of entrance.) In a few books the 
exact slot or "cut" in the groove is prescribed, as 1 G. 2C. in Kemble's 
Winter's Tale (WT, 4, 5); or sink Gauze waters 3rd Cut 2 Grs in 
Charles Kean's Winter's Tale (WT, 20). In describing the first scene 
of Macready's Macbeth, George Ellis specified that the shutters, set in 
the first grooves, do not meet at center as usual but overlap, one being 
in the first cut and one in the fourth cut, "so that the 1st Witch can 
easily pass between" (MAC, 27). Toward the end of the nineteenth 
century, as the groove system was disappearing, the numerals (or in 1, 
in 3, etc.) continued to be used to indicate the depth of the stage at 
which drops or set pieces were to be located. 

Sides of the stage and points of entrance. From the beginning of 
the eighteenth century (we do not know precisely when), the sides of 
the stage were called prompt side and opposite prompt, and the sym- 
bols of entrance and exit were PS and OP. The geography of these 
terms is confusing. PS at Covent Garden, it is said, meant stage left, but 
at Drury Lane stage right. Yet Wyatt's groundplan of the Drury Lane 
of 1812 seems to show the prompter's booth at stage left. (See also 
MWW, 11.) 

The earliest promptbooks that locate entrances and exits mention 
doors as well as sides of the stage, since movement to and from the 
deep forestage was mainly by way of the two or three doors that 
flanked the forestage on either side. The Smock Alley Richard II of 
about 1720 (RII, 1) gives P.D. (prompt side door), L.D.O.P. (lower 
door opposite prompt), U:D:P:S: (upper door prompt side), etc. One 
of Ward's Hamlet books of about 1740 (HAM, 4)) gives M:D:0:P: 
(middle door opposite prompt). West Digges's Macbeth of 1757 (MAC, 
6) gives DOP, LDPS, etc. Thomas Hull's Cymbeline of 1767 (CYM, 1) 
gives L.D.O.P., M.D., and M.D.P.S. An As You Like It of about 1780 
(AYL, 4) gives Pd (prompt side door). By the end of the eighteenth 



SYMBOLS AND ABBREVIATIONS IN THE OLDER PROMPTBOOKS 17 

century the doors had dwindled to a single one on each side. They per- 
sisted in many theatres well into the nineteenth century, but as the 
forestage shrank and entrances tended more and more to originate in 
the scenic area behind the proscenium, the use of the doors atrophied. 
At the head of Act I in many of Kemble's promptbooks is the firm 
order to "Lock Stage-Doors"; his Othello (OTH, 9), a rare exception, 
calls for "Stage-doors unlocked." Most references to doors in nine- 
teenth-century promptbooks indicate that they are constructions (set 
pieces) located in the entrances at right or left of the scenic area; or 
DF (a door built into one or the other of the sliding back flats); or 
CD (center door: a set piece at upstage center flanked or framed by 
the two sliding back flats). Of course, as "built scenery" replaced the 
wing-and-shutter system, doors could be placed anywhere on the stage, 
at any angle, and the old location terms fell out of use. 

Entrances and exits from behind the proscenium sometimes oc- 
curred at the back of the stage, or, in a phrase favored in the eight- 
eenth century, "at the Top" (MAC, 8; RIII, 3). Usually, however, they 
were made through the spaces between the wings at the sides of the 
stage, which were sometimes called W (wings) as in George Frederick 
Cooke's Hamlet (HAM, 7), but nearly universally called E (entrance). 
The entrances were numbered from the front to the back of the stage: 
1E.RH (first entrance right hand), 2E.L (second entrance left), R.3E 
(right, third entrance), U.E.L or L.U.E (upper entrance left), etc. Even- 
tually the E dropped out, leaving only Rl, L2, etc. Whether the 
entrances as numbered were behind or in front of the correspondingly 
numbered wings (grooves) is perhaps disputable. Kalman Burnim 
states categorically that in the eighteenth century "an entrance des- 
ignated as effected at a wing position was located upstage of the 
wing itself" (David Garrick, Director, p. 207), and he refers to a stage 
diagram of the 1880's in Richard Southern's Changeable Scenery for 
confirmation from later practice. My impression, gathered from various 
nineteenth-century promptbooks (AYL, 22; HAM, 30; KJ, 27; KL, 57; 
MA, 18; RIII, 48), is exactly the opposite. Time and again scenes 
created by flats in the second grooves show entrances in R.2E, L.2E — 
manifestly impossible unless the second entrance was downstage of 
the second groove. 

PS and OP, whether they meant left or right, were in common use 
down to the end of the eighteenth century, but in the first two decades 
of the nineteenth they generally gave way to the more precise LH 
(left hand) and RH (right hand). These new symbols were promoted — 
perhaps invented — by George Frederick Cooke, who used them in his 
Hamlet book (HAM, 7) as early as 1785. From 1803 on John Philip 



18 SYMBOLS AND ABBREVIATIONS IN THE OLDER PROMPTBOOKS 

Kemble nearly always wrote LH and RH in his Covent Garden 
promptbooks, and these books, widely disseminated by transcription, 
spread the practice into a fashion. The old symbols did not die out 
at once, of course. One senses the change coming at Drury Lane when 
an actor there about 1813 writes into his promptbook equations of the 
old symbols and the new (MWW, 11); but one notices also that the 
Drury Lane Othello (OTH, 12), written somewhat later and used 
steadily for the next quarter-century, is steadfast in PS and OP. In the 
1840's the Sadler's Wells prompter, Pepper Williams, now and then 
reverted to the old forms in his promptbook jottings (TEM, 8). The 
clerkly George Ellis, stage manager at the Princess's in the 1850's, 
would not let PS and OP appear in final promptbooks made under 
his supervision, but he used them freely in his technical notes and 
rehearsal work-sheets (TEM, 21). They lived on in oral tradition and 
in the vocabulary of old stagers throughout the nineteenth century. 
By now they are wholly archaic. 

The seemingly needless letter H in LH and RH persisted in some 
quarters far into the second half of the nineteenth century. The prob- 
able reason for this is that the letter R not only meant Riglit but also 
Ring; and so long as the prompter's bell was in use to start up the 
music or bring down the act drop the H in RH was an insurance 
against disastrous misreading. George Ellis' beautiful transcriptions 
of Macready's and Kean's books, made in the 1840's and 1850's, drop 
the H, but Ellis was careful to spell out RING in handsome Gothic 
letters and to box it too, so that no such misreading was possible. 

Prompters' signals. In the older theatre, at every scene change within 
an act the prompter cued the carpenters (stagehands) to thrust on 
stage in their grooves the wings and shutters of the new scene, or to 
reveal the new scene by drawing off the wings and shutters of the scene 
just concluded. These within-the-act changes were instantaneous, and 
they were executed in full view of the audience, who indeed took es- 
pecial delight in the magic of it all. 

Little time was lost in arranging and manipulating the scenery of 
the wing-and-shutter system, for "deep scenes" could be prepared 
while "front scenes" (sometimes referred to as "carpenters' scenes") 
were being acted. By careful planning, all the scenes of a given act 
might be set in place during the brief entr'acte ("wait"), while the 
act drop was down and the orchestra was playing; then be revealed 
as a series of scenes alternating in the various forward grooves and 
climaxing in a deep "Set of the entire stage," or a "Set to the 7th 
grooves." As I have shown elsewhere, the total amount of "non-play- 



SYMBOLS AND ABBREVIATIONS IN THE OLDER PROMPTBOOKS 19 

ing" time in Macready's production of King John, which had 15 
scenes, was only 18 minutes — something less than is usually consumed 
in modern intermissions. 

The cue for scene change was the shrill of a whistle. At this sound, 
wrote Aaron Hill in The Prompter (1734), "I have seen Houses move, 
as it were, upon Wings, Cities turned into Forests, and dreary Desarts 
converted into superb Palaces: I have seen an Audience removed, in 
a Moment, from Britain to Japan, and the frozen Mountains of 
Zembla resembling the sunny Vales of Arabia Felix: I have seen 
Heaven and Earth pass away, and Chaos ensue, and from thence a 
new Creation arise, fair and blooming, as the Poet's Fancy; and all by 
the powerful magic Influence of this Wonder-working Whistle." 

The earliest symbol for "Whistle," dating from Restoration times, 
was a circle with a dot in it, thus: © (See Montague Summers, Essays 
in Petto, pp. 103-110). During the eighteenth century several variants 
appeared, including undotted circles, double dotted circles (MAC, 7), 
and pairs of circles connected with a horizontal line (MAC, 5). No 
constant patterns of meaning for these different circle symbols can be 
established. Sometimes a circle was accompanied by the word "con- 
tinues," meaning no change of scene (TEM, 2). West Digges used the 
dotted circle to mean "Ring" as well as "Whistle" (MAC, 6). Probably, 
as Kalman Burnim has suggested (David Garrick, Director, p. 205), 
the circles ultimately became mere eye-catchers to alert the prompter 
to some kind of duty. 

The indubitable symbol for "Whistle," which appeared in Garrick's 
time, was the letter W, usually boxed or circled. The W was at first 
used in combination with circle symbols, but by the beginning of the 
nineteenth century it had entirely displaced them. To recapitulate 
with examples, the Smock Alley Othello (OTH, 2), which was probably 
entirely marked in the seventeenth century, shows several dotted cir- 
cles; Ward's Hamlet books of about 1740 (HAM, 3, 4) show a few 
dotted circles; the Beatt and Love Macbeth of 1761 (MAC, 7) com- 
bines W with circles dotted, double-dotted, and undotted; an As Yon 
Like It and a Tempest of about 1780 (AYL, 4; TEM, 2) show W com- 
bined with dotted and undotted circles. 

From the time of John Philip Kemble's Covent Garden books (after 
1803), W became the only symbol for "Whistle," except that occasion- 
ally the word was spelled out (KL, 14, 20; MAC, 16). Eventually the 
word Change began to appear, especially in books written after the 
mid-century, including some of John Moore's (AYL, 24; R&J, 23); and 
this is perhaps a sign that the whistle was going out of use. That its 



20 SYMBOLS AND ABBREVIATIONS IN THE OLDER PROMPTBOOKS 

shrill sound was felt intrusive in still, mysterious moments is apparent, 
for example, in many Hamlet books: the scene change between Ham- 
let's exit with the Ghost and the re-entry for their interview was ef- 
fected by "quiet signal" (HAM, 20, 48, 89). In Charlotte Cushman's 
Romeo and Juliet, after the potion scene, we read "Change Slowly 
without Whistle" (R&J, 31). In Samuel Phelps's Macbeth book of 1860 
(MAC, 63) the W is often scratched and the word "Flag" written 
beside it. As the wing-and-shutter scenery gave way to more and more 
"built" scenery, which needed stagehands to move it, the call appears 
for Dark Change, as in Adelaide Neilson's Twelfth Night (TN, 26), 
Charles Hanford's Winter's Tale (WT, 30), Robert Mantell's Macbeth 
(MAC, 111). In earlier times left-over furniture had been tugged off 
the stage by cords, or if too heavy for that, had been removed by cos- 
tumed supernumeraries, or even by "Green Coats" — i.e., stage car- 
penters — without attempt at concealment (KJ, 18, 27). 

The use of flags as a silent substitute for whistles has been noticed 
in Phelps's Macbeth of 1860. In the 1850's at the Princess's, George 
Ellis gave flag cues whenever possible. In King Lear he would "Signal 
white flag down to stop the trumpets" — the trumpeters apparently 
standing at one of the entrances across the stage (KL, 54). In The 
Tempest he would make "Red flag signal to Bartram, in flies, to light 
flame, ready," and wave the flag again for the flame to descend (TEM, 
22). 

Among the prompter's "Implements of Government" in 1734, Aaron 
Hill took notice of "a little Bell, which hangs over his Arm: by the 
Tinkling of this Bell, if a Lady in Tragedy be in the Spleen for the 
Absence of her Lover, or a Hero in the Dumps for the Loss of a 
Battle, he can conjure up soft Musick to soothe their Distress." The 
call for music seems, indeed, to have been the principal use of the bell 
in earliest times. This might be music incidental to the action, as the 
"soft musick" which Hill speaks of; or music for songs, dances, and 
processions; or trumpet flourishes, rolls of drums, charges, retreats, etc. 
accompanying military actions. Wind, thunder, knocking, hoofbeats, 
the crashing of gates, and other sound effects not strictly musical were 
likewise answerable to the prompter's signal, though he may not always 
have used his bell to summon them. By the later eighteenth century a 
nest of triple xes (or later, triple musical sharps) was a common eye- 
catcher to denote "Musick" or "Music in Orchastre" (MV, 3; TEM, 
2). By the nineteenth century, the prompters often warned themselves 
to "call up" trumpets or flutes or violins — i.e., to summon the players 
to the wings or the back of the stage or the green room so the music 
would blend into the action with more realistic effect. 



SYMBOLS AND ABBREVIATIONS IN THE OLDER PROMPTBOOKS 21 

The most frequent call for music was for the entr'actes. In seven- 
teenth-century promptbooks, long before the act drop came into serv- 
ice, one finds near the end of an act the words Act redy or Act (HAM, 
1; OTH, 2). At this point the prompter alerted the musicians with a 
warning bell; then at Act ends or Ring he rang a second time to make 
them play. By the 1780's one finds Act followed by Drop Landskip 
or Drop Street (TEM, 2; MV, 3), by which I take it that at the second 
bell not only the music played in front of the stage but also a painted 
act drop fell. In Kemble's books, when use of the act drop had become 
standardized the symbols for these operations are usually R and Act. 
In later books they became more or less regularly RMB (ring music 
bell) to alert the orchestra, and R or RING to begin the music and 
bring the curtain down. 

The prompter also used his bell to make the curtain rise, but this 
is entered in the promptbooks only when the rise of the curtain is tied 
to special pre-curtain effects. It was the fashion with Hamlet, especially 
in America, to start the play with a great gong tolling twelve o'clock, 
and according to the whim of the producing actor or manager the 
prompter "rang up" on one stroke or another: Edwin Forrest's 
prompter made the curtain rise on the sixth stroke; Edwin Booth's 
and most others' on the seventh or eighth. In plays-within-plays, as 
in Midsummer Night's Dream and Hamlet, realism dictated that the 
curtains of the stage-within-stage should be opened by a prompter's 
bell (HAM, 85; MND, 12). 

There were bells underneath the stage and bells in the flies, these 
probably being manipulated by cords from the prompter's table. About 
1740 John Ward's prompter could "Ring for Trap to be Ready" and 
"Ring three times for the Ghost to cry under the stage" (HAM, 4, 5). 
In 1757, Digges's prompter could "Ring to raise trap OP," "Ring to 
raise Hobs trap," and "Ring for Trap PS" (MAC, 6). The Tempest 
prompter about 1780 could work the ~5 (trap bell). In the nineteenth 
century the words Pull and Check prove the use of cords for distant 
ringings. At the end of the wrestling match in As You Like It, the 
Drury Lane prompter, John Willmott, could "Pull to let go posts" — 
i.e., signal by bell someone under the stage to release the posts thrust 
into the stage floor to form the wrestling ring (AYL, 18). The Ameri- 
can prompter Asa Cushman could "Check above, when Hecate in, for 
car to ascend" (MAC, 41). In The Tempest at the Princess's, George 
Ellis could "Pull below, for waters to abate," and "Pull above and 
below for general change" (TEM, 21). Augustin Daly's As You Like It 
in 1889 (AYL, 59) used bells below to sink scenes, bells above to fly 
them, and yet other bells to make moving panoramas stop and go. 



22 SYMBOLS AND ABBREVIATIONS IN THE OLDER PROMPTBOOKS 

The following abbreviations involving bells cover most of the exi- 
gencies of interpretation: R (ring), RMB, MB, M (ring music bell), 
RWB (ring warning bell), RAB, RAD, AD (ring act bell, or act drop), 
WC, WD, WAD (warn curtain, warn drop, warn act drop), CB (cur- 
tain bell), RT, RTB (ring trap bell), ST (sink trap). 

Lighting. Promptbook markings for lighting control in the older 
theatre are comparatively sparse and uncomplicated. One should re- 
member that oil lamps and candles were the only means of lighting 
throughout the eighteenth century and John Philip Kemble's day. Gas 
lighting came into the London theatres in 1817, was in general use by 
about 1830, and prevailed nearly to the end of the century. The lime- 
light (Limes, Calcinrns), although invented as early as 1816, seems not 
to have been used much in Shakespeare production until the 1840's 
and 1850's. Electric lighting was introduced about 1880 but did not at 
once displace gas (Henry Irving carried his own gas equipment when 
he went on tour). The auditorium was lighted throughout perform- 
ances, with rare exceptions, until Irving began darkening it about 
1881. 

The earliest promptbooks say nothing about lighting. The Beatt 
and Love Macbeth of 1767 gives "Stage dark/Lamps down," "Stage 
light/Lamps up" (MAC, 7), and we glean nothing more instructive 
than this from other eighteenth-century books. Kemble adds only an 
occasional cautionary "little" or "half" or "quite" to the directions for 
darkening. The word Lamps was still the only term fir the sources 
of light in Kemble's time, and it persisted to the middle >f the century, 
though gradually giving way to the word Lights. Footlights had long 
been called Floats or Flotes, we are told, but the words do not appear 
in promptbooks until after Kemble's time (when, strictly speaking, 
they had become anachronistic). By the 1840's we find many refer- 
ences to green and blue Mediums (of glass at first, later of silk) ap- 
plied to lights to create night effects. George Ellis' work-sheets from the 
Princess's in the 1850's refer to Battens (overhead strips of gas jets), 
Wing Ladders (strips of gas jets hung vertically behind the wings), and 
Limes. And he reminds us of the danger of so much living flame: as 
he waved his red flags to signal the hurling about of thunderbolts and 
fires in The Tempest he ordered the placing of "Pails of water & Mops 
w firemen, R&L, each Act" (TEM, 21, 22). Meanwhile, of course, the 
extensive use of dioramas, gauzes, transparencies, etc. at the better- 
equipped metropolitan theatres implies lighting effects of considerable 
sophistication, even if the promptbook notations remain unsuggestive. 

The most exciting instrument of the nineteenth century was, of 
course, the limelight, and from the 1850's or 1860's on one begins to 



SYMBOLS AND ABBREVIATIONS IN THE OLDER PROMPTBOOKS 23 

find wonderfully romantic uses of it. In American books it was usually 
called the Calcium. When Booth's Theatre opened in 1869, Juliet in 
her balcony was bathed in green light from the battens, but was picked 
out by a white calcium shining down from the "R Fly" (R&J, 37). The 
inside of Brutus' tent, in Lawrence Barrett's Julius Caesar in the 
1870's, was flooded with blue, but the back of the tent was a trans- 
parency, through which Caesar's ghost could be seen drifting across 
the stage from left to right into a beam of green calcium (JC, 33-37). 
A purple calcium poured over the marriage altar in Margaret Mather's 
Romeo and Juliet in the 1880's (R&J, 51). 

"Who gives out?" This query, or the order to "Give out the Play," 
often occurs at the end of the fourth act in promptbooks of the late 
eighteenth and early nineteenth centuries. At this point the manager 
or one of his officers came before the act drop to announce the bill for 
the following night. This "giving out" is reminiscent of the "Oration" 
of Moliere's theatre, although in England it seems never to have de- 
veloped into so fixed and elaborate a performance as was expected 
of the French "Orateur." Nonetheless, when it was a question of a 
new play, a new production, or a newly featured actor, the moment 
could be a tense one, necessitating a curtain speech of tact and elo- 
quence. 

Timings. In many well-ordered promptbooks the playing time for 
each act is systematically entered, and the total playing time, with 
"waits," is given at the end. Sometimes, too, a prompter would scribble 
the actual clock time of beginnings, endings, and entr'actes on particu- 
lar evenings. Performances in the older theatre were long, and con- 
sidering how drastically the texts were cut they would seem by modern 
standards to have been intolerably slow. Kemble's Othello, for in- 
stance, was 3:35. Edmund Kean got through it once in 2:08, but that 
was an evening in 1825 when, as the prompter says, there was "a great 
Row" in the house over the Kean-Cox affair. Timings for the Othellos 
of Macready, Vandenhoff, and Forrest about 1835 ranged from 3:20 
to 3:36. Kemble's Macbeth, The Merchant of Venice, and Romeo and 
Juliet were about 3:10; his Winter's Tale 3:45. Macready's Hamlet 
was 3:35. Charles Kean's Winter's Tale was 3:30, his Hamlet 3:40, his 
Henry V 4:05. These are examples of extreme rather than average 
length, but in our ultimate understanding of Shakespeare in the older 
theatre they are facts to be reckoned with. 



A Register of Libraries and 
Collections with Promptbook Holdings 

The American Shakespeare Festival Theatre, Stratford, Connecticut 
Promptbooks and other production materials of this theatre 
have accumulated in the Production Department since the be- 
ginning of the theatre in 1955. 

Biblioteca Universitaria, Padova, Italy 

Bibliotheque de Douai, Douai, France 

Birmingham, Shakespeare Memorial Library, Birmingham Public 
Library, Ratcliff Place, Birmingham, England 

The Boston Athenaeum, The Library, 10i/£ Beacon Street, Boston 8, 
Massachusetts 

Boston Public Library, Boston 17, Massachusetts 

The British Drama League, 9 Fitzroy Square, London, W. 1, England 

The British Museum, Bloomsbury, London, W. C. 1, England 

The British Theatre Museum, Leighton House, 12 Holland Park 
Road, London, W. 14, England 

Brown University Library, Providence, Rhode Island 

Connecticut State Library, Hartford, Connecticut 

Dartmouth College, Baker Library, Hanover, New Hampshire 

The Edwin Forrest Home, 4849 Parkside Avenue, Philadelphia, Penn- 
sylvania 

This is a home for retired actors, not a public library, and ar- 
rangements to visit it should be made in advance. The bulk of 
Forrest's personal library is housed here. It is being catalogued. 
Most of its promptbooks and other manuscript rarities are on 
loan to the Library of the University of Pennsylvania, Rare 
Book Room. 

The Enthoven Collection, The Victoria and Albert Museum, Crom- 
well Road, South Kensington, London, S. W. 7, England 

The late Gabrielle Enthoven's collection is most remarkable for 
its runs of London playbills. Promptbooks include James H. 
Hackett's, some of Poel's. There is a full collection of Charles 
Kean's scene designs. Beerbohm Tree's whole library of prompt- 
books from His Majesty's Theatre is housed here, but rights of 
reproduction are at present reserved by the Tree Estate. 

The Essex Institute, Salem, Massachusetts 

The Folger Shakespeare Library, Washington 3, D.C. 

A vast collection of promptbooks, Shakespearean and non- 
Shakespearean, mainly pre-1920: most of the Smock Alley books 
and a number of eighteenth-century books, including Garrick's; 
many of Kemble's, of Macready's; nearly all of Phelps's and 
Charles Kean's; many nineteenth-century American books, in- 



LIBRARIES AND COLLECTIONS WITH PROMPTBOOK HOLDINGS 25 

eluding nearly all of John Moore's (Augustin Daly's), some of 
George Becks's; a full set of Sothern and Marlowe's; all of 
Henry Jewett's. Reading privileges are reserved for graduate 
and postgraduate scholars, and must be arranged for in advance. 

The Garrick Club, Garrick Street, London, W. C. 2, England 

A fine set of promptbooks of Covent Garden Theatre under 
John Philip Kemble and Charles Kemble. Admission by pre- 
arrangement with The Secretary. 

The Harvard Theatre Collection, Harvard College Library, Cam- 
bridge 38, Massachusetts 

The infinite riches of this theatre collection include a large 
number of old promptbooks, especially American, originally 
gathered by Robert Gould Shaw and gradually augmented since 
his time by William Van Lennep and others. Admission to 
accredited scholars, who should give advance notice of their 
visit. 

The Henry E. Huntington Library, San Marino 9, California 

The Historical and Philosophical Society of Ohio, University of 
Cincinnati Library Building, Cincinnati 21, Ohio 

The Johns Hopkins University, The Tudor and Stuart Club, Balti- 
more 18, Maryland 

Joint University Libraries, Nashville 4, Tennessee 

The Library Company of Philadelphia, Broad and Christian Streets, 
Philadelphia 47, Pennsylvania 

The Library of Congress, Manuscripts Division, Washington, D.C. 

The Library of Congress, Batchelder Collection, Rare Books Division, 
Washington, D.C. 

The Literary and Philosophical Society, Newcastle-on-Tyne, England 

The London Museum, Kensington Palace, London, W. 8, England 

The Raymond Mander and Joe Mitchenson Theatre Collection, 5 
Venner Road, Sydenham, London, S. E. 26, England 

The Missouri Historical Society Library, Jefferson Memorial, St. Louis 
12, Missouri 

A vast number of old playbooks of the St. Louis theatre man- 
agers of the nineteenth century, but very few with interesting 
markings. 

Museum of the City of New York, Fifth Avenue and 103rd Street, New 
York 29, New York 

A number of nineteenth- and twentieth-century books of New 
York provenience, including especially a good many of Sothern 
and Marlowe's. Admission to the Theatre Collection of the 
museum by appointment. 



26 LIBRARIES AND COLLECTIONS WITH PROMPTBOOK HOLDINGS 

The Newberry Library, 60 West Walton, Chicago, Illinois 

The New York Public Library, Theatre Collection, Lincoln Center, 
111 Amsterdam Avenue, New York, New York 

A large collection of old promptbooks, especially American but 
including many English also, many of them originally collected 
or made by George Becks in the last years of the nineteenth 
century. The library continues to acquire modern promptbooks. 

Old Vic Theatre, Waterloo Road, London, S. E. 1, England 

Production books of the last years of the late Old Vic organiza- 
tion were preserved in the Publicity Department up to 1962, 
and presumably are still in the building, which now houses the 
National Theatre. There may be some older books than listed 
in this catalogue, but pre-war books are said to have been 
damaged or destroyed by enemy action. 

The Players, The Walter Hampden Memorial Library, 16 Gramercy 
Park, New York 3, New York 

Edwin Booth's promptbooks and records in great quantity, to- 
gether with a few older books which Booth collected, and some 
later ones including Sothern and Marlowe's. A research library 
for accredited scholars. 

Princeton University Library, William Seymour Theatre Collection, 
Princeton, New Jersey 

A large number of playbooks and marked copies used or gath- 
ered by William Seymour; the books and papers of George 
Tyler; other accretions. 

Rutgers State University Library, New Brunswick, New Jersey 

Shakespeare Centre Library, Stratford-upon-Avon, Warwickshire, Eng- 
land (Shakespeare Birthplace Trust) 

The best collection of nineteenth-century promptbooks in Eng- 
land, many of them from the library of the actor William 
Creswick (d. 1888). Later acquisitions include some books of 
Sullivan, Benson, and Asche. Since about 1930 the promptbooks 
of the Festival Theatre have mostly been preserved, and the 
file for the last 15 or 20 years is excellent. In 1964 the Royal 
Shakespeare Theatre Library, which housed these promptbooks, 
was amalgamated with the library of The Shakespeare Birth- 
place Trust and moved to The Shakespeare Centre in Henley 
Street. 

Smallhythe: The Ellen Terry Memorial Museum, Smallhythe, near 
Tenterden, Kent, England 

Miss Terry's own rehearsal copies in considerable number, and 
a few older books which she collected. 



LIBRARIES AND COLLECTIONS WITH PROMPTBOOK HOLDINGS 27 

Stratford Shakespearean Festival, Festival Theatre, Stratford, Ontario, 
Canada 

Promptbooks and other production materials of this theatre, 
and very full scrapbooks, have been carefully preserved in the 
Production Department since the beginning of the theatre in 
1953. 

Toronto Public Library, College and St. George Streets, Toronto 2B, 
Canada 

University of Arizona Library, Tucson, Arizona 

The Thomas Wood Stevens books and papers, including 23 
promptbooks of 12 Shakespeare plays. These do not appear in 
this catalogue, however, since they are mainly of school and 
community productions. 

University of California Library, Los Angeles 24, California 

Small collection of nineteenth-century promptbooks including 
several of Frederick Warde's. Large collection of John House- 
man's. 

University of Edinburgh Library, Edinburgh, Scotland 

A small collection of seventeenth-century promptbooks includ- 
ing some of the Smock Alley. 

University of Illinois Library, Rare Book Room, Urbana, Illinois 

A set of Hermann Vezin's promptbooks, a few Macready books 
and costume designs, a few nineteenth-century American 
promptbooks. 

University of Michigan Library, Ann Arbor, Michigan 

University of Minnesota Library, Minneapolis 14, Minnesota 

University of Nebraska Libraries, Lincoln, Nebraska 

A small but significant collection of London promptbooks, circa 
1810-25. 

University of North Carolina Library, Tannenbaum Shakespeare Col- 
lection, Chapel Hill, North Carolina 

University of Pennsylvania Library, The Horace Howard Furness Col- 
lection, Philadelphia 4, Pennsylvania 

A few dozen excellent eighteenth- and nineteenth-century 
promptbooks collected by the editor of the Variorum. 

University of Pennsylvania Library, Rare Book Room, Philadelphia 4, 
Pennsylvania 

University of Texas Library, Hoblitzelle Theatre Arts Library, Austin 
12, Texas 

The Victoria and Albert Museum, Forster Library, Cromwell Road, 
South Kensington, London, S. W. 7, England 

The originals of several Macready promptbooks. 



28 LIBRARIES AND COLLECTIONS WITH PROMPTBOOK HOLDINGS 

W. A. Clark Memorial Library, 2205 West Adams Boulevard, Los 
Angeles 18, California 

Yale University, The Beinecke Rare Book Library, New Haven, Con- 
necticut 

Yale University, The Elizabethan Club, 459 College Street, New Haven 
11, Connecticut 



All's Well That Ends Well 

1. Anonymous London, Covent Garden c.1780 
Folger: All's Well, 3 

[Bell edition, 1773, 4i^ x 6%; interleaves; red, yellow, and blue 
marbled boards and half brown leather; title inked down spine 
label.] 

Promptbook marked in a neat round hand. Enclosed note sug- 
gests Kemble used this book to prepare his edition of 1793, but 
internal evidence does not confirm this. Cuts, many restorations. 
Scenic indications (including "Dall's Hall"), properties, calls, little 
stage business beyond that printed, cues for effects. Belonged to 
Lewis Mestayer. (Compare AYL, 4; MV, 3; R&J, 4; TEM, 2.) 

2. William B. Wood Philadelphia c.1804 
New York Public Library: *NCP.P164542 

[Kemble edition, 1793, 5 x 73/g; black and white marbled boards 
and blue cloth spine; title inked up spine.] 

Promptbook systematically but sparsely marked, probably not 
used. Cuts, scene changes, properties, calls, cues for effects. 

3. John Philip Kemble London, Covent Garden May 24, 1811 
Garrick Club 

[Kemble edition, 1811, 5i/g x 8i/; interleaves; blue cloth boards 
and brown leather spine; title gilt up spine.] 
Promptbook lightly marked in Kemble's hand. Little stage busi- 
ness, maps, cues for effects 

4. [Kemble] 

Boston Public Library: G.4012.5 

[Two books. Kemble editions, 1793 and 1811, bound together, 
4.% x 8; marbled boards and red leather spine; title gilt on spine.] 
The 1811 copy lightly marked in Kemble's hand as rehearsal book 
for "Dumain," played by Barrymore. Some stage business. 

5. [Kemble] 

Folger: All's Well, 2 

[Kemble edition, 1811, 5i/ 2 x 87/ 8 ; red and blue marbled boards 

and half brown leather; spine label missing.] 

Rehearsal copy checked for Parolles, played by John Fawcett. 

6. Harry Edwards Sydney 1858 
Harvard Theatre Collection: TS.2027.100 

[Davidson issue of Cumberland edition, Si/ 2 x 53^; blue inter- 



30 all's well that ends well 

leaves, 4 x 61^; brown marbled boards and green cloth spine.] 
Promptbook carefully marked for Edwards by Joe J. Downey. 
Scenic indications, grooves, calls, some stage business, maps and 
sketches, cues for effects. 

7. George Becks 

New York Public Library: *NCP.342927 

[French issue of Cumberland edition, 4x7; interleaves, 4z/ 8 x 

7i4; red cloth boards; title gilt up spine.] 

Apparently a transcription of the preceding (Edwards) book. 

Carefully done in the hand of George Becks. 

8. Anonymous 1860's 
Harvard Theatre Collection: (Widener, 13484.3.10) 

[Pages 327-448 from volume I of a Works (pictorial edition, cheap 

paper), 5x8; interleaves; green cloth boards; title inked up 

spine.] 

Promptbook checked for Parolles. Cuts on full text. At the front 

a complete scene plot with grooves. Some stage business, maps, 

cues for effects. 

9. Augustin Daly c.1882 
Folger: All's Well, 1 

[Portions of a text, with many passages in longhand, pasted in a 
workbook, 6% x 814 ; gray cloth boards.] 

Preparation copy, identified in a note by William Winter as the 
work of Daly. 

10. [Daly] 1882 
Folger: All's Well, 5, 6 

[Shakespeare text pasted in two workbooks, 7^§ x 9i/ 8 ; red 
marbled boards and red leather spine.] 

Preparation copy made for Daly by William Winter in 1882. Cuts 
and rearrangements, little stage business. 

11. F. R. Benson England August, 1898 
Shakespeare Centre Library: 50.01(1889) 

[Memorial Theatre edition, 1889, 47/ 8 x 7]/ 4 ; green cloth boards.] 
Cutting of the play made by Benson in 1898, and transcribed into 
this copy by Mrs. C. E. Flower. 

[Actor Lists for Following Books Are Given in This Order: 
Helena, Bertram, Countess, Parolles.] 



all's well that ends well 31 

12. W. Bridges-Adams Stratford-upon-Avon April 23, 1922 
Shakespeare Centre Library: 71.21/1922A 

[Favourite Classics edition pasted in a workbook, 63^ x 9; blue 
cloth boards and red leather spine.] 

Cast includes Maureen Shaw, Maurice Colbourne, Dorothy- 
Green, Baliol Holloway. Cuts, calls, scenic indications, stage busi- 
ness, maps, cues for effects. 

13. B. Iden Payne Stratford-upon-Avon April 23, 1935 

Shakespeare Centre Library: 71.21/1935A, 1935AL 

[Two books. Temple edition pasted in a workbook, 7x9; purple 
cloth boards and half black leather.] 

Cast includes Jean Shepeard, Raymond Raikes, Catherine Lacey, 
Roy Emerton. Designed by Lloyd Weninger and Aubrey Ham- 
mond. Cuts, much stage business, maps, cues for effects. First 
book a preparation copy. Second book, somewhat more fully 
developed, used in performance. 

14. Tyrone Guthrie Stratford, Ontario July 14, 1953 
Festival Theatre, Library 

[Temple edition pasted in a workbook, 7^4 x 12^; blue cloth 
boards and green cloth spine.] 

Cast includes Irene Worth, Donald Harron, Eleanor Stuart, 
Douglas Campbell. Designed by Tanya Moiseiwitsch. Calls, much 
stage business, maps, cast list. 

15. Michael Benthall London, Old Vic September 15, 1953 
Old Vic, Publicity Department 

[Temple edition pasted in a workbook, 8 x 10i/£; black ring 

binder.] 

Cast includes Claire Bloom, John Neville, Fay Compton, Michael 

Hordern. Designed by Osbert Lancaster. Cuts, stage business, 

maps, cues for effects. Many production papers: cast, properties, 

fly plot, call-lists, etc. 

16. Noel Willman Stratford-upon-Avon April 26, 1955 
Shakespeare Centre Library: O.S.71.21/1955A 
[Mimeograph, 8 x 13, taken from New Cambridge edition; red 
cloth spring binder.] 

Cast includes Joyce Redman, Michael Denison, Rosalind Atkin- 
son, Keith Michell. Designed by Mariano Andreu. Cuts, stage 



32 all's well that ends well 

business numbered and typed on facing pages, maps on mimeo- 
graphed groundplans, cues for effects. 

17. Tyrone Guthrie Stratford-upon-Avon April 21, 1959 
Shakespeare Centre Library: O.S.71.21/1959A 

[New Temple edition pasted in a workbook, 8x13; black cloth 
board ring binder; title on spine and cover labels.] 
Cast includes Zoe Caldwell, Edward de Souza, Edith Evans, Cyril 
Luckham. Designed by Tanya Moiseiwitsch. Cuts and additional 
dialogue, copious stage business numbered and entered on fac- 
ing pages, 18 large maps and many small ones, cues for effects. 

18. John Houseman Stratford, Connecticut August 1, 1959 
Festival Theatre, Production Department 

[Two books. Mimeograph, 814 x 1 1; blue cloth board ring binder.] 
Cast includes Nancy Wickwire, John Ragin, Aline Macmahon, 
Richard Waring. Designed by Will Steven Armstrong and 
Dorothy Jeakins. The first book is the director's workbook, with 
copious stage business and a sheaf of rehearsal notes. The second, 
called "Operating Script," has cuts, stage business, maps (some on 
mimeographed groundplans), cues for effects, some production 
papers. 

19. [Houseman] 

University of California, Los Angeles: Houseman Box 14 
[Mimeograph, 81/2 x 11; black cloth board spring binder.] 
Rough production book. Some stage business and other notes. 

20. [Houseman] 

University of California, Los Angeles: Houseman Box 11 
[Mimeograph, 81/2 x 11; blue interleaves; blue cloth boards; title 
gilt on cover.] 

Final or souvenir promptbook prepared for John Houseman by 
the Connecticut stage managers. Stage business typed on inter- 
leaves. Full set of production papers at the back. 

21. Other books of All's Well That Ends Well: 
Boston Public Library: G.4012.5, no. 2, Barrymore. 
Folger: All's Well, 4, John Sefton and Charles Bennett. 
Princeton University, Seymour Collection: AW, 3, B. K. Brown, 
1839. 



Antony and Cleopatra 

1. David Garrick London, Drury Lane January 3, 1759 
Folger: Ant, 3 

[Tonson edition, 1734, 4i/£ x 7; red and blue marbled boards and 

brown leather spine.] 

Cuts and alterations, with a few additions of stage business, done 

in ink by Edward Capell, in preparation for the acting edition 

published by the Tonsons on October 23, 1758. Further cuts in 

pencil. 

2. John Philip Kemble London, Covent Garden Nov. 15, 1813 
Shakespeare Centre Library: 50.02(1813) 

[Kemble edition, J. Barker, 1813, 5 x 81^; interleaves; brown 

leather; title gilt on red spine label, spine stamped "TR/CG/ 

PB/A12."] 

Promptbook marked in Kemble's hand. Calls, some stage business, 

properties, cues for effects. Names of minor actors written in. 

3. [Kemble] 
Folger: S.a.125 

[Manuscript, 7 x 8%; brown leather gilt; title gilt on spine.] 
Adaptation of Shakespeare's play (no Dryden included) in 1,931 
lines, in Kemble's hand. Scenic indications given in some detail 
and with historical authorities cited, grooves. George Lamb pur- 
chased this book at the Kemble sale in 1821. 

4. William Charles Macready 

London, Drury Lane November 21, 1833 

Folger: S.a.130 

[Manuscript, 7%/ 8 x 87/ 8 ; brown and green marbled boards and 
half maroon leather.] 

Adaptation of Shakespeare's play with Dryden materials, in 17 
scenes, dated July 13, 1833, entirely in Macready 's hand. Used as 
promptbook. Pencilings on facing pages, probably by John Will- 
mott, the prompter, include calls, maps, sketches, cues for effects. 

5. Samuel Phelps London, Sadler's Wells October 22, 1849 
Folger: Ant, 8 

[Shakespeare edition, 4 x 6s/ 8 ; gray interleaves watermarked 1847; 
gray cardboard and brown cloth spine; title inked on cover.] 
Promptbook of the restored version of the play, much used, partly 
in the hand of Williams, the prompter, partly in Phelps's hand. 



34 ANTONY AND CLEOPATRA 

Heavy cuts, scenic indications, grooves, much stage business, maps 
and sketches, costume list for Antony, cues for effects. 

6. Isabella Glyn London c.1855 
Folger: Ant, 2 

[Pages 343-480 from volume VII of a Works, b\/% x 8i/£; lavender 
interleaves watermarked 1854; brown leather, but front cover miss- 
ing and back detached.] 

Reading copy. Miss Glyn, Phelps's Cleopatra in 1849, also gave 
Shakespearean readings. Her photograph at front. Cuts, no pro- 
duction notes. 

7. Charles A. Calvert Manchester, Prince's 1866 
New York Public Library: *NCP.164539 

[Calvert edition, 1867, i7/ 8 x 7*4; green publisher's wrappers un- 
der blue cloth boards; title gilt up spine.] 

Preparation copy owned by George Becks and perhaps used for 
Mrs. Lander's production (see nos. 11-15). Cuts and restorations, 
much stage business, notes on costumes and effects. 

8. Anonymous 

Harvard Theatre Collection: (Widener, 13484.6.10) 
[Calvert edition, 1867, 4s/^x7\^; brown marbled boards and cloth 
spine.] 

Promptbook. Some scenic indications, grooves, some stage busi- 
ness, procession list, maps, cues for effects. 

9. Anonymous London, Drury Lane September 20, 1873 
Enthoven Collection: Tree, 199 

[Pages from a double-column edition pasted in a workbook, 7x9; 
black glossy cardboard with sketch of Antony and Cleopatra from 
orange publisher's wrapper pasted on front.] 
E. Edmonds, who transcribed this book, calls it "extremely ar- 
chaic" and says it is taken from the promptbook of Drury Lane 
(presumably of above date). Wavy lines indicate cuts "for occa- 
sional condensation." Much stage business, cues for effects, often 
verbatim from Phelps's book. Belonged to Beerbohm Tree. 

10. Anonymous 

University of Pennsylvania, Furness Collection: C59.Shlan 
[Pages 343-478 from volume VII of a Works, 5% x 8.%; inter- 
leaves; crimson cloth boards; title gilt on spine.] 



ANTONY AND CLEOPATRA 35 

Thoroughly marked promptbook probably taken from the pre- 
ceding (Drury Lane) book, or from the Phelps book, with which 
it is often verbatim. At the tops of pages, names (Charles, Par- 
geter, Drake, Henry, etc.) randomly penciled. Does not appear to 
have been used for production. 

11. Jean Davenport (Mrs. F. W.) Lander 

Brooklyn, Brooklyn Theatre September 2, 1874 

New York Public Library: *NCP.342921 

[Halliday edition, 1873, 4i/£ x 7i/ 8 , plus bits of other texts and 
manuscript restorations; interleaves, 43^ x 8; brown cloth boards 
and half maroon leather; title inked on spine label.] 
Promptbook based on the Drury Lane version (Halliday edition) 
of 1873, much amended for Mrs. Lander's American production. 
At the front a list of scenes, and, bound upside down, a version 
of the galley scene for Act III. Calls, some stage business, maps, 
cues for effects. 

12. [Lander] 

New York Public Library: *NCP.346654 

[Manuscripts, 7i/ 2 x 6i^; black and white marbled boards and 

blue cloth spine.] 

Thirteen manuscript partbooks (none for Cleopatra), made for 

Mrs. Lander's production by W. H. Crompton, Pittsburgh Opera 

House. 

13. [Lander] 

New York Public Library: *NCP.342925 

[Pages of an edition pasted in a workbook, 47/ 8 x 8; black cloth 
boards; title gilt on spine.] 

Promptbook. The manuscript title page says this version was ar- 
ranged for Mrs. Lander's production. Made up by George Becks. 
Sparse scenic indications, grooves, some stage business, maps, cues 
for effects. Galley scene given as an appendix. (See no. 7.) 

14. [Lander] 
Folger: Ant, 1 

[Lacy edition, 1867, 4 x 67/ 8 ; interleaves; black cloth boards and 
black leather spine; title gilt on spine.] 

George Becks's memorial reconstruction of the performances of 
Mrs. Lander and J. H. Taylor in the leading roles; also it is a new 
cutting — "A short cast Version — & regardless of Scenery — the pith 



36 ANTONY AND CLEOPATRA 

of the play." Colored pictures of various Egyptian scenery. Sev- 
eral reviews of productions. Copious stage business given in great 
detail. 

15. [Lander] 

Harvard Theatre Collection: *6 1.2354 

[Lacy edition, 4i/ 8 x 1\/ A ; interleaves; black cloth boards and black 

leather spine; title gilt on spine; in box of gray cloth boards and 

black leather spine; title gilt up spine.] 

J. H. Taylor's copy of the preceding book, nearly identical in its 

record of stage business. 

16. Kyrle Bellew New York, Palmer's January 8, 1889 
Princeton University, Seymour Collection: AC,4 

[Bellew edition, 1889, 57/ 8 x 87/ 8 ; gray publisher's wrappers.] 
Stage manager's workbook. Some cues for effects. 

17. Edmund Tearle England 1890's 
Shakespeare Centre Library: 72.902TEA 

[Cassell's National Library edition, 1891, pasted in a workbook, 
73/ 8 x 9; tan boards, much worn and patched; title on cover label.] 
Promptbook of Tearle's production. Belonged to F. Owen Cham- 
bers, who played Caesar. Much cut and altered. Scenic indica- 
tions given in detail, elaborate stage business especially for open- 
ings and tableaux, cues for effects. 

18. Charles B. Hanford America c.1900 
Folger: Ant, 6 

[Temple edition, 1896, pasted in a workbook, 7i/2 x 9i/ 2 > g ra y 
cloth boards with red corners.] 

Promptbook of a touring production. Cuts, alterations, heavy 
addition of dialogue and songs. Spectacular scenic effects, panto- 
mimes, tableaux. Much stage business. 

19. [Hanford] 
Folger: Ant, 7 

[Temple edition, 1896, pasted in a workbook, 7]/ 2 x ^Vz> § ra y 
cloth boards with red corners.] 

Studybook of Hanford's wife, Marie Drofnah (Hanford), who 
played Cleopatra. 

20. [Hanford] 
Folger: Ant, 4, 5 



ANTONY AND CLEOPATRA 37 

[Typescripts, 77/ 8 x 6s/ 8 ; blue paper.] 

Two bundles of partbooks: 19 unused; 24 (and 2 music scores) 

much used, with penciled cuts and notes. 

21. Herbert Beerbohm Tree London, His Majesty's Nov. 27, 1906 
Enthoven Collection: Tree, 199 

[Pages of a text pasted in a workbook, 8 x 10; glossy black card- 
board; title inked on cover label, "Glasgow . . . Technical Col- 
lege" printed on label.] 

Identified on package wrapper as "Mr. Tree's original working 
copy." The many production notes are provisional. 

22. [Tree] 

Enthoven Collection: Tree, 193 

[Proof sheets of Tree edition pasted in a workbook, 7 x 83^; red 

marbled boards and green cloth spine.] 

Preparation book containing random stage directions, marked 

"Mr. Tree's copy." 

23. [Tree] 

Enthoven Collection: Tree, 193 

[Wide-margin Temple edition, 1895, 4]/ 2 x 7; blue cloth boards; 

title stamped on cover, gilt up spine.] 

Promptbook used by Edward Broadley, assistant stage manager. 

Partial cast, cuts, maps, and copious stage directions, all roughly 

penciled. 

24. [Tree] 

Enthoven Collection: Tree, 193 

[Proof sheets of Tree edition pasted in a workbook, 7 x 8^4; red 

marbled boards and green cloth spine.] 

Rehearsal promptbook, much worn, initialed by Cecil King, the 

stage manager. Cuts, notes on music, dance, and other effects, and 

much stage business, all roughly penciled. 

25. [Tree] 

Enthoven Collection: Tree, 193 

[Five books. Favourite Classics edition, 1904, 3s/ 4 x 6; publisher's 

green cloth boards.] 

Rehearsal copies for various characters, with cuts and random 

notes on scenes and stage business. Three more copies unmarked. 



30 ANTONY AND CLEOPATRA 

26. [Tree] 

Enthoven Collection: Tree, 193 

[Proof sheets of Tree edition pasted in a workbook, 10i/£ x lli/^; 
blue boards and purple cloth spine; title pasted on cover.] 
Rehearsal copy checked for Antony. Copious stage business, maps, 
groundplans, cues for effects, all roughly penciled. 

27. [Tree] 

Enthoven Collection: Tree, 193 

[Proof sheets of Tree edition pasted in a workbook, lOi/g x lli^; 
blue boards and blue cloth spine; title pasted on cover.] 
Fully developed promptbook, all in ink. Cuts, copious stage busi- 
ness, maps, cues for effects. 

28. [Tree] 

Enthoven Collection: Tree, 193 

[Proof sheets of Tree edition pasted in a workbook, 10i/£ x 11 \/ 2 ; 

blue boards and blue cloth spine; no title on outside.] 

Final promptbook, made up by Edward Broadley, assistant stage 

manager. Contains all the matter of the preceding book but is 

executed more systematically. Music cues are entered in red. Calls 

are slips typed in purple and pasted in. Cast, list of scenes, etc., 

from the printed program are pasted on the fly. 

29. [Tree] 

Enthoven Collection: Tree, 193 

[Tree edition, 1907, pasted in a workbook, 8 x 9^4 ; green cloth 

boards and half tan leather.] 

This was to be a final promptbook, but only the first few pages 

are marked. Printed cast pasted in the front. 

30. [Tree] 

Enthoven Collection: Tree, 194 

[Folder, 20% x 15i/£, containing papers.] 

The folder is a character distribution chart. Many production 

papers: drawings of the barge, plots of properties, supers, dresses, 

limes, ladies' business, etc. 

31. [Tree] 

New York Public Library: *NCP.44x545 

[Typescript, 814 x 107/g; blue cloth boards; title gilt on spine.] 



ANTONY AND CLEOPATRA 39 

Typescript of Tree's acting version, freely arranged in 4 acts and 
13 scenes, with Tree's Foreword dated December 27, 1906. On 
the title page is penciled "produced at the Mansfield Theatre, 10 
Nov., 1937." (See no. 41.) 

32. E. H. Sothern and Julia Marlowe 

New York, New Theatre November 8, 1909 

New York Public Library: *NCP 

[Temple edition, 1896, pasted in a workbook, 7 x 8^§; red limp 
leather; title gilt up spine.] 

Preparation copy, heavily penciled for cuts, stresses, pronuncia- 
tions, with notes on stage arrangements and business. 

33. [Sothern and Marlowe] 

New York Public Library: *NCP.44x220 

[Temple edition, 1896, pasted in a workbook, 614 x 7^§; green 

limp leather; title gilt on red leather cover label.] 

Preparation copy of the text only. No markings, but the text has 

been "improved" over that of preceding book. 

34. [Sothern and Marlowe] 

Museum of the City of New York: 43.430.621 
[Temple edition, 1896, pasted in a workbook, 7^4 x 10; brown 
marbled boards and brown cloth spine; title pasted on cover.] 
Preparation copy, fully marked for stresses, much stage business, 
cues for effects. 

35. [Sothern and Marlowe] 

Museum of the City of New York: 43.430.622 

[Antony scenes from Temple edition, 1896, pasted in a workbook, 

37/ 8 x 6i/ 2 ; black rubberized cloth.] 

Sothern's partbook for Antony, fully marked for stresses. 

36. Winthrop Ames New York, New Theatre November 8, 1909 
New York Public Library: *NCP+.51624B 

[Typescript, 8x13; red cloth boards; title gilt on spine.] 
The director's text of the New Theatre production, different from 
that prepared by Sothern and Marlowe (see nos. 32-35). Notes on 
meaning of words, historical backgrounds, and interpretation. At 
the back a vast compilation of opinion on the main characters, 
including descriptions of past performances. A list of 22 English 
and American productions. 



40 ANTONY AND CLEOPATRA 

37. [Ames] 

New York Public Library: *NCP.38xllll 

[Proof copy of Ames edition, 5]^ x Ss/ 4 ; brown paper under red 

cloth boards; title gilt up spine.] 

The Ames version with printed text, typescript Preface dated 

November, 1909, and manuscript title page. 

38. Oscar Asche and Lily Bray ton Melbourne December 26, 1912 
Shakespeare Centre Library: F.72.902ASC 

[Temple edition, 1896, pasted in a workbook, 9i/g x 14; heavy tan 
suede; title gilt on red leather cover and spine labels.] 
Souvenir promptbook of the Asche production in Australia in 
1912 and South Africa in 1913. Belonged to his wife Lily Bray ton 
(later Mrs. Douglas Chalmers Watson). Much cut and rearranged. 
Elaborate scenic effects, much stage business. Plots of lights and 
properties, groundplan for each scene. Large photographs of most 
of the principals. The original cast is given. 

[Actor Lists for Following Books Are Given in This Order: Antony, 
Cleopatra, Caesar, Enobarbus.] 

39. W. Bridges- Adams Stratford-upon-Avon June 29, 1931 
Shakespeare Centre Library: 71.21/1931A(2179) 

[Temple edition pasted in a workbook, 7x9; green boards and 
red cloth spine; title on cover label.] 

The cast includes Gyles Isham, Dorothy Massingham, Eric Maxon, 
Randle Ayrton. Costumes by Eric Maxon. Cuts, calls, relatively 
sparse stage business, maps, cues for effects. 

40. B. Iden Payne Stratford-upon-Avon April 15, 1935 
Shakespeare Centre Library: 7 1.21/193 1A(7925) 

[New Temple edition pasted in a workbook, 7x9; purple cloth 
boards and half black leather; title on cover label.] 

Though identified on the title page as Bridges-Adams' book of 
1931, this appears to be Payne's of 1935. Cast includes Roy 
Emerton, Catherine Lacey, Eric Maxon, Randle Ayrton. Designed 
by Aubrey Hammond. Unused copy, done in pencil: much stage 
business, maps. (See no. 42.) 

41. Tallulah Bankhead New York, Mansfield November 10, 1937 
New York Public Library: *NCP.49xl68 



ANTONY AND CLEOPATRA 41 

[Typescript, 8i/ 8 x 10%; green cloth boards; title gilt up spine.] 
Cast includes Conway Tearle, Tallulah Bankhead, Conrad Emery, 
Thomas Chalmers. Designed by Jo Mielziner. Directed by Regi- 
nald Bach. Unmarked copy of the acting version by William 
Strunk, which is much altered and partly converted to prose. 
(See no. 31.) 

42. Robert Atkins Stratford-upon-Avon April 23, 1945 
Shakespeare Centre Library: 71.21/1945A 

[Temple edition pasted in a workbook, 7x9; purple cloth boards 
and half black leather.] 

Cast includes Antony Eustrel, Claire Luce, David Read, Tristan 
Rawson. Designed by J. Gower Parks. Cuts, calls, much stage busi- 
ness, maps, cues for music. A small red callbook is enclosed. Orig- 
inally used in B. Iden Payne's production in 1935 (see no. 40); 
was erased and reused. 

43. Glen Byam Shaw Stratford-upon-Avon April 28, 1953 
Shakespeare Centre Library: O.S.71.21/1953A 

[New Temple edition pasted in a workbook, 8 x 13; red cloth 
boards.] 

Cast includes Michael Redgrave, Peggy Ashcroft, Marius Goring, 
Harry Andrews. Designed by Motley. Cuts, calls, much stage busi- 
ness, maps, cues for effects. 

44. [Shaw] London, Prince's, and Continental Tour Oct. 31, 1953 
Shakespeare Centre Library: O.S.71.21/1953-54 

[New Temple edition pasted in a workbook, 8 x 13; red cloth 

boards.] 

Same production as at Stratford-upon-Avon but as taken on tour. 

Cuts and cues. Stage business entered very sparsely. Light plot 

and curtain call routine. 

45. [Shaw] 

Shakespeare Centre Library: O.S.71.21/1953-54 
[New Temple edition pasted in a workbook, 6y 2 x 8; blue ring 
binder.] 

Another promptbook for the Stratford production on tour, show- 
ing cuts and cues only. Recorded music plot of 49 cues. 

46. Robert Helpmann London, Old Vic March 5, 1957 
Old Vic, Publicity Department 



42 ANTONY AND CLEOPATRA 

[New Temple edition pasted in a workbook, 8 x lOi/^; black ring 
binder.] 

Cast includes Keith Michell, Margaret Whiting, Leon Gluckman, 
Derek Godfrey. Designed by Loudon Sainthill. Much stage busi- 
ness (roughly entered), maps, cues for effects. Many production 
papers, for lights, properties, flies, timings, etc. 

47. Jack Landau Stratford, Connecticut July 31, 1960 

Festival Theatre, Production Department 

[Two books. Mimeograph, 8i/£ x 11; interleaves; blue cloth board 
ring binders.] 

Cast includes Robert Ryan, Katharine Hepburn, John Ragin, 
Donald Davis. Designed by Rouben Ter-Arutunian. The first 
book has copious stage business typed on interleaves, cues for 
effects typed on text sheets; production papers include under- 
studies, properties, costumes, wigs, fly and trap cues, curtain calls. 
The second book, called "Stage Management," is also fully de- 
veloped, and includes music score. 



As You Like It 

1. Anonymous Douai 1695 
Bibliotheque de Douai: MS.7.87 

[Manuscript, folios 32-65 of a volume, 63^ x 8^; parchment.] 
Manuscript version used for amateur staging at Douai. Cuts and 
alterations, some stage business. Dated March 9, 1695. (See 
G. Blakemore Evans, Philological Quarterly, XLI, 158-172.) 

2. Charles Macklin London, Drury Lane October 15, 1741 
Folger: S.a.25 

[Manuscript, 57/ 8 x 7i/£; red and yellow marbled boards and half 

red leather gilt; title gilt up spine.] 

Macklin's partbook for Touchstone. Few annotations. 

3. Anonymous England 1700's 
Shakespeare Centre Library: 50.03(1734) 

[Tonson edition, 1734, 3^4 x 67/g; green cloth boards and green 
leather spine; title gilt up spine.] 

Promptbook perhaps for amateur production. Checked for Or- 
lando. Cuts and a few rough notes. The name of Roben Walker is 
inked on the title page and the names Neals, Ross, Barnett on 
the page of Persons Represented. 

4. Anonymous London, Covent Garden c.1780 
New York Public Library: *NCP.709468 

[Bell edition, 1773, 4i/£ x 7y 8 ] brown cloth boards; title gilt up 

spine.] 

Promptbook marked in ink in a neat round hand, with penciled 

corrections. Scenic indications (including "Carver's Gar."), grooves, 

little stage business, properties, cues for effects. Rosalind is to 

sing the Cuckoo Song, but provisional note assigns it to Celia. 

(Compare AW, 1; MV, 3; R&J, 4; TEM, 2.) 

5. Anonymous 

Harvard Theatre Collection: (Widener, 13484.11.10) 
[J. Barker edition, 1794, 4i/£ x 7\4', brown marbled boards and 
brown cloth spine.] 

Promptbook probably of the eighteenth century. Cuts, restora- 
tions, some stage business, a map. 

6. Anonymous Aberdeen January, 1806 
New York Public Library: *NCP.342936 

[Edition printed for Rivington, 1775, 4 x 6%; interleaves; leaves 



44 AS YOU LIKE IT 

and interleaves tipped to stubs to make a book 5 x 67/ 8 ; black 
cloth boards; title gilt on spine.] 

Sparsely but systematically marked book. Many cuts, calls, cues 
for effects. 

7. John Philip Kemble London, Covent Garden March 19, 1811 
Smallhythe 

[Kemble edition, 1810, 5 x Si/ 8 ; interleaves; brown leather; title 
gilt up red leather spine label.] 

Identified on flyleaf as Kemble's "authentic" copy, and marked 
in Kemble's hand. Cuts, properties, little stage business, cues for 
effects. Belonged to Ellen Terry. 

8. [Kemble] 
Folger: T.a.39 

[Manuscript, 7 x S7/ g ; brown leather gilt; title gilt up spine.] 
Kemble's 12-page partbook for Jaques, in his own hand, 200 lines. 
Dated Drury Lane, February 14, 1799, and Covent Garden, Octo- 
ber 25, 1805, but probably written much later. 

9. Charles Kemble London, Covent Garden December 10, 1824 
Garrick Club 

[Kemble edition, 1810, 5i4 x 814; interleaves; blue cloth boards 
and brown leather spine; title gilt up spine.] 
Promptbook originally marked with calls and some stage business; 
later much cut in pencil and augmented with songs and musical 
effects to become Frederic Reynolds' operatic version. 

10. William Charles Macready 

London, Covent Garden January 11, 1820 

Shakespeare Centre Library: 50.03(1815) 

[Kemble edition, 1815, 4i/£ x 67/ s ; no binding but wrapped in 

cardboard with typewritten titles.] 

Promptbook signed "Wm M'Cready." Probably the book of the 

younger Macready, though not in his hand. Cuts, calls, cues for 

effects. Later belonged to Frederick Haywel. (See nos. 17-24.) 

11. Anonymous America 1820's 
Harvard Theatre Collection: (Widener, 13484.11.20) 

[Two books bound together. Oxberry edition, Boston, 1822, 33^ x 
614; first copy interleaved; red cloth boards; title on spine.] 
First copy is a neatly written promptbook with cuts, calls, some 



AS YOU LIKE IT 45 

stage business, maps and sketches, cues for effects. Second copy 
very lightly marked. 

12. John Sefton New York 1830's 
Folger: AYL, 17 

[Inchbald edition, 4i/g x 6]/ 2 ; brown marbled boards and brown 

leather spine, broken.] 

Promptbook lightly marked. Cuts, some calls, some cues for 

effects. 

13. Anonymous Sheffield and Doncaster November, 1831 
New York Public Library: *NCP.164456 

[Cumberland edition, 3i/ 2 x ^ 3 A> black cloth boards; title gilt up 
spine.] 

Promptbook neatly written in a flowing hand. Cuts, grooves, 
sparse stage business, cues for effects. Contains playbills of the 
Cushmans in Birmingham in 1847, and Henry Farren at the How- 
ard in Boston in 1856. Probably brought to America by Henry 
Farren. 

14. Anonymous London, Drury Lane October 18, 1837 
London Museum: Sp.822.33 

[Kemble edition, 1815, 4s/ 8 x 7s/ 8 ; tan paper; title inked on cover.] 
A Drury Lane promptbook in several hands. The list of written 
papers and various other notations in the first act are in a neat 
hand. Certain timing notes and references to Miss Chorley in 
1837 appear to be by the prompter, John Willmott. Cuts and 
restorations, notes on songs, calls, some stage business, warnings 
for costume change (including Mr. Wallack's). Probably in use 
long before 1837. 

15. Helen Faucit London, Covent Garden April 18, 1839 
Folger: AYL, 40 

[Kemble edition, 4i/£ x 7i^; brown paper, much worn; title and 
Miss Faucit's name inked on cover.] 

Rehearsal copy checked for Rosalind. Cuts, many light pencilings. 
Notes of cuts and restorations suggest she used this book during 
Macready's Drury Lane production of 1842 (see nos. 17-24). 

16. Charles Kean England- America 1840's 
Folger: W.a.10 

[Notebook, 4^£ x 734, sheets watermarked 1837; brown marbled 



46 AS YOU LIKE IT 

boards and half brown leather; "Theatrical Costumes" inked on 
spine label.] 

Kean's touring wardrobe list for Jaques is the fifteenth of 16 such 
lists in this book. (See nos. 21, 31.) 

17. William Charles Macready London, Drury Lane Oct. 1, 1842 
University of Illinois: x792.9/Shl5as/no.l 

[Pages 103-207 from a volume of Works, 4i/£ x 7; interleaves water- 
marked 1842; brown marbled boards and half brown leather; title 
gilt on black spine label.] 

Macready's preparation copy marked in his own hand, signed and 
dated September 8, 1842, in the front cover. Cuts and alterations, 
copious stage business, scenic arrangements, entered in ink and 
augmented in pencil. (See no. 10.) 

18. [Macready] 
Folger: AYL, 3 

[Pages 5 to 96 from volume IV of a Works, 5i/g x S]/ 8 ; interleaves, 
5 1/2 x 8; white cardboard, grayed and broken; title inked on front.] 
"Original promptbook" of Macready's 1842 production. Profes- 
sional transcription of all the matter in Macready's preparation 
copy. Much additional matter penciled by John Willmott, the 
prompter: cuts, calls, stage business, maps and sketches, list of 
74 actors for the wrestling scene, cues for sound and curtains, 
timings. A few additions by George Ellis, the assistant prompter. 

19. [Macready] 
University of Illinois 
[Watercolors, 4i/£ x 6%.] 

Eight costume designs for Macready's 1842 production, by Charles 
Hamilton Smith. (See Charles H. Shattuck, Mr. Macready Pro- 
duces "As You Like It.") 

20. [Macready] 
Folger: AYL, 4 

[Pages 103-204 from volume III of a Works, 5i/£ x li/ 2 ; inter- 
leaves, 4% x 8; white cardboard and cloth spine, contents not 
sewn in; title written on cover.] 

A transcription of Macready's perfected 1842 book, done in pen- 
cil by George Ellis. Contains a 12-page callbook, 3x8, water- 
marked 1842, written by Ellis and corrected by Willmott; also a 
slip embossed "Windsor Castle" describing scenery for I, 2. 



AS YOU LIKE IT 47 

21. [Macready] 
Folger: AYL, 9 

[Pages 102-205 from volume III of a Works, 5% x 83^; inter- 
leaves watermarked 1844, 7i/ 2 x 9i/£; red, tan, and blue marbled 
boards and half red leather gilt; title and "C.K." gilt on spine, 
"Prompt Copy/Mr. Charles Kean" gilt on black leather cover 
label.] 

Excellent transcription of Macready 's 1842 book made by George 
Ellis for Charles Kean, dated 1850, used for Windsor Castle pro- 
duction on January 31, 1851. (See nos. 16, 31.) 

22. [Macready] 

University of Illinois: x792.9/Shl5as/no.2 

[Pages 1-105 from volume III of a Works, 5^ x Si/ 8 ; interleaves 
watermarked 1848, 1852, 7^4 x 9^4; blue marbled boards and 
half maroon leather; title gilt on black cover label and spine.] 
Transcription of Macready's 1842 book made by George Ellis for 
Hermann Vezin in the 1850's. Additional alterations and mark- 
ings by Vezin or others. (See selective facsimile in Charles H. 
Shattuck, Mr. Macready Produces "As You Like It.") 

23. [Macready] 
Folger: AYL, 5 

[Modern Standard Drama, 1848, 4i/£ x 7s/ 8 ; interleaves, 5x8; tan 
paper; title written on cover.] 

John Moore's transcription made on an acting edition from one 
of Ellis' copies of Macready's 1842 book, with restorations entered 
by hand. Contains cast lists from Manchester, 1844, and the New 
York Theatre, 1868. 

24. [Macready] 

New York Public Library: *NCP.285348 

[French's Standard Drama, 4i4 x 7y 2 ; interleaves, 5x8; gray 
paper under green cloth boards; title gilt on spine.] 
Another of John Moore's transcriptions made on an acting edi- 
tion, his markings derived from the Macready production, with 
additional jottings by George Becks, to whom it later belonged. 
Restorations and most of the stage business verbatim from Mac- 
ready; alterations of scenic arrangements and text. (See nos. 37-38, 
58-62.) 



48 AS YOU LIKE IT 

25. Edward Loomis Davenport London, Olympic 1847 
Princeton University, Seymour Collection: AYL, 2 
[Cumberland edition, 1827, 33/£ x 6; interleaves; paper wrapper.] 
Promptbook dated 1840, and said on the cover to have been used 
in London in 1847. It later belonged to May Davenport, and is 
checked for Celia. Heavy cuts, a few scenic indications, calls, some 
music cues. 

26. Samuel Phelps London, Sadler's Wells November 29, 1847 
Folger: AYL, 18 

[Pages 103-205 from volume III of a Works, 5 x 83^; interleaves, 
4^£ x 7*4; gray cardboard, broken and very soiled; title and dates 
(1848 to 1858) inked on cover.] 

Phelps's promptbook for a decade, marked by Phelps and Wil- 
liams, the prompter. Cuts vary from year to year. Few scenic indi- 
cations, some grooves, calls, stage business, maps and sketches, 
cues for effects, timings, a penciled cast. 

27. [Phelps] 
Folger: AYL, 19 

[Pages 191-284 from volume III of Knight's Cabinet Edition, Si/ 2 x 
51/4; interleaves, 4 14 x 7; yellow and blue marbled boards and 
half brown leather, broken; title gilt on spine.] 
Good transcription of Phelps's book, much used at Sadler's Wells, 
the directions in brown ink in a small neat hand, the cuts and 
alterations in bright blue ink. 

28. Henry Marsh Clifford England 
Folger: AYL, 34 

[Kemble edition, 1810, 5 x 814; interleaves; dark green cloth 
boards and half black leather; Clifford's name gilt up spine.] 
Promptbook originally marked for calls and cues on an unrestored 
text; later augmented with stage business, sketches, etc., appar- 
ently derived from Phelps's book. The name of Jenny Marston 
is on the title page; Clifford's name, as of Brighton, is on the back 

fly- 

29. Henry Betty England 
Folger: AYL, 43, 44 

[Two books. Pages 191-284 from volume III of Knight's Cabinet 
Edition, 1847-48, Sz/ 8 x 5i/ 8 ; interleaves; gray boards and green 
cloth spine.] 



AS YOU LIKE IT 49 

Two carefully marked promptbooks, using red ink for scenic indi- 
cations, grooves, calls, and cues; brown ink for stage business. 
Directions partly derived from Macready and Phelps. 

30. W. E. Burton New York, Burton's 1848 
Folger: AYL, 24 

[Modern Standard Drama, 4i/£ x 7i/ 2 ; brown paper and purple 
spine; title and date on cover.] 

Rough promptbook of Burton's Theatre. Cuts, calls, cues for some 
effects. 

31. Charles Kean London, Princess's February 1, 1851 
Folger: AYL, 10 

[Pages 5-96 from volume IV of a Works, 47/ 8 x 7^£; interleaves 
watermarked 1858, 63^ x 8i^; tan cloth boards and half brown 
leather; title gilt on spine, "Mr. Charles Kean/Prompt Copy" 
gilt on black leather cover label.] 

Final or souvenir promptbook made about 1859 by T. W. Ed- 
monds, the prompter. Cuts, alterations, grooves, some stage busi- 
ness, maps, cues, timings. (See nos. 16, 21.) 

32. John A. Ellsler Philadelphia 1850's 
Folger: AYL, 14 

[Oxberry edition, Boston, 1822, 33/g x 5i/ 2 ; tan and red marbled 
boards and half brown leather, loose and patched.] 
Promptbook checked for Jaques, with rough cuts and calls in a 
neat hand. "Ellsler" is penciled on front flyleaf. Bookplate of Wil- 
liam Murray, Philadelphia Theatre. 

33. Robert Jones Boston, Howard Athenaeum 1852 
New York Public Library: *NCP.342942 

[Modern Standard Drama, 1848, 4 14 x 7y 2 ; gray interleaves, 
5^4 x 7V1>; blue cloth boards.] 

Carefully marked but little used promptbook made by the How- 
ard Athenaeum stage manager. Scenic indications, grooves, calls, 
much stage business, maps and sketches, cues for scene changes 
and curtains, timings. 

34. John B. Wright Boston c.1854 
New York Public Library: *NCP.342988 

[Modern Standard Drama, 1848, 4i/ 2 x 7i/ 2 ; gray interleaves; card- 



50 AS YOU LIKE IT 

board under black and green marbled boards and black cloth 
spine.] 

A roughly marked but useful promptbook, with scenic indica- 
tions, grooves, calls, much stage business, maps. (See Melinda 
Jones's book, no. 44.) 

35. Thomas Barry Boston, Boston Theatre 1854 
Harvard Theatre Collection: uncatalogued 

[Two books: Cumberland edition, 33/£ x 6; interleaves, 5 x 7%; 
gray boards and brown leather spine; title and "6" inked on cover 
label.] 

Two promptbooks probably made by Charles Melville, an English 
prompter, whose collection was brought to Boston by Thomas 
Barry in 1854. The fuller of the two was originally marked in 
brown ink, later augmented in pencil. Contains at the front a 
chart of scenes, wings, grooves, and lights. Cuts, calls, some stage 
business, cues for effects. 

36. James William Wallack London, Marylebone October, 1854 
New York Public Library: *NCP.342961 

[Pages 191-284 from volume III of Knight's Cabinet Edition, 1847- 
48, 3i/£ x 5y s ; gray interleaves, 4 x 6i/g; black cloth boards; title 
gilt on spine.] 

Very carefully developed promptbook, which appears to derive 
from Phelps's book. Scenic indications, grooves, calls, much stage 
business, maps and sketches, cues for effects. This is apparently 
the book of the younger J. W. Wallack; later belonged to George 
Becks. 

37. John Moore New York 1855-76 
Folger: AYL, 23 

[Modern Standard Drama, 1848, 4i/£ x 7]/ 2 ; blue interleaves; 
crude cover pasted with programs.] 

A vast collection of information made by Moore during decades 
of acting and stage-managing the play. Programs and reviews of 
many productions (mainly New York) from 1855 to 1876. The 
text is cut in red as played by Charlotte Cushman at Burton's in 
1857. The Rosalind business derives variously from Helen Faucit, 
Ellen Kean, Louisa Nisbett, Charlotte Cushman, Avonia Jones, 
Mrs. Scott-Siddons. Elaborate scenic indications, a properties list, 
much detailed stage business, maps and sketches, cues for effects 



AS YOU LIKE IT 51 

— generally relevant to Daly's production of 1876. (See nos. 23- 
24, 58-62.) 

38. [Moore] New York 
Folger: T.b.2 

[Notebook, 6i/ 8 x 10 \/±\ blue boards and black cloth spine.] 
Cues for the band for 48 plays, including As You Like It. 

39. Kate Reignolds Boston 1860's 
Harvard Theatre Collection: uncatalogued 

[French's Standard Drama, 45/ 8 x 7i^; in an envelope.] 
Lightly marked promptbook checked for Celia, with some stage 
business and cues for effects. In the same envelope are 2 copies 
of the French edition printed for the Langtry tour of 1882-83, 
with some penciled cuts. (See no. 52.) 

40. F. Harrington Chicago, McVicker's 1860 
University of Pennsylvania, Furness Collection: C59.Shlas.1848 
[Modern Standard Drama, 1848; interleaves, 5 x 7^; green mar- 
bled boards and half black leather.] 

Carefully marked promptbook, nearly identical with Robert 
Jones's book of the Howard Athenaeum (see no. 33). Scenic indica- 
tions, grooves, calls, stage business, maps and sketches, cues for 
effects, timings. At I, 3, "No change for Miss Cushman." 

41. Frederick Haywel England 
Shakespeare Centre Library: O.S.P.50.03(1829) 

[Cumberland edition, 1829, 3v/ 2 x ^ ! /2' neav y tan paper; title 
inked on cover.] 

Rehearsal copy checked for Orlando, Jaques, and Duke. "With 
Shakespearian Restorations by F. Haywell" (stage name of Fred- 
erick Hawley). 

42. John Baldwin Buckstone London, Haymarket Sept. 2, 1867 
Harvard Theatre Collection: *6 1.2355 

[Lacy edition, 4x7; interleaves; limp blue cloth boards; title 

gilt on cover; in box of gray cloth boards and red leather spine; 

title gilt up spine.] 

Promptbook neatly marked in black and red for the Haymarket, 

and with penciled additions for later use at Manchester. Cuts, 

calls, very little stage business, maps, cues for effects, timing 

(2:30). 



52 AS YOU LIKE IT 

43. Charles Dornton Birmingham 1870's 
Birmingham, Shakespeare Memorial Library: C53/455744 
[French issue of Lacy edition, 4 14 x 7 14 ; publisher's wrappers; 
bound with other Shakespeare plays in green cloth boards.] 
Promptbook. Cuts and alterations, cues for effects. "Reed from 
Mr. Potter in lieu of one I lent, Sept. 19th, 1876." 

44. Fanny Davenport 

New York, Fifth Avenue May 24, Nov. 18, 1876 
Princeton University, Seymour Collection: AYL, 3 
[Oxberry edition, 1822, 4 x 6%; interleaves partly of stationery 
of Daly's Theatre; binding and last pages lost.] 
Originally the book of Melinda Jones, Boston, 1853, but marked 
"Fanny Davenport's P. B k . arranged by Augustin Daly." Checked 
for Rosalind. The original markings for Mrs. Jones are full and 
careful, including scenic indications, stage business, etc., closely 
resembling J. B. Wright's book (see no. 34). Daly has restored cer- 
tain passages by pasting them onto the interleaves made from 
stationery of the Fifth Avenue Theatre. Belonged to William 
Seymour. (See no. 57.) 

45. [Davenport] 

Harvard Theatre Collection: (Widener, 13484.12.10) 

[Three books. Cumberland edition, 4 x 6^; green publisher's 

wrappers under green cloth boards; title gilt on spine.] 

Three rehearsal copies, "Property of Miss Davenport," for Phebe, 

Oliver (Lackaye), Banished Duke (Sutherland). Cuts, some stage 

business. 

46. William Seymour Boston, Boston Museum c.1880 
Princeton University, Seymour Collection: AYL, 4 
[Oxberry edition, Boston, 1822, 33/£ x 614; publisher's wrappers 
under limp cloth; "Boston Museum" inked on cover.] 
Roughly marked but much used promptbook, probably of early 
nineteenth-century origin, with cuts, scenic indications, grooves, 
some stage business, cues for effects. 

47. [Seymour] 

Princeton University, Seymour Collection: AYL, 6 

[French issue of Cumberland-Duncombe edition, 4 x 614; blue 

wrappers.] 

Preparation copy. Early scenes carefully marked for cuts, scenic 



AS YOU LIKE IT 53 

indications, grooves, maps. The markings dwindle into pencilings 
and are probably not finished. A review of Julia Marlowe in 
Springfield, 1908. 

48. [Seymour] 

Princeton University, Seymour Collection: AYL, 8 

[French's Standard Drama, 4i/ 2 x ^V%> coar se cloth; title and "Bos- 
ton Museum 1859" inked on cover.] 

Crude promptbook, with property list, cues for effects. 

49. Marie Litton London, Imperial February 25, 1880 
Folger: AYL, 2 

[Litton edition, 53/§ x 814 ; gray publisher's wrappers.] 

Marked copy of Miss Litton's acting version. Some penciled stage 

business. 

50. Lester Wallack New York, Wallack's September 30, 1880 
New York Public Library: *NCP.342956 

[French's Standard Drama pasted in a workbook of brown paper, 
5 1/2 x % l A'> in blue cloth board case; title gilt on spine.] 
Rough but working promptbook, with cuts and restorations, calls, 
some stage business, maps, cues for effects. A penciled cast in- 
cludes the English actors Wallack imported for the occasion: 
Tearle, Pitt, Elton. 

51. May Davenport New York, Fifth Avenue January 3, 1882 
Princeton University, Seymour Collection: AYL, 12 
[French's Standard Drama, 4i/£ x ls/ 8 ; publisher's wrappers.] 
Rehearsal copy checked for Celia and Oliver. Cuts and some cues 
and business. May Davenport was supporting Fanny Davenport's 
Rosalind in 1881-82. 

52. Lily Langtry New York, Wallack's November 13, 1882 
University of Michigan: PR.2803.A22.A12 

[French edition "as played by Mrs. Langtry," 5y 8 x 9; tan pub- 
lisher's wrapper with her photograph pasted on.] 
Spectator's copy. Many notes of stage business, maps, cues for ef- 
fects, and critical notes. 

53. James L. Carhart 

Harvard Theatre Collection: (Widener, 13484.13.10) 

[Two books. French edition "as played by Mrs. Langtry," 5s/ 8 x 



54 AS YOU LIKE IT 

9i/£; publisher's wrappers with two different photographs of 
Langtry pasted on, under maroon cloth boards; title gilt up 
spine.] 

Rehearsal copies, the second checked for Adam and Duke. Cuts, 
some penciled stage business. 

54. Helena Modjeska New York, Booth's December 11, 1882 
Folger: AYL, 15 

[French's Standard Drama pasted in a workbook, 6]/ 2 x 7i/£; 
brown cloth boards and half brown leather; title on cover and 
spine.] 

Carefully made, much used promptbook. Systematic scenic indi- 
cations, stage business, cues for effects in red ink. At the back a 
printed scene plot with grooves, and plots for properties, gas, 
calcium, curtains, supers, ballet. Contains a letter from "Eliza- 
beth" to "Rob" telling how she obtained it from Count Bozenta, 
who said, "It is the copy Madam always used." 

55. [Modjeska] 
Folger: AYL, 25 

[Modjeska edition, 1883, 4s/ 8 x 7i/ 2 ; brown and red publisher's 

wrappers.] 

Rehearsal copy. Many pencilings in unidentified hand of stage 

business, maps, some cues for effects. 

56. George Becks America 

New York Public Library: *NCP.342946 

[Lacy edition, 4 x 6^; interleaves; black cloth boards; title gilt 
on spine.] 

Much used promptbook. Some scenic indications, calls, much 
stage business, maps, cues for effects. Some notes on Modjeska's 
and Marie Litton's productions. At the front notes on critical in- 
terpretations. 

57. Fanny Davenport America c.1885 
Harvard Theatre Collection: TS.3059.500 

[French's Standard Drama pasted in a workbook, 6l/ 8 x 814 ; 
green marbled boards and red leather spine.] 
Carefully developed promptbook. Cuts and restorations, scenic 
indications given in some detail, stage business especially elab- 
orate for tableaux, maps, cues for effects. A note by A. C. Sprague 
dates the book after January 1, 1885. (See no. 44.) 



AS YOU LIKE IT 55 

58. Augustin Daly New York, Daly's December 17, 1889 
Folger: AYL, 16 

[Daly edition, 1890, 5s/ 4 x 9i4; interleaves, 4^ x 7^; buff paper 
pasted with printed matter about the play.] 

Printed stage directions largely derived from promptbooks of 
John Moore (see nos. 23-24, 37-38, 59-62). This copy, signed by 
Fred Sherman, is heavily annotated by Moore. Much additional 
stage business and notes on special arrangements in Daly's pro- 
duction. 

59. [Daly] 

New York Public Library: *NCP.686456 

[Proof sheets of Daly edition, 1890, 5^£ x 9|4» pasted back to back; 

interleaves; stiffened linen covered with programs, under red 

cloth boards and half red leather; title gilt on spine, "Augustin 

Daly" gilt on red leather cover label.] 

The working promptbook of the 1889 production. Most of the 

stage directions are printed, but there are many additions, some 

by Moore (brown ink), some by another hand (red ink). These 

include stage business, scene change by sink, fly, and moving 

panorama, detailed cues for effects. 

60. [Daly] 

Folger: Prints and Engravings 

[Daly edition, 1890, mounted in albums (2 volumes), 123/g x 1634; 
maroon marbled boards and half brown leather gilt; title gilt on 
spines.] 

Souvenir album in 2 volumes. The first volume contains many 
old prints of actors, some eighteenth-century playbills, many 
prints of scenes from the play, 19 watercolor costume designs for 
Daly's production, 52 photographs of actors, and 4 photographs 
of scenes from Daly's production. The second volume contains an 
Introduction to the play by Edward Dowden, a facsimile of the 
1632 Folio text, Stothard's illustrations of the "Seven Ages of 
Man," etc., many portraits of actors of Rosalind and Touchstone, 
pictorial records of Daly's 1876 production with Fanny Daven- 
port, of the Litton, Langtry, Anderson, and other recent produc- 
tions, a silk bill for Daly's fiftieth performance, reviews, 13 pho- 
tographs of Daly's actors, etc. 

61. [Daly] 

New York Public Library: 8*T*NCP+ 



56 AS YOU LIKE IT 

[Daly edition, 1890, mounted in large album, 12i4 x 16%; red 
and blue marbled boards and half blue leather.] 
Ada Rehan's souvenir album given her by Daly in 1890, con- 
taining many photographs of characters and scenes, reviews, a 
silk program, old engravings, playbills, etc. 

62. [Daly] 

Harvard Theatre Collection: (Widener, 13484.12) 
[Three books. French's Standard Drama, 4i/ 2 x 7\^.] 
Rehearsal copies of James Lewis, checked for Touchstone, with 
bits of stage business; Orlando; Aunt Louisa Eldridge, checked 
for Audrey. 

63. Hallam Bosworth 

New York Public Library: *NCP.52x296 

[American Academy of Dramatic Arts edition, no. 7, 1903, 5i/2 x 8; 
interleaves, 614 x 814; black cloth boards; title gilt up spine.] 
Promptbook done in pencil by Hallam Bosworth, the annotations 
largely from Daly's production. At the front plots of scenes (with 
maps), properties, lights, doubles and supers. Scenic indications, 
vocabulary notes, copious stage business, maps, cues for effects. 

64. Julia Marlowe New York, Fifth Avenue January 27, 1889 
Museum of the City of New York: 43.430.623 

[Rolfe edition, 1878, pasted in a workbook, 5% x 814; brown limp 

leather.] 

Early preparation copy, partly cut and marked for stresses. A 

few scenic notes at front. This and the two following books are 

probably for the 1889 production. (See nos. 83-91.) 

65. [Marlowe] 

Museum of the City of New York: 43.430.624 

[Pages of Rolfe edition tipped between leaves of a workbook, 

6 x &s/ 8 ; black cloth boards.] 

More fully developed preparation copy. Cuts on full text, much 

stage business. 

66. [Marlowe] 

Museum of the City of New York: 43.430.625 
[Rolfe edition pasted in a workbook, 7% x 10%; blue cloth 
boards and half blue leather gilt; title printed on cover label.] 
Fully developed promptbook, frequently verbatim from preced- 



AS YOU LIKE IT 57 

ing book. Cuts, scenic indications, groundplans, much stage busi- 
ness, maps, cues for effects. At the front a cast and plots of proper- 
ties, arms, scenes. 

67. Anonymous America 1890's 
Folger: AYL, 20 

[French's Standard Drama, 4i/£ x ly^; interleaves, 6s/ 8 x 8; black 
and white mottled boards and red leather spine, pictorial end- 
papers of a bookstore.] 

Very carefully developed promptbook of late nineteenth-century 
American provenience. Scenic prescriptions with maps given in 
detail. Stage business often very full — and naive in effect. At the 
end of Act IV, "Marlowe falls on stage in a faint." Does not ap- 
pear to have been used. 

68. Albert Taverner Toronto 1890's 
Toronto Public Library: 822.33/S.13 

[French's Standard Drama, 4y 8 x 7y 8 ; interleaves.] 
Rehearsal copy checked for several characters. Cuts, calls, scat- 
tered notes on stage business and acting manner. 

69. Eleanor Barry San Francisco January 28, 1893 
Folger: AYL, 36 

[French's Standard Drama pasted in a workbook, 6^ x 814 ; red 
limp imitation leather; title on cover label.] 
Carefully made promptbook, similar to Modjeska's (see no. 54). 
Scenic indications with maps and sketches, stage business in con- 
siderable detail, cues for effects. 

70. Robert B. Mantell Asbury Park 1895 
Folger: AYL, 6 

[French's Standard Drama, 41/4 x 1\/ A ; interleaves; blue limp 
leather; title gilt on cover.] 

Crude but much used promptbook with cuts, abbreviated nota- 
tions of "Bus.," and irregular cues for effects. 

71. Blanche Bates America c.1898 
Museum of the City of New York: 43.98.188 

[Pages of Rolfe edition, 1902(?), Ai/ 2 x 6y 8 , tipped between leaves 
of a workbook, 7 14 x §y 8 ; brown leather; title gilt on cover.] 
Very carefully developed book. Scenic descriptions given in detail 
with grooves and maps, much stage business, cues for effects. In- 



58 AS YOU LIKE IT 

eluded are scores for the songs and an elaborate account of the 
wrestling scene. 

72. Julia Arthur New York, Wallack's November 28, 1898 
Folger: AYL, 7 

[French edition pasted in a workbook, 8 x I0y 2 ; gray cardboard.] 
Very full promptbook. The text much cut and altered. Stage busi- 
ness given in great detail, especially for pantomimic passages that 
end each act. Cues for effects, timings. At the front are plots of 
supers, properties, scenes and lines, electrics. Contains two pro- 
grams for Miss Arthur, one for Mrs. Rousby, one for Adelaide 
Neilson, and a photograph of Dorothea Baird as Audrey. 

73. William Redmond New York c.1900 
Harvard Theatre Collection: uncatalogued 

[French's Standard Drama, 4i/£ x 1i/ 2 ; interleaves.] 
Copiously marked in red ink for production by the Murray Hill 
Stock Company "where father played." Cuts and restorations, 
scenic indications, copious stage business, maps, cues for effects. 
Redmond was a stage director for Augustin Daly. 

74. Viola Allen America c.1900 
Harvard Theatre Collection: uncatalogued 

[Popular Education Library edition pasted in a workbook, 77/ 8 x 
10i/£; red flexible leather; title on cover label.] 
Memorial of the actors' business as reconstructed by Frank An- 
drews, Miss Allen's stage manager, and given to Harvard in 1944. 
Cuts and restorations, copious stage business through three acts 
and part of the fourth — thereafter sparse. The writing is vivid 
though ill-spelled. 

75. Henrietta Crosman New York, Republic February 27, 1901 
Folger: AYL, 38 

[Shakespeare text pasted in a workbook, 7]/ 2 x 95^; black cloth 
boards and half red leather.] 

Very fully developed book. The text much cut and rearranged. 
Scenic indications with maps, cues for effects. The stage business, 
given in great detail, is partly copied from Julia Arthur (see no. 
72) and partly new. At the front plots of supers, lights. Prompter's 
warning sheets are pasted at head of each act. 



AS YOU LIKE IT 59 

76. F. R. Benson England c.1904 
Shakespeare Centre Library: 72.903BEN(4163) 
[Shakespeare text pasted in a workbook, 6i/4 x 8; black cardboard 
and black cloth spine; title inked on spine label.] 
Promptbook with text much cut and altered. Considerable stage 
business, cues for effects. 

77. [Benson] 

Shakespeare Centre Library: 72.903BEN(4962) 

[Cassell's National Library edition, 1904, pasted in a workbook, 

Tfy x 9s/ 8 ; red cloth boards, much damaged; title inked on spine 

and cover labels.] 

Much used promptbook. Contents similar to preceding book. 

Stage business with maps, cues for effects. A plot for gas and limes. 

78. [Benson] 1904-21 
Shakespeare Centre Library: 72.903BEN(4963) 

[Cassell's National Library edition pasted in a workbook, 8 x lOi^; 
red cloth boards; title inked on spine label.] 
This book, dated 1904, is thought to have been used down to 1921. 
The text somewhat restored, the markings similar to preceding 
books. Contains an actor list and lists of hand props and supers. 

79. Winthrop Ames Boston, Castle Square June 19, 1904 
New York Public Library: *NCP.40737B 

[Mixture of manuscript and typescript, 8 x 13; green cloth boards; 
title gilt on spine.] 

Detailed preparation copy for the Castle Square production. Copi- 
ous stage business and production details, with notes on produc- 
tions of Augustin Daly and George Alexander. Production revived 
February 18, 1907. 

80. [Ames] 

New York Public Library: *NCP.40739B 

[Typescript, 73^ x 12^4; green cloth boards; title gilt on spine.] 
Carbon copy of Ames's production book, dated New York, Feb- 
ruary, 1907. Full record of stage directions, maps, cast, timing, etc. 
Notes on several past productions, quotations from critics, etc. At 
the back are plots of scenes, music, properties, costumes, etc. 

81. [Ames] 

New York Public Library: *NCP 



60 AS YOU LIKE IT 

[Typescript, 7^4 x 6i/£; brown paper covers, bound together in 
green cloth boards; title gilt on spine.] 

Twenty-one partbooks used at Castle Square. Actors' names are 
on the covers. 

82. Priestly Morrison New York 

New York Public Library: 9-*NCPp.v.5.143137 

[French's Standard Drama pasted in a workbook, 7 x W\/±\ bound 

with two books of Romeo and Juliet in black cloth boards; title 

gilt up spine.] 

Promptbook made by Morrison, then of the Actors Society. Cast 

list includes Edna Phillips, Theodore Gamble, George Farren. 

Stage business is typed in purple on slips pasted at tops of sheets, 

and is keyed to text by numerals. At the back good maps and plots 

of scenes, properties, lights. 

83. E. H. Sothern and Julia Marlowe 

London, Waldorf April 27, 1907 

Folger: AYL, 33 

[Pages 512-572 of a Shakespeare text, 4i4 x 6$/ 4 , pasted in a work- 
book, 63^ x 81^; red limp cover.] 

Souvenir record of the Sothern and Marlowe production made 
by Lark Taylor on May 1 and 2, 1907. Cuts on full text. Much 
stage business, maps, cues for effects. (See nos. 64-66.) 

84. [Sothern and Marlowe] 

W. A. Clark Library, Los Angeles 

[Acting edition, 4^ x 7i/ 8 ; interleaves; brown cloth boards; title 
gilt on spine.] 

Souvenir record made by Lark Taylor "with cuts — transpositions 
of scenes." Cast of Ada Rehan in 1900; cast of Sothern and Mar- 
lowe. Cuts, copious stage business, groundplans, cues for effects, 
wrestling routine. 

85. [Sothern and Marlowe] 
Folger: AYL, 22 
[Manuscript, 814 x 11.] 

A 6-page description (of unknown authorship) of Miss Marlowe's 
production, including stage business and a tabulation of her cuts, 
dated February 27, 1908. In same hand as and in folder with de- 
scription of Viola Allen's Cymbeline (see CYM, 30). 



AS YOU LIKE IT 61 

86. Oscar Asche London, His Majesty's October 7, 1907 
Shakespeare Centre Library: 72.903ASC 

[Asche edition, 1907, pasted in a workbook, 6^£ x 8^4; wrapped 
in cardboard; title typed on labels.] 

Promptbook used by Asche and Lily Bray ton in 1907 and also in 
Australia in 1909-10. The calls, done in red and black decorated 
lettering, name several actors. Cuts, much stage business includ- 
ing tableaux to end acts, numerous maps, cues for effects. 

87. E. H. Sothern and Julia Marlowe 

New York, Academy of Music March 21, 1910 

Folger: AYL, 8 

[Typescript, 8 x 103^ ; brown limp leather.] 

The Sothern and Marlowe version compiled and used by Fred- 
erick Kaufman, then general stage manager. Text arranged in 4 
acts, scenic descriptions, much stage business. 

88. [Sothern and Marlowe] 
Folger: AYL, 32 

[Typescript, 8^4 x lli/jj; gray paper.] 
Retyping of preceding book, unused. 

89. [Sothern and Marlowe] 

New York Public Library: *NCP.276555B 
[Typescript, 8$/ 8 x 11; brown cloth boards; title gilt on spine.] 
Unused carbon. Stage directions underlined in red. Perhaps same 
version as preceding book, cropped for binding. 

90. [Sothern and Marlowe] 
The Players: TS.116.A, B 

[Two typescripts, 8 x 10i/^; acts bound separately in blue paper.] 
These two copies appear to have been used for rehearsal. Stage 
directions far from complete. Actors' names penciled in. 

91. [Sothern and Marlowe] 
The Players: TS.116.C 

[Typescript, 8 x 10i/£; brown limp leather.] 

Carbon copy, with stage directions underlined in red; seems to be 
a later version than preceding books. At the front is a page of 
music cues and a Dramatis Personae. Scenic indications with 
maps, stage business, cues for effects. A map in Act II shows names 
of actors. 



62 AS YOU LIKE IT 

92. Maude Adams Berkeley, Greek Theatre J un e 6, 1910 
New York Public Library: *NCP.53x300 

[Typescript, 7i^ x IO1/2; each act cover in gray paper, bound in 
black cardboard and black cloth spine; title gilt up spine.] 
Unused copy. Minimal stage business. Management of Charles 
Frohman. 

93. Margaret Anglin New York, Hudson March 16, 1914 
New York Public Library: 8-*NCP.54x218 

[See TN, 75.] 

At the back of Miss Anglin's copy of Twelfth Night are 7 ground- 
plans for As You Like It. 

94. Henry Jewett Boston January 1, 1915 
Folger: AYL, 11 

[Roycroft edition, 1903, 7% x 10i/£; brown boards and brown 
leather spine; title gilt on spine.] 

Preparation copy, with cuts on full text, much stage business, 
maps of three scenes. 

95. [Jewett] 
Folger: AYL, 12 

[Typescript, 814 x 11; gray cardboard and green cloth spine.] 
Final promptbook. Stage directions typed in red, with penciled 
additions. Plots of properties, music, and 3 pages of timings. Pro- 
grams of 1915 and 1927 enclosed. 

96. Lena Ashwell London 1919-29 
Birmingham, Shakespeare Memorial Library: 370.421198 
[Temple edition pasted in a workbook, 7x9; black cloth boards; 
title gilt up spine.] 

Promptbook of the Lena Ashwell Players. Some stage business, 
maps, cues for effects. Two sheets of costumes. 

[Actor Lists for Following Books Are Given in This Order: Rosa- 
lind, Orlando, Jaques, Touchstone.] 

97. W. Bridges- Adams Stratford-upon-Avon April 19, 1933 
Shakespeare Centre Library: 71.21/1933A 

[Temple edition pasted in a workbook, 7i/£ x 9; purple cloth 
boards and half black leather; title on spine and cover labels.] 
Cast includes Fabia Drake, John Wyse, Stanley Howlett, Laidman 



AS YOU LIKE IT 63 

Browne. Unused copy of promptbook, with cuts, calls, much stage 
business, maps, cues for effects. Program included. A revival of 
the 1932 production. 

98. B. Iden Payne Stratford-upon-Avon April 17, 1935 
Shakespeare Centre Library: 71.21/1935AS 

[New Temple edition pasted in a workbook, 7]/ 8 x 9; purple cloth 
boards and half black leather; title on cover and spine labels.] 
Cast includes Gwynne Whitby, Ernest Hare, Neil Porter, Ray- 
mond Raikes. Designed by Aubrey Hammond. A clean copy, with 
cuts, calls, considerable stage business, maps, sketch of forest 
scene, cues for effects. 

99. Baliol Holloway Stratford-upon-Avon April 4, 1939 
Shakespeare Centre Library: 71.21/1942 

[Eversley text pasted in a workbook, 7^ x 9; purple cloth boards 
and half black leather; title on cover and spine labels.] 
The book was used for at least 3 productions (1939, 1940, 1942), 
and shows many erasures and corrections. The 1942 cast includes 
Margaretta Scott, Lee Fox, Baliol Holloway, Jay Laurier. De- 
signed by Baliol Holloway. Cuts, calls, stage business, maps, cues 
for effects. 

100. Robert Atkins Stratford-upon-Avon April 14, 1944 
Shakespeare Centre Library: 71.21/1944A 

[Penguin edition pasted in a workbook, 65/g x 8%; black cloth 
boards and red leather spine; title on cover and spine labels.] 
Cast includes Helen Cherry, John Byron, George Hayes, Michael 
Martin-Harvey. The book is said to have been used previously by 
Atkins at another theatre. At the front is a view of an Elizabethan 
playhouse by Walter Godfrey. Cuts, calls, stage business, maps, 
cues for effects. 

101. Herbert M. Prentice Stratford-upon-Avon May 31, 1946 
Shakespeare Centre Library: O.S.71.21/1946A 

[Temple edition pasted in a workbook, 6% x 9; purple cloth 
boards and half black leather; title on cover and spine labels.] 
Cast includes Ruth Lodge, Myles Eason, Julian Somers, Hugh 
Griffith. Designed by Joyce Hammond. Cuts, calls, stage business, 
maps, cues for effects. The book was formerly used by B. Iden 
Payne on March 31, 1937, with Joyce Bland, Godfrey Kenton, 



64 AS YOU LIKE IT 

Baliol Holloway, Donald Wolfit. Designed by Barbara Heseltine. 
The old markings are erased. 

102. Glen Byam Shaw Stratford-upon-Avon April 29, 1952 
Shakespeare Centre Library: O.S.71.21/1952A 

[New Temple edition pasted in a workbook, 8 x 13; black card- 
board spring binder; title on spine label.] 

Cast includes Margaret Leighton, Laurence Harvey, Michael 
Hordern, Michael Bates. Designed by Motley. Cuts, very detailed 
stage business, many maps, cues for effects. 

103. [Shaw] New Zealand, Australia 1953 
Shakespeare Centre Library: O.S.71.21/1953A 

[New Temple edition pasted in a workbook, 7% x 12^; red card- 
board and red cloth spine; title on spine label.] 
This book, based on the preceding, was used for touring company. 
Cast includes Barbara Jefford, Keith Michell, Anthony Quayle, 
Leo McKern. Stage business revised and improved, maps more 
carefully executed, cues for effects systematized. Loose produc- 
tion sheets included. 

104. Robert Helpmann London, Old Vic March 1, 1955 
Old Vic, Publicity Department 

[Temple edition pasted in a workbook, 8 x lOi/^; black ring 
binder.] 

Cast includes Virginia McKenna, John Neville, Eric Porter, Paul 
Rogers. Designed by Domenico Gnoli. Cuts, calls, stage business, 
maps, cues for effects. Many production papers, small red call- 
book. 

105. Glen Byam Shaw Stratford-upon-Avon April 2, 1957 
Shakespeare Centre Library: O.S.71.21/1957A 

[New Temple edition pasted in a workbook, 8 x 12^4; red cloth 
board spring binder; title on spine label.] 

Cast includes Peggy Ashcroft, Richard Johnson, Robert Harris, 
Patrick Wymark. Designed by Motley. Cuts, calls, much stage 
business, maps, cues for effects. Extra sheets include plots for re- 
hearsal, properties, wrestling scene, music, and 44 maps. 

106. Peter Wood Stratford, Ontario June 29, 1959 

Festival Theatre, Library 



AS YOU LIKE IT 65 

[Two books. Penguin edition pasted in a workbook, 734 x lS]/ 8 ; 
blue cloth boards bordered in red; title pasted on cover.] 
Cast includes Irene Worth, William Sylvester, William Hutt, 
Douglas Campbell. Designed by Desmond Heeley. The first book 
has much stage business, maps, cues for effects, light plot. The 
second has calls, cues for effects. 

107. Wendy Toye London, Old Vic September 3, 1959 
Old Vic, Publicity Department 

[Temple edition pasted in a workbook, 8 x IO1/2; black ring 

binder.] 

Cast includes Barbara Jefford, John Justin, Donald Houston, 

Alec McCowen. Designed by Malcolm Pride. Cuts, calls, much 

stage business, maps, cues for effects. Many production papers: 

props, groundplans, etc. 

108. Word Baker Stratford, Connecticut J un e 16, 1961 
Festival Theatre, Production Department 

[Two books. Mimeograph, Si/ 2 x 11; red leather ring binders.] 
Cast includes Kim Hunter, Donald Harron, Donald Davis, Hiram 
Sherman. Designed by Robert O'Hearn and Motley. The first 
book, called "Rehearsal," has stage business, maps, cues for effects, 
all roughly penciled; properties list and rough working papers. 
The second, called "Show Copy," has calls and cues for effects 
neatly entered. 

109. Michael Elliott Stratford-upon-Avon July 4, 1961 
Shakespeare Centre Library: O.S.71.21/1961A 

[Cambridge Pocket Shakespeare, 1957, pasted in a workbook, 
8 x 13; red cloth board spring binder; title on spine label.] 
Cast includes Vanessa Redgrave, Ian Bannen, Max Adrian, Colin 
Blakely. Designed by Richard Negri. Cuts on full text, much stage 
business, cues for effects. Production sheets include wrestling rou- 
tine, actor lists, 14 maps. Much of the writing has been erased and 
written over, perhaps when it was moved to the Aldwych in Lon- 
don in 1962. 

110. Other books of As You Like It: 

Brown University: Asa Cushman and Julia Bennett, 1852. 
Connecticut State Library: William Gillette, 1877. 
Folger: AYL, 1, Modjeska; AYL, 21, 28, 31, anonymous; AYL, 
26, Leon John Vincent; AYL, 27, National in Philadelphia, W. E. 



66 AS YOU LIKE IT 

Burton and S. C. Ferrers; AYL, 29, John Moore(?); AYL, 30, Miss 
De Gray; AYL, 35, J. B. Roberts; AYL, 37, A. S. Wright; AYL, 
39, Owen Fawcett; AYL, 41, Annette Ince; AYL, 42, Walter Hub- 
bell; AYL, Folio 1, Adelaide Neilson; PR.2803.A421. cop. 2, Mary > 
Anderson. 

Harvard Theatre Collection: uncatalogued, W. Riddle and 
Frank Andrews. 

Historical and Philosophical Society of Ohio: 812.3/R283/9, Al- 
vin Read. 

Missouri Historical Society: George B. Berrell (apparently a 
well-marked book, reported by W. G. B. Carson, Quarterly Jour- 
nal of Speech, XLIII, 2, but now missing). 

Museum of the City of New York: 32.485.14.C, J. H. Ring, 
1838-76. 

Princeton University, Seymour Collection: AYL, 9, J. B. Booth, 
Jr.; AYL, 10, Melbourne MacDowell; AYL, 11, Lydia Eliza Mor- 
gan; AYL, 18, A. S. Murray; AYL, 19, Chauncey Davis and Albert 
Bradley; AYL, 20, J. H. W. Toohey; AYL, 21, George Browne; 
AYL, 23, Thomas L. Connor. 
University of Minnesota: Z820.12/Z11, volume 12, W. S. Forrest. 



The Comedy of Errors 

1. Joseph Ashbury Dublin, Smock Alley 1670's 
Folger: Com. Err., Smock Alley 

[Pages 85-100 from a Third Folio, 1663, 77/£ x 12i/£; red marbled 
boards and half brown leather; title gilt up spine.] 
Preparation copy. Cuts and alterations, but no stage directions or 
actors' names. 

2. Anonymous London, Hatton Garden Nursery c.1672 
University of Edinburgh 

[Pages 85-100 from a First Folio, 1623, 8 x 123/£; blue marbled 
boards and half green leather; title gilt up spine.] 
Promptbook thoroughly marked and used. Cuts and alterations. 
Songs and dances indicated. Entrance cues are long lines with ver- 
tical slashes. Names of 1 1 actors appear in calls. (Published in fac- 
simile in G. Blakemore Evans, Shakespearean Prompt-Books.) 

3. Anonymous Douai 1694 
Bibliotheque de Douai: MS.7.87 

[Manuscript, folios 66-93 of a volume, 63^ x 85/£; parchment.] 
Manuscript version used for amateur staging at Douai. Few cuts, 
alterations, little stage business. (See G. Blakemore Evans, Philo- 
logical Quarterly, XLI, 158-172.) 

4. John Philip Kemble London, Covent Garden April 17, 1811 
Shakespeare Centre Library: 50.04(1811) 

[Kemble edition, 1811, 5 x 8}4; interleaves; brown leather; title 
gilt on red spine label, "TR/CG/PB/C6" stamped on spine.] 
Promptbook marked in Kemble's hand. Calls, some stage business, 
maps, cues for effects, timings. Names of minor performers are 
penciled. From the library of William Creswick, 1888. 

5. [Kemble] 

British Museum: 11765.C14 

[Kemble edition, 1811, 53/£ x 8i/£; red and brown marbled boards 

and brown leather spine; title gilt up spine.] 

Rehearsal copy marked by Kemble for Jones, who played An- 

tipholus of Syracuse. The markings are confined to Jones's role. 

New manuscript ending is added. 

6. [Kemble] 
Garrick Club 



68 THE COMEDY OF ERRORS 

[Kemble edition, 1811, 5]/ 8 x Sy 8 ; interleaves; blue cloth boards 
and brown leather spine; title gilt up spine.] 
Promptbook marked in Kemble's hand. Some stage business and 
maps in addition to contents of preceding books. 

7. William B. Wood Philadelphia 

New York Public Library: *NCP.P164540 

[Bell edition, 1793, 4s/ 8 x 7y 8 ; black cloth boards; title gilt up 

spine.] 

Promptbook marked "From Covent Garden." Cut to 3 acts. Few 
stage directions. 

8. [Wood] 

New York Public Library: *NCP.342939 

[Reynolds operatic version, 1819, 5 x 8; interleaves; black cloth 
boards; title gilt up spine.] 

Promptbook of the Reynolds operatic version, first done at Cov- 
ent Garden, December 11, 1819. Cuts, few stage directions. 

9. Anonymous London, Drury Lane J une L 1824 
University of Nebraska: 822.33/P3r 

[Reynolds operatic version, 1819, 5 x 8i/ 8 ; interleaves water- 
marked 1822; brown cloth boards; title gilt down spine and 
wrongly identified with Covent Garden.] 

Promptbook of the Reynolds operatic version lightly but sys- 
tematically marked for Drury Lane. Complete cast entered. Cuts 
and additions, some scenic indications, grooves, calls, little stage 
business, cues for effects. 

10. John Gilbert Boston, Tremont Street 1836-46 
Boston Public Library: K.49.10 

[Cumberland edition, c.1829, 33^ x 53^; interleaves; bound with 
8 other plays in marbled boards and maroon leather spine.] 
Promptbook cut to 3 acts, checked for Dromio of Syracuse. Cuts, 
many additions, much stage business, maps, timings. A cast given 
for 1836. 

11. Anonymous Boston, Tremont Street 
Folger: Com. Err., 12 

[Cumberland edition, c.1829, 35/£ x 5]/ 2 '> interleaves; brown paper; 
title inked up spine.] 



THE COMEDY OF ERRORS 69 

Called "Tremont Theatre/Prompt Book." Cut to 3 acts. Calls, 
some stage business, cues for effects. 

12. Noah Ludlow St. Louis 1840's 
University of Pennsylvania, Furness Collection: C59.ShlCo 
[Cumberland edition, c.1829, 3i/£ x 534; green interleaves, $7/ 8 x 
6s/ 8 ; blue cloth boards; title gilt up spine.] 

Promptbook of 3-act version. Scenic indications, grooves, stage 
business occasionally detailed, maps, cues for effects, timings. 
Names of Noah Miller, Anderson, and Smith are also on the book. 

13. John Proctor America 1843 
New York Public Library: *NCP.255324B 

[Cumberland edition, c.1829, 3 14 x 5 14; bound with The Mer- 
chant of Venice (no. 22) in gray marbled boards and half black 
leather; title inked on spine.] 

Promptbook. Cuts, calls, little stage business, cues for effects. Some 
Dromio gags from the 1819 operatic version are interpolated. 

14. Anonymous America 

New York Public Library: *NCVp.v. 14.900677 
[Cumberland edition, c.1829, 3i^ x 534; interleaves slightly larger; 
bound with Henry IV and other plays in black cloth boards; title 
gilt on spine.] 

Promptbook cut to 3 acts, with additions of some non-Shake- 
spearean matter. Calls, and some detailed stage business. 

15. Henry and Thomas Placide 

New York, Niblo's Garden September 23, 1845 

Folger: Com. Err., 7 

[Pages 5-76 from volume IV of a Chalmers-Steevens Works, 
5x8; blue interleaves; brown cardboard; title, etc., inked on 
cover.] 

Promptbook made up by John Moore after 1848, when he came 
to America. "Cut into 3 Acts As played by the Two Placides New 
York." Playbills and reviews of the production at Burton's, De- 
cember 15, 1853. Cuts, alterations, calls, scenic indications, 
grooves, considerable stage business. 

16. Charles Kean 1850's 
Folger: Kean Costume Book, Prints and Engravings, 50 



70 THE COMEDY OF ERRORS 

[Scrapbook, IO34 x 14i/£; green cloth boards and half green 
leather gilt.] 

Contains tracings for 22 costumes for Comedy of Errors, style of 
c.1598, which Kean prepared but did not use. 

17. Samuel Phelps London, Sadler's Wells November 8, 1855 
Folger: Com. Err., 8 

[Pages 5-76 from volume IV of a Chalmers-Steevens Works, 
5s/ 8 x S3/ 4 ; few small interleaves; cream heavy paper pasted over 
blue publisher's wrappers (C. and S. Baldwin); title inked on 
cover.] 

Promptbook of Phelps's production with restored text. Cuts, alter- 
ations, scenic indications, calls, some stage business, cues for ef- 
fects. Dated on cover 1856-7-8-9. A list of supers on page of Per- 
sons Represented. Contains a review of J. S. Clarke production of 
1865. 

18. Mercer Hampson Simpson 

Birmingham, Theatre Royal April 9, 1862 

Enthoven Collection: C. G. Box, 1808 

[Cumberland edition, c.1829, 3i/2 x 5%; interleaves; tan card- 
board.] 

Promptbook of 3-act version. Cuts and interpolations. Calls, 
grooves, some stage business, many maps, cues for effects. Part of 
a bill for the above date. 

19. George Ellis London, Princess's February 27, 1864 
Folger: Com. Err., 10 

[Pages 5-76 from volume IV of a Chalmers-Steevens Works, 1811, 
5y 8 x 8s/ 4 ; interleaves, 7]/^ x 9; white cardboard and white cloth 
backing, unsewn.] 

Fine promptbook of an arrangement of the play in 12 scenes, 
played without entr'actes, produced by Ellis under the manage- 
ment of George Vining. The book is in Ellis' hand. Cast given. 
Cuts on full text, scenic indications, grooves, much stage business 
especially for supers, maps. 

20. John Sleeper Clarke New York, Winter Garden October 3, 1864 
Folger: Com. Err., 3 

[Spencer's Boston Theatre, 1856, 4i/£ x 7i/£; interleaves; black 
cloth boards and black leather spine; title gilt on spine.] 
Owen Fawcett, who played Dromio of Ephesus opposite Clarke, 



THE COMEDY OF ERRORS 71 

wrote up this book in 1882 as a present for George Becks. A 3-act 
version, with scenic indications, much stage business especially 
for supers, maps, cues for effects. 

21. R. H. Home c.1876 
Folger: Com. Err., 5, 6 

[Two books. French edition, 4 14 x 7 1/£; slips and manuscript 
sheets, 8^4 x II14, inserted.] 

Home's alteration, "Reconstructed for the Modern Stage/In Four 
Acts." Manuscript Preface, and long new scene for Aegeon. En- 
closed letter refers to Marie Wilton's interest in producing it. 

22. W. H. Crane and Stuart Robson 

New York, Park November 25, 1878 

Folger: Com. Err., 4 

[Music-Publishing Company issue of Cumberland edition, 3^g x 
534 ; interleaves, 77/ 8 x 9.] 

Promptbook prepared for Robson and Crane by Owen Fawcett, 
October 21, 1878. Contains casts for 1853, 1859, 1865, 1869. Prop- 
erties list, stage business, maps, cues for effects. At the front a 
groundplan and plot of scenes with grooves. 

23. Edward Compton Liverpool, Alexandra 1881 
Birmingham, Shakespeare Memorial Library: B54/456353 

[E. Saker edition, Liverpool, 1881, 4i/£ x 6%; interleaves; purple 

cloth boards; bound with several other Shakespeare plays in green 

cloth boards.] 

"This promptbook was prepared by Edward Compton, in whose 

handwriting are the textual restorations and stage business." Two 

casts given, one including Calvert, Wyndham, Miss Bateman. 

Timings. 

24. Frederick Paulding 1890's 
Rutgers University: PR.1243.SHA 

[French issue of Lacy edition, 1866, 4i/£ x 7.] 
Carelessly marked but rather full promptbook, based on version 
produced at Drury Lane, 1866. Cuts, scenic indications, some 
stage business, maps, cues for effects. 

25. A. E. F. Horniman London, Duke of York's December 23, 1915 
British Drama League 



72 THE COMEDY OF ERRORS 

[Temple edition pasted in a workbook, 634 x 8i/ 8 ; maroon cloth 
boards and half purple cloth; title page pasted on cover.] 
A reduced version (cuts made on full text), played in 42 minutes. 
Calls, some stage business, maps, cues for effects. Plots for proper- 
ties, scenes (with groundplans), flys, crowds, dress (with names of 
some of the actors). 

[Actor Lists for Following Books Are Given in This Order: An- 
tipholus of Ephesus, Antipholus of Syracuse, Dromio of Ephesus, 
Dromio of Syracuse.] 

26. Theodore Komisarjevsky Stratford-upon-Avon April 12, 1938 
Shakespeare Centre Library: 71.21/1939 

[Eversley edition pasted in a workbook, 7x9; purple cloth boards; 
title printed on cover label.] 

Cast includes G. Sheldon Bishop, James Dale, Andrew Leigh, 
Dennis Roberts. Cuts, calls, much stage business especially for 
minor characters, cues for effects. At the back a duel routine, a 
dance, opening pantomime, light plot for opening. Production 
revived April 18, 1939. 

27. Walter Hudd London, Old Vic April 23, 1957 
Old Vic, Publicity Department 

[Temple edition pasted in a workbook, 8 x lOi/g; with Titus 
Andronicus in black ring binder.] 

Cast includes Keith Michell, John Humphrey, Dudley Jones, 
James Culliford. Designed by Paul Mayo. Short version produced 
with Titus Andronicus. Cuts, stage business, maps, cues for ef- 
fects. Production papers, including groundplans. 

28. Other books of The Comedy of Errors: 

Boston Public Library: K.49.10, no. 2, Joseph Cowell. 
Folger: Com. Err., 1, Sedley Brown; Com. Err., 2, Th. Eichhoff; 
Com. Err., 9, Russell (operatic version, 1819). 
Princeton University, Seymour Collection: CE, 5, William Sey- 
mour; CE, 10, A. S. H. Murray. 

Rutgers University: PR.1243.SHA, J. B. Wright and the Misses 
Newton. 



Coriolanus 

1. J. Aickin London, Drury Lane February 7, 1789 
Folger: Cor, 19 

[Kemble edition, 1789, 5 x Ss/ 8 ; brown boards and gray spine; 
title on spine label.] 

Rehearsal copy. Cuts and a few bits of stage business for Cominius 
probably in the hand of the actor. 

2. John Philip Kemble London, Covent Garden Nov. 3, 1806 
Folger: Cor, 8 

[Kemble edition, 1806, 5i/£ x 814 ; interleaves; brown leather; title 
and "CG/PB/C/1" stamped on spine.] 

Promptbook marked in Kemble's hand. Calls, properties, some 
stage business, cues for effects, timings. At the front a 3-page de- 
scription of the triumphal procession. Letter of gift from William 
Creswick to Henry Irving, May 18, 1881. 

3. [Kemble] 
Garrick Club 

[Kemble edition, 1806, 5 x Si/ 8 ; interleaves watermarked 1807; 
blue cloth boards and brown leather spine; title gilt up spine.] 
Later promptbook marked in Kemble's hand. Cuts, calls, a prop- 
erty list for stage left, some stage business, cues for effects. 

4. [Kemble] 
Folger: T.a.23 

[Manuscript, 7 x S7/ 8 ; brown leather gilt; title gilt up spine.] 
Kemble's 29-page partbook for Coriolanus, in his hand; 668 lines. 

5. Joseph Ebsworth London, Drury Lane May 8, 1819 
Folger: Cor, 18 

[Kemble edition, C. Lowndes, c.1800, 4$/^ x 7%; interleaves; gray 
and green marbled boards and half brown leather; title and "10" 
gilt on spine.] 

Promptbook generally taken from Kemble's, marked, signed, and 
dated in the round, neat hand of Joseph Ebsworth, the Drury 
Lane prompter. Calls, property lists, some stage business, trium- 
phal procession, etc. A few pencilings of light cues and timings 
appear to be by John Willmott, a later Drury Lane prompter. 

6. William Dowton London, Drury Lane 
Folger: Cor, 5 



74 CORIOLANUS 

[Kemble edition, 1814, 4i/£ x 7; gray paper and brown marbled 

paper, red leather spine.] 

Rehearsal copy, checked for Menenius. Cuts, little stage business. 

7. William Charles Macready 

London, Covent Garden November 29, 1819 

Folger: Cor, 9 

[Kemble edition, 1814, 4s/ 8 x 7; interleaves watermarked 1816, 
1817, 5i4 x 814; green marbled boards and half brown leather; 
title gilt on red leather spine label.] 

Transcription of the Covent Garden promptbook (see nos. 2, 3) 
made by a copyist. A page of costume notes at the front and nu- 
merous pencilings throughout are in Macready's hand. 

8. William Augustus Conway New York, Park January 14, 1824 
New York Public Library: *NCP.18155 

[Kemble edition, 5 x 77/ 8 ; black cloth boards; title gilt up spine.] 
Promptbook given by Conway to T. S. Hamblin, whose first Amer- 
ican performance was December 9, 1825. Both actors had played 
the part in England previously. Supposed to be "By the Kemble 
Book," but not a transcription; much used, and worked over by 
several hands. Calls, grooves, properties, some stage business, a 
few maps, cues for effects. 

9. Anonymous 1840's(?) 
University of Pennsylvania, Furness Collection: C59.ShlCorK 
[Kemble edition (no title page), 5\/ 8 x 8i/£; brown marbled boards 
and brown cloth spine; title gilt up spine.] 

Irregularly marked promptbook. The speeches of some of the 
principals are numbered — e.g., Marcius to 132, Volumnia to 45. 
Many brief notes of stage business and histrionic manner. The 
name W. Padcock stamped at the end is probably of no theatrical 
significance. 

10. George W. Lewis Philadelphia, Walnut Street July 29, 1845 
Folger: Cor, 1 

[Oxberry edition, Boston, 1822, 3 1/ 2 x 6; interleaves; black cloth 
boards and black leather spine; title gilt on spine.] 
Promptbook originally dated from the Bowery, 1841 (Hamblin?), 
but mainly marked in 1845 by George Lewis, then a prompter in 
Philadelphia. Much stage business especially for curtain tableaux, 
a 3-page procession list, maps and sketches, cues for effects, timing. 



CORIOLANUS 75 

11. Noah Ludlow St. Louis 1845 
University of Pennsylvania, Furness Collection: C59.ShlCor 
[T. H. Palmer edition, Philadelphia, 1823, 3^ x 5s/ 4 ; interleaves; 
red cloth boards; title gilt on spine.] 

"As performed at the Philadelphia Theatre." A crude but sys- 
tematically marked promptbook. Cuts and restorations, calls, stage 
business especially for crowds, maps, procession list, costume list, 
cues for effects, timing. 

12. John Fest America 
Harvard Theatre Collection: uncatalogued 

[Cumberland edition, c.1829, 5b/ 8 x 51/4; interleaves; black cloth 
boards and black cloth spine; title gilt on spine.] 
Promptbook checked for Coriolanus. Costume list, calls, some 
stage business, maps, cues for sound. 

13. Samuel Phelps London, Sadler's Wells September 27, 1848 
Folger: Cor, 12 

[Pages 131-258 from volume IX of a Works, Az/ A x 8i^; smaller 
interleaves watermarked 1847; white paper, dirty and torn; title 
inked on cover and dated 1847, 1850, 1857.] 
Promptbook of Phelps's version which, except for a bit in Act 
IV, is all from Shakespeare but much cut and somewhat rear- 
ranged. Marked in the hands of Phelps and Williams, the 
prompter. Calls, grooves, some stage business especially for proces- 
sion and military movements, maps, cues for sound, list of supers. 

14. [Phelps] 
Folger: Cor, 13 

[Pages 102-242 from volume VII of a Works, 5\£ x 8^; inter- 
leaves; blue and red marbled boards and half maroon leather; 
title gilt on spine.] 

Excellent transcription of Phelps's book. Belonged to Harry Plow- 
man. 

15. [Phelps] 
Folger: Cor, 15 

[Pages 1-113 of a Shakespeare edition, 4i/ 2 x 61/4; interleaves; black 
rubberized paper and black cloth spine; title on cover label.] 
Transcription of Phelps's book, perhaps made from Plowman's 
copy. Belonged to Henry Irving. 



76 CORIOLANUS 

16. Henry Betty England 1850's 
Folger: Cor, 4 

[Cumberland edition, c.1829, 3]/ 2 x 5s/ 4 ; interleaves; gray boards 
and green cloth spine.] 

Promptbook with stresses marked for Caius Marcius. Grooves, 
stage business, many notes on interpretation of the role. 

17. John Moore New York 1850's 
Folger: Cor, 11 

[Oxberry edition, Boston, 1822, 57/ 8 x 6i/£; interleaves; brown 
paper.] 

Very full promptbook compiled by Moore, with references to vary- 
ing arrangements of Hamblin and Forrest. Contains partbook 
for "Volusius." Scenic indications, excellent properties list, much 
stage business especially for crowds, full account of triumphal 
procession and funeral pyre scene. 

18. [Moore] 
Folger: T.b.2 

[Notebook, 6i/g x lOi^; blue boards and black cloth spine.] 
Cues for the band for 48 plays, including Coriolanus. 

19. Thomas Barry Boston, Boston Theatre 1854 
Harvard Theatre Collection: uncatalogued 

[Two books. Oxberry edition, 1820. One is 4.% x 8i^; gray inter- 
leaves, 5i/4 x 814 ; gray boards and black leather spine; title and 
"1" inked on cover. The other is 4]^ x 63^; gray boards and half 
brown leather; title and "41" inked on cover.] 
Two promptbooks written by Charles Melville, an English 
prompter, whose stage library Thomas Barry brought to Boston 
in 1854. The larger interleaved copy is arranged for 6 acts: calls, 
grooves, some stage business, cues for effects. 

20. Mercer Hampson Simpson Birmingham, Theatre Royal 1860's 
Birmingham, Shakespeare Memorial Library: S. 315/1820 
[Oxberry edition, 1820, 4 14 x 1\/ A ; interleaves, 5x8; gray card- 
board under blue cloth boards; title gilt on spine.] 
Well-developed promptbook. Some restorations. Cast list, com- 
plete scene plot with grooves, costume list, stage business espe- 
cially for crowds, maps. 



CORIOLANUS 77 

21. Charles Dillon Birmingham, Theatre Royal 1860's 
Birmingham, Shakespeare Memorial Library: S.3 15/1831 
[Acting edition, 1831, pasted in a workbook, 6i/£ x 8; yellow paper 
under blue cloth boards; title gilt on spine.] 

Promptbook made for Dillon by F. C. Hastings of the Theatre 
Royal, Sheffield. Some restorations. Scenic indications with 
grooves, stage business for crowds, cues for effects. 

22. Edwin Forrest New York, Niblo's Garden November 2, 1863 
Folger: Cor, 20 

[Spencer's Boston Theatre, 4\/ 2 x 75/ 8 ; interleaves, 734 x 934; 
whitish paper, very dirty and torn; title and signature inked on 
cover.] 

Very full and much used book made by John B. Wright, who was 
stage manager for Forrest during his latter years. Scenic indica- 
tions, grooves, much stage business, maps and sketches, notes on 
interpretation, records of supers, timings. The funeral pyre scene 
at the end is described, and the dirge given in full. Sketches in- 
cluding George Scharf's 3 drawings of the Macready production 
of 1838; a Forrest program of December 2, 1864; notes from per- 
formances in Boston, Philadelphia, Baltimore. Wright continued 
to use the book after Forrest's retirement, as at the California 
Theatre in 1873. 

23. [Forrest] New York, Niblo's Garden September 5, 1864 
Folger: Cor, 2 

[Spencer's Boston Theatre, 4s/ 8 x 7; interleaves; black and white 
cloth boards and black leather spine.] 

A full but little used book made by George Becks, who played in 
Forrest's company during the 1864 season at Niblo's. Some scenic 
indications, grooves, calls, stage business, maps, cues for effects. 
The procession, with map and hymn; text of dirge for the funeral 
scene; cast list for 1864; program for Forrest's last night at Niblo's 
on October 21, 1864; engraving of Vandenhoff as Coriolanus. 

24. Henry Irving London, Lyceum April 15, 1901 
Folger: Cor, 7 

[Irving edition, Chiswick Press, 1901, 53^ x Ss/ S ; green limp 
leather with red ribbon marker; title gilt down spine.] 
Irving's studybook, much used before being bound (original wrap- 
pers soiled). The arrangement is in 3 acts. Cuts, restorations, and 
many random notes. 



78 CORIOLANUS 

25. Ellen Terry London, Lyceum April 15, 1901 
Smallhythe 

[Wright edition, 1893, 4]/ 2 x 6i/£; orange boards; title printed on 
cover.] 

Miss Terry's studybook. The date 1907 is inked on the cover, but 
it was used for the 1901 production. Cuts, many notes on the act- 
ing of Volumnia, several comments on Irving's Coriolanus. 

26. [Terry] 
Smallhythe 

[Irving edition, 1901, 5$/ 8 x 81/2; tan cloth boards and half green 
leather; title gilt up spine.] 

Miss Terry's second studybook. Most of the notes on Volumnia 
from the preceding book are roughly transcribed; many addi- 
tional jottings. 

27. Lewis Waller 
Folger: Cor, 17 

[Windsor Shakespeare, Edinburgh, 1901, 514 x 8\/ 8 ; red cloth 

boards gilt.] 

Preparation copy, rigorously cut but not developed further. 

28. William Poel London, Chelsea Palace May 11, 1931 
Enthoven Collection 

[Three typescripts, 8 x 10; orange paper (Poel's), purple paper 
(Poel's), blue paper (Molly Tyson's).] 

Promptbooks. Cuts, calls, little stage business, cues for ad libs and 
effects. Some scenes played "above on the platform stage." 

[Actor Lists for Following Books Are Given in This Order: Corio- 
lanus, Menenius, Tullus Aufidius, Volumnia.] 

29. W. Bridges- Adams Stratford-upon-Avon April 24, 1933 
Shakespeare Centre Library: 71.21/1933C(6054) 

[Temple edition pasted in a workbook, 6^ x 8; tan marbled 
boards and black cloth spine; title on cover and spine labels.] 
Cast includes Anew McMaster, Stanley Lathbury, Laidman 
Browne, Alice O'Day. Cuts, calls, stage business, maps, cues for 
effects. At the front a list of 18 scenes; at the back a sketch of a 
scene. The book had been used for Bridges-Adams' production 
on April 23, 1926; was erased and written over. 



CORIOLANUS 79 

30. [Bridges-Adams] 

Shakespeare Centre Library: 71.21/1933C(7931) 
[Shakespeare edition pasted in a workbook, 7i/g x 9; purple cloth 
boards and half black leather; title on cover and spine labels.] 
Unused transcription of the 1933 book. Program pasted in. 

31. Federal Theatre New York c.1938 
New York Public Library: 9-*NCP.978745A 

[Typescript, 8x11; blue and gray Federal Theatre wrapper un- 
der green cloth boards; title gilt on spine.] 

A "streamlined" version for the Federal Theatre, arranged by 
M. Manisoff for use in schools. Complete production book, with 
plots for costumes, lights, music, and curtains. Several photo- 
graphs from performances. 

32. B. Iden Payne Stratford-upon-Avon May 9, 1939 
Shakespeare Centre Library: 71.21/1939Cor 

[Eversley edition pasted in a workbook, 7i/ 8 x 9; purple cloth 
boards and half black leather; title on cover and spine labels.] 
Cast includes Alec Clunes, Andrew Leigh, James Dale, Dorothy 
Green. Designed by J. Gower Parks. Cuts on full text, calls, some 
stage business, maps, cues for effects. 

33. Glen Byam Shaw Stratford-upon-Avon March 13, 1952 
Shakespeare Centre Library: O.S.71.21/1952C 

[Penguin edition pasted in a workbook, 8x13; black cloth spring 
binder; title on spine label.] 

Cast includes Anthony Quayle, Michael Hordern, Laurence Har- 
vey, Mary Ellis. Designed by Motley. Cuts on full text, much stage 
business, many maps, cues for effects. 

34. John Houseman New York, Phoenix January 19, 1954 
University of California, Los Angeles: Houseman Box 9 
[Mimeograph, 81/2 x 11; blue leather; title gilt on spine.] 

Cast includes Robert Ryan, Alan Napier, John Emery, Mildred 
Natwick. Designed by Donald Oenslager. Costumes by Alvin Colt. 
Final or souvenir promptbook, copiously illustrated with photo- 
graphs from the production; several reviews; many production 
papers. 

35. Michael Benthall London, Old Vic February 23, 1954 
Old Vic, Publicity Department 



80 CORIOLANUS 

[New Temple edition pasted in a workbook, 8 x 10i/£; black ring 
binder. ] 

Cast includes Richard Burton, William Squire, Paul Daneman, 
Fay Compton. Designed by Audrey Cruddas. Stage business, maps, 
cues for effects. Many production papers. 

36. Peter Hall Stratford-upon-Avon July 7, 1959 
Shakespeare Centre Library: O.S.71.21/1959C 

[Cambridge Pocket Shakespeare pasted in a workbook, 8^ x 13; 
blue cloth ring binder; title on spine label.] 
Cast includes Laurence Olivier, Harry Andrews, Anthony Nich- 
olls, Edith Evans. Designed by Boris Aronson and Riette Sturge 
Moore. Cuts on full text, stage business especially for crowds, cues 
for effects. Production papers including 36 maps, a battle se- 
quence, the Coriolanus-Aufidius fight, etc. 

37. Michael Langham Stratford, Ontario June 19, 1961 
Festival Theatre, Library 

[Two books. Penguin edition pasted in workbooks, 7^4 x 13l/£; 
blue cloth boards bordered in red; title pasted on cover.] 
Cast includes Paul Scofield, Douglas Campbell, John Colicos, 
Eleanor Stuart. Designed by Tanya Moiseiwitsch. The first book 
has much stage business, many maps, cues for effects, timings, 
property plot. The second has calls, cues for effects, many timing 
sheets. 

38. Other books of Coriolanus: 

Boston Public Library: K.47.13, John G. Gilbert and George W. 
Fenno. 

Folger: Cor, 3, George Berrell; Cor, 6, Walter Hubbell; Cor, 10, 
Marcus Moriarty; Cor, 14, anonymous; Cor, 16, Mrs. Wallack. 
Harvard Theatre Collection: (Widener, 13484.21.5), Henry Pla- 
cide (with Forrest, January 11, 1838). 

Library Company of Philadelphia: Oe2+.l 1607.D, William War- 
ren. 

Princeton University, Seymour Collection: Cor, 3, A. S. H. Mur- 
ray, 1875. 



Cymbeline 

1. Thomas Hull London, Covent Garden December 28, 1767 
Folger: Cymb, 3 

[Garrick edition, 1767, 3% x 6^; bound with Hamlet and laid in 
leather cover.] 

Hull's studybook, dated 1767. Checked for Posthumus and Be- 
larius (at Covent Garden Hull regularly played Pisanio). Cuts and 
alterations, entrances and exits. 

2. James Bates London, Covent Garden ante 1784 
Harvard Theatre Collection: 13484.22.50 

[An eighteenth-century edition, no title page, 4x7; brown mar- 
bled boards and brown cloth spine; in box of gray cloth boards 
and maroon spine; title gilt up spine.] 

Much used and much traveled promptbook. James Bates, whose 
name is at the head of Act I, was a Covent Garden actor (not 
identified with a cast of this play) who died in 1784. Also at the 
head of Act I are the names of Warren and Reinagle of Phila- 
delphia and the date 1807. Other names are J. Jones and Mary 
Jones Roberts. Cuts, scenic indications, calls, some basic stage 
business, cues for effects. 

3. Lumley St. George Skeffington Hackney School c.1785 
Folger: Cymb, 10 

[Garrick edition, 1784, 4 14 x 65/£; interleaves; green-red marbled 

boards and brown leather spine.] 

Promptbook of a schoolboy production in which Skeffington 

played the Queen and spoke the Epilogue. Cuts, restorations, some 

stage business, cast list, Epilogue (by George Keate). Skeffington's 

bookplate. 

4. William Warren York 1788 
Library Company of Philadelphia: Oe2 + .11608.D 

[Bell edition of a Johnson-Steevens text, 1786, 31/4 x bi/ 2 ; marbled 
boards and brown leather spine.] 

Promptbook checked for Belarius. Cuts on full text. Cast given 
for York, 1788 (partly cropped). Bookplate of W. Warren, New 
Theatre, Philadelphia. 

5- J- Megget 

University of Illinois: x792.9/Shl5cy/no.l 

[Kemble edition, 1801, 53^ x 8%; blue cloth boards; title gilt up 

spine.] 



82 CYMBELINE 

Rehearsal copy. Random penciled notes of stage business for 
Posthumus. At bottoms of pages copious vocabulary notes. At 
back, Posthumus' soliloquy in II, 5. 

6. George Frederick Cooke 

London, Covent Garden January 18, 1806 

Harvard Theatre Collection: 13484.22.45 

[Kemble edition, 1801, 4% x 814 ; red cloth boards; in box of gray 
cloth boards and brown leather spine; title gilt up spine.] 
Rehearsal copy marked by Kemble with additions by Cooke. Some 
stage business. The 1806 cast written in. 

7. [Cooke] 

Folger: Cymb, 12 

[Edition printed for J. Barker, 1795, 4 \/± x l\/%\ interleaves; blue 

and white marbled boards and half brown leather; title on spine 

label.] 

Rehearsal copy, marked in Cooke's hand for Iachimo, and dated 
inside back cover "Wed. Night, Jan. 22, 1806." Alterations and 
some detailed stage business for Iachimo. 

—8. John Philip Kemble London, Covent Garden June 3, 1812 
, Shakespeare Centre Library: 50.06(1810) 

[Kemble edition, 1810, 5 x 814; interleaves; brown leather; title 
gilt on red spine label, spine stamped "TR/CG/PB/C/13."] 
Promptbook originally marked in Kemble's hand, with some stage 
business, maps, cues for effects, timings, probably from 1812. 
Kemble's cast of 1816 penciled on page of Persons Represented. 
Further markings, including a new "Druidical" scene, penciled 
for May 16, 1827. Many pencilings added when Helen Faucit 
took a benefit as Imogen on May 18, 1837, including timings and, 
at the back, a schedule of scenes. Finally belonged to William 
Creswick, who used it on October 17, 1864, and added, in ink, 
a cast list, costume list for Iachimo, and many notes on the play- 
ing of Iachimo. 

9. [Kemble] 
Garrick Club 

[Kemble edition, 1810, 5i/g x 81/; interleaves; blue cloth boards 
and brown leather spine; title gilt up spine.] 

Promptbook marked in Kemble's hand. Calls, some stage business, 
maps, cues for effects. 



CYMBELINE 83 

10. William Charles Macready London, Drury Lane Jan. 21, 1843 
Folger: Cymb, 17 

[Pages 1-139 of a Steevens edition, 614 x 9fy; interleaves water- 
marked 1844, 1845, 734 x 91/4; white cardboard and white cloth 
spine; title inked on cover.] 

George Ellis' penciled transcription of Macready's 1843 prompt- 
book. Cuts and alterations on full text, scenic prescriptions in 
some detail with maps and sketches, grooves, list of property 
manuscripts, calls, stage business, cues for effects, timing. Large 
sketch of banquet scene folded in. 

11. [Macready] 
Folger: Cymb, 7 

[Pages 5-128 from volume XI of a Works, 5 x 814; interleaves, 
7 x 8^4; purple cloth boards and half brown leather; title and 
"C.K." gilt on spine label, "Mr. Charles Kean/Prompt Copy" gilt 
on green leather cover label.] 

Perfected transcription of the Macready book made for Charles 
Kean by George Ellis in January, 1847. Many pencilings appar- 
ently made by Kean. (See no. 15.) 

12. [Macready] 
Folger: Cymb, 8 

[Watercolors, 634 x 8 3 A> interleaves; purple cloth boards and half 
brown leather; "Scenery/Cymbeline/C.K." gilt on spine label.] 
Eleven fine watercolor designs of "Scenery, For the Play of Cymbe- 
line, As Acted, at the Theatre Royal, Drury Lane. — Seasons 
1843-4," prepared for Charles Kean by George Ellis. Some are 
done in several depths, the wings, etc., being painted on separate 
pieces laid upon the back-flats. Carpenter's notes. 

13. [Macready] 
Folger: Cymb, 9 

[Watercolors watermarked 1845, 1846, 63^ x 83/£; purple cloth 
boards and half brown leather; "Costumes/Cymbeline/C.K." 
gift on spine label.] 

Thirty-five designs of "Costumes for the Play of Cymbeline, From 
various Authorities, and, as acted, at the Theatre Royal, Drury 
Lane, Seasons 1843-4," prepared for Charles Kean by George 
Ellis. The first 21 are copied from those worn at Drury Lane, the 
last 14 are from "authorities," which are listed. 



84 CYMBELINE 

14. Helen Faucit c.1845 
Folger: Cymb, 2 

[Knight's Cabinet Edition, 1843, Sy 8 x 5i/ 2 ; green oilcloth pub- 
lisher's wrappers.] 

Miss Faucit's promptbook probably used for touring in the 1840's 
and 1850's. The text reverts to Kemble's naming of certain char- 
acters, and "Go to Cumberland" (i.e., Cumberland edition, 1829) 
is sometimes noted. Cuts, calls, cues for effects. Two sonnets pen- 
ciled on back fly. 

15. Charles Kean London, Princess's c.1850 
Harvard Theatre Collection: TS.2438.300 

[Pages 1-138 from volume VIII of a Works, 5\4 x 85/ 8 ; interleaves, 
7i4 x 9; green cloth boards; title inked up spine.] 
Fully developed promptbook of English origin, probably another 
transcription of the Macready book and used by Kean for a pro- 
duction which did not materialize (see no. 11). Cuts on full text, 
calls, stage business, maps, cues for effects, timings. The inked cuts 
and the assignment of a gentleman to Pisanio appear to be in the 
hand of George Ellis (other markings are perhaps by T. W. Ed- 
monds, the Princess's prompter). The names of Belton and several 
minor actors are entered. At page 100 are pasted in a lyric poem 
called "Lily's Footsteps" and 2 interleaves from a promptbook of 
a version of The Bride of Lammermoor , signed by "John Rose — 
Prompter — 1852 — Museum — Providence — Rhode Island." 

16. John Moore America 1850's 
Folger: Cymb, 6 

[Bell edition, 1773, 37/g x 6s/ 8 ; lavender interleaves; tan paper, 
badly torn; title inked on cover.] 

Very old inked cuts, grooves, stage business, etc., on the text pages, 
supposed to be "Cuts and Transpositions mostly as arranged by 
David Garrick." Additional notes by Moore on the interleaves. 

17. [Moore] 
Folger: Cymb, 5 

[Oxberry edition, Boston, 1823, 3s/ 8 x 63/£; blue interleaves, 
414 x 6; brown publisher's wrappers under tan cardboard; title 
inked on cover.] 

A sort of preparation copy, probably not used. Lacks systematic 
prompter's signs, but contains cuts, many scenic indications, 
grooves, much stage business, notes on music and other effects. 



CYMBELINE 85 

18. Samuel Phelps London, Sadler's Wells September 26, 1857 
British Theatre Museum: G 49 1963 

[Cumberland edition, 33^ x 6, and part of another edition; inter- 
leaves, 4 x 63/£; tattered brown paper; title and "Prompt Book/ 
1857/Theatre Royal Sadlers Wells" inked on cover.] 
Promptbook heavily marked in several hands including that of 
Williams, the prompter. Cuts, some grooves, calls, considerable 
stage business, maps and sketches, cues for effects, timing (3:00). 
At the front a full description of the battle scene in Act V. 
Belonged to Harry Plowman. 

19. James Taylor 1867 
Harvard Theatre Collection: uncatalogued 

[Cumberland edition, $y 8 x 5s/ 8 ; interleaves; green cloth boards.] 
Promptbook signed and dated by Taylor, neatly marked in red 
ink, with calls, cues for effects. Earlier signatures of Geo. W. Gile, 
M. R. Lewis. From the Edwin Forrest Lodge. Probably a Forrest 
book of much earlier date. 

20. Adelaide Neilson New York, Daly's Fifth Avenue May 14, 1877 
Harvard Theatre Collection: 13484.22.81 

[Davidson issue of Cumberland edition pasted in a workbook, 
5x8; red cloth boards; in box of tan cloth boards and brown 
leather spine; title gilt up spine.] 

Not a working promptbook, but a partial memorial of the Neil- 
son production made by John Moore. Cuts, extensive restorations. 
Costume list "generally like King Lear." Some scenic indications, 
groundplan of bedroom scene, some vivid stage business, maps, 
cues for some effects. 

21. Miss Alleyn Stratford-upon-Avon 1884 
Shakespeare Centre Library: 50.06(187-) 

[French edition, 4 14 x 1\/ A ; publisher's wrappers.] 

Text much cut and rearranged according to "Alterations from 

Miss Allyn's [sic] copy." 

22. Helena Modjeska New York, Fourteenth Street Feb. 4, 1888 
Folger: Cymb, 11 

[Cumberland edition, 35/g x 5%, with added sheets from French's 
issue of Lacy, 1864; blue interleaves, 5 x 7^; black cloth boards 
and black leather spine; title and "J. Stark" gilt on cover.] 



86 CYMBELINE 

In 1853, G. W. Lewis, prompter at the Broadway, marked this 
book for James Stark "as played by Mr. McCready at the Walnut 
Street Theatre, Phila." (It does not resemble known Macready 
books.) By 1883 it belonged to George Becks, who added pages 
from the 1864 acting edition and expanded the annotations in red 
ink. About 1888 Becks marked it further, in blue ink and pencil, 
with numerous references to Modjeska. Scenic indications, grooves, 
calls, much stage business, maps. 

23. William Seymour c.1890 
Princeton University, Seymour Manuscripts: Box S — f-z 
[French edition pasted in a workbook, 7 x Hi/2; red and blue 
marbled boards and black cloth spine; title pasted on cover.] 
Rough but thorough promptbook. Sketches, stage business, maps, 
cues for effects. 

24. Henry Irving London, Lyceum September 22, 1896 
Folger: Cymb, 4 

[Cassell's National Library edition, 1892, 3^ x ^ 5 /s> publisher's 

blue cloth boards.] 

Preparation copy, with extensive cuts. 

25. Ellen Terry London, Lyceum September 22, 1896 
Smallhythe 

[Longmans, Green, 1890, 4i/ 8 x 61/2; publisher's red boards.] 
Rehearsal copy with many vivid notes in Miss Terry's hand on the 
playing of Imogen. 

26. [Terry] 
Smallhythe 

[Proof copy of Irving edition, 1896, 5]/ 2 x 81/^.] 
Rehearsal copy with many vivid notes in Miss Terry's hand on 
her own playing and record of numerous directives by "B.S." 
(Bram Stoker). 

27. [Terry] 
Smallhythe 

[Irving edition, 1896, 5 \i x 81/.] 

Rehearsal copy marked in Miss Terry's hand. Revisions and res- 
torations of text. A great many very vivid notes on her own 
playing; occasional references to "Ted," "Ben," and others. 



CYMBELINE 87 

28. Viola Allen Washington, D.C., New National October 1, 1906 
New York Public Library: *NCP.330695B 

[Typescript, 8 x 10%; red cloth boards and half red leather; title 
inked up spine, gilt on cover.] 

Promptbook made on a clean carbon of Miss Allen's version. Stage 
directions underlined in red, with manuscript notes. Scenery 
described in great detail, elaborate groundplans, much stage 
business especially of incidental and decorative kind. Cast list 
and plots of music, scenes, properties are at the front. The pro- 
ducer was Frank Vernon. 

29. [Allen] 

Folger: Cymb, Folio 1 
[Typescript, 8 x 13; blue paper.] 

A 96-page Preface and Commentary to Miss Allen's acting version, 
prepared by William Winter in 1905. Annotation of text, de- 
scription of characters, interpretation of the play, stage history, 
list of authorities. 

30. [Allen] 

Folger: AYL, 22 

[Manuscript, S]/ 2 x 11.] 

A 4-page description of Miss Allen's Cymbeline, dated December 

15, 1906. Bound with description of Julia Marlowe's As You Like 

It (see AYL, 85). 

31. Charles B. Hanford America c.1910 
Folger: Cymb, 15, 16 

[Two books. Pages of a Shakespeare text pasted in a workbook, 
75/g x 10; black and white mottled boards and black cloth spine.] 
Number 15 is a fully developed promptbook, apparently derived 
from Viola Allen's (see no. 28), with scenic indications, stage 
business, etc. A sheaf of publicity notes on Marie Drofnah (Han- 
ford) and the "galaxy of brilliant players" of the company. A pro- 
gram of the Viola Allen production. Number 16 is similar in 
form, but not developed. These books probably were not used. 

[Actor Lists for Following Books Are Given in This Order: 
Imogen, Posthumus, Iachimo, Cloten.] 

32. W. Bridges- Adams Stratford-upon-Avon August 5, 1922 
Shakespeare Centre Library: O.S.71.21/1922C 



CYMBELINE 



[Favourite Classics edition pasted in a workbook, l7/ 8 x 12^; 
black cloth boards and red leather spine; title on cover and spine.] 
Cast includes Ethel Carrington, William Stack, Baliol Holloway, 
Stanley Lathbury. Cuts on full text, calls, stage business, maps, 
cues for effects. At the back are curtain calls and 3 groundplans. 

33. E. H. Sothern and Julia Marlowe 

New York, Jolson October 2, 1923 

Museum of the City of New York: 43.430.632 
[Pages of a Shakespeare text pasted in a workbook, 5i/£ x 81/2; 
brown limp leather; title pasted on cover.] 

Labeled "Julia Marlowe Last Copy." Pencil-marked for stresses, 
etc. The cuts, scenic arrangements, stage business are tentative, 
as if it were a preparation copy. Penciled cast with queries. Two 
1923 programs (one for Twelfth Night) enclosed. Cast includes 
Julia Marlowe, E. H. Sothern, Frederick Lewis, France Bendtsen. 

34. [Sothern and Marlowe] 

Museum of the City of New York: 43.430.633 

[Pages of a Shakespeare text pasted in a workbook, 6^4 x 8i/£; 

brown and red boards and brown cloth spine; title pasted on 

cover.] 

Preparation copy. At the front a properties list and tentative cast 

for 1923. Penciled scenic indications, stage business, maps. 

35. [Sothern and Marlowe] 

Museum of the City of New York: 43.430.634 
[Pages of a Shakespeare text pasted in a workbook, 63^ x 81/2; 
green boards.] 

Stage directions of the preceding book have been organized, num- 
bered, and entered in pencil on left-hand pages. 

36. [Sothern and Marlowe] 

New York Public Library: *NCP.280791B 

[Temple edition pasted in a workbook, 5y 2 x ^ l A> black cloth 

boards; title inked on spine.] 

Preparation copy. Cuts and alterations, stress marks for all 

characters, notes on vocabulary, scenery, stage business, music. 

37. [Sothern and Marlowe] 

Museum of the City of New York: 43.430.631 A, B, C 
[Three typescripts, Si/ 2 x 11; brown paper.] 



CYMBELINE 89 

Final promptbooks made from the preceding books. Plots of lights, 
scenes. Many additional pencilings: cuts, stage directions, cues. 

38. [Sothern and Marlowe] 

New York Public Library: *NCP.276566B 

[Typescript, 1$/ A x 11; red cloth boards; title gilt on spine.] 

A carbon copy of the final promptbook, signed by V. H. Collins of 

Los Angeles. Penciled alterations. Properties list, maps, additional 

stage business, notes on scenery and effects. 

39. B. Iden Payne Stratford-upon-Avon April 12, 1937 
Shakespeare Centre Library: 71.21/1937C(5329, 8157) 

[Two books. Eversley edition pasted in a workbook, 7i/g x 9; 
purple cloth boards and half black leather; title on cover and 
spine labels.] 

Cast includes Joyce Bland, Godfrey Kenton, Donald Wolfit, Baliol 
Holloway. Designed by J. Gower Parks. Cuts on full text, calls, 
some stage business, maps. The second book is a partial copy of 
the first. 

40. Nugent Monck Stratford-upon-Avon April 23, 1946 
Shakespeare Centre Library: O.S.71.21/1946C 

[Eversley edition pasted in a workbook, 7^4 x 10; tan marbled 
boards and green cloth spine; title on cover and spine labels.] 
Cast includes Valerie Taylor, Myles Eason, David King-Wood, 
Paul Scofield. Designed by O. P. Smythe and J. Gower Parks. 
Cuts, some stage business, few maps, cues for effects. 

41. Michael Benthall Stratford-upon-Avon May 21, 1949 
Shakespeare Centre Library: O.S.71.21/1949C 

[New Temple edition pasted in a workbook, 8 x 12^4; red cloth 
boards and red cloth spine; title on cover and spine labels.] 
Cast includes Kathleen Michael, Clement McCallin, John Slater, 
William Squire. Designed by Leslie Hurry. Cuts, calls, much stage 
business, maps, cues for effects. At the back a fight routine. 

42. [Benthall] London, Old Vic September 11, 1956 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x 10i/£; black ring 

binder; title on cover and spine.] 

Cast includes Barbara Jefford, Leon Gluckman, Derek Godfrey, 



90 CYMBELINE 

John Humphrey. Designed by Audrey Cruddas. Cuts, stage busi- 
ness, maps, cues for effects. Many production papers. 

43. Peter Hall Stratford-upon-Avon July 2, 1957 
Shakespeare Centre Library: O.S.71.21/1957C 

[New Temple edition pasted in a workbook, 8 x 13; red cloth 
spring binder; title on spine label.] 

Cast includes Peggy Ashcroft, Richard Johnson, Geoffrey Keen, 
Clive Revill. Designed by de Nobili and Douboujinsky. Cuts, 
calls, much stage business, maps, cues for effects. At the back a 
cast, maps, light plots. 

44. Other books of Cymbeline: 

Folger: Cymb, 1, Arnold Daly(?); Cymb, 13, anonymous; Cymb, 
14, Mrs. Cairn (Dublin edition, 1762). 
Harvard Theatre Collection: 13484.22.95, John Swinburne. 
Shakespeare Centre Library: 50.06(1784), anonymous. 



Hamlet 

1. Joseph Ashbury Dublin, Smock Alley 1670's 
University of Edinburgh 

[Pages 729-760 from a Third Folio, 1663, 8 x 12i/£; red marbled 
boards and half maroon leather; title gilt up spine.] 
Promptbook. Page 729 is the last page of Macbeth, with cuts and 
calls. Hamlet begins on page 730. Cuts, calls, scenic indications, 
cues for effects. Entrance cues are long lines with vertical slashes. 
The actor Trefusis is named as Messenger. Page 747 partly miss- 
ing. (See G. Blakemore Evans, Shakespearean Prompt-Books.) 

2. Anonymous 1700's 
Folger: Hamlet, 55 

[Martyn and Herringman edition, 1676, 6% x $i/ 2 ; red, yellow, 
and gray marbled paper; in red leather slip-box.] 
Rehearsal copy of an eighteenth-century actor. Cuts and altera- 
tions, but no details of stage arrangements or business. 

3. John Ward England c.1740 
Folger: Hamlet, 54 

[Heringham and Bentley edition, 1683, 61/2 x 81/2; red, yellow, 
and blue marbled boards and half green leather; title gilt up 
spine.] 

Ward's earlier promptbook. Cuts, a scenic indication, calls, prop- 
erties, cues for effects (including traps). Entrance cues are long 
lines with vertical slashes. (See J. C. McManaway, Papers of the 
Bibliographical Society of America, XLIII, 288-320.) 

4. [Ward] 

Johns Hopkins University: PO2807.A2.1676 
[Martyn and Herringman edition, 1676, 6x8; red, yellow, and 
blue marbled boards and half leather gilt; title gilt up spine.] 
Ward's fully developed promptbook. Page corners rounded to 
prevent curling. Cuts, a scenic indication, calls, properties, cues 
for effects, entrance cues all more systematically entered than in 
the preceding book. (See McManaway, op. cit.) 

5. David Garrick London, Drury Lane February 10, 1773 

Folger: Hamlet, 16 

[J. & P. Knapton edition, 1747, 3% x 6i/£; bound with The 
Humorous Lieutenant in red, green, and tan marbled boards and 
brown leather spine.] 



92 HAMLET 

Preparation copy of Garrick's version, which was to "rescue that 
noble play from all the rubbish of the fifth act." Cuts, alterations, 
and additions. (See Percy Fitzgerald, The Theatre, n.s. XLI, 252- 
256; G. W. Stone, PMLA, XLIX, 890-921; Kalman Burnim, 
David Garrick, Director, pp. 152-173.) 

6. [Garrick] 

Folger: Hamlet, 1 

[Richard Wellington edition, 1703, 614 x S7/ 8 ; red leather gilt; 

title gilt on spine.] 

Uncompleted promptbook probably deriving from the Garrick 

book after 1773. Cuts and alterations are made only through IV, 

5. Some stage business. 

7. George Frederick Cooke Chester 1785 
Literary and Philosophical Society, Newcastle-on-Tyne: 822.33/ 
63 

[C. Bathurst edition, 1782, 3% x 6s/ 8 ; interleaves; red cloth 
boards; title gilt on spine.] 

Promptbook checked for Hamlet and thoroughly marked in 
Cooke's hand. Cuts, calls, copious stage business and notes on cus- 
tomary stage practices, cues for effects. Cast for Chester, 1785. En- 
dorsed by Cooke, Christmas Eve, 1789, Sheffield. (See M. St. C. 
Byrne, Theatre Notebook, XV, 21-31.) 

8. Richard Daly Dublin, Crow Street c.1788 
Folger: Hamlet, 56 

[Peter Wilson edition, Dublin, 1750, 35/ 8 x 6^; interleaves; red, 
yellow, and blue marbled boards and half blue leather; title gilt 
on spine.] 

Though identified as Daly's prompter's book by an early owner 
who signs himself "H" (Hitchcock?), it does not have many 
prompter's markings. Many notes by "H," critical of the play and 
of performers, including Joseph Holman. Another owner, appar- 
ently an actor or producer, has entered a great many notes of 
stage business, interpretation, staging arrangements. Rough pen- 
ciled scrawls suggest further use as an actor's rehearsal copy. 

9. Thomas Hull London, Covent Garden June 2, 1790 
Folger: Cymb, 3 

[Acting edition, 1763, $7/ 8 x 65^; bound with Cymbeline in brown 
leather; "Goldsmith's England" on red spine label.] 



HAMLET 93 

Rehearsal copy checked for King and Hamlet (Hull played the 
King). Cuts and a few alterations. 

10. Anonymous c.1800(?) 
The Players 

[Manuscript, 7i/£ x 9^8 ; blue marbled boards and half green 
leather; title gilt on spine.] 

Unsigned 98-page manuscript adaptation, "alter'd from Shake- 
spear," which reduces the latter portion of the play more dras- 
tically than Garrick did: the catastrophe follows immediately 
after the closet scene. Given to Edwin Booth, November 23, 1890, 
by William Bispham, who thought it was Garrick's version. 

11. John Philip Kemble London, Covent Garden 1807-37 
Shakespeare Centre Library: 50.07(1804) 

[Kemble edition, 1804, 5 x 814; interleaves watermarked 1807; 
brown leather; title gilt on red spine label, spine stamped "TR/ 
CG/PB/H/1."] 

Promptbook originally marked by Kemble: lengths of lesser roles, 
list of extras, some stage business, maps, cues for effects, pro- 
cession list for funeral, timing. Much used later, especially 
between 1831 and 1837, for actors including C. Kemble, Macready, 
Cooper, Young, Hamblin, C. Kean: many pencilings in various 
hands show cuts, restorations, stage business, cues for effects, 
timings. 

12. Charles Mayne Young Brighton September 10, 1809 
Folger: Hamlet, 62 

[J. Barker edition, 47/ 8 x 81^; interleaves; gray and rose marbled 
boards, brown leather corners, red leather spine; title and "Plays/ 
12" stamped on spine.] 

Although Young's name and the date are written on the title 
page, the book is probably the official promptbook of a theatre. 
References to Young, Kemble, Cooper, etc., given in third person. 
Properties list, list of supers, costume notes at the front. Cuts 
and restorations, stage business, maps, timings. 

13. John Pritt Harley Gravesend November 20, 1812 
Folger: S.a.101 

[Manuscript, 614 x 7 5/§; fragments of leather spine; in brown 

cloth board box; title gilt on cover.] 

Manuscript partbook (5 leaves) for First Gravedigger. Dated as 



94 HAMLET 

above; at Hull, November 29, 1813; at Brighton, December 3, 
1814. Clipping from Hull playbill, with Charles Kemble as 
Hamlet. 

14. William Charles Macready London, Covent Garden June 8, 1821 
Folger: Hamlet, 24 

[Oxberry edition, 1820, 4 x 6^; interleaves; green boards and half 
brown leather, much worn; title stamped on spine.] 
Promptbook marked by Macready probably in 1821, and used 
by him for many years. Lists of properties and dress at the front. 
Restorations, some stage business, maps, cues for effects. Belonged 
to the Reverend C. Tisdall in 1876; given to Henry Irving in 
1881. (See nos. 28-30, 40, 56.) 

15. [Macready] 

British Museum: 011768.ff3 

[Johnson's edition of The Plays of William Shakespeare, 10 vol- 
umes, Dublin, 1766, 3^4 x 61/2; brown leather.] 
The text of Hamlet, in volume X, is cut for performance and has 
a few theatrical marginalia in Macready's hand. 

16. Edmund and Charles Kean Edinburgh c.1828 
Folger: W.a.71 

[Kemble edition, 1806, 3^ x 6i/£; interleaves; bound with other 
plays in brown leather gilt; "Siddons" gilt on spine.] 
George Joseph Bell's commentaries on various stage performances, 
including notes on both the Keans in Hamlet. 

17. Edwin Forrest New York 1830's 
Edwin Forrest Home (On loan to the University of Pennsylvania 
Library, Rare Book Room.) 

[Cumberland edition, 33^ x 53^; interleaves; green leather.] 
Promptbook probably marked by Forrest (in ink), with penciled 
additions. Restorations, calls, some detailed stage business, cues 
for effects. Regular key-marks are triple dollar signs. (See nos. 63- 
68.) 

18. [Forrest] 

Edwin Forrest Home (On loan to the University of Pennsylvania 
Library, Rare Book Room.) 

[Oxberry edition, 3i/2 x 5y 8 ; interleaves; brown marbled boards 
and half brown leather; title and Forrest's name gilt on spine.] 



HAMLET 95 

Promptbook lightly but systematically marked by Forrest. Res- 
torations, calls, some stage business, cues for effects. 

19. John H. Oxley New York, Park August 16, 1836 
University of Pennsylvania: AC85.M9415.820p.47b 
[Oxberry edition, Boston, 1822, 33^ x 6; interleaves; tan card- 
board; title inked on cover.] 

Promptbook. No stage business, but systematic calls, cues for 
effects. Inscribed by N. F. Kenny, a Pittsburgh prompter, Septem- 
ber 14, 1836, and also by George M. Fenno. Later belonged to 
James Murdoch. 

20. Charles Kean London, Haymarket J un e 1, 1840 
Folger: Hamlet, 18 

[Kemble edition, 1800, 5 x 734; interleaves; marbled boards and 
half brown leather, much worn and broken.] 
Handsome promptbook made for Kean by James Parsloe, the 
Drury Lane prompter, in August, 1840. (Kean had played Hamlet 
at Drury Lane on January 8, 1838.) Corrections by A. W. Nimmo, 
the Edinburgh prompter, in 1842. Eight beautiful ink-wash draw- 
ings of the scenes, with groove numbers. Call-lists, stage business, 
maps, cues for effects, timings. (See nos. 16, 58-61.) 

21. [Kean] 
Folger: W.a.10 

[Notebook, 4^ x 7^, sheets watermarked 1837; brown marbled 
boards and half brown leather gilt; "Theatrical Costumes" inked 
on spine label.] 

Kean's touring wardrobe list for Hamlet is the seventh of 16 such 
lists in this book. 

22. [Kean] 
Folger: T.b.15 

[Notebook, 734 x 12^; brown marbled boards and black leather 

spine.] 

Lists of scenery and properties, texts of written papers, call-lists, 

music cues for several plays, including Hamlet, as used by Kean 

when touring. 

23. Fred Coleman Nantz Bath, Theatre Royal 1839 
Folger: Hamlet, 39 

[Oxberry edition, 1818, 5i/£ x 8i/£; interleaves; sewn together 
with the 1825 reprint of the 1603 Hamlet.] 



96 HAMLET 

Studybook. Many annotations from Shakespearean critics. Some 
comments on theatrical practice. Cast for Bath, when Nantz 
played Laertes to Charles Kean's Hamlet. 

24. J. B. Addis New York, Bowery and Chatham 1839-46 
Dartmouth College: Sp.824Sh.Q3o.F 

[Oxberry edition, 1820, 4i/£ x 6^£; interleaves; gray marbled 
boards and half brown leather; title inked on cover label.] 
Addis was the prompter at the Bowery, and this is his own book. 
Cuts and restorations, calls, much stage business, maps and 
sketches, cues for effects. Casts led by T. S. Hamblin, A. A. 
Addams, J. B. Booth. A great many notes on the business of 
Hamblin, who played at the Bowery October 2, 1839. Further 
notes on Booth, Addams, Charles Kean, J. Wallack, Bass, Mrs. 
Bland. 

25. James H. Hackett New York, Park October 21, 1840 
Enthoven Collection 

[Oxberry edition, Boston, 1822, 3^4 x 6; interleaves; limp brown 
leather sewn with red tape.] 

Studybook, dated 1827. Checked for Hamlet, marked for stresses. 
Textual notes based on First Folio, etc. Copious annotations of 
stage business and interpretation. 

26. [Hackett] 
Enthoven Collection 

[Oxberry edition, London, 1827, 4i/£ x l\/ 2 '> interleaves; limp 
brown leather; title inked on cover.] 

Another studybook, transcribed and augmented from the preced- 
ing book. This copy Hackett loaned to J. Q. Adams in 1838-39. 
Comments on other actors' Hamlets, many notes from Shakespeare 
critics, copious and detailed plans for stage business. 

27. [Hackett] 
Enthoven Collection 

[French's Standard Drama, 4y 8 x 7*4; interleaves; brown cloth 
boards and half brown leather; title gilt on spine.] 
Partial promptbook made up long after 1840, when Hackett first 
played Hamlet. Lightly and randomly marked for stage arrange- 
ments and business. 

28. William Charles Macready London, Drury Lane April 29, 1842 
Victoria and Albert, Forster Library, 7918: F.48.C.16 



HAMLET 97 

[Kemble edition, 4 14 x 7i/£; interleaves; bound with four other 
Macready promptbooks in green cloth boards and half tan leather; 
titles gilt on spine.] 

Macready's promptbook at Drury Lane in 1842-43 and probably 
after: much soiled, last leaves missing, marked by several hands, 
including Macready's and those of the Drury Lane prompters, 
Willmott and Ellis. Restorations, some scenic indications, grooves, 
calls, some stage business, maps, cues for effects. (See nos. 14-15, 40, 
56.) 

29. [Macready] 

The Players: PB.75 

[Pages 1-146 (last pages missing) of a Shakespeare text, 5i/£ x 8^£; 
interleaves, 614 x 9.] 

Fine transcription of Macready's 1842-43 book made for the 
Theatre Royal, Manchester, by George Ellis, the Drury Lane 
prompter. Cuts on full text. Many scenic indications, groove num- 
bers, sketches, calls, stage business, maps, cues for effects, timings 
(but no timing for last act, the end of which is missing). Numer- 
ous pencilings indicate Manchester use. 

30. [Macready] 

University of Illinois: x792.9/Shl5h/no.l 

[Pages 1-152 of a Shakespeare text, 5i/g x 814, with half title and 

Preface from a Steevens edition; interleaves, 7i/2 x 9; green 

marbled boards and half maroon leather; title gilt on spine, name 

of Hermann Vezin gilt on black leather cover label.] 

Fine transcription of the Macready book made by George Ellis 

for Hermann Vezin, who used it much and marked it further. 

Timings total 3:35. 

31. Henry Betty London, Covent Garden December 28, 1844 
Folger: Hamlet, 2 

[Hinds English Stage, 1839, 4% x 7i/ 8 ; interleaves; green marbled 
boards and half black leather; title gilt up spine, "W.H.W. Betty" 
gilt on black cover label.] 

Promptbook of the son of William Henry West Betty, whose 
name is on the cover. Neatly marked in brown ink, with prompt- 
er's cues in red; additional notes in blue ink and pencil. Cuts 
and restorations, scenic indications, calls, stage business mainly 
as printed, maps, cues for effects. 



98 HAMLET 

32. [Betty] 

Folger: Hamlet, 3 

[Knight's Cabinet Edition, 1843, 3i4 x 5]/ 2 ; interleaves; gray 
boards and gray cloth spine; title penciled on cover.] 
Promptbook with markings similar to those of preceding book. 
Cuts on full text, grooves. At the back a dummy playbill with 
Betty as Hamlet. 

33. James E. Murdoch New York, Park October 21, 1845 
University of Pennsylvania: AC85.M9415.820p.47 

[Oxberry edition, Boston, 1822, 3i/4 x 5^; some interleaves; brown 
cloth boards and half brown leather; title inked on cover label.] 
Rehearsal copy, with cuts and restorations, and various reminder 
notes of effects. At the front are recorded performances in 1845 
and 1880. 

34. [Murdoch] 

University of Pennsylvania: AC85.M9415.820p.47a 

[French's Standard Drama, 4i/2 x 7i/ 2 '> publisher's wrappers under 

gray cardboard; title inked on cover.] 

Promptbook for a cutting of (or group of scenes from) the play, 

ending with the closet scene. Cues for effects. 

35. J. B. Roberts New York, Chatham February 26, 1847 
Folger: Hamlet, 44 

[Cumberland edition, 33^ x 6; interleaves, 4 x 6^g.] 
Studybook with stresses marked for Hamlet. Cuts and restorations, 
notes on scenery and furniture, much stage business. Said to be 
"marked from Mr. C. Kemble's prompt Book" (Kemble played 
in America in 1832); further notes on stage business of Kean, 
Booth, Cooper, Wallack, Forrest. (See nos. 71, 99.) 

36. [Roberts] 

Folger: Hamlet, 43 

[Cumberland edition, 334 x 6; interleaves, 4 x 6%.] 
Studybook with stresses marked for Hamlet and Ghost. Costume 
list. Copious stage business for Hamlet, including some from 
Hackett. J. S. Woodhouse named as Laertes. References to New- 
castle (Delaware), Gosport, Richmond, Norfolk, etc. 

37. [Roberts] 

Folger: Hamlet, 42 



HAMLET 99 

[Cumberland edition, 33/ x 6; interleaves; publisher's wrappers 
under brown cardboard.] 

Studybook with stresses marked for Hamlet. Copious stage busi- 
ness, including notations of the business of Macready, Vandenhoff, 
Anderson, Charles Kean, Hackett, Kemble, Booth, Forrest. De- 
tailed fencing routine copied from Kean. Scraps of bills of 
Roberts' performances in 1843, with Miss Fisher and Mrs. 
Thoman as Ophelia. Formerly belonged to Jacob Thoman. 

38. [Roberts] 

Folger: Hamlet, 45 

[Cumberland edition, 33/ x 6; interleaves; brown cardboard.] 

Studybook dated 1847 with stresses marked for Hamlet. Copious 

stage business, maps, fencing routine. A few references to business 

of other actors (Anderson, Kean). Formerly belonged to Jacob 

Thoman. 

39. Charlotte Cushman Manchester, Theatre Royal 1847 
Folger: Hamlet, 10 

[Pages 85-176 from a volume of Knight's Pictorial Edition, 1843, 
63/£ x 91/g; interleaves; purple cloth boards.] 
Dated London, February 8, 1848. Notes by Miss Cushman for an 
unnamed addressee, explaining her own conception and acting 
of Hamlet. Refers to her Manchester performance. (See no. 48.) 

40. William Charles Macready 

New York, Niblo's Astor Place October 12, 1848 

New York Public Library: *NCP.342989 

[Modern Standard Drama, 4i/ x 71/4; gray interleaves; publisher's 
wrappers under black and green marbled boards and black cloth 
spine; in brown manila folder.] 

Promptbook made by Henry B. Phillips, apparently transcribing 
from Macready's book. Cast lists for Macready at the Astor Place, 
and for Conway and Wallack. Cuts and restorations, scenic indi- 
cations, grooves, calls, stage business, maps, cues for effects, timing. 
(See nos. 14-15, 28-30, 56.) 

41. Asa Cushman Providence 1850's 
Brown University: Eng.P.17 

[Modern Standard Drama, 4i/ 2 x ^Vk' tan P a P er 

Promptbook checked for Bernardo. Cuts, cues for effects. Clip- 



100 HAMLET 

pings of playbills for G. V. Brooke in 1852, and for Mrs. E. S. 
Conner supported by members of the Cushman family. 

42. James Seymour America 1850's 
Princeton University, Seymour Collection 

[Modern Standard Drama, 1846, 4i/2 x ly^; lined paper.] 
Promptbook checked for Benvolio, Queen, Gravedigger. Cuts, 
cues for effects. 

43. Henry Farren America 1850's 
Harvard Theatre Collection: uncatalogued 

[Oxberry edition, 1827, 4]/ 8 x 7; blue interleaves, 4*i/ 8 x ly^'* brown 

cloth boards.] 

Promptbook crudely marked with calls and cues for effects. 

44. John Moore New York 1850's-70's 
Folger: Hamlet, 29 

[Pages 127-285 from volume IX of a Steevens Works, 5 x 8z/ 8 ; small 
interleaves; brown cardboard, much soiled; title inked on cover.] 
Very full promptbook and memorial record. At the front a list 
of property manuscripts, fencing routine, list of supers. Cuts on 
full text, calls, copious stage business, maps, cues for effects. Nota- 
tions of business of Macready, J. Wallack, Eddy, E. Booth. Play- 
bills of Young at Covent Garden, 1819; Macready at Park, 1844; 
Moore and G. Jordan at Montreal, 1854; Davenport at Park, 1870; 
Booth at Daly's, 1875. Engravings from Booth's acting edition 
pasted in. 

45. [Moore] 

Folger: Hamlet, 72 

[French issue of Lacy edition, 4]/ 8 x 7}4; interleaves, 47/ 8 x 73^; 

tan paper; title inked on cover.] 

Thorough promptbook, apparently by John Moore. Grooves, 

calls, properties, considerable stage business, maps, cues for effects. 

46. [Moore] 

Folger: T.b.2 

[Notebook, 6i/ 8 x lOi/; blue boards and black cloth spine.] 

Cues for the band for 48 plays, including Hamlet. 

47. Daniel Wilmarth Waller New York, Broadway June 30, 1851 
New York Public Library: *NCP.3429 



HAMLET 101 

[Hinds English Stage, 1839, 43^ x 75/§; interleaves; green cloth 
boards; title gilt up spine.] 

Dated as above and also from Sadler's Wells, 1854. Some scenic 
indications, a sketch, irregular calls, detailed stage business in 
early scenes, maps, cues for effects. 

48. Charlotte Cushman 

New York, Brougham's Lyceum November 24, 1851 
Library of Congress, Manuscripts Division: Cushman Box 
[Pages from Verplanck Works, 1847, 6^ x 10^; blue cloth boards; 
title gilt on cover.] 

Promptbook "marked for Miss C. Cushman by Henry B. Phillips, 
Prompter, N.Y." Cuts on full text, calls, some stage business, cues 
for effects, timings. (See no. 39.) 

49. James Stark New York, Astor Place September 28, 1852 
New York Public Library: *NCP.342977 

[Modern Standard Drama, 4i/£ x 7i/2; interleaves, 6 x 7i^; black 
cloth boards; title on spine.] 

Excellent and much used promptbook, made by Robert Jones, 
the prompter at the Howard Athenaeum, in 1852. Scenic indica- 
tions, grooves, calls, stage business, maps, sketches, cues for ef- 
fects. At the front an unfilled chart for "casts at different locali- 
ties": Richmond, 1848 (Stark as Hamlet), New Orleans, 1858, San 
Francisco, 1850, Sydney, 1853. 

50. William E. Burton New York 1852 
Folger: Hamlet, 8 

French's Standard Drama, 4i^ x 71/2; laid-in interleaves, 8 x 10; 
brown paper.] 

Excellent promptbook, unused, made by George Becks. "Marked 
from the Prompt Book of W. E. Burton, with additions." Very 
similar to the preceding Stark book. 

51. George Vandenhoff London, Haymarket October 25, 1853 
Folger: Hamlet, 53 

[Kemble edition, 1814, 33^ x 6]/ 2 > interleaves; green marbled 
boards and half green leather; title and "Vandenhoff's Prompt 
Copy" gilt on spine.] 

Rather haphazard half-studybook, half-promptbook. At the front 
a description of the fencing match, and Haymarket cast with 
Vandenhoff as Hamlet. Restorations, some scenic indications, 



102 HAMLET 

calls, stage business for various roles, maps. At the back a sug- 
gested arrangement for a happy ending. Belonged to Thomas 
Jefferson McKee in 1895. 

52. Thomas E. Morris America 1854 
Folger: Hamlet, 38 

[Modern Standard Drama, 4i/ 2 x 7i/ 2 ; red cloth boards; title writ- 
ten on cover label.] 

Studybook checked for Ghost, King, Polonius. Some stage busi- 
ness. Clippings from playbills, 1850-62, with Forrest, Davenport, 
Couldock, Murdoch, Jamieson. 

53. Samuel Phelps London, Sadler's Wells September 25, 1854 
Shakespeare Centre Library: O.S.P.50.07(1829) 

[Davidson issue of Cumberland edition, 3i/2 x 5^4; blue inter- 
leaves; tan marbled boards and half tan cloth; title on cover 
label.] 

Promptbook neatly written in brown ink with red underlinings, 
thought to be a Phelps book of 1854. Scenic indications, calls, 
stage business, maps, cues for effects, timing. F. Haywel (Hawley), 
to whom it belonged, has indicated various restorations. 

54. Alexander Burger 1856 
Folger: Mac, 15 

[French's Standard Drama, 4 14 x 7]/^; bound with Macbeth and 
other plays in brown marbled boards and black leather spine; 
Burger's name gilt on cover and spine.] 

Crude promptbook, thoroughly marked but probably unused. 
At the front a list of properties. Cuts, calls, cues for effects. 

55. J. W. Wallack New York, Wallack's October 20, 1856 
New York Public Library: *NCP.342983 

[Oxberry edition, 1820, 4 x 7i4; interleaves; yellow paper under 
black cloth boards; title gilt on spine.] 

Promptbook marked for Wallack, as played by him in 1856, by 
Henry B. Phillips, the prompter. Cuts, scenic indications, grooves, 
some stage business, cues for effects. 

56. Walter Benn America 1858 
University of North Carolina: Tannenbaum Shakespeare Col- 
lection 



HAMLET 103 

[Pages 223-352 from volume VII of Knight's Cabinet Edition, 
3s/ 8 x 51/2; interleaves, 4% x 75/ 8 ; bound.] 

Excellent transcription of a promptbook probably of English 
origin, at many points verbatim with Macready's; given to the 
American actor Benn "from his friend A. F. Kiefer"; dated July 
30, 1858. Cuts on full text, grooves, calls, stage business, maps and 
sketches, cues for effects, timings. Benn added in pencil a few bits 
of business, one or two crude sketches, and a great many naive 
notes on pronunciations. (See nos. 14-15, 28-30, 40.) 

57. Anonymous Boston, Boston Museum 1859 
Princeton University, Seymour Collection 

[French's Standard Drama, 4i^ x 61/2; interleaves; coarse cloth; 
title, date, and "Boston Museum" inked on cover.] 
Crude but thorough promptbook marked by several hands. Cuts, 
grooves, calls, stage business, cues for effects. 

58. Charles Kean London, Princess's January 10, 1859 
Folger: Hamlet, 21, 20, 19 

[Three books. Kean edition, 1859, 5 ]4 x 81^; interleaves, 634 x 9; 
tan cloth boards and half brown leather; title gilt up spine.] 
Three final or souvenir promptbooks made by T. W. Edmonds, 
the prompter. Contain fine watercolors of the 11 scenes. Stage 
directions are mainly as printed. Maps, cues for effects, timings. 
Of these 3 copies, no. 21 became Kean's touring book and is much 
soiled; no. 20 is clean and perfect; no. 19 is broken and its water- 
colors removed. (See nos. 16, 20-22.) 

59. [Kean] 

Enthoven Collection: Box DT.43 

[Watercolors mounted on large display boards.] 

Fine watercolors of the 1 1 scenes, with names of the artists. 

60. [Kean] 

Folger: Prints and Engravings, 51 

[Watercolors, 8 x 5\Z 2 > mounted in an album, IO14 x 14%; gray 

cloth boards and half green leather gilt; "Charles Kean/Original 

Water Color Drawings" gilt on spine.] 

Fine watercolor scene designs for 4 plays, including 1 1 for Hamlet. 

61. [Kean] 
Folger: T.a.68 



104 HAMLET 

[Dummy book of watercolor pages, 4 x 6s/ 8 ; purple velvet and 
glittery paper decorations.] 

A letter of gift from F. Belton of the Theatre Royal, Exeter, to 
Wilson Barrett, states that this is the property prayerbook used by 
Edmund Kean in Richard HI and Charles Kean in Hamlet. It 
was doubtless made for Charles Kean in the 1850's: one of the il- 
luminated pages is initialed "F.L." (Lloyds?) 

62. Mercer Hampson Simpson Birmingham, Theatre Royal 1860's 
Birmingham, Shakespeare Memorial Library: A15/455853 
[Cumberland edition, 55/s x 5^; gray boards and brown cloth 
spine; title inked on cover label; bound with other Shakespeare 
plays in green cloth boards.] 

Promptbook much soiled from use. Calls, maps, cues for effects. 

63. Edwin Forrest America 1860's 
Folger: Hamlet, 58 

[Edition "as played by . . . Forrest," published by W. A. Moore, 
45/ 8 x 7 1/8 ; interleaves; blue and tan marbled boards and half 
brown leather; title inked on spine.] 

Rather crude promptbook, perhaps Forrest's. Properties list, maps, 
cues for effects. (See nos. 17-18.) 

64. [Forrest] 

Folger: Hamlet, 69 

[French's Standard Drama, 4i/ 2 x 7]/ 2 ' interleaves; gray cardboard; 

title elaborately inked on cover.] 

Well-developed promptbook, apparently Forrest's. Calls, stage 

business resembling that in J. B. Wright's memorial book (see no. 

66), maps, cues for effects. (Compare OTH, 47.) 

65. [Forrest] 

Edwin Forrest Home (On loan to the University of Pennsylvania 
Library, Rare Book Room.) 

[French's Forrest edition, 1860, 4s/ 8 x 7i/£; interleaves; brown 
marbled boards and half brown leather gilt; title gilt on spine.] 
Excellent promptbook, done in brown ink with red underlinings 
by a professional prompter or copyist. Calls, much stage business, 
maps, cues for effects. In lieu of scenic descriptions there are half 
a dozen neat ink drawings of the scenes. (See KL, 68.) 



HAMLET 105 

66. [Forrest] 

Folger: Hamlet, 61 

[French's Standard Drama, 4i/ 2 x 71/^; interleaves, 5x8; white 
paper; title pasted on cover.] 

Excellent memorial book made by John B. Wright, who was For- 
rest's stage manager in the later years. An 1860 Baltimore playbill. 
A great many detailed notes of Forrest's stage business, maps and 
sketches, cues for effects. 

67. [Forrest] 

New York Public Library: *NCP.342926 

[French's Forrest edition, 1860, 4i/£ x 7i/ 2 ; interleaves; black cloth 

boards; title gilt on spine.] 

George Becks 's "Memory of some of Forrest's business and manner 

in Hamlet." (Becks played in Forrest's company for four seasons.) 

Extremely detailed and vivid record of Forrest's performance. 

68. [Forrest] 

Folger: Hamlet, 50 

[French's Standard Drama, 4^ x 7^; interleaves; black cloth 

boards and black leather spine.] 

Transcription of George Becks's memorial book, owned by James 

Taylor. 

69. Henry Holmes England 1860's 
Enthoven Collection: 1842 Box 

[French issue of Lacy edition, 4 14 x 7 !/£; publisher's wrappers, 

front cover missing.] 

The Hamlet role and some other parts marked for stresses, pauses, 

etc. Through 2 acts many notes on stage business, maps, notes on 

lighting. 

70. Anonymous 1860's(?) 
Harvard Theatre Collection: (Widener, 13484.41.2) 
[French's Standard Drama, 4s/ 8 x 1i/ 2 ; yellow publisher's wrapper 
under green marbled boards and green cloth spine; title inked 
up cover.] 

Amusing comments on a performance, made by a disgruntled 
spectator. 

71. J. B. Roberts 1861 
Folger: Hamlet, 40 



106 HAMLET 

[French's Standard Drama, 43/ 8 x 7i/ 2 ; interleaves, A.i/ 8 x 8; brown 
boards; title, etc., on cover.] 

Promptbook dated 1861, much used, marked "Please return after 
performance." Some stage business, maps, cues for effects. (See 
nos. 35-38, 99.) 

72. Charles Fechter London, Lyceum May 21, 1864 
Folger: Hamlet, 25 

[Lacy edition, 4 x 7i/£; interleaves, 5]/ 8 x 8; brown cloth boards 
and half black leather gilt; title gilt on cover.] 
Fine souvenir promptbook made by W. Mclntyre, who played 
Rosencrantz. Cuts and restorations, several good sketches of 
scenes, grooves, copious and detailed stage business, maps, cues 
for effects. Henry Irving bookplate. 

73. [Fechter] 
Enthoven Collection 
[Watercolors, 6]/ 2 x 814.] 

Fine watercolor designs for 5 scenes of Fechter's production, by 
William Telbin. 

74. [Fechter] 

Harvard Theatre Collection: (Widener, 13484.42.5) 

[Lacy edition, 4]/ 8 x 1\/ A ; interleaves; gray and red marbled boards 

and brown cloth spine; title inked up cover.] 

Studybook of the actor of Laertes in Fechter's production. Little 

stage business. 

75. Edwin Booth New York, Winter Garden November 26, 1864 
The Players 

[Tauchnitz edition, 1862, 31/4 x 51/4; purple cloth boards; in red 
leather box; title gilt on spine.] 

Partial preparation copy inscribed "Found by me at Winter Gar- 
den during my 'Hundred Nights' and marked for reference." First 
act shows cuts, grooves, stage business, maps, cues for effects. (See 
nos. 86-87, 101-104, 107-113.) 

76. [Booth] 
The Players 

[Booth-Hinton edition, 5s/ 8 x 9\/ 8 ; brown marbled boards and half 
maroon leather; title gilt on spine.] 



HAMLET 107 

Studybook marked "Private." Many notes on interpretation and 
acting. References to Forrest, Sullivan, Fechter. 

77. Lawrence Barrett Brooklyn, Park December, 1864 
Harvard Theatre Collection: TS.2272.78 

[French's Standard Drama, 4y 8 x iy & ; interleaves, 5 x 7y 8 ; red 
marbled boards and half black leather; title gilt on black leather 
cover label; in box of gray boards and brown leather spine; title 
gilt up spine.] 

Very full and much used promptbook, written in purple ink by 
"W. S." At the front a list of doubles. Cuts and restorations, 
scenic indications, grooves, calls, copious stage business, maps, 
cues for effects. (See nos. 81-83.) (If "W. S." is William Seymour, 
this copy was probably made c.1870). 

78. George C. Boniface New York, New Bowery February 27, 1865 
Folger: Hamlet, 5 

[French's Standard Drama, Ai/ 2 x 7y%; interleaves, 5x8; salmon 
boards and brown velvet spine; title on cover label.] 
Elegantly developed promptbook. Calls, properties, some stage 
business, maps, cues for effects. Contains 1894 flier for his "Shake- 
spearean Readings," which lists the greater actors he has served 
under. 

79. George A. Ober America 1865-67 
Princeton, Seymour Collection 

[French's Standard Drama, 4i/£ x 61^; tan cardboard.] 
Much worn studybook checked for Claudius and Horatio. Notes 
on lengths of various roles, records of performance. Two sheets of 
notes on disposition of scenes for the play and list of new scenes 
to be painted. 

80. F. A. Marshall London, Royal Alfred February 23, 1869 
Shakespeare Centre Library: 50.07(1855) 

[Lacy edition, 4 x 1\/ A ; interleaves, 8i/£ x iy A ; blue leather; title 
gilt on front, inked on spine label.] 

Studybook of an actor or reader with detailed notes of business 
and interpretation for the opening scenes. 

81. Lawrence Barrett 1870 
Princeton University, Seymour Collection 

[Booth-Hinton edition, 53^ x 9; publisher's wrappers.] 



108 HAMLET 

Stage manager's workbook signed and dated by William Seymour. 
Barrett's name substituted for Booth's on the cover. (See no. 77.) 

82. [Barrett] 

University of Illinois: x792.9/Shl5h/no.4 

[French's Standard Drama, 4i/£ x 7i/£; interleaves; purple cloth 
boards; title and "Chas. B. Wells [sic]" gilt on cover.] 
Transcription of Barrett's promptbook made by Charles B. Welles 
in 1875. Lists of Hamlet's costumes, doubles, written papers. Cuts, 
scenic indications, grooves, calls, copious stage business, maps 
and sketches, cues for effects, timing. At the back a music score 
for the Dead March. 

83. [Barrett] 

Harvard Theatre Collection: uncatalogued 
[Ten music score books, 9 1/ 2 x 6]/^; brown cloth boards and green 
cloth spine.] 

Complete scores for the band for 9 plays including Hamlet, en- 
dorsed by musicians in many cities. 

84. James E. Kirkwood Rochester, New York 1870's 
University of Illinois: x792.9/Shl5h/no.2 

[French's Standard Drama, 4 14 x 63/£; interleaves; purple marbled 
boards and brown cloth spine, broken.] 

Early promptbook of Kirkwood, the Rochester prompter: cues 
for effects done in brown and red ink. Much stage business added 
in pencil, especially for the last acts, perhaps in the hand of Wil- 
liam Farnum. 

85. [Kirkwood] 

University of Illinois: x792.9/Shl5h/no.3 

[French's Standard Drama, 4y 8 x 67/ 8 ; interleaves; green marbled 
boards and blue cloth spine; title inked down spine label.] 
Later Kirkwood promptbook: cuts, cues for effects neatly printed 
in brown and red ink. Rochester playbills pasted in for Edwin 
Adams in 1875 and Sophia Miles in 1877. 

86. Edwin Booth New York, Booth's January 5, 1870 
Folger: T.b.16 

[Double-column journal, 9 x IO1/2; brown cloth boards and tan 

leather spine; title gilt on maroon spine label.] 

Manuscript description (108 pages) of Booth's Hamlet, written 



HAMLET 109 

by Charles W. Clarke in the summer of 1870. (See Murray Bundy, 
Shakespeare Quarterly, II, 99-102.) 

87. [Booth] 
The Players 

[Booth-Hinton edition, 53^ x 9i/£, between leaves of a workbook, 
7 1/4 x 9i/£; red marbled boards and red leather spine; in red 
leather box; titles gilt on spine. Workbook also contains Riche- 
lieu.] 

Well-marked promptbook used on tours. Scenic indications, calls, 
stage business, cues for effects. Timings for performances in vari- 
ous cities, 1870-77. Playbill for hundredth night, March 22, 1865. 
(See nos. 75-76, 101-104, 107-113.) 

88. Walter Hubbell Philadelphia 1872 
Folger: Hamlet, 14 

[French's Standard Drama, 4i^ x 7]/ 2 ; gray cardboard.] 
Rehearsal copy, much thumbed but very little marked. (See no. 
113.) 

89. William Creswick London, Princess's November 4, 1873 
Shakespeare Centre Library: 50.07(1826) 

[Pages 253-410 from volume VIII of Chalmers' Works, 1826, 
5 1/2 x 81/2; interleaves; green cloth boards and half green leather; 
title gilt on red spine label, Creswick's name gilt on red cover 
label.] 

Promptbook handsomely marked in large clear hand, with pen- 
ciled additions. Cuts on full text, scenic notes and several sketches, 
calls, stage business, maps, cues for effects. Programs for Princess's 
and for Drury Lane, December 15, 1874. 

90. Henry Irving London, Lyceum October 31, 1874 
Harvard Theatre Collection: TS.2272.75 

[Pages of a Shakespeare edition pasted in a workbook, 7% x 8%; 
red marbled boards and black cloth spine; in box of green cloth 
boards and green leather spine; title gilt on spine.] 
Excellent souvenir promptbook made by J. H. Allen after the 200- 
night Lyceum run. Explicit details of stage management. Many 
maps and sketches, cues for effects. 

91. [Irving] 

Harvard Theatre Collection: uncatalogued 



110 HAMLET 

[Clarendon Press (Clark and Wright), 1873, 4i/ 2 x 65^; publisher's 

wrappers.] 

Irving's studybook, marked in red, blue, and lead pencil. Cuts 

on full text, countless notes on the interpretation and playing 

of his own role, and notes on effects. 

92. [Irving] 

Folger: Hamlet, 15 

[Clarendon Press edition, 1873, 4i/£ x 6s/ 8 ; orange publisher's 
wrappers, much worn.] 

Given by Irving to Charles Lamb Kenney, "with marks, as per- 
formed by him at the Lyceum." Cuts and transpositions only. 

93. [Irving] London, Lyceum December 30, 1878 
Shakespeare Centre Library: 72.907/Irving 

[Sheets of Irving edition, 1878, tipped to stubs between pages of 
a workbook, 63^ x 7%; blue cloth boards and blue leather spine; 
title gilt on cover.] 

Carefully marked promptbook, probably by J. H. Allen, the Ly- 
ceum prompter. Scenic indications, grooves, calls, maps, cues for 
effects, timings. A nice watercolor of Ghost standing on rock 
backed by the sea. 

94. [Irving] 

Folger: Hamlet, 17 

[Irving edition, 1879, 5i^ x 814; yellow leather gilt.] 

Studybook with a few penciled jottings. 

95. Ellen Terry London, Lyceum December 30, 1878 
Smallhythe 

[Irving edition, 1879, 5 14 x 8; interleaves; maroon leather, much 

worn.] 

Rehearsal book, dated as of Miss Terry's first appearance at the 

Lyceum. Many notes by Miss Terry on Ophelia's mad scene. Notes 

on Hamlet's business in play scene in another hand. At the front 

she has noted "Some of Edward W. G. . . . Henry Irving . . . 

Edward Gordon Craig." 

96. [Terry] 
Smallhythe 

[Oxford edition, 1876, 4i/ 2 x 614; publisher's orange paper with 

printed title; "H. I." inked on cover.] 

A copy in which Miss Terry has entered many derogatory notes 



HAMLET 111 

about somebody's performance of Hamlet, comparing him un- 
favorably to Irving. 

97. [Terry] 

Folger: Hamlet, 49 

[Irving edition, 1883, 5y 8 x 814; gray paper.] 

A few notes of stage business in the fourth act. 

98. Julian Reed 1880's 
Harvard Theatre Collection: uncatalogued 

[French's Standard Drama, 4i/£ x 71/3; pink paper.] 

"Presented to Julian Reed by Ed. Chas. Voltz." Cuts, some stage 

business, maps, some cues. 

99. J. B. Roberts 1880's 
Folger: Hamlet, 41 

[Pages 247-394 from volume VII of a Works, 614 x 9y 4 ; black 
cloth boards and brown leather spine.] 

Cutting of the play for public readings. At the front a list of 12 
Shakespeare plays, apparently his reading repertory. At the back 
an article on Hamlet by Wilson Barrett, a note on Irving's busi- 
ness with the peacock fan, a review of Tree's Hamlet in 1892. 
(See nos. 35-38, 71.) 

100. Frederick Warde America 1880's 
W. A. Clarke Library, Los Angeles 

[Kean edition, 4 x 6$/ 8 ; interleaves; brown leather; title and 
Warde's name gilt on cover, title gilt on spine.] 
Promptbook used by Warde for many years after it was given to 
him by L. Sola in Dallas in 1882. At the front, plots of scenes and 
grooves, properties, supers. Calls, some stage business, good 
groundplans, cues for effects. 

101. Edwin Booth New York c.1880 
Harvard Theatre Collection: uncatalogued 
[Booth-Winter edition, 1878, 45^ x 7i/£.] 

A richly marked copy, checked for Ghost and Rosencrantz, but 
probably marked by the leader of the orchestra: all music cues 
are carefully noted. Copious notations of stage business as seen 
from the front. In all Hamlet passages there are marginal key- 
marks — a, b, d, e, etc. (but never c) — which correspond to the key- 
marks in E. T. Mason's books. (See nos. 75-76, 86-87, 107-113.) 



112 HAMLET 

102. [Booth] 

Folger: Hamlet, 6 

[Booth- Winter edition, 4s/ 4 x 634.] 

Rehearsal copy, with many nearly illegible scribblings probably 

by Booth. A gift from Booth to Charles Dunphie, October, 1880. 

103. [Booth] 
The Players 

[Booth- Winter edition, 1879, 45/£ x 61/2; black limp leather gilt; 
title gilt on cover.] 

Transcription of Booth's promptbook made by J. R. Pitman as a 
souvenir for Russ Whytal, autographed by Booth. Excellently 
marked with scenic indications, groundplans, calls, stage business, 
maps, cues for effects. 

104. [Booth] 

University of Pennsylvania, Furness Collection: C59.ShlHP 
[Booth- Winter edition, 1879, 4^4 x 6^£; gray publisher's wrap- 
pers.] 

Carefully marked promptbook by J. R. Pitman, with pencilings 
showing signs of use. Calls, stage business, several good maps, cues 
for effects. Probably derived from Booth and related to preceding 
book. 

105. Louis James 1882-83 
University of Pennsylvania, Furness Collection: C59.SMR3J 
[French's Standard Drama pasted in a workbook of brown paper, 
5i/2 x 814; gray marbled boards and blue cloth spine. Work- 
book also contains James's 1881 book of Richard III.] 
Promptbook arranged in 6 acts, very carefully marked. Cuts, some 
grooves, much stage business, good maps, cues for effects. 

106. Helena Modjeska New York, Broadway November 4, 1889 
Boston Athenaeum: $VE.S58.1911 

[Pages of Ophelia scenes pasted in a workbook, 63^ x S\/ 8 ; black 
leather. Workbook also contains Booth's banquet scene in Mac- 
beth (see MAC, 103).] 

Edward Tuckerman Mason's descriptive notes on Modjeska's 
Ophelia when she played with Edwin Booth. 

107. Edwin Booth America 1890 
Harvard Theatre Collection: TS.2272.73 



HAMLET 113 

[Booth-Winter edition, 1890, printed on right-hand pages only, 
4^4 x 6^4; publisher's wrappers; in gray cloth board box with 
maroon leather spine; title gilt up spine.] 

Fully though roughly marked book of Booth's final season. Cuts, 
scenic indications, grooves, calls, much stage business, maps, cues 
for effects. Last pages missing. (See nos. 75-76, 86-87, 101-104.) 

108. [Booth] 

Harvard Theatre Collection: TS.665.9.5 

[Pages 1-152 of a Shakespeare text, 5 14 x 834; interleaves, 7 x 

IO14; black cloth boards; title gilt on spine.] 

Scrapbook in promptbook form made up by James Taylor, the 

actor, during the 1890 tour and presented to Booth. Includes 

title pages and introductions from several editions of the play, 

two articles on its stage history, several portraits of actors. Many 

descriptive and interpretive notes by Taylor, and additional 

notes by Booth and Barrett. 

109. [Booth] 
The Players 

[Booth-Winter edition, 1878, 4s/ 4 x 6^4; interleaves; brown mar- 
bled boards and half brown leather; title and Booth's name gilt 
on spine.] 

Private studybook in which Booth wrote about 230 "Rough 
mems for future use. To be put into proper shape at leisure." 
Notes on stage business, motivation, pronunciations, meanings of 
words, etc. Many key numerals entered in the text have no cor- 
responding notes, as if the work was in progress. 

110. [Booth] 

Boston Athenaeum: $VE.S5H.1909 

[Booth-Winter edition, 1909, 4i/ 2 x 6^£; interleaves; blue cloth 

boards; title gilt on spine.] 

"Some of Edwin Booth's business in Hamlet, observed and noted 

by Edward Tuckerman Mason, from 1862 to 1891." There are 

234 notes, with many maps, recording Booth's varying practices 

for 30 years. 

111. [Booth] 
The Players 

[Booth- Winter edition, 1888, 4^4 x 6i/£; interleaves; black cloth; 
title inked on spine label.] 



114 HAMLET 

Another copy of E. T. Mason's notes. This is probably the orig- 
inal, from which the preceding book was transcribed. 

112. [Booth] 

New York Public Library: *NCP 

[Pages of Booth- Winter edition, 4i/£ x 7i/ 8 , tipped into workbook, 
63^ x 814; black boards and tan cloth spine; title typed up spine.] 
A promptbook made up by Hallam Bosworth, partly taken from 
Booth books, partly from George Becks's memorials of Forrest, 
with references to Sothern. At the front are groundplans for the 6 
acts. Plots for properties and lights. Copious stage business, cues 
for effects. The text is marked for stresses. 

113. [Booth] 

Folger: Hamlet, 60 

[Booth- Winter edition, 1896, 4i^ x 7; interleaves; blue cloth 

boards.] 

William Winter's souvenir copy of the edition with numerous 

photographs and autographs, and a manuscript page of Winter's 

description of Booth as Hamlet. 

114. Frank Lodge c.1890 
Folger: Hamlet, 23 

[Booth-Winter edition, 1878, pasted in a workbook, 4i/£ x 7?/ 8 ; 
brown leather; title on cover label.] 

Rehearsal copy. Costume list, random stage business for various 
minor roles. 

115. La Nera 

Harvard Theatre Collection: uncatalogued 
[Booth-Winter edition, 43/£ x 7i/ 8 ; publisher's wrappers.] 
Rehearsal copy. Copious stage business for Gertrude's closet scene 
and Ophelia's mad scene. 

116. Walter Hubbell c.1890 
Folger: Hamlet, 73 

[Typescripts, 8 x 5 14 ; blue paper.] 

Eighteen partbooks for Hubbell's touring company. An adver- 
tising leaflet for him, containing reference to the imminent re- 
tirement of Booth. (See no. 88.) 



HAMLET 115 

117. Robert Mantell Troy March 19, 1890 
Folger: Hamlet, 26 

[French's Standard Drama, 4i/ 2 x 7; interleaves; brown limp 
leather; title, etc., gilt on cover.] 

Promptbook, much used. Cuts and restorations. At the front a 
list of scenes with grooves, and a dummy cast list. Stage business, 
maps, cues for effects entered in several colors. 

118. Herbert Beerbohm Tree London, Haymarket January 21, 1892 
Folger: Hamlet, 51 

[Memorial Theatre edition, 1882, 4s/ 4 x 7i/ 8 .] 
Rehearsal copy checked and cut for Hamlet. 

119. [Tree] 

Folger: Hamlet, 52 

[Wilson Barrett edition, 1886, 51/4 x 83^.] 

Preparation copy. A few notes on scenery and stage business. 

120. [Tree] 

Enthoven Collection: Tree, 12 

[Memorial Theatre edition, 1882, 4^4 x 7 14 J interleaves, 6^4 x 9; 

binding and last pages missing.] 

Much used rehearsal promptbook. Cuts and transpositions, stage 

business roughly penciled, maps, cues for effects. At the front a 

list of timings and names of minor actors for opening scene. 

121. [Tree] 

Enthoven Collection: Tree, 12 

[Memorial Theatre edition, 1882, 4^4 x 7i4; interleaves, 5 14 x 
81/2; green boards and green cloth spine, very much worn; title 
and "1893" inked on cover.] 

Promptbook, marked in black and red ink. Cuts, good ground- 
plans, stage business, maps, cues for effects. 

122. [Tree] 

Enthoven Collection: Tree, 12 

[Typescripts, 87/ 8 x 7^4; gray paper.] 

Partbooks for King, Marcellus, Bernardo, Francisco, Second 

Player, Player Queen, Priest, Rosencrantz. 

123. [Tree] 

Enthoven Collection: Tree, 12 



116 HAMLET 

[Black leather notebook, 45/ 8 x 7.] 

Inventory of scenery, properties, wardrobe for American tour. 

124. [Tree] London, His Majesty's 1905 
Enthoven Collection: Tree, 12 

[Papers.] 

Cast lists for 1905, 1906, 1908, 1910. Scenery lists, dressing room 

lists, property lists, proofs for 1906 program, etc. 

125. [Tree] 

Enthoven Collection: Tree, 12 

[Heinemann's Favourite Classics, 1904, 3^4 x 6; green cloth 

boards; title gilt up spine.] 

Nine rehearsal copies with cuts and some penciled notes: Queen, 

Polonius, Ghost, Laertes, Ophelia, Horatio, etc. 

^ 126. Johnston Forbes-Robertson London, Lyceum Sept. 11, 1897 
Henry E. Huntington Library: 344883 

[Forbes-Robertson edition, 1897, 7i/£ x 91/g; tan boards and red 
< < ZZ2 3 2 cloth spine; title in red on cover; in brown leather box, 7$/ 8 x 10; 
title and "Prompt Copy" gilt on spine.] 

Promptbook marked in ink and pencil along the margins. Some 
cuts, some stage business, routine for overture and opening, cues 
for effects. Signed at the back by Charles Chappel of South Ken- 
sington. 

127. William Poel London, Carpenter's Hall February 21, 1900 
Enthoven Collection 

[Leaves of Cassell's National Library edition, 3^g x 5^g, tipped 

to stubs between leaves of a workbook, 6s/ 8 x 8; black imitation 

leather.] 

Incomplete preparation copy. Many passages, cut and rearranged, 

are in manuscript. 

128. [Poel] 

Enthoven Collection 

[Cassell's National Library edition, 3^g x 55^; gray publisher's 

wrappers.] 

Preparation copy. Cuts on full text. Various working notes. 

129. F. Owen Chambers c.1900 
Shakespeare Centre Library: 72.907CHA 



HAMLET 117 

[Cassell's National Library edition pasted in two workbooks, 
614 x 7%, fastened together; black boards; title inked on spine 
and cover labels.] 

Promptbook thought to have been prepared about 1900; does not 
appear used. Cuts, elaborate scenic indications, grooves, 5 careful 
groundplans, stage business, cues for effects. 

130. E. H. Sothern New York, Garden September 17, 1900 
The Players: PB.95 

[Rolfe(?) edition, 4^ x 614, sewn between leaves of a workbook, 
7 1/4 x 95/ 8 ; red leather; title, etc., gilt on cover.] 
Extremely full preparation book, by Fred Williams, Lyceum 
Theatre Company, 1899. Cuts on full text, scenic indications, 
elaborate groundplans, calls, detailed stage business, scores for 
songs, cues for effects. At the back, 164 pages of manuscript notes 
on some 20 great Hamlets of the past. Penciled annotations by 
Sothern. 

131. [Sothern] 

The Players: TS.104 

[Typescript, 8i/£ x H; brown paper.] 

Early version of Sothern's text. Some stage business. 

132. E. H. Sothern and Julia Marlowe 

Chicago, Illinois Theatre October 4, 1904 

The Players: PB.lll 
[Seven booklets. Typescript, 8 x IO1/2.] 

Early working copy of the 1904 version. Penciled corrections of 
text. First booklet contains plots of rigging, properties, lights, 
scenes with groundplans, music, cast. Sixth booklet contains lists 
of supers and their business. Seventh booklet contains ground- 
plans and stage business. 

133. [Sothern and Marlowe] 
The Players: TS. 106, 112 

[Two books. Typescript, 8 x lOi^; each book consists of 6 parts 
bound separately in blue paper.] 

Two copies of completed book. Many notes on the text, very full 
stage business. All the technical data from the preceding book, 
plus special instructions to house carpenters. 



118 HAMLET 

134. [Sothern and Marlowe] 

Museum of the City of New York: 43.430.641 
[Typescript (original), 81/2 x 11; black cloth board folder.] 
Final promptbook, much used on the road. Extra pencilings of 
calls, added stage business, maps, cues for effects, timings in sev- 
eral cities. 

135. [Sothern and Marlowe] 

Museum of the City of New York: 43.430.640 
[Typescript (carbon of preceding book); acts bound separately.] 
Electrician's copy (W. Stiefell). Large groundplans and sketches 
showing focus of lighting instruments. 

136. [Sothern and Marlowe] 
Folger: T.a.81, 82 

[Notebook, 65/£ x 8i/ 8 ; red marbled boards and black cloth spine.] 
"Sothern & Marlowe Elect Dept." Light plots for 5 Shakespeare 
productions, including 11 plots (sketches) for Hamlet; instru- 
ments, colors, maps, cues. With it a typed light plot mounted on 
cardboard for use at the controls. 

137. [Sothern and Marlowe] 
Folger: Hamlet, 34, 35 

[Two books. Typescript, 81/2 x 11; brown paper.] 
Complete book of the production, with stage business and plots 
of lights, properties, music, etc., for each scene. Number 34 is an 
original, and 35 a carbon. 

138. [Sothern and Marlowe] 
Folger: Hamlet, Folios 1, 2, 3 

[Two books. Typescript, S]/ 2 x 12; gray cardboard.] 
In these three "folios" are 2 complete copies of a final version 
which differs somewhat from that of Folger nos. 34 and 35. Pre- 
pared by Frederick Kaufman, general stage manager. 

139. [Sothern and Marlowe] 

New York Public Library: *NCP.276561B 
[Typescript, Si/ 8 x 11; red cloth boards; title gilt on spine.] 
Carbon copy of one of the final versions, used by V. H. Collins. 
Penciled cues for musical flourishes. 



HAMLET 119 

140. [Sothern and Marlowe] 

New York Public Library: *NCOF.5 1x304 
[Typescript, 8i/£ x 11; brown cloth boards; title gilt up spine.] 
Carbon copy of same text as preceding (Collins) copy, but in a 
different typing. 

141. [Sothern and Marlowe] 

Museum of the City of New York: 43.430.683 

[Typescript, 7% x 6i/£; blue paper.] 

Miss Marlowe's partbook for Ophelia, lightly annotated. 

142. [Sothern and Marlowe] 

Museum of the City of New York: 43.430.684 
[Typescript, 7% x {%» bhi e paper.] 
Sothern's partbook for Hamlet. Costume lists. 

143. [Sothern and Marlowe] 
Folger: Hamlet, 32 

[Shakespeare text pasted in a workbook, l3/ 8 x 9]/ 2 '> black cloth 
board ring binder.] 

Promptbook record of the production made by Lark Taylor, 
November, 1906. Cuts on full text. Very detailed stage business. 
Playbill for 1906. 

144. [Sothern and Marlowe] 
Folger: Hamlet, 36 

[Sothern edition, 1903, 5]/ 2 x $ 3 A'> brown cloth boards and half 
brown leather gilt; title and "King Claudius Prompt Book" gilt 
on spine.] 

Lark Taylor's second record of the production. Casts for 1900, 
1907, 1911. Copious stage business, maps. Many anecdotes from 
the history of the production, including Taylor's experience in 
various roles, the Cincinnati fire, etc. 

145. [Sothern and Marlowe] 

Joint University Libraries, Nashville: S822.33/S7/H7 
[Sothern edition, 1901, 5 x 81/4; interleaves; red cloth boards; 
title and "Lark Taylor" gilt on cover.] 

Lark Taylor's third promptbook record of the production. Casts 
for 1907 in London, 1907 in Pittsburgh, 1911, 1912, 1913-14, 
groundplans, copious stage business, maps, cues for effects. Exten- 



120 HAMLET 

sive notes on the early career of Cissy Loftus (with photographs), 
on alterations in the company, on the Cincinnati fire, on his own 
experiences in various roles, etc. 

146. [Sothern and Marlowe] 

Library of Congress, Batchelder Collection: 382 

[Sothern edition, 1903, 5s/ 8 x 9; publisher's pictorial boards.] 

John Davis Batchelder's copy, annotated with comments on 

Sothern's production and others. Many photographs, playbills, 

reviews. 

147. [Sothern and Marlowe] 
Folger: Hamlet, 27 

[Pages 9-125 of an acting edition pasted in a workbook, 6i/£ x 814; 
green and black mottled boards and half black leather.] 
A promptbook of doubtful provenience. Cuts, some stage business, 
cues for effects, a fencing routine. Contains a letter from Miss 
Marlowe to "Alice" mentioning imminent sailing to America. 

148. H. B. Irving London, Adelphi April 4, 1905 
Harvard Theatre Collection: uncatalogued 

[Aldine edition, 1895, 4 x 5]/ 8 ; limp red leather; title gilt up 
spine.] 

Rehearsal copy checked for Hamlet and marked for stresses and 
pauses. Cuts on full text. Little stage business. Casts for Edin- 
burgh and Sunderland, 1895, and for the Adelphi. 

[Actor Lists for Following Books Are Given in This Order: Hamlet, 
King, Polonius, Gertrude, Ophelia.] 

149. Frederick Melville London, Lyceum March 13, 1909 
Enthoven Collection 

[Typescript, 8 x 10; 5 acts bound separately in gray paper.] 
Cast includes Matheson Lang, Eric Mayne, George Fitzgerald, 
Mary Allestree, Hutin Britton. Cuts, elaborate scenic indications, 
calls, some stage business, maps, cues for effects. 

150. Henry Jewett Boston 1915-29 
Folger: Hamlet, Folio 4 1 

[Typescript, 81/4 x 11; white canvas over gray cardboard.] 
Jewett's stage arrangement, apparently used as a promptbook. 
Cast, much stage business, maps, cues for effects. Photograph of 
Jewett. 



HAMLET 121 

151. [Jewett] 

Folger: Hamlet, Folio 4 2 

[Typescript, 8i/ 2 x 11; gray cardboard and green cloth spine.] 

Jewett's partbook for Hamlet. Many pencilings of stage business. 

152. F. R. Benson Stratford-upon-Avon April, 1916 
Shakespeare Centre Library: 72.907BEN 

[Temple edition pasted in a workbook, 7x9; red marbled boards 
and green cloth spine; title printed on cover label.] 
The book of the Benson "North Company" directed by Lady 
Benson; said to have been used in 1921 and perhaps earlier 
(Benson's last Hamlet at Stratford was in the spring of 1916). 
Scenic indications, calls, stage business, cues for effects. Plots for 
properties and supers. 

153. Lena Ashwell London 1919-29 
Birmingham, Shakespeare Memorial Library: 421199 
[Temple edition pasted in a workbook, 7x9; black oilcloth; 
title gilt up spine.] 

Promptbook of the Lena Ashwell Players. Cues for effects. 

154. John Barrymore New York, Sam Harris November 16, 1922 
Folger: Hamlet, 30 

[Roy croft edition, 1902, 8 x 10i/£; gray boards and green leather 
spine; title gilt on spine.] 

Promptbook record of the Barrymore production made by Lark 
Taylor, the actor, in 1922-23. Cast includes John Barrymore, 
Tyrone Power, John S. O'Brien, Blanche Yurka, Rosalind Fuller. 
Directed by Arthur Hopkins. Designed by Robert Edmond Jones. 
Cuts on full text, watercolor of the set, groundplan with dimen- 
sions, copious stage business, maps, music scores, program, auto- 
graphs of the actors. "I've marked on this book for several 
months — and have the satisfaction of knowing that not another 
copy of the original cuts and markings — as per rehearsals and 
first performance — exists. . . ." 

155. [Barrymore] 

Joint University Libraries, Nashville 

[Temple edition, 1919, 4 x 5\/ 8 ; red leather; title gilt on spine.] 
Promptbook record of the Barrymore production in its second 
season, made by Lark Taylor in 1923-24 on his own rehearsal 



122 HAMLET 

copy, much of it done in pencil and later inked over. Cuts on full 
text, groundplans, much stage business, cues for effects. Notes on 
changes of cast, anecdotes including a visit of the Moscow Art 
Theatre Company, dates of road performances, many notes on the 
history of the production. 

156. [Barrymore] 
Folger: Hamlet, 31 

[Roycroft edition, 1902, 8 x 10i^; gray boards and brown leather 
spine; title gilt on spine.] 

Promptbook record of the Barrymore production in its second 
season, made by Lark Taylor in 1924, showing alterations made 
during the run. Crayon drawing of the set, copious stage business, 
etc., as in preceding book. Anecdotes and observations on the 
history of the production, including Barrymore's last curtain 
speech and his farewell party for the company. 

157. [Barrymore] 

Joint University Libraries, Nashville: S822.33/S7/H8 
[Roycroft edition, 1902, copy no. 100 signed by Elbert Hubbard, 
8 x IO14; tan boards and leather spine; title gilt on spine.] 
Promptbook record of the Barrymore production made by John 
Lark Taylor, with his bookplate. Very full copy containing all 
the matter of the preceding Taylor books. Autographs of the 
whole company as of November, 1922, and of new members in 
November, 1923; transcription by Taylor of the autographs and 
quotations made in January, 1924. At the front an engraving of 
a pencil portrait of Barrymore, and sketches of Marcellus, Second 
Player, Taylor as First Player, the Gravediggers. Map of lighting 
instruments. At the back complete fight routine, curtain plot, 
property plot, newspaper clipping about Kronborg|Castle. 

158. [Barrymore] 
The Players 

[Temple edition, 4 x 5\/ 8 ; red cloth boards; title gilt up spine.] 
Barrymore's studybook for the 1922-24 production, inscribed to 
Margaret Carrington. Numerous pencilings: cuts, stresses, some 
stage business, sketches. 

159. Robert Atkins Egypt 1927 
Shakespeare Centre Library: 72.907ATK 



HAMLET 123 

[Favourite Classics edition pasted in a workbook, 63^ x 8%; blue 
marbled boards and red cloth spine.] 

Used by Atkins for Egyptian tour, 1927. Cuts on full text, calls, 
stage business, maps, cues for effects. 

160. Esme Percy London, Court February 12, 1930 
Mander and Mitchenson 

[Calvert edition, 1912, 4^£ x 7i/ 2 > green boards; title printed on 

cover.] 

Cast includes Esme Percy, John Laurie, Charles Macdona, Miriam 

Lewes, Gabrielle Casartelli. Producer, Peter Godfrey. Cuts, some 

stage business, maps, cues for effects. Some of the markings said 

to be by William Poel. 

161. Norman Bel Geddes New York, Broadhurst November 5, 1931 
University of Texas, Hoblitzelle Theatre Arts Library: DR15, 
g.1-7 

[Seven workbooks, 8i/ 2 x 11; gray cloth boards.] 
Production books and scrapbook. Cast includes Raymond Massey, 
David Home, John Daly Murphy, Mary Servoss, Celia Johnson. 
Volume 1 contains printed text pasted in; cuts, copious annota- 
tions of stage business and interpretation. Volume 2 contains 
typewritten text called "third revision"; copious stage business, 
cues for effects. Volumes 3-5 contain complete text as acted, with 
photographs of stage model and blueprints of groundplans. 
Volume 6 contains casting charts and lists of actors, list of 128 
drawings, light plots, costume lists, music scores and lists, re- 
hearsal schedules, timings, a speech to the cast. Volume 7 contains 
photographs of rehearsal scenes and all principal performers, 
programs for Lakewood, Pennsylvania, and New York, reviews, 
correspondence, a defense of the script. (Not available for use 
pending publication.) 

162. Whitford Kane 1932 
New York Public Library: *NCP 

[Text pasted in a workbook, 7 ]4 x 91/4; black cloth boards; title 
gilt on spine.] 

An acting version marked for recorded musical accompaniment: 
Shostakovich, Hoist, Mozart, etc. 

163. W. Bridges-Adams Stratford-upon-Avon July 20, 1933 
Shakespeare Centre Library: 71.21/1933H(6055, 7934) 



124 HAMLET 

[Two books. Temple edition pasted in workbooks, 7x9; first 
book in blue cloth boards and half red leather; second book in 
purple cloth boards and half black leather.] 

Cast includes Anew McMaster, Stanley Howlett, Stanley Lathbury, 
Esme Church, Rachel Kempson. Cuts, calls, stage business, maps, 
cues for effects. The first book was used previously at Stratford 
in 1929, and for American tours in 1928-30. The second is a neat 
copy of the first, unused. 

164. B. Iden Payne Stratford-upon-Avon July 6, 1936 
Shakespeare Centre Library: 71.21/1930H 

[Temple edition pasted in a workbook, 67/ 8 x 9; purple cloth 
boards and half black leather; title printed on cover label.] 
Not the Bridges-Adams book of 1930, as listed, but Payne's book 
of 1936. Cast includes Donald Wolfit, Norman Wooland, Eric 
Maxon, Barbara Couper, Valerie Tudor. Designed by Randle 
Ayrton. Cuts, calls, stage business, maps, cues for effects. 

165. Guthrie McClintic New York, Empire October 8, 1936 
New York Public Library: *NCP.0643196 

[Text pasted in a workbook, 8 x 10i/^; black cloth boards; title 
gilt up spine.] 

Cast includes John Gielgud, Malcolm Keen, Arthur Byron, Judith 
Anderson, Lillian Gish. Designed by Jo Mielziner. Acting version 
with few markings. 

166. Leslie Howard Boston, Boston Opera House Oct. 19, 1936 
University of California, Los Angeles: Houseman Box 13 
[Carbon typescript, Sy 2 x 11.] 

Cast includes Leslie Howard, Wilfrid Walter, Aubrey Mather, 
Mary Servoss, Pamela Stanley. Designed by Stewart Chaney. 
Promptbook of 3-act version by Schuyler Watts. Copious stage 
business and cues for effects typed into the text. Much marked 
for stage use. 

167. Margaret Webster New York, St. James October 12, 1938 
New York Public Library: *ZC9 

[35 mm. negative film.] 

Film copy of the promptbook, the original in the possession of 

Maurice Evans. Cast includes Maurice Evans, Henry Edwards, 

George Graham, Mady Christians, Katherine Locke. Heavily 

annotated. 



HAMLET 125 

168. Robert Atkins Stratford-upon-Avon April 24, 1944 
Shakespeare Centre Library: 71.21/1944H 

[Temple edition pasted in a workbook, 7i/§ x 9; purple cloth 
boards and half black leather; title inked on cover label.] 
Cast includes John Byron, Raymond Pollett, Michael Martin- 
Harvey, Viola Lyel, Anna Burden. Designed by Guy Sheppard 
and Barbara Curtis. Cuts on full text, calls, stage business, maps. 
The book was originally used by B. Iden Payne in 1936 and 1937, 
has been erased and reused. 

169. Robert Breen June, 1944 
New York Public Library: *NCP 

[Typescript, 8 x 103^; black cardboard and tan cloth spine.] 
Version as produced for army audiences. 

170. Michael Benthall Stratford-upon-Avon April 24, 1948 
Shakespeare Centre Library: O.S.71.21/1948H 

[Temple edition pasted in a workbook, 8 x 12%; green boards 
and red cloth spine; title printed on cover label.] 
Cast includes Robert Helpmann and Paul Scofield alternating, 
Anthony Quayle, John Kidd, Diana Wynyard, Claire Bloom. 
Designed by James Bailey. Cuts, calls, much stage business, maps, 
cues for effects. 

171. Robert Breen Elsinore, Kronborg Castle June 17, 1949 
New York Public Library: *NCP 

[Mimeograph, 8% x 10^; black cardboard and tan cloth spine.] 
Copy of the Elsinore production book belonging to George Quick, 
stage manager. Copious stage business, cues for effects, maps of 
lights. 

172. Michael Langham Stratford-upon-Avon April 10, 1956 
Shakespeare Centre Library: O.S.71.21/1956H 

[New Temple edition pasted in a workbook, 8 x 12%; red cloth 
board spring binder.] 

Cast includes Alan Badel, Harry Andrews, George Howe, Diana 
Churchill, Dilys Hamlett. Designed by Michael Northen and 
Desmond Heeley. Cuts, copious stage business typed on facing 
pages, maps, cues for effects. Production papers include curtain 
call, duel routine, "reaction" lines, and 27 maps on mimeo- 
graphed groundplans. 



126 HAMLET 

173. [Langham] Stratford, Ontario July 1, 1957 
Festival Theatre, Library 

[Two books. New Temple edition pasted in workbooks, 8 x 1234; 
black cloth boards and red cloth spine; title pasted on cover.] 
Cast includes Christopher Plummer, Douglas Campbell, William 
Hutt, Joy Lafleur, Frances Hyland. Designed by Desmond Heeley. 
The first book has copious stage business, cues for effects. The 
second has calls, cues for effects. 

174. Glen Byam Shaw Stratford-upon-Avon June 3, 1958 
Shakespeare Centre Library: O.S.71.21/1958H 

[Temple edition pasted in a workbook, 7^ x 12%; blue cloth 
board spring binder.] 

Cast includes Michael Redgrave, Mark Dignam, Cyril Luckham, 
Googie Withers, Dorothy Tutin. Designed by Motley. Cuts, 
copious stage business, maps, cues for effects. Production papers 
include plots of scenes and properties, many maps on mimeo- 
graphed groundplans. The book was used for Russian tour in 
winter of 1958-59. 

175. John Houseman Stratford, Connecticut June 19, 1958 
Festival Theatre, Production Department 

[Two books. Mimeograph, 8i/ 2 x 11; first book in black cloth 
board spring binder, second in black cloth board ring binder.] 
Cast includes Fritz Weaver, Morris Carnovsky, Hiram Sherman, 
Geraldine Fitzgerald, Inga Swenson. Designed by David Hays 
and Alvin Colt. The first book, called "Original Blocking," has 
copious stage business, company lists. The second has cues for 
effects. 

176. [Houseman] 

University of California, Los Angeles: Houseman Box 10 
[Text pasted in a workbook, 8]/ 2 x 11; black limp ring binder.] 
First production book or preparation copy. Cuts, rough working 
notes. 

177. [Houseman] 

University of California, Los Angeles: Houseman Box 10 
[Mimeograph, 81/g x 11; blue cloth board ring binder.] 
Rough production book. Stage business and other notes. Many 
production papers. 

178. Peter Wood Stratford-upon-Avon April 11, 1961 
Shakespeare Centre Library: O.S.71.21/1961H 



HAMLET 127 

[Cambridge Pocket Shakespeare pasted in a workbook, 8]/ 2 x 13; 
blue cloth board ring binder.] 

Cast includes Ian Bannen, Noel Willman, Redmond Phillips, 
Elizabeth Sellars, Geraldine McEwan. Designed by Leslie Hurry. 
Cuts on full text, stage business, maps, cues for effects. Production 
papers include cast lists and 8 maps on mimeographed ground- 
plans. 

179. Other books of Hamlet: 

Connecticut State Library: William Gillette. 

Edwin Forrest Home (on loan to the University of Pennsylvania 
Library, Rare Book Room): 3 books of Edwin Forrest. 

Folger: Ham, 4, Wm. H. P , Mrs. Bingham; Ham, 7, J. B. 

Booth, 1839; Ham, 9, Miss F. G. Conkling; Ham, 11, James P. 
Deuel; Ham, 12, C. W. Folsom; Ham, 13, Joseph Kainz, excellent 
Regiebuch based on Schlegel translation; Ham, 22, James Lewis; 
Ham, 28, Emilie Melville; Ham, 37, Muler and Everett; Ham, 
46, John Sefton; Ham, 47, John Seymour; Ham, 48, J. H. Smith; 
Ham, 57, anonymous, excellent German Regiebuch; Ham, 59, 
George W. Wilson, 1875; Ham, 63, 64, 65, 66, 67, 68 (German 
with English notations), 70, 71, all anonymous; PR. 1243. K3. 
cop. 2, John Thomas Ambrose; Y.d.38, proofs of Preface to Irving 
edition, 1878. 

Harvard Theatre Collection: "marked as at Drury Lane," c.1800. 

Historical and Philosophical Society of Ohio: 812.3/R283/72, 
Alvin Read. 

Library Company of Philadelphia: OEngShak.22418.D.3, Man- 
chester, 1906; Oe2 + .11603.D, William Warren. 

Library of Congress, Batchelder Collection: 380, C. Leslie Allen; 
381, Francis Wilson's partbook for First Gravedigger, Bel Geddes 
production. 

Museum of the City of New York: 32.485.143, J. H. Ring, 
1839-77. 

New York Public Library: *NCP, typescript of a German 
version. 

Shakespeare. Centre Library: 50.07(1909), Eily Malyon. 

Rutgers University: PR.1243.SHA, Frederick Paulding and 
Lillie Eldridge. 

Toronto Public Library: 822.33/S.13, Albert Taverner. 

University of Minnesota: Z820.12/Z11, volume 12, W. S. Forrest. 



Henry IV, Part 1 

1. Sir Edward Dering Surrenden 1620's 
Folger: V.b.34 

[Manuscript, l$/ 8 x \l5/ 8 ; green leather gilt; title gilt up spine.] 
A 110-page manuscript version of a play made from Henry IV, 
parts 1 and 2, used in a performance at Surrenden in Kent. Two 
actor lists (for The Spanish Curate) on the reverse of a sheet of 
additions. (See S. B. Hemingway, New Variorum Edition, pp. 495- 
501; G. Blakemore Evans, JEGP, LIV, 498-503.) 

2. Joseph Ashbury Dublin, Smock Alley 1680's 
Folger: 1 Hen IV, Smock Alley 

[Half a leaf from a Third Folio.] 

Fragment of a promptbook: portion of 2 scenes of the second 
act. Cuts, one scenic indication, name of the actor Longmore. 
(See G. Blakemore Evans, Henry IV, Part 1, A Variorum Supple- 
ment, p. 104.) 

3. James Quin London, Lincoln's Inn Fields October 28, 1721 
Folger: T.a.121 

[Manuscript, 5^£ x %%> tipped into a made-up book; gray and 
green marbled boards and half green leather; "Falstaff" gilt on 
red spine label.] 

Quin's 45-leaf partbook for Falstaff, mainly in the hand of a 
copyist, with a few notes by Quin. Belonged successively to 
Garrick, Thomas King, William Dowton (1798). Several eight- 
eenth-century prints and other illustrative matter. 

4. Anonymous Kidderminster May, 1762 
Folger: T.a.72 

[Manuscript, 6s/ 8 x 8\/ 8 ; red, yellow, and blue marbled boards 

and half red leather gilt; "Play-House MS. of Henry IV" gilt up 

spine.] 

A 32-page manuscript partbook for Falstaff dated as above. No 

clue to ownership. 

5. Edward Henry King 1790's(?) 
Folger: 1 Hen IV, 17 

[Eighteenth-century edition printed by Augustus Long, Dublin, 
%7/ 8 x 65/ 8 ; brown paper.] 

Promptbook probably of late eighteenth century. Cuts and altera- 
tions, little stage business, cues for effects, timings. The actor's 



HENRY IV, PART 1 129 

name is at the head of Act I. Also endorsed by Thomas Price, 
Boston (1850's), and W. L. Wainwright. 

6. John Philip Kemble London, Co vent Garden May 12, 1808 
Garrick Club 

[Kemble edition, 1803, 5 x 814; interleaves watermarked 1807; 
blue cloth boards and brown leather spine; title gilt up spine.] 
Promptbook marked by Kemble. List of supers, calls, some stage 
business, maps, cues for effects, timings. 

7. Anonymous England c.1810 
New York Public Library: *NCP.709398 

[Bell edition, 1774, 4i^ x 6i/£; interleaves watermarked 1809; 

black cloth boards; title gilt up spine.] 

Lightly marked promptbook. Calls, little stage business, cues for 

effects. 

8. George Bartley London, Drury Lane April 12, 1815 
University of Nebraska: 822.33/Tlh 

[Bell edition, 1773, c.4y 2 x 5i4; interleaves watermarked 1811, 
434 x 77/ 8 ; blue cloth boards; title gilt down spine.] 
Promptbook much marked during 3 decades. The original calls, 
cues for effects, etc., are neatly inked. Many further cues, maps, 
sketches, notes on the text have been added in ink and pencil 
down to 1839. One penciled reading is cited from "Prompt Book 
of TRDL/1773/Hopkins/Prompter." A reference to Bartley 
probably was made in the 1815 season. A note on "Mr. H." refers 
to Hackett in November, 1839. A cartoon of Falstaff at page 57 
is signed by T. Dibdin. Numerous timings are probably in the 
hand of John Willmott. Bookplate of Augustus Harris. 

9. William B. Wood Philadelphia February 21, 1816 
New York Public Library: *NCP.164351 

[Kemble edition, 1815, 4 x 63/ 4 ; green cloth boards; title gilt on 

spine.] 

Lightly marked promptbook. Calls, some stage business, cues for 

effects. 

10. James St. Aubyn 1820*s(?) 
Folger: 1 Hen IV, 9 

[Kemble edition, 1815, 4y 8 x 7i/£; interleaves; gray cardboard.] 
Lightly marked promptbook. Penciled cast, perhaps for an 



130 HENRY IV, PART 1 

amateur production. Some stage business for Hotspur. Belonged 
to Clement Scott. 

11. Thomas Scrivener(?) America 1821 
New York Public Library: *NCVp.v. 14.900677 

[Dramatic Repository, New York, 1811, 3i/£ x 53^; interleaves; 
bound with Comedy of Errors and other plays in black cloth 
boards; title gilt on spine.] 

Promptbook given by Scrivener to Mich e Monier in 1821; by her 
to F. Johnson. A manuscript cast includes J. H. Hackett, Thomas 
Barry, Miss Duff, Mrs. Barnes (1830's?). Cuts, scenic indications, 
grooves, some stage business, cues for effects. 

12. James H. Hackett New York, Park May 13, 1828 
Enthoven Collection 

[Oxberry edition, 1822, 4i4 x 7i/ 2 ; interleaves; green cloth boards 
and green leather spine; title, etc., gilt up spine.] 
Promptbook dated 1828, with notes of performances at the Hay- 
market in London on May 13, 1833, and in New York and Boston 
in 1833-34. Arranged in both 5-act and 3-act versions. Much stage 
business, including an interpolated gag in the third act, cues for 
effects. Some of the interleaves misbound, final pages missing. (See 
nos. 16-19, 37.) 

13. [Hackett] 
Enthoven Collection 

[Oxberry edition, Boston, 1823, 3]/ 2 x 6]/^; blue interleaves; tan 
marbled boards and red leather spine; title gilt on spine label.] 
Promptbook arranged in 5 acts, much used. At the front a 
doubling list for "short company." Calls, little stage business, cues 
for effects. 

14. Stanley Charles Ferrers New York, Bowery 1837 
New York Public Library: *NCP.255019B 

[Oxberry edition, Boston, 1823, 3i/2 x 5]/ 2 ; interleaves; gray 
marbled boards and half black leather; title inked on spine.] 
Excellent promptbook made by the Bowery stage manager tran- 
scribing from his own Edinburgh book of 1836, when William 
Murray and Charles Kean played Falstaff and Hotspur. At the 
front an account of the order of scenes in which "Mr. Hackett 
has mutilated the play" for use as an afterpiece. Cuts, restorations, 
scenic indications, grooves, calls, copious stage business, maps 



HENRY IV, PART 1 131 

and sketches, cues for effects, timings. Reference to business of 
C. Kemble, Hackett, Dowton, etc. Belonged to John Proctor in 
1846. 

15. Mercer Hampson Simpson 

Birmingham, Theatre Royal 1838, 1851 

Birmingham, Shakespeare Memorial Library: A15/455855, 6 
[Two books. Davidson issue of Cumberland, S]/ 2 x 5%; gray 
marbled boards and brown leather spine; bound with other Shake- 
speare plays in green cloth boards.] 

Two promptbooks, lightly marked and much used, one dated 
1838, the other 1851. Lengths of roles noted, calls, cues for effects. 

16. James H. Hackett 1840 
Folger: 1 Hen IV, 5 

[Pages 161-226 of volume IV of Knight's Pictorial Edition, 1838, 
6^4 x 10; interleaves; brown mottled boards and brown cloth 
spine; printed title pasted on cover.] 

Book dated "New York, 1840." No prompter's marks or other 
signs of stage usage. A brief Preface by Hackett and numerous 
notes of stage business suggest use for public readings. The 
Hotspur role marked for stresses. (See nos. 12-13, 37.) 

17. [Hackett] 
Enthoven Collection 

[Dramatic Repository, New York, 1811, Si/ 2 x 534; double inter- 
leaves; green cloth boards and brown leather spine, 4i/ 2 x 6i/£; 
title, etc., gilt up spine.] 

Promptbook arranged in 3 acts. Two manuscript title pages. 
Marked by J. W. McCrum, prompter at Vicksburg. Much de- 
tailed stage business, cues for effects. 

18. [Hackett] 

The Players: PB.93 

[French's Standard Drama, 4i/£ x 7\/ 8 ; interleaves; brown paper 
under red cloth boards; title gilt on spine.] 

Transcription of Hackett's Falstaff business made from the pre- 
ceding (McCrum) book by William F. Owen in 1895. 

19. [Hackett] 1841 
Enthoven Collection 



132 HENRY IV, PART 1 

[Cumberland edition, 3i/£ x 57/ 8 ; interleaves; green cloth boards 
and brown leather spine; title, etc., gilt up spine.] 
Promptbook arranged in both 5 and 3 acts. Cast given for the St. 
Charles in New Orleans, December 6, 1841. More fully developed 
than preceding books and directions in somewhat different lan- 
guage. Scenic indications, grooves, calls, much stage business, 
maps and sketches, cues for effects. 

20. Henry Betty London, Covent Garden February 3, 1845 
Folger: 1 Hen IV, 1,2 

[Two books. Cumberland edition, 3$/ 8 x 5^£; interleaves; gray 
boards and green cloth spine; title penciled on cover.] 
The first is a promptbook marked in colored inks with cuts and 
alterations, furniture, grooves, stage business, maps; Hotspur 
marked for stresses. The second has cuts and alterations only. 

21. Samuel Phelps London, Sadler's Wells July 25, 1846 
Folger: 1 Hen IV, 20 

[Pages 1125-1204 from Rowe edition, 1709, 5i/ 2 x 85/£; interleaves; 

no binding.] 

Rough but thorough promptbook, marked in several hands. Cuts, 

scenic indications, grooves, calls, some stage business, cues for 

effects. 

22. John Moore c.l850-70's 
Folger: 1 Hen IV, 16 

[French's Standard Drama, 4s/ 8 x iy 8 ; interleaves, 5i/g x 8; pub- 
lisher's wrappers under gray paper.] 

Thorough promptbook, often resembling Hackett's and others. 
List of supers and of doublings. Properties list for each act. Calls, 
copious stage business, maps, cues for effects. News clipping of 
1874 of John Jack as Falstaff. 

23. [Moore] 
Folger: T.b.2 

[Notebook, 6i/ 8 x lOi^; blue boards and black cloth spine.] 
Cues for the band for 48 plays, including Henry IV. 

24. J. B. Wright Boston 1850's 
New York Public Library: *NCP.342614 

[Inchbald edition, Si/ 2 x 5^£; interleaves; bound with other plays 
in red cloth boards; title gilt on spine.] 



HENRY IV, PART 1 133 

Lightly marked promptbook, checked for Hotspur. Cuts, some 
stage business, fight routine for Hotspur and Hal. First leaves 
missing. 

25. James Stark San Francisco, Jenny Lind January, 1852 
New York Public Library: *NCP.343042 

[No title page (Oxberry, Boston?), 3s/ 4 x 5^; interleaves; black 
cloth boards; title gilt on spine.] 

Promptbook. Scenic indications, grooves, some stage business, 
cues for effects. 

26. Charles Kean London, Princess's November 22, 1852 
Folger: 1 Hen IV, 1 1 

[Oxberry edition, 1822, 5x8; interleaves, 7i/g x 9]^; green cloth 
boards and half green leather gilt; title gilt on red leather spine 
label, "Prompt Copy, Mr. Charles Kean" gilt on maroon leather 
cover label.] 

Excellent transcription of the "Drury Lane" promptbook made 
for Kean by George Ellis in July, 1849. Cuts and restorations, list 
of property manuscripts, grooves, calls, little stage business, maps 
and sketches, cues for effects, timings. 

27. [Kean] 

Folger: 1 Hen IV, 8 

[Inchbald edition, 3^£ x 614 ; interleaves; red marbled boards and 

half brown leather; title gilt on red spine label, Kean's name on 

maroon leather cover label.] 

Promptbook made for Kean by T. W. Edmonds, the prompter. 

Contents very similar to those of the preceding book, but different 

timings. 

28. [Kean] 

Folger: 1 Hen IV, 13 

[Pages 381-489 from volume IV of a Works, 4^ x 8]/ 8 ; interleaves, 

63^ x 8s/ 8 ; tan cloth boards and half brown leather; title gilt up 

spine, Kean's name gilt on black leather cover label.] 

Final or souvenir promptbook made by T. W. Edmonds in 1859. 

Cuts and alterations on full text. Contents essentially the same 

as in the preceding book. 

29. [Kean] 

Folger: Kean Costume Book, Prints and Engravings, 50 



134 HENRY IV, PART 1 

[Scrapbook, 103^ x 14i/£; green cloth boards and half green leather 

gilt.] 

Contains a group of costume drawings and tracings for Henry IV 

by Charles Hamilton Smith and his daughter Emma Smith. 

30. Thomas Barry Boston, Boston Theatre 1854 
Harvard Theatre Collection: uncatalogued 

[Oxberry edition, 1822, 5x8; gray interleaves; gray boards and 
brown leather spine; title and "4" inked on cover.] 
Systematic promptbook signed by "Charles Melville, Prompter, 
T.R.D.L.," brought to America by Barry in 1854. Grooves, calls, 
some stage business, cues for effects, timings. 

31. [Barry] 

Harvard Theatre Collection: uncatalogued 

[Oxberry edition, 1822, 4 14 x 6%; tan boards and half red leather; 

title and "39" inked on cover.] 

A less complete promptbook than the preceding, probably made 

by Melville. Calls, cues for effects. 

32. Anonymous England c.1855 
New York Public Library: *NCP.285344 

[Lacy edition with Princess's cast of 1852, 3^ x 63/£; blue inter- 
leaves watermarked "Glasgow"; green cloth boards; title gilt 
up spine.] 

Full and interesting promptbook, apparently (judging from the 
rather hasty writing) a copy of some other book, made in England 
or Scotland after 1852. Often verbatim with Hackett's or Ferrers' 
or others. Scenic indications, grooves, calls, copious stage business, 
maps and sketches, cues for effects. 

33. John Woodward Cambridge, St. John's College c.1855 
Folger: 1 Hen IV, 10 

[Pages 405-518 from volume IV of a Works, 5% x 8]/ 2 ; inter- 
leaves; gray and yellow marbled boards and half brown leather; 
title gilt on spine label.] 

Promptbook of an amateur production. Woodward, who played 
Hotspur, says this book was marked from Charles Kean's, which 
was itself marked from the Drury Lane book. Text much restored. 
Footnotes on historical characters. At the back, plots of properties, 
characters, scenery, grooves. Five sheets of costume sketches, 2 



HENRY IV, PART 1 135 

sheets of watercolors, and 2 pages of description of armorial 
bearings. Printed cast enclosed. 

34. F. Chippendale 1857 
Harvard Theatre Collection: (Widener, 13485.7.64) 
[Modern Standard Drama, 4i/ 2 x 7i^; publisher's wrappers under 
gray and red marbled boards and brown cloth spine; title inked 
up cover.] 

Studybook checked for Falstaff, with some stage business for 
Hotspur. Given to Chippendale by Mary Shaw, December, 1857. 

35. William Creswick London, Drury Lane March 28, 1864 
Shakespeare Centre Library: 50.08(1826) 

[Acting edition and portion of another text, 3i/ 2 x ^Vs'' inter- 
leaves, 4i4 x 6^4; green marbled cardboard under brown mar- 
bled boards and half tan leather.] 

Much used promptbook. Cuts, calls, some scenic indications, oc- 
casional stage business, maps, cues for effects, timings. Sketch of 
council chamber, several sketches of coats of arms with colors 
noted. Cast for 1864, when Creswick played Hotspur to Phelps's 
Falstaff. Endorsed by Walter Carle, prompter at the Academy of 
Music, 1867-78. 

36. [Creswick] 

Shakespeare Centre Library: 50.08(1864) 

[Lacy edition, 4 14 x 7*4; purple cloth boards and half black 
leather; title gilt up spine.] 

Promptbook probably belonging to Creswick. Checked for Fal- 
staff, little stage business. 

37. James H. Hackett 1868 
Enthoven Collection 

[Davidson edition, Ss/ 8 x 53^; interleaves; tan marbled boards and 
half brown leather; printed title pasted on cover.] 
Promptbook arranged in 5 acts, dated 1868, much used. At the 
front a doubling list for "short company." Calls, stage business for 
supporting roles, maps, cues for effects. (See nos. 12-13, 16-19.) 

38. Barton Hill 1879 
Folger: 1 Hen IV, 7 

[French's Standard Drama; interleaves, 6 x 71/2; brown cloth 
boards and black leather spine; title gilt up spine.] 



136 HENRY IV, PART 1 

Fine transcription of somebody's promptbook, made by Robert J. 
Preston, prompter of the California Theatre, San Francisco, No- 
vember 9, 1879. Does not appear used. Scenic indications, grooves, 
calls, copious stage business which resembles that of Hackett and 
others, maps, cues for effects. 

39. George Becks 1880's 
New York Public Library: *NCP.343036 

[Lacy edition, 4 x 63^; interleaves; black cloth boards; title gilt 
up spine.] 

Originally a working promptbook, with scenic indications, 
grooves, calls, maps, cues for effects. Becks has added all the tradi- 
tional stage business he could find: a very rich accretion. 

40. James Taylor 1880's 
Harvard Theatre Collection: uncatalogued 

[Modern Standard Drama, 4i/ 2 x ^Vs'> interleaves; black cloth 
boards and black leather spine; title gilt on spine.] 
Like the preceding Becks book, a very rich collection of tradi- 
tional directions. Scenic indications, grooves, copious stage busi- 
ness, maps, cues for effects. 

41. Louis Calvert Manchester, Queen's 1890's 
Enthoven Collection: Tree, 14 

[Cassell's National Library edition pasted in a workbook, 6 x 12^4; 
green cloth boards and red leather spine.] 

Among Beerbohm Tree's books, marked "old promptbook." 
Printed cast gives Calvert as Falstaff, William Mollison as Hot- 
spur, Mrs. Charles Calvert as Quickly. Groundplans signed by 
W. T. Elworthy. Fully marked and much used. Cuts, stage busi- 
ness, sketches, cues for effects. 

42. Julia Marlowe New York, Palmer's March 19, 1896 
Birmingham, Shakespeare Memorial Library: 370/421200 
[Rolfe edition pasted in a workbook, l7/ 8 x 10i/£; black cloth 
boards and half black leather; title and "The Lena Ashwell 
Players" gilt up spine.] 

Promptbook of the production which originated in Milwaukee, 
Wisconsin, with Miss Marlowe as Prince Hal, Robert Taber as 
Hotspur, W. F. Owen as Falstaff. Extremely full and interesting 
book, all stage business given in detail. Plots of cast, makeup, 
lights, doubles, groundplans for each scene. "Please return to 
Robert Taber, The Players, 16 Gramercy Park, New York City." 



HENRY IV, PART 1 137 

43. Herbert Beerbohm Tree London, Haymarket May 8, 1896 
Enthoven Collection: Tree, 237 

[Cassell's National Library edition pasted in a workbook, 6% x 
8^4; red marbled boards and half black leather; title inked on 
cover label.] 

Much used preparation copy. Cuts, copious stage business, maps, 
cues for effects, all roughly penciled and frequently provisional. 
At the front are typed sheets of "Suggested Scenery," etc. 

44. [Tree] 

Enthoven Collection: Tree, 14 

[Cassell's National Library edition pasted in a workbook, 7 x 8^; 

green cloth boards and tan leather spine.] 

Much used promptbook, dated March 2, 1896. Penciled cuts, 

copious stage business, maps, cues for effects. Sketch of one set. 

45. [Tree] 

Enthoven Collection: Tree, 237 

[Cassell's National Library edition, 3s/ 8 x 5 5 /s> Dme doth boards; 

title stamped on cover, gilt up spine.] 

Partbook for Hotspur, dated 1896. 

46. [Tree] London, His Majesty's April 24, 1906 
Enthoven Collection: Tree, 237 

[Eighteen books. Eight of Cassell's Favourite Classics edition, 
334 x 6; green cloth boards. Nine of Cassell's National Library 
edition, 1905, 4 x 6i/£; red cloth boards. One Pocket Falstaff edi- 
tion, 35/£ x 5i4; red cloth boards.] 

Actors' rehearsal copies, variously marked for cuts, stage business, 
etc. One Falstaff copy is heavily marked and has a sketch of the 
tavern scene. 

47. [Tree] 

Enthoven Collection: Tree, 237 
[Papers.] 

Fine drawing of the tavern scene, 17i/2 x 11 1/ 2 . Drawings of prop- 
erties on small cardboards. Cut-outs of tents. Plots of scenes, flys, 
properties, lights, extras, etc. Other production notes. 

48. [Tree] 

Enthoven Collection: Tree, 14 



138 HENRY IV, PART 1 

[Papers.] 

Plots of scenes, properties, flys. Cast for April 24, 25, 1906. 

49. The Players New York, Knickerbocker May 31, 1926 
The Players: PB.37 

[New Hudson edition, 1926, pasted in a workbook, Si/ 2 x 14; black 
imitation leather ring binder.] 

Promptbook of The Players' Fifth Annual Classic Revival. Cuts 
and alterations, scenes introduced from Henry IV, part 2. Stage 
business, maps, cues for effects. 

[Actor Lists for Following Books Are Given in This Order: Fal- 
staff, Hotspur, Hal, the King.] 

50. W. Bridges-Adams Stratford-upon-Avon April 23, 1932 
Shakespeare Centre Library: 71.21/1932H1, Henl 

[Two books. Temple edition pasted in workbooks, 7x9; first 
book in green cloth boards and half red leather, second book in 
black cloth boards and half black leather; title on cover and 
spine.] 

Cast includes Roy Byford, Wilfrid Walter, Gyles Isham, Randle 
Ayrton. Opening matinee of the new Memorial Theatre. Cuts, 
calls, some stage business, maps and sketches, cues for effects. Much 
erasure and rewriting. Used earlier at Stratford and for the Amer- 
ican tour in 1931-32. The second book is a clean, unused copy 
of the first. 

51. B. Iden Payne Carnegie Institute 1934 
Folger: 1 Henry IV, Folio 1 

[Arden edition pasted in a workbook, 83^ x 11.] 
Promptbook of a production done with students. Copious stage 
business, cues for effects, etc. Words and score for Lady Mortimer's 
Welsh dialogue and song. Accompanied by a dissertation on the 
play and production by Franklin Heller. 

52. [Payne] Stratford-upon-Avon April 25, 1935 
Shakespeare Centre Library: 71.21/1935H 

[New Temple edition pasted in a workbook, 7x9; purple cloth 
boards and half black leather; title on cover and spine.] 
Cast includes Roy Byford, Neil Porter, Ernest Hare, Gerald Kay 
Souper. Designed by Aubrey Hammond. Cuts, calls, much stage 
business, maps, notes on some effects. 



HENRY IV, PART 1 139 

53. John Kidd and Anthony Quayle 

Stratford-upon-Avon April 3, 1951 

Shakespeare Centre Library: O.S.71.21/1951Hy4 
[New Temple edition pasted in a workbook, 7^ x 12^£; red cloth 
boards and red cloth spine; title on cover and spine.] 
Cast includes Anthony Quayle, Michael Redgrave, Richard 
Burton, Harry Andrews. Designed by Tanya Moiseiwitsch. Cuts, 
calls, much stage business, maps, cues for effects. Two sheets of 
Welsh dialogue. 

54. Anthony Quayle and Raymond Westwell Australia 1953 
Shakespeare Centre Library: O.S.71.21/1953H 

[New Temple edition pasted in a workbook, 8 x 13; black cloth 
board spring binder.] 

Revival of the 1951 Stratford production for Australian tour. 
Cast includes Anthony Quayle, Keith Michell, Terence Langdon, 
Jack Gwillim. Cuts more extensive than in 1951, much stage busi- 
ness, maps, cues for effects. 

55. Michael Langham and George McCowan 

Stratford, Ontario June 23, 1958 

Festival Theatre, Library 

[Two books. Penguin edition pasted in workbooks, 7^4 x 131/gJ 
blue cloth boards bordered in red; title pasted on cover.] 
Cast includes Douglas Campbell, Jason Robards, Jr., Douglas 
Rain, Max Helpmann. Designed by Tanya Moiseiwitsch and 
Marie Day. The first book has stage business, many maps on 
mimeographed groundplans, cues for effects, some production 
papers. The second has calls, some cues for effects. 

56. Dennis Vance London, Old Vic February 14, 1961 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x 10; red ring 
binder; title on cover and spine.] 

Cast includes Douglas Campbell, Tony Britton, John Stride, Rob- 
ert Harris. Designed by Timothy O'Brien. Cuts, calls, stage busi- 
ness, cues for effects. Many production papers. 

57. Other books of Henry IV, part 1: 

Folger: 1 Hen IV, 3, W. R. Blake; 1 Hen IV, 4, Margaret Freal; 
1 Hen IV, 6, Walter Hubbell and John Jack; 1 Hen IV, 14, 15, 
N. M. Ludlow; 1 Hen IV, 18, 19, Marcus Moriarty; 1 Hen IV, 



140 HENRY IV, PART 1 

21, J. B. Roberts; 1 Hen IV, 22, John Sefton; 1 Hen IV, 23, Leon 
John Vincent; 1 Hen IV, 24, J. W. Wallack; 1 Hen IV, 25, anony- 
mous. 

Harvard Theatre Collection: uncatalogued, S. W. Glenn; 
13485.6.15, one of J. C. Edwards, one of John Kirkland. 
Historical and Philosophical Society of Ohio: 812.3/R283/91, 
Alvin Read. 

Museum of the City of New York: 32.485.192b, W. H. Sedley 
Smith and J. H. Ring, 1863. 

Princeton University, Seymour Collection: HIV 1 , 12, George 
Berrell. 

University of Minnesota: Z820.12/Z11, volume 12, W. S. Forrest. 
University of Pennsylvania: AC85.M9415.820p.48, James Mur- 
doch, 2 books. 



Henry IV, Part 2 

1. Anonymous England 1600's 
Henry E. Huntington Library: 69317 

[Wise and Aspley edition, 1600, 43^ x 63^; red leather gilt; title 
gilt on spine.] 

Promptbook with seventeenth- and eighteenth-century markings. 
Exits and entrances noted, and one entrance for Falstaff "Sing- 
inge." A map or groundplan of unknown provenience is on sig. 
B2 r . Bookplates of Frederick Locker and E. D. Church. Note by 
J. O. Halliwell, 1866. 

2. David Garrick London, Drury Lane March 13, 1758 
Folger: 2 Hen IV, 2 

[Tonson edition, 1733, 4x7; red and blue marbled boards and 
brown leather spine.] 

Promptbook. Cuts, properties, calls, little stage business, few cues 
for effects. At the front a cast list folded in. 

3. Thomas King 1794 
Folger: Y.d.41 

[Manuscript, 614 x 7^; heavy tan paper.] 

A 37-page partbook for Falstaff, dated 1794. (Hogan lists no per- 
formance of the play that year, nor any for King in any year.) A 
few restorations and notes of stage business. Belonged to William 
Dowton. 

4. John Philip Kemble London, Covent Garden January 17, 1804 
Garrick Club 

[Kemble edition, 1804, 5\/ 8 x 814; interleaves watermarked 1807; 
blue cloth boards and brown leather spine; title gilt up spine.] 
Promptbook marked by Kemble about 1807, probably a transcrip- 
tion of his 1804 book. At the front a list of supers. Calls, proper- 
ties, some stage business, maps, cues for effects. 

5. Charles Kemble London, Covent Garden June 25, 1821 
Shakespeare Centre Library: 50.09(1821) 

[Kemble edition, 1821, "with the Representation of the Corona- 
tion as arranged by Mr. Farley," 5i/ 2 x ^Vi* interleaves; brown 
leather; title gilt on red leather spine label.] 

Promptbook marked (perhaps) by R. J. Collier, apparently un- 
used. List of supers, grooves, calls, some stage business, maps, cues 
for effects. Belonged to William Creswick. 



142 HENRY IV, PART 2 

6. James H. Hackett Philadelphia, National March 15, 1841 
Enthoven Collection 

[Pages 229-306 from volume IV of Knight's Pictorial Edition, 
1839, 6^ x 9%; interleaves; cloth; title in red on cover.] 
Promptbook dated by S. C. Ferrers, the stage manager, who 
marked it from Hackett's first performance. Playbill for March 
15 pasted in; also a manuscript version of an announcement call- 
ing it "Falstaff's Latter Days," first performance in 30 years. Ex- 
tensive cuts on full text, grooves, calls, some stage business, maps, 
cues for effects. Final scenes in manuscript. 

7. [Hackett] 
Enthoven Collection 

[Manuscript, 4s/ 8 x 7]^', brown leather; title in red on cover.] 
Hackett's partbook for Falstaff, bound with partbook for O'Cal- 
laghan in His Last Legs. Dated 1841. Note on New Orleans 
critics, 1843. Loaned to Edwin Booth, April, 1869. 

8. William Charles Macready London, Drury Lane May 29, 1843 
Victoria and Albert, Forster Library, 7919: F.48.C.17 

[Pages from an acting edition, 3]/ 2 x 5 $ A> interleaves; bound with 
other Macready promptbooks in green cloth boards and half tan 
leather; titles gilt on spine.] 

Promptbook of Macready's display piece called "Act of King 
Henry 4th," being that portion of the fourth act leading to the 
death of the King. Scenery carefully described. Cuts, calls, stage 
business, maps, cues, timing. 

9. [Macready] 

Folger: 2 Hen IV, 3 

[Cumberland edition; interleaves in fourth act, 4s/ 8 x 7; paper 

wrapper.] 

John Moore's transcription of the Macready "Act." 

10. Mercer Hampson Simpson Birmingham 
Birmingham, Shakespeare Memorial Library: A 15/455858 
[Cumberland edition, 3s/ 8 x 57/ 8 ; gray paper; title inked on cover 
label; bound with other Shakespeare plays in green cloth boards.] 
Simpson's partial transcription of the Macready "Act." 

11. Barry Sullivan c.1852 
Shakespeare Centre Library: 50.09(1797) 



HENRY IV, PART 2 143 

[One page of manuscript plus pages 411-412, 441-451 from volume 
III of the Robinson Works, 1797, 63^ x 93/£; interleaves; tan 
marbled boards and half brown leather; Sullivan's name gilt on 
cover label, title gilt on spine.] 

Arrangement of the Macready "Act" made by a professional copy- 
ist, probably George Hastings; belongs to a set which Sullivan 
gathered about 1852 when he was at the Haymarket. Pencilings 
probably by Sullivan. Cuts, scenic indications, stage business, 
maps. The wording of the directions differs from Macready's. 

12. Samuel Phelps London, Sadler's Wells March 17, 1853 
Harvard Theatre Collection: TS.2780.17 

[Inchbald edition, 3% x 61/3; cardboard; title, etc., inked on cover; 

in box of tan cloth boards and blue leather spine; title gilt up 

spine.] 

Promptbook rather lightly marked, probably by Williams, the 

prompter, with some notations by Phelps. Cuts, grooves, calls, 

some stage business, cues for effects. 

[Actor Lists for Following Books Are Given in This Order: Fal- 
staff, Pistol, Shallow, Hal, the King.] 

13. W. Bridges-Adams Stratford-upon-Avon April 23, 1932 
Shakespeare Centre Library: 71.21/1932HII 

[Tudor edition pasted in a workbook, 7 14 x 9 \/±\ green cloth 
boards; title on cover; in brown paper wrapper.] 
Cast includes Roy Byford, Wilfrid Walter, Eric Maxon, Gyles 
Isham, Randle Ayrton. Costumes by Eric Maxon. Opening night 
of the new Memorial Theatre. Cuts, calls, scenic indications, stage 
business, maps, cues for effects. 

14. Michael Redgrave Stratford-upon-Avon May 8, 1951 
Shakespeare Centre Library: O.S.71.21/1951/Hy4.II(4375) 
[New Temple edition pasted in a workbook, 73^ x 123^; red 
boards and red cloth spine; title on cover and spine.] 

Cast includes Anthony Quayle, Richard Wordsworth, Alan Ba- 
del, Richard Burton, Harry Andrews. Designed by Tanya Moisei- 
witsch. Cuts, stage business, maps, cues for effects. 

15. [Redgrave] 

Shakespeare Centre Library: O.S.71.21/1951/Hy4.II(4377) 
[New Temple edition pasted in a workbook, 7^ x 12^; red 
boards and red cloth spine; title on cover and spine.] 



144 HENRY IV, PART 2 

Redgrave's preparation book for the 1951 production. First half 
of the play thoroughly marked; 22 pages of typed notes on stage 
business especially for incidental characters. Partial draft of 
speech for the birthday luncheon. 

16. Douglas Seale London, Old Vic April 28, 1955 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x lOi/g; black ring 

binder.] 

Cast includes Paul Rogers, John Neville, Paul Daneman, Robert 

Hardy, Eric Porter. Designed by Audrey Cruddas. Cuts, calls, 

stage business, maps, cues for effects. 

17. Other books of Henry IV, part 2: 

Folger: 2 Hen IV, 1, E. Dyas, 1843; 2 Hen IV, 4, anonymous. 
University of Pennsylvania: AC85.M9415.820p.49, James Mur- 
doch. 



Henry V 

1. John Philip Kemble London, Covent Garden March 4, 1811 
Shakespeare Centre Library: 50.01(1806) 

[Kemble edition, 1806, 5 x 814; interleaves watermarked 1807; 

brown leather; title gilt on spine label, spine stamped "T.R./ 

C.G./P.B./K/2."] 

Promptbook marked by Kemble. Names of minor actors and 

lengths of parts. Some scenic indications and properties lists, calls, 

some stage business, maps, cues for effects, timings. 

2. [Kemble] 
Garrick Club 

[Kemble edition, 1806, 5]/ 8 x Sy 8 ; interleaves watermarked 1807; 
blue cloth boards and brown leather spine; title gilt up spine.] 
Promptbook marked by Kemble. Some scenic indications, grooves, 
some stage business, maps, cues for effects. 

3. [Kemble] 

University of Nebraska: 822.33/T4k 

[Kemble edition, 1801, 4s/ g x 7^; interleaves watermarked 1805; 

brown cloth boards; title gilt down spine and perhaps wrongly 

identified with Drury Lane.] 

Promptbook lightly marked in pencil. Some stage business, cues 

for effects. Sketch of city walls in Act III. 

4. [Kemble] 
Folger: T.a.38 

[Manuscript, 7 x 8%; brown leather gilt; title gilt up spine.] 
Kemble's 39-page partbook for Henry, in his own hand, 814 lines. 

5. William Charles Macready 

London, Covent Garden October 4, 1819 

Folger: Henry V, 7 

[Kemble edition, 1815, 4 14 x 7*4 ; interleaves watermarked 1816, 
514 x 814; green marbled boards and half brown leather; title 
gilt on red spine label.] 

Promptbook much used for over a decade. The heavy cuts were 
made in December, 1834, when Macready prepared a 3-act ver- 
sion for use at Bath and Bristol. At the front are lists of Henry's 
dresses and properties. Calls, some stage business, maps, cues for 
effects, timings. 



146 HENRY V 

6. [Macready] London, Covent Garden J une 10> 1839 
Folger: Henry V, 8 

[Pages 325-454 from volume VII of a Works, 5 14 x 9i/£; inter- 
leaves watermarked 1838; brown paper, much worn; title and 
"P.B." inked on cover.] 

Promptbook marked by Macready and John Willmott, the 
prompter, for the production with restored choruses. Cuts and 
transpositions on full text. Some scenic indications, grooves, calls, 
stage business, maps, cues for effects, timings. 

7. [Macready] 
Enthoven Collection 

[Oil painting, 103/£ x 13%.] 

Design for a battle scene, oil on paper, by Clarkson Stanfield, 

said to be for Macready's Henry V. 

8. Barry Sullivan c.1852 
Shakespeare Centre Library: 50.01(1797) 

[Pages 473-577 from volume III of the Robinson Works, 1797, 
6^4 x 9^; interleaves; brown marbled boards and half brown 
leather; title gilt on spine label, Sullivan's name gilt on cover 
label.] 

Neatly marked promptbook, probably prepared by George Has- 
tings; belongs to a set which Sullivan gathered about 1852 when 
he was at the Haymarket. Inked cuts are said to follow Kemble's 
version; further cuts in pencil. Some scenic indications, calls, 
stage business, maps, cues for effects. 

9. Samuel Phelps London, Sadler's Wells October 25, 1852 
Folger: Henry V, 9 

[Pages 137-256 from volume V of a Steevens Works, 5 14 x $ 3 A> 
lavender interleaves watermarked 1852; brown cloth boards; title 
inked on cover.] 

Promptbook used for several seasons. Cuts on full text, with res- 
torations marked for 1853. Scenic indications especially for pan- 
oramas of the choruses, grooves, calls, stage business, maps, cues 
for effects, timings. Belonged to Harry Plowman. 

10. Charles Kean London, Princess's March 28, 1859 

Folger: Henry V, 6 
[Kean edition, 1859, bi/ 2 x 814; interleaves, 7 x 8%; tan cloth 



HENRY V 147 

boards and half brown leather; title gilt up spine, "Mr. Charles 
Kean, Prompt Copy" gilt on black cover label.] 
Final or souvenir promptbook made by T. W. Edmonds in 1859. 
Calls, stage business, maps, cues for effects, timings. Procession list 
contains 142 names. Twenty-one fine watercolor scene designs. 

11. [Kean] 

Harvard Theatre Collection: TS.2272.90 

[Proof sheets of Kean edition, 5i/2 x 814; blue interleaves water- 
marked 1856, 614 x 8; green cloth boards; title inked up spine; 
in box of tan cloth boards and red leather spine.] 
Heavily marked workbook of George Ellis, the stage manager. 
Not a systematic promptbook, but has many maps and copious 
notes on stage business, arrangements, and effects. 

12. [Kean] 

Folger: Henry V, 5 

[Proof sheets of Kean edition, 5\/ 2 x 814 ; cream wrapper under 

gray wrapper.] 

Kean's rehearsal copy checked for Henry and used on tour in the 

1860's. A note by George Becks in 1896 identifies it as originally 

Kean's, later James Cathcart's, later Mrs. Lander's. 

13. [Kean] 

Enthoven Collection: Box DT.48a 

[Watercolors.] 

T. Grieve's preliminary watercolor studies for several scenes. 

14. [Kean] 

Enthoven Collection: Box DT.45 
[Watercolors.] 

Fine watercolors of 24 scenes, and 15 watercolor plates of proper- 
ties and coats of arms, mounted on large display cards. 

15. [Kean] 

Folger: Prints and Engravings, 52 

[Watercolors, 8 x 5\/ 2 , mounted in an album, 10 14 x 14i/£; gray 

cloth boards and half green leather gilt; "Charles Kean/Original 

Water Color Drawings" gilt on spine.] 

Fine watercolors of 21 scenes. 



148 HENRY V 

16. [Kean] 

Folger: Kean Costume Book, Prints and Engravings, 50 

[Scrapbook, 10^4 x 14i/^; green cloth boards and half green 
leather gilt.] 

About 50 tracings by Emma Hamilton Smith of designs for cos- 
tumes, banners, shields, etc. 

17. [Kean] 

Folger: Kean Costume Book, Prints and Engravings, 182 
[Scrapbook, 15 x 22; brown cloth boards and half brown leather.] 
Contains 61 watercolor plates of costume designs. 

18. [Kean] 

Enthoven Collection: 94G27, plates 1810-14 
[Scrapbook, 15 \/ A x 2l3/£.] 
Watercolors of 30 costumes. 

19. Charles Calvert Manchester, Prince's September 16, 1872 
Shakespeare Centre Library 

[Calvert edition, 1872, 6s/ 8 x 9i4, pasted in 2 albums, 211^ x 28; 
brown leather; title gilt on covers, "The Text/Scenery" gilt on 
spine of volume I, "Heraldry, Costumes, Music" gilt on spine of 
volume II.] 

Splendid souvenir albums of Calvert's Manchester production. In 
the first volume are the text, playbill, program, a large watercolor 
of the procession, 18 watercolor scene designs by 7 different art- 
ists. In the second volume are 20 pages of designs for shields, 
banners, etc.; 13 pages (62 figures) of costumes; 57 pages of music 
score. 

20. [Calvert] New York, Booth's February 8, 1875 
New York Public Library: *NCP + . 346542 

[Calvert edition, 1875, 5i4 x 814, pasted on sheets, 714 x 8%; 
another copy with wider margins pasted on sheets, 8 x 12i/2; 165 
pages of music score, Hi/2 x 93/ 8 ; all bound in blue cloth boards; 
title gilt on spine.] 

Two promptbooks and the music score of Calvert's New York 
production. The first and smaller book, much used, has at the 
front a list of extras, and throughout calls, stage business, cues 
for effects. The second book, less used, is more fully developed: 
at the front is a property list 2 feet 7 inches long, at the back 2 



HENRY V 149 

copies of scene plot with grooves; throughout copious stage busi- 
ness, many maps and sketches, cues for effects. The score is prob- 
ably the conductor's copy. 

21. [Calvert] 

New York Public Library: *NCP. 172895 

[Calvert edition, 1875, 53/g x 87/ 8 ; black and white marbled boards 

and black cloth spine; title inked up spine.] 

Well-developed promptbook of the New York production. Some 

scenic indications, grooves, calls, some stage business, maps, cues 

for effects. The last 8 pages are missing. 

22. [Calvert] 

Folger: Henry V, 3 

[Calvert edition, 1875, 4z/ 8 x 1%; interleaves, 6i/£ x 73^; white 

paper, much torn.] 

Well-developed promptbook of the New York production. Calls, 

properties, stage business, maps and sketches, cues for effects. 

23. [Calvert] 

New York Public Library: *NCP.172893, 6, 7, 8 

[Four books. Proof sheets of Calvert edition, 1875, mostly 5i/2 x 9; 

black and white marbled boards and black cloth spine; title inked 

up spine.] 

Four copies apparently used as partbooks. Random pencilings of 

stage business. 

24. [Calvert] 

Folger: Henry V, 1 

[Charles E. Newton edition, 1875, 4i/£ x 7i/g; interleaves; black 
cloth boards and black leather spine; title gilt up spine.] 
Newton's edition purports to give the text "as produced at Booth's 
Theatre," but it differs considerably from Calvert's edition. 
George Becks, who made up this copy, cut and altered it to match 
Calvert's, copied the maps and sketches from the official prompt- 
book, and transcribed the stage business with augmentations. 

25. [Calvert] 

Folger: Henry V, 2 

[Lacy edition, 4i/£ x 7; interleaves; brown cloth boards and black 

leather spine; title gilt up spine.] 

George Becks has here attempted to transcribe the Calvert 



150 HENRY V 

promptbook onto a Lacy text, with much paging back and forth 
and "See Calvert Ed." Stage business, cues, etc., are copied fairly 
completely. 

26. [Calvert] 

Harvard Theatre Collection: uncatalogued 

[Charles E. Newton edition, 4i/£ x Ti/ 2 ; interleaves; black cloth 

boards and black leather spine; title gilt up spine.] 

Very full transcription of Calvert's New York production made by 

James Taylor. The calls, copious stage business, maps, sketches, 

cues for effects are verbatim with various "official" promptbooks. 

Several prints and engravings pasted in. 

27. [Calvert] 

Folger: Henry V, 4 

[Calvert edition, 1875, 5 14 x 81/2; purple cloth boards; title, 
"Prompt Copy," and "Mr. L. J. Vincent" gilt on cover.] 
The book is inscribed "To L. J. Vincent Esq., Compliments of 
Jarrett & Palmer." Into it someone (probably Leon John Vincent) 
has penciled the essential data of the promptbook — calls, property 
list, stage business, cues for effects, etc. Many of the notations are 
original and descriptive, as if made by an observer seeing the pro- 
duction from the front. 

28. John Martin-Harvey London, His Majesty's May 29, 1916 
London Museum 

[Pages of a Shakespeare text pasted in a workbook, 7 x 8%; plum- 
colored boards; title gilt on green cover label.] 
Well-developed promptbook, with cast, scenic indications, ground- 
plans with dimensions, stage business, cues for effects. Accom- 
panied by separate book of Notes by Alfred Rodway, containing 
also sketches, prints, tracings, watercolors of costumes, arms, etc. 
Some letters between Harvey and his designers. (This book is the 
property of Mr. Martin Holmes.) 

[Actor Lists for Following Books Are Given in This Order: 
Henry, Pistol, Katherine.] 

29. Robert Atkins Stratford-upon-Avon April 20, 1934 
Shakespeare Centre Library: 71.21/1934H 

[Temple edition pasted in a workbook, 63^ x 9; red marbled 

boards and red cloth spine; title on spine label.] 

Cast includes John Wyse, Baliol Holloway, Gwynne Whitby. De- 



HENRY V 151 

signed by Aubrey Hammond. Cuts on full text. Calls, some stage 
business, cues for effects. 

30. [Atkins] 

Shakespeare Centre Library: 71.21/1927 

[Temple edition pasted in a workbook, 7x9; purple cloth boards 

and half black leather; title on cover and spine labels.] 

This is labeled "1927," but appears to be simply a clean copy of 

the 1934 Atkins book, slightly revised, without cues for effects. 

31. B. Iden Payne Stratford-upon-Avon April 1, 1937 
Shakespeare Centre Library: 71.21/1937HE 

[Temple edition pasted in a workbook, 7x9; purple cloth boards 
and half black leather; title on spine and cover labels.] 
Cast includes Clement M cCallin, Baliol Holloway, Valerie Tudor. 
Designed by Herbert Norris and Aubrey Hammond. Cuts, calls, 
stage business, maps, cues for effects. 

32. Milton Rosmer Stratford-upon-Avon April 25, 1943 

Shakespeare Centre Library: 71.21/1943H 
[Temple edition pasted in a workbook, 6y§ x 8%; blue cloth 
boards and half black leather; title on spine and cover labels.] 
Cast includes Baliol Holloway, Abraham Sofaer, Anna Konstam. 
Designed by Herbert Norris and Charles Reading. Cuts, calls, 
stage business, maps, cues for effects. Roughly executed book, 
which probably had been used for an earlier production. 

33. Laurence Olivier 1944 
Folger: Henry V, Folio 1 

[Mimeograph, 8 x 13; blue cloth boards and blue leather spine; 

title gilt on black spine label.] 

Shooting script for the Olivier film, endorsed by Olivier in 1946. 

34. Dorothy Green Stratford-upon-Avon May 11, 1946 
Shakespeare Centre Library: O.S.71.21/1946H 

[Temple edition pasted in a workbook, 7i/2 x 10; tan marbled 
boards and green cloth spine; title on spine and cover labels.] 
Cast includes Paul Scofield, Vernon Fortescue, Ruth Lodge. De- 
signed by Herbert Norris and Reginald Leefe. Cuts, calls, stage 
business, maps, cues for effects. Score for the Agincourt Hymn, 
plots for lights and properties. 



152 HENRY V 

35. Anthony Quayle Stratford-upon-Avon July 31, 1951 
Shakespeare Centre Library: O.S.71.21/1951HyV 

[New Temple edition pasted in a workbook, 7^4 x 12y 8 ; red cloth 
boards and red cloth spine; title on spine and cover labels.] 
Cast includes Richard Burton, Richard Wordsworth, Hazel Pen- 
warden. Designed by Tanya Moiseiwitsch. Cuts, calls, stage busi- 
ness, maps, cues for effects. A special Epilogue. 

36. Michael Benthall London, Old Vic December 13, 1955 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x 10i/^; black ring 
binder; title on spine and cover labels.] 

Cast includes Richard Burton, Richard Wordsworth, Zena 
Walker. Designed by Audrey Cruddas. Some stage business, a few 
maps, cues for effects. 

37. Michael Langham Stratford, Ontario June 18, 1956 
Festival Theatre, Library 

[Two books. New Temple edition pasted in workbooks, 8 x 125/g; 
black cloth boards and red cloth spine; title pasted on cover.] 
Cast includes Christopher Plummer, Douglas Campbell, Ginette 
Letondal. Designed by Tanya Moiseiwitsch. The first book has 
copious stage business, maps, cues for effects, timings, under- 
studies, cue sheets for music and lights. The second book has calls 
and little stage business. 

38. Michael Benthall Old Vic, American Tour 1958 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x IO1/2; black ring 

binder.] 

Cast includes Laurence Harvey, Richard Wordsworth, Judi 

Dench. Designed by Audrey Cruddas. Cuts, calls, stage business, 

cues for effects. Production papers. 

39. John Neville London, Old Vic May 31, 1960 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x 10; green ring 
binder.] 

Cast includes Donald Houston, Joss Ackland, Judi Dench. De- 
signed by John and Margaret Bury. Cuts, stage business, maps, 
cues for effects. Production papers, including several groundplans. 



HENRY V 153 

40. Other books of Henry V: 

Folger: S.a.140, eighteenth-century manuscript of part of the 
play, intended for theatrical use but not used. 
Harvard Theatre Collection: 13485.21.20, E. Dyas; 13485.21.50, 
F. Chippendale. 

Princeton University, Seymour Collection: Hen V, 15, anon- 
ymous. 
Shakespeare Centre Library: 50.10(1872), Manchester, 1872. 



Henry VI 

1. Edmund Kean London, Drury Lane December 22, 1817 
Folger: Henry VI, 1 

[Pages of Richard, Duke of York, London, 1812, 43^ x 71/4; inter- 
leaves; rose and black marbled boards and half brown leather.] 
The 5-act adaptation of the three parts of Henry VI by Soane or 
Merivale. The title page is overwritten in ink "King Henry VI 
... as altered ... By Edmund Kean." The notation "Corrected 
from the Prompt-Book by G. C. Carr, Prompter, Theatre Royal 
Drury Lane" has been lined out. Many cuts and some restorations. 
Numerous stage directions have been scratched. 

2. G. Osmond Tearle Stratford-upon-Avon April 23, 1889 
Shakespeare Centre Library: 71.21 (1889)H 

[Memorial Theatre edition, 1888, pasted in a workbook, 7 x 8%; 
black oilcloth; title inked on spine.] 

Promptbook of Tearle's production of part 1 of Henry VI, with 
Erskine Lewis as the King and Ellen Cranston as Margaret. At 
the front the program copy, with cast, credits, etc. Some stage 
business, maps. The book is signed by Philip Gordon, the stage 
manager, who arranged the tableaux, battles, and processions. 

3. F. R. Benson Stratford-upon-Avon 1899 
Shakespeare Centre Library: 72.912BEN 

[Pages of a text pasted in a workbook, 4% x 8; maroon cloth 
boards and red leather spine; title on spine label.] 
Benson's production of part 2 of Henry VI. This "working stage 
book," by F. R. Ayrton, is marked only in the first few pages. 

4. Douglas Seale London, Old Vic October 16, 1957 

Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x IO1/2; black 
ring binder.] 

Production of part 2 of Henry VI. Cast includes Paul Daneman, 
Barbara Jefford. Designed by Leslie Hurry. Cuts, stage business, 
many maps, cues for effects. Production papers, including maps 
on mimeographed groundplans. 

5. Other books of Henry VI: 

Shakespeare Centre Library: 50.11(1883), 50.12(1883), 50.13 
(1883), F. Hawley, some cuts and few directions. 



Henry VIII 

1. Joseph Ashbury Dublin, Smock Alley 1670's 
Folger: Henry VIII, Smock Alley 

[Pages 541-568 from a Third Folio, Si/ 8 x 12 14; blue-green marbled 
boards and half green leather gilt; title gilt up spine.] 
Promptbook. Cuts and small additions to bridge the cuts. Call- 
lists, a few properties. (See G. Blakemore Evans, Shakespearean 
Prompt-Books.) 

2. James Quin London, Covent Garden April 16, 1751 
Folger: T.a.118 

[Manuscript, 61/2 x 814; brown paper.] 
Quin's 24-page partbook for Henry. 

3. David Beatt and James Love Edinburgh 1761 
University of Pennsylvania, Furness Collection: C59.ShlH8 
[Manuscript, 7$/ 8 x 95/g; red, green, and yellow marbled boards 
and half brown leather; title inked on cover label.] 

Fully developed promptbook, apparently not used. The manu- 
script title page, signed by the managers Beatt and Love, states 
"Entrances and Exits properly mark'd, To the Use of the Edin- 
burgh Theatre." Cuts, alterations, scenic indications, calls, some 
stage business. At the back a map of the trial scene, a plot of 
scenes (no grooves), a 5-page list of the coronation procession, a 
1-page list of the procession to fetch the champion. 

4. Anonymous London, Haymarket 1780 
Folger: Henry VIII, 22 

[Bell edition, 1773, 4i/£ x ly±; interleaves; unbound.] 
Promptbook done in at least 2 hands. Cast list for 1780 includes 
23 names (Hogan gives smaller casts for preceding and following 
years but not for 1780). Cuts and restorations, calls, properties, 
scenic indications, little stage business, cues for effects. 

5. William Warren Philadelphia, Chestnut Street Feb. 2, 1803 
Folger: Henry VIII, 20 

[Bell edition, 1773, 3% x 6i/£; interleaves watermarked 1800(?); 
red marbled boards and half brown leather.] 
Promptbook owned by Warren and Wood, the Philadelphia 
managers. Warren entered a York cast of 1792, with Tate Wilkin- 
son as Wolsey, himself as Cranmer. Calls, some stage business, 



156 HENRY VIII 

maps, procession lists, cues for effects. Later pencilings of calls, 
supers, grooves, and references to Covent Garden. 

6. [Warren] 

Library Company of Philadelphia: Oe2-f .11600. D 
[Edition of 1786, 4 14 x 7; tan cloth boards; title gilt up spine.] 
Promptbook owned by Warren and Wood. Checked for the King. 
Cuts and a few pencilings of stage business. 

7. Snelling Powell Boston c.1805 
Folger: Henry VIII, 17 

[Kemble edition, 1804, 5x8; gray marbled boards and brown 

suede spine; title inked on cover label.] 

Preparation copy. Cuts and a few pencilings of stage business. 

8. John Philip Kemble London, Covent Garden April 23, 1806 
The Players 

[Kemble edition, 1804, 5i/£ x 814 ; interleaves; brown leather; 
title and "Edwin Booth" inked on cover label.] 
Edwin Booth wrote on the title page "Cooke's prompt-book," and 
it is checked for the King (Cooke played the King at Covent 
Garden beginning May 5, 1810). The copious original markings 
are in the hand of Kemble. Calls, stage business, maps, pro- 
cession lists, cues for effects, timings which total 3:10. Some inked 
notations in the hand of Booth's prompter of the 1870's; some 
penciled additions by Booth himself. (See nos. 10-11.) 

9. Sarah Siddons 
Folger: W.a.70 

[Inchbald edition, 1808, 33^ x 6i/£; interleaves; bound with 
Macbeth and Winter's Tale in brown leather gilt; "Siddons" gilt 
on spine.] 
George Joseph Bell's notes on Mrs. Siddons as Queen Katharine. 

10. George Frederick Cooke New York, Park October 2, 1811 
Harvard Theatre Collection: TS.2272.100 

[Inchbald edition, 4 x 5^4; interleaves; red cloth boards; title 
gilt up spine.] 

Promptbook of the Park Theatre when Cooke and T. A. Cooper 
played together. Entire cast given, with a list of supers. Cuts, 
calls, some stage business, maps, cues for effects. Last pages missing. 



HENRY VIII 157 

11. [Cooke] 

Birmingham, Shakespeare Memorial Library: S649.28/526709 
[C. Bathurst edition, 1786, 4x7; interleaves; brown leather; 
title gilt on spine.] 

Promptbook inscribed "With all the stage Directions marked by 
the celebrated George F. Cooke, given to me by Mr. E. Simpson 
Manager of the Park Theatre New York. Edward Knight. 1827." 
A note by Cooke speaks of the time span of the play and the 
author's error in dating the death of Katharine. Checked for the 
King and for Wolsey. Cuts and alterations, stage business. At the 
back a list of scenes. 

12. Edmund Kean London, Drury Lane May 20, 1822 
Shakespeare Centre Library: 50.14(1804) 

[Kemble edition, 1804, 5 14 x S\^; interleaves watermarked 1815, 
1817, 1819; brown marbled boards and half brown leather; title 
gilt up spine.] 

Much used promptbook, marked in ink and pencil in several 
hands. Cast given with Kean as Wolsey and another with 
Macready as Wolsey at the Princess's in 1847. Costume list for 
Wolsey. Calls, stage business, maps, cues for effects entered in a 
neat flowing hand. Procession lists, etc., added in a neat round 
hand. Several nice sketches, watercolored rose and gray. Timings 
total 3:15. (See no. 21.) 

13. William Charles Macready 

London, Covent Garden January 15, 1823 
Victoria and Albert, Forster Library, 7920: F.48.C.18 
[Kemble edition, 1804, 5]/ 8 x 814; bound with other Macready 
promptbooks in green cloth boards and half tan leather; titles 
gilt on spine.] 

Studybook for Wolsey, given to Macready by John Philip Kemble. 
The stage business is in Kemble's hand. At the front, penciled 
notes on the character of Wolsey. Stress marks and marginalia in 
Macready's hand. Marked only to the end of Act III. (See nos. 
21-23.) 

14. Anonymous London, Covent Garden c.1825 
University of Nebraska: 822.33/T3k 

[Kemble edition, 1804, 5 x 8i/£; interleaves watermarked 1824; 
yellow cloth boards; title printed in black down spine.] 



158 HENRY VHi 

Promptbook very neatly marked for grooves, calls, some stage 
business, maps, cues for effects. Crude penciled notes of a 
prompter, including timing, initialed "J W Ptr" (John Willmott?). 

15. Charles Kemble London, Covent Garden October 24, 1831 
Garrick Club 

[Kemble edition, 1804, 5i/ 2 x & l A'> interleaves watermarked 1825; 
blue cloth boards and brown leather spine; title gilt up spine.] 
Much used promptbook written in a clear flowing hand, in or 
after 1825, and probably used for the above date. When the book 
was cropped for binding the marginalia were preserved by folding 
back. Some stage business, maps, cues for effects. Marked only to 
the end of Act III. 

16. Fanny Kemble 

Shakespeare Centre Library: 50.14(1815) 

[Kemble edition, 1815, 4 \/ A x 67/ 8 ; bound with three other plays 

in green cloth boards.] 

"This is volume one of a collection of prompt-copies used by 

Fanny Kemble and presented by Charles Kemble to Helen Faucit 

in 1838." Checked for the Queen. A few notations. (Fanny Kemble 

played the Queen to her father's King on October 24, 1831.) 

17. Mercer Hampson Simpson Birmingham, Theatre Royal c.1840 

Birmingham, Shakespeare Memorial Library: C53/455747 

[Kemble edition, 1815, 4 14 x 7i/£; blue cardboard; bound with 
other Shakespeare plays in green cloth boards.] 

Promptbook sparsely marked in several hands, perhaps partly 
from a Kemble book. Calls, some stage business, cues for effects. 

18. [Simpson] 

Birmingham, Shakespeare Memorial Library: B53/455809 
[Cumberland edition, 33^ x 6; gray cardboard; bound with other 
Shakespeare plays in green cloth boards.] 

Much used promptbook. Scenic indications, grooves, some stage 
business, cues for effects. 

19. James E. Murdoch America 
University of Pennsylvania: AC85.M9415.820p.50 

[Kemble edition, 1815, 4 14 x 7]/±; interleaves; brown paper, much 

worn; title inked on cover.] 

Promptbook belonging to Murdoch, but apparently marked by an 



HENRY VIII 159 

earlier owner. Calls, cues for effects. Before the christening scene 
is a 4-page addition of a "carpenter's scene" (compare to Barry's 
book, no. 34). 

20. Samuel Phelps London, Sadler's Wells April 10, 1845 
Folger: Henry VIII, 16 

[Cumberland edition, Si/ 2 x 5%; interleaves, 4 x 61^; tan wrappers 
with title and dates inked, under gray wrappers, much worn.] 
Promptbook dated for 9 seasons between 1845 and 1862, marked 
by both Phelps and Williams, the prompter. Scenic indications, 
grooves, calls, some stage business, maps, sketches, procession 
lists, cues for effects. The fifth act not marked. 

21. William Charles Macready 

London, Princess's October 13, 1847 
Victoria and Albert, Forster Library, 7919: F.48.C.17 
[Cumberland edition, S]/ 2 x 6; bound with other Macready 
promptbooks in green cloth boards and half tan leather; titles 
gilt on spine.] 

A Macready promptbook, though probably of later usage than 
the above date. The 1847 and 1848 performances at the Princess's 
seem to have been prompted from the Edmund Kean book of 
1822 (see no. 12). John Ryder is listed for the King: this suggests 
use in America in the fall of 1848. Calls, cues for effects. Marked 
through the fifth act. 

22. [Macready] 

Folger: Henry VIII, 19 

[Pages 1-126 from a Works, 5s/ 8 x &y 8 ; blue interleaves; reddish 

marbled boards and half brown leather; title gilt on spine, "Mr. 

Rogers" gilt on red cover label.] 

"Marked by G. Hastings, T. R. Haymarket from Mr. Macready's 

P.Book — May 1852." Cuts, some stage business, maps. 

23. [Macready] 

Toronto Public Library: Taverner Collection 

[Small notecard in a manila envelope.] 

Manuscript notes on Macready's acting of Wolsey, by J. W. 

Taverner, the elocutionist. 

24. Charles Kean May, 1848 
Folger: Henry VIII, 7 

[Pages 1-126 from a Works, 5 x 8%; interleaves, 7x9; blue cloth 



160 HENRY VIII 

boards and half brown leather; title gilt on black spine label, 
"Prompt Copy, Mr. C. Kean" gilt on cover label.] 
Beautiful transcription (and augmentation) of the traditional 
Covent Garden promptbook made for Charles Kean by George 
Ellis in May, 1848. Not used. Cuts on full text, grooves, calls, 
properties, some stage business, maps and sketches, procession 
lists, cues for effects, timing (2:40). Notes on music added in 
pencil. Cast is given including Kemble, Cooke, and Mrs. Siddons. 
(See nos. 8-11, 36-46.) 

25. John Moore New York 1848-C.1870 
Folger: Henry VIII, 13 

[Title page of Modern Standard Drama, 1848, but text of Oxberry 
edition, 1823, 4y 8 x 7y 8 ; interleaves; yellow wrapper; title, etc., 
inked on cover.] 

A full and much used promptbook, dated London, 1848, but 
principally used in New York and with Charlotte Cushman. At 
the front, a 4-page account of the dance routine in I, 4. Some 
detailed scenic indications, grooves, calls, much stage business, 
maps, procession lists, cues for effects. At the back a list of doubles. 
The fifth act is marked in brown ink as of 1848, but is not worked 
over, and apparently was not used. An 1857 playbill of Cushman's 
Katharine and one of her Wolsey. News clippings of Cushman 
and Genevieve Ward. 

26. [Moore] 
Folger: T.b.2 

[Notebook, 6i/ 8 x lOi^; blue boards and black cloth spine.] 
Cues for the band for 48 plays, including Henry VIII. 

27. George W. Lewis 1849 
New York Public Library: *NCP.342995 

[Cumberland edition, 3i/ 2 x 53^; gray interleaves; black cloth 
boards; title gilt up spine.] 

Carefully developed promptbook ending with the death of the 
Queen. Some scenic indications, grooves, calls, considerable stage 
business, good maps and sketches, procession lists, cues for effects, 
timing (2:08). Fifth act marked but not used. Later belonged to 
James Stark and to George Becks. (See no. 33.) 

28. John Proctor Philadelphia 
New York Public Library: *NCP.267586B 



HENRY VIII 161 

[Cumberland edition, 3i/£ x 5]/ 2 > interleaves; gray marbled boards 
and half black leather; title inked on spine.] 
Uncompleted promptbook marked through the first act. Grooves, 
calls, some stage business, maps and sketches, cues for effects. 
Resembles the preceding (Lewis) book. 

29. Charlotte Cushman New York, Broadway September 15, 1849 
Folger: Henry VIII, 4 

[Modern Standard Drama, 1848, 43/ 8 x 7; blue interleaves; brown 
cloth boards and half red leather gilt; title, etc., gilt on black 
cover label.] 

Promptbook carefully prepared in blue ink, with additions in 
brown ink and pencil. A scene restored from the original is called 
Act III, and the whole is divided into 5 acts, though Shakespeare's 
fifth act is omitted. Grooves, calls, properties, some stage business, 
detailed procession list and dance routine, several good maps, 
cues for effects. At the front a good watercolor design for the 
trial scene. Page 48 badly stained. 

30. [Cushman] 

Folger: Henry VIII, 3 

[French's Standard Drama, 4 14 x 7; interleaves; gray mottled 
boards and half black leather gilt; title gilt up spine and "C. Cush- 
man" gilt on black cover label.] 

Promptbook similar to the preceding book but not verbatim: 
some directions omitted, some given in greater detail. So-called 
"Act III" given in manuscript. Notes on shortening the play. 
Purple ink sketch of Buckingham going to execution, and sketch 
of the vision. 

31. [Cushman] 

Library of Congress, Manuscripts Division: Cushman Box 

[Manuscript, 6]/ 2 x 8; bound with partbook for Evadne in The 

Bridal.] 

Miss Cushman's partbook for Queen Katharine, apparently for 

the full-length version. 

32. E. Dyas Manchester, Theatre Royal 
Harvard Theatre Collection: (Widener, 13485.33.5) 

[Two books. Cumberland edition, 3|4 x 5y 8 (second copy slightly 
larger); brown paper under brown cloth boards; title gilt up 
spine.] 



162 HENRY VIII 

The second copy, signed F. E. Simon and checked for the King 
and Queen, is a crude promptbook. List of written letters, calls, 
cues for effects. 

33. George W. Lewis New York, Broadway 1853 
New York Public Library: *NCP.342929 

[Modern Standard Drama, 4\/ 2 x 7^; gray interleaves; black cloth 
boards; title gilt up spine.] 

Promptbook "Marked as played by Mr. Macready, Charlotte 
Cushman, &c. — at the Broadway Theatre N. York, 1853, George 
W. Lewis Prompter." Fifth act not marked. Playing time is 2:08. 
Generally very similar to Lewis' 1849 book (see no. 27). Some 
notes added by George Becks. 

34. Thomas Barry Boston, Boston Theatre 1854 
Harvard Theatre Collection: uncatalogued 

[Oxberry edition, 1823, 4i/ 2 x 7; bound with The Tempest in 
brown boards and half red leather; title and "42-43" inked on 
cover label.] 

"Marked from C. Garden Pt.Book" by Charles Melville, an 
English prompter, and brought to Boston by Barry in 1854. 
Grooves, calls, some stage business, maps, cues for effects. Before 
the christening scene there is an invented "carpenter's scene" 
(compare to Murdoch's book, no. 19). 

35. William E. Burton 

Harvard Theatre Collection: uncatalogued 

[Longworth edition, 1811, 3i/2 x 5]/^; marbled paper and green 

leather spine; title inked up spine label and on cover.] 

Rather sparsely marked promptbook in which Burton's name is 

written several times; also "Boston Theatre" and names of Wm. 

B. Spooner, James Taylor. Calls, little stage business, cues for 

effects. 

36. Charles Kean London, Princess's May 16, 1855 
Folger: Henry VIII, 12 

[Pages 433-521 from Knight's National Edition, 1852, 5s/ 4 x 8%; 
lavender interleaves, 7i/g x 87/ 8 ; white cardboard and canvas spine; 
title inked on cover.] 

Preparation copy and stage manager's workbook in the hand of 
George Ellis. Cuts on full text do not correspond to the traditional 
Kemble cutting, which Ellis had given Kean earlier (see no. 24). 



HENRY VIII 163 

Many rough maps and many jottings of stage business. Manu- 
script version of V, 1, probably in Kean's hand. 

37. [Kean] 

Folger: Henry VIII, 8 

[Kean edition, 1855, 5i/£ x 8s/ 8 ; interleaves, 6^£ x 8%; brown 

cloth boards and half brown leather, covers broken away; title 

gilt up spine, "Henry Irving" inked on cover where Kean's name 

was originally gilt on a cover label.] 

Promptbook made by T. W. Edmonds, the prompter during the 

first (1855) season of Kean's production of the play: includes the 

fifth act. Calls, some stage business, cues for effects, timings (3:20). 

Originally contained 13 watercolor scene designs, but only 5 of 

them remain (see no. 40). 

38. [Kean] 

Folger: Henry VIII, 10 

[Same format as preceding book, but with Kean's name gilt on 

cover label.] 

Transcription of the preceding book made by Edmonds during 

or after the second season: does not include the fifth act. Contains 

1 1 watercolor scene designs for the first 4 acts. 

39. [Kean] 

Folger: Henry VIII, 9 

[Kean editions of Henry VIII and other plays; brown leather; 

"Princess's Theatre" gilt on spine.] 

A gift volume. Notation in Kean's hand on omission of the fifth 

act. 

40. [Kean] 

Enthoven Collection: 94G27, plates 1770-91 
[Scrapbook, 15^ x 21 y 8 ; blue cloth boards and half blue cloth.] 
Two sets of watercolors of the scenes, one set painted on white 
paper and one set on brown. The brown paper set is complete 
(13 scenes) except for the fifth-act panorama of London. The 
white paper set consists of the 8 plates torn out of Folger, Henry 
VIII, 8 (see no. 37), and also the panorama, a strip over 4i/2 
feet long showing continuous views of London from the Bridewell 
to Greenwich. 

41. [Kean] 

Enthoven Collection: Box DT.45 



164 HENRY VIII 

[Watercolors.] 

Watercolors of 16 scenes from the play and 9 plates of properties, 

mounted on large display boards. 

42. [Kean] 

Enthoven Collection: Box DT.48a 

[Watercolor.] 

Preliminary sketch of a scene outside Westminster Abbey, by 

T. Grieve. 

43. [Kean] 

Folger: Kean Costume Book, Prints and Engravings, 182 

[Scrapbook, 143^ x 21 14 ; brown cloth boards and half brown 

leather.] 

Six colored scenes of the play as published in 1855 by Joseph, 

Myers & Co. 

44. [Kean] 

Folger: Kean Costume Book, Prints and Engravings, 49 
[Scrapbook, 10^£ x 14i/£; green cloth boards and half green 
leather gilt.] 

Contains about 70 watercolor plates and tracings for costume 
designs, made by Charles Hamilton Smith and his daughter 
Emma Smith. 

45. [Kean] 

Enthoven Collection: 94G26, plates 1739-44 

[Scrapbook, 151/ x 21^; blue cloth boards and half blue cloth.] 

Six watercolor costume plates showing 16 figures. 

46. [Kean] 

Enthoven Collection 

[Two brochures, 14i/£ x Ss/ 4 .] 

Printed costume plates from Joseph, Myers & Co. Part 1, colored, 

consists of plates 1 to 6 with about 6 figures each (no. 3 is 

missing). Part 2, plain, consists of plates 7 to 12 (no. 10 is missing). 

47. James Edwards 1856 
Folger: Henry VIII, 6 

[Kean first edition, 4i/£ x 7%; interleaves; brown and blue 
marbled boards and half black leather; title gilt up spine.] 
Not a finished promptbook, but an observation and preparation 



HENRY VIII 165 

copy. Alterations of Kean's text generally tend toward restoration 
of the Kemble version. Some scenic indications, calls, cues for 
effects. Several maps, which do not square with Kean's arrange- 
ments. Dated within January 25, 1856. 

48. W. J. Le Moyne Philadelphia 1860's 
Folger: Henry VIII, 11 

[Davidson issue of Cumberland edition, 35/ 8 x 55^; interleaves; 

heavy brown paper.] 

Neatly though sparsely marked promptbook. Some stage business. 

49. Charles Dornton Liverpool, Theatre Royal February 2, 1866 
Birmingham, Shakespeare Memorial Library: B53/455729 
[Davidson edition, 3i/£ x 5^£; interleaves; gray paper; bound 
with other Shakespeare plays in green cloth boards.] 

Lightly marked promptbook. Partial cast for above date. 

50. Jean Davenport Lander America 1868 
New York Public Library: *NCP.342928 

[French's Standard Drama, 4 1/ 2 x 7]/^; interleaves; blue cloth 
boards; title gilt on cover.] 

Promptbook marked by George Becks "with 3rd Act for Catherine 
as played by Mrs. F. W. Lander." At the front, music cues and 
scene plot with grooves. Cuts, calls, stage business, maps, sketches, 
cues for effects. Maps of Kemble's "situations" and Lander's for 
trial scene. Two versions indicated, one to include the fall of 
Wolsey. Contains embossed colored portraits of Creswick as 
Cromwell and Phelps as Wolsey. 

51. [Lander] 

New York Public Library: *NCP.342930 

[Lacy edition, 4i^ x 71^; interleaves; brown cloth boards and 
half black leather, front cover and leaves missing.] 
Mrs. Lander's working promptbook, dated 1868, probably in the 
hand of George Becks. Scenic indications, grooves, calls, much 
stage business, maps, sketches, procession list, Kemble's "situa- 
tions," cues for effects. Music plot at front is partly missing. 
Frequently verbatim with the preceding book. 

52. [Lander] 

Harvard Theatre Collection: uncatalogued 

[French's Standard Drama, 4i/ 2 x ^V&> interleaves; black cloth 

boards and black leather spine; title gilt up spine.] 



166 HENRY VIII 

James Taylor's promptbook of a production ending with the 
death of the Queen, probably Mrs. Lander's. Fifth act very 
lightly marked as if not used. Scenic indications, grooves, calls, 
much stage business, maps, sketches, procession list, cues for 
effects. This is the fuller of Taylor's two books. 

53. [Lander] 

Harvard Theatre Collection: uncatalogued 

[Lacy edition, 4i/£ x 7i/£; interleaves; black cloth boards and 

black leather spine; title gilt on spine.] 

James Taylor's promptbook of a version ending with the death of 

the Queen, probably Mrs. Lander's. Cuts, some scenic indications, 

grooves, some stage business, Kemble's "situations," procession 

list, maps and sketches, cues for effects. 

54. Genevieve Ward New York, Booth's September 23, 1878 
New York Public Library: *NCP.342931 

[Kean edition(?), 4 14 x 7; interleaves, 7]/ 8 x 9\^; maroon cloth 
boards; title gilt on spine.] 

Elaborate promptbook of the Jarrett and Palmer production 
with Genevieve Ward, arranged for touring, marked by 
E. Edmonds. Fifth act included. Cuts marked "for the country." 
Cues entered on circles or squares of bright watercolor. Calls, 
stage business, processions, notes on dances, excellent maps and 
sketches of major scenes, cues for effects. At the back are produc- 
tion booklets of Frank Little, the stage manager: maps of scenes 
with supers, gas plot, inventory of costumes and properties. 

55. Louis Besn America 1882 
Harvard Theatre Collection: uncatalogued 

[French's Standard Drama, 4z/ 8 x iy 8 ; publisher's wrappers.] 
Partbook of a minor actor with Fanny Janauschek, checked for 
Brandon, Surveyor, Clerk, etc. Cuts and scenic indications. 

56. Anonymous America 1890's 
New York Public Library: *NCP 

[Pages of French's Standard Drama pasted in a workbook, 6s/^ x 
Sy 8 ; black and white paper cover.] 

Carefully developed promptbook of a touring production. Ends 
with death of the Queen. Some stage business, maps, cues for 
effects. Acts end with tableaux. At the back are plots of properties, 
lights, music. 



HENRY VIII 167 

57. Henry Irving London, Lyceum January 5, 1892 
Folger: Henry VIII, 1 

[Kean edition, 5x8; interleaves; black cloth boards and black 
leather spine; title gilt up spine.] 

A professional observer's notes on Irving's production. Several 
maps. Several hostile notes on the acting and scenic arrange- 
ments. "Terry comic laugh." Belonged to George Becks. 

58. George Becks c.1895 
Folger: S.b.20 

[Pages 211-303 from a Works, 4x7; interleaves, 8 x 10; in red 
cloth board box; title and "Becks' Henry VIII" gilt on brown 
spine label.] 

Becks planned but did not publish The Actor's Shakespeare. His 
gathering of traditional materials for Henry VIII was completed 
even to a manuscript title page and Dedication. Includes prefaces 
from French's Standard Drama, and from editions of Charles 
Kean and Henry Irving. Describes 70 scenic units and their use 
for the 15 scenes of the play. Discusses versions "for Wolsey," 
"for Queen Katherine." Plots of properties, gas lights, limes, 
costumes. Cuts on full text, following Calvert's and Kean's ver- 
sions. Copious stage business follows the Genevieve Ward pro- 
duction at Booth's (see no. 54) and incorporates details from 
Kemble, Siddons, the Keans, Cushman, Lander, Calvert, Modjeska, 
Irving, and Terry. 

59. Ellen Terry Stratford-upon-Avon April 23, 1902 
Smallhythe 

[Irving edition, 1892, 5i/£ x 8\/ 8 ; interleaves; maroon leather, 
much worn and broken; title gilt up spine.] 
Copy inscribed to Miss Terry from Irving in 1892. "Notes entered 
from a copy used at Stratford on Avon for study." Many detailed 
and vivid notes on how to play the Queen. 

60. [Terry] 
Smallhythe 

[Henry Altemas edition, Philadelphia, 4 x 5i/ 2 ; red limp leather 
cover from Temple edition; title gilt up spine.] 
Rehearsal copy dated 1902, checked and cut for Katharine. A 
few notes on the acting. 



168 HENRY VIII 

61. Herbert Beerbohm Tree 

London, His Majesty's September 1, 1910 
Enthoven Collection: Tree, 223 

[Pages of a text pasted in a workbook, 7x9; black limp cloth 
boards and black leather spine.] 

Preparation book. Cuts (44 of 127 pages) and roughly penciled 
directions, much of it in Tree's hand. Remarks on historical 
truth and archaeological accuracy. 

62. [Tree] 

Enthoven Collection: Tree, 223 

[Pages of a text pasted in a workbook, 7x9; green marbled 

boards and half black leather; "Early Rehearsals, Unfinished 

Script, not correct" inked on cover.] 

Rehearsal promptbook signed by Claude Rains. List of entrances. 

Much stage business, list of scenes, timings. 

63. [Tree] 

Enthoven Collection: Tree, 223 

[Cassell's National Library edition pasted in a workbook, 7x9; 

red marbled boards and red cloth spine; "Finished copy but not 

correct" inked on cover.] 

Very full rehearsal promptbook signed by William Abingdon. 

Cuts, copious stage business, groundplans, cues for effects, timings. 

64. [Tree] 

Enthoven Collection: Tree, 223 

[Cassell's National Library edition pasted in a workbook, 6% x 9; 

dark blue cardboard, spine patched with brown paper, much 

worn.] 

Promptbook signed by Cecil King. At the front a list of scenes. 

Cuts, much stage business, maps, cues for effects, many rough 

sketches of characters. Originally marked to the end, later cut 

back to the death of the Queen. 

65. [Tree] 

Enthoven Collection: Tree, 250 

[Cassell's National Library edition pasted in a workbook, 7x9; 

red marbled boards and green cloth spine, much worn.] 

Fully developed promptbook ending with death of the Queen. 

Cuts, much stage business (some typed on slips and pasted in), 



HENRY VIII 169 

maps, cues for effects. Overture time 8 minutes. Prologue spoken 
by a Jester. 

66. [Tree] 

Enthoven Collection: Tree, 250 

[Papers.] 

Plots of scenes, principals, supers, lights. Ten neat groundplans. 

67. [Tree] 

Enthoven Collection: Tree, 239 

[Papers.] 

Production papers relating to special matinee on July 5, 1915. 

[Actor Lists for Following Books Are Given in This Order: King 
Henry, Wolsey, Queen Katharine.] 

68. B. Iden Payne Stratford-upon-Avon April 24, 1938 
Shakespeare Centre Library: 71.21/1938H 

[Eversley edition pasted in a workbook, 7i/ 8 x 9; purple cloth 
boards and half black leather; title on spine and cover labels.] 
Cast includes Gyles Isham, James Dale, Phyllis Neilson-Terry. 
Designed by Herbert Norris. Cuts, calls, stage business, a few 
maps, cues for effects. 

69. Robert Atkins Stratford-upon-Avon May 17, 1945 
Shakespeare Centre Library: 71.21/1945H 

[Eversley edition pasted in a workbook, 7]/ 8 x 9; purple cloth 
boards and half black leather; title on spine and cover label.] 
Cast includes Antony Eustrel, George Skillan, Viola Lyel. De- 
signed by Herbert Norris and Guy Sheppard. Cuts, calls, stage 
business, maps, cues for effects. The book had been a second copy 
for Payne's 1938 production, was erased and reused. 

70. Tyrone Guthrie Stratford-upon-Avon July 23, 1949 
Shakespeare Centre Library: O.S.71.21/1949H 

[Temple edition pasted in workbook, 8 x 12^4; red cloth boards; 
title on spine label.] 

Cast includes Anthony Quayle, Harry Andrews, Diana Wynyard. 
Designed by Tanya Moiseiwitsch. Cuts, calls, much stage business, 
cues for effects. At the front a carefully drawn groundplan. 

71. [Guthrie] April 20, 1950 
Shakespeare Centre Library: O.S.71.21/1950H 



170 HENRY VIII 

[New Temple edition pasted in a workbook, 8 x 12^£; red cloth 
boards; title on spine label.] 

Cast includes Anthony Quayle, Andrew Cruickshank, Gwen 
Ffrangcon-Davies. Revision of the 1949 book for revival. Produc- 
tion papers including supers and plot of changing properties. 

72. [Guthrie] London, Old Vic May 6, 1953 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x 10i/ 2 ; black 
ring binder; title on spine and cover labels.] 
Cast includes Paul Rogers, Alexander Knox, Gwen Ffrangcon- 
Davies. Designed by Tanya Moiseiwitsch. Calls, stage business, 
maps, cues for effects. Production papers: calls, properties, timings, 
etc. 

73. Michael Benthall London, Old Vic May 13, 1958 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x 10i/£; black 
ring binder; title on spine and cover labels.] 
Cast includes Harry Andrews, John Gielgud, Edith Evans. De- 
signed by Loudon Sainthill. Cuts, calls, stage business, many 
maps, cues for effects. Many production papers, including ground- 
plans. 

74. George McCowan Stratford, Ontario June 20, 1961 
Festival Theatre, Library 

[Two books. Penguin edition pasted in workbooks, 73^ x \Si/ 8 ; 
one in buff boards, one in blue cloth boards bordered in red; 
title pasted on cover.] 

Cast includes Douglas Campbell, Douglas Rain, Kate Reid. 
Designed by Tanya Moiseiwitsch. The first book has much stage 
business, maps (some on mimeographed groundplans), cues for 
effects, timings. The second has calls, cues for effects, many timing 
sheets. 

75. Other books of Henry Villi 

Connecticut State Library: William Gillette. 
Folger: Henry VIII, 2, Edw. Butler, Birmingham cast for 1868; 
Henry VIII, 5, John de Bonay; Henry VIII, 14, Marcus Moriarty; 
Henry VIII, 15, Mude; Henry VIII, 18, J. B. Roberts; Henry 
VIII, 21, 23, anonymous; x.d.231, key to the painting of the trial 
scene called "The Kemble Family." 



HENRY VIII 171 

Harvard Theatre Collection: *6 1.2357, Russell Bassett. 

Historical and Philosophical Society of Ohio: 812.3/R283/92, 

Alvin Read. 

Library Company of Philadelphia: OEngShak.Log2074.0.3, 

anonymous early American (?) with cast badly cropped. 

Museum of the City of Neio York: 45.265.A, Henry Placide. 

Princeton University, Seymour Collection: HVIII, 1A, E. L. 

Davenport; HVIII, 5, L. R. Shervell. 

Shakespeare Centre Library: O.S.P.50. 14(1 803), F. Haywel; 

O.S.P.50.14(1824), William Cooper, Manchester, 1846. 



Julius Caesar 

1. Joseph Ashbury Dublin, Smock Alley 1670's 
Folger: Timon, Smock Alley 

[Pages 667-688 of a Third Folio, 8 x 12i/4 ; maroon cloth boards 
and half brown leather gilt; title gilt up spine.] 
The Smock Alley promptbook of Julius Caesar was destroyed by 
fire at the Shakespeare Memorial Library, Birmingham, in 1879, 
but its cast list of 13 names appears on the last page (688) of 
Timon of Athens, which preceded Caesar in the Folio. 

2. Anonymous 1670's(?) 

Folger: V.a.85 

[Manuscript, pages 74-140 in a commonplace book, 4i/ 8 x 6i/ 2 ; 
brown leather.] 

Manuscript version thought to be transcribed from a lost seven- 
teenth-century prompt copy. Alterations and some stage business. 
Last leaves missing. (See G. Blakemore Evans, JEGP, XLI, 401- 
417.) 

3. Anonymous Douai 1694 
Bibliotheque de Douai: MS.7.87 

[Manuscript, folios 131-170 of a volume, 6s/ 4 x 8^; parchment.] 
Manuscript version closely resembling the preceding one, used 
for amateur staging at Douai. Alterations and some stage business. 
(See G. Blakemore Evans, Philological Quarterly, XLI, 158-172.) 

4. George Garrick(?) London, Drury Lane January 24, 1780(?) 
Folger: Julius Caesar, 8 

[Herringman and Bentley edition, 1684, 7 x 9i/£; brown leather 
gilt; title gilt up spine.] 

Promptbook said to be marked in the hand of George Garrick, 
who kept the Drury Lane Diary, 1760-69. (Hogan does not list 
the play at Drury Lane between 1747 and 1780.) Cuts and addi- 
tions including a final appearance of the Ghost at Philippi. 
Scenic indications, property manuscript list, calls, some stage 
business, cues for effects. 

5. John Philip Kemble London, Covent Garden February 29, 1812 
Garrick Club 

[Kemble edition, 1812, 5i/g x 8i/£; interleaves; blue cloth boards 

and brown leather spine; title gilt up spine.] 

Promptbook marked in Kemble's hand. Calls, some stage business, 



JULIUS CAESAR 173 

maps, procession list (106 figures), cues for effects. Detailed map 
of senate scene. 

6. [Kemble] 

Folger: Julius Caesar, 13 

[Kemble edition, 1811, 5 x 8^; interleaves; brown leather; title 
and "TR/CG/MB/J/4" stamped on spine.] 
A note of gift from Charles Kemble in 1840 identifies it as his 
brother's promptbook, "marked in his own hand for representa- 
tion." Cuts, some stage business, maps, cues for some effects. Not 
so complete a book as the preceding one. 

7. Henry Siddons Edinburgh, Theatre Royal c.1812 
Folger: Julius Caesar, 24 

[Kemble edition, 1812, 5i/ 8 x 8i^; interleaves watermarked 1812; 
brown boards and half brown leather.] 

Promptbook of Henry Siddons, "Marked & corrected from Mr. 
J. Kemble's Own Copy" by J. L. Anderson, the Edinburgh 
prompter. Some scenic indications, calls, stage business (full 
account of the murder), procession list, maps, cues for effects. Con- 
tains more matter than either of the preceding books. Additional 
pencilings show extended use. Belonged to Henry Irving. 

ad 7. See Addenda, p. 507. 

8. Richard Jones Edinburgh, Theatre Royal 1817 
Shakespeare Centre Library: 50.15(1814) 

[Kemble edition, 1814, 4 1/ 4 x 71/; interleaves; brown and yellow 
marbled boards and half brown leather; title gilt on red leather 
spine label.] 

Promptbook of Richard Jones, 1816, "Mark'd & corrected accord- 
ing to Mr. J. Kemble's copy." Cast for Edinburgh, 1817, with Jones 
as Antony. Lengths of roles noted. A full book, very similar to 
the preceding (Siddons-Anderson) book. Later belonged to 
William Creswick, who entered an 1845 Liverpool cast with 
Macready and an 1846 Sadler's Wells cast with Phelps. At the 
back are sketches of three scenes from the Booth's Theatre pro- 
duction in which Creswick played in March, 1872. Additional 
stage business, cues, timings, etc., by Creswick. 

9. William B. Wood Philadelphia, Chestnut Street Feb. 14, 1817 
New York Public Library: *NCP 



174 JULIUS CAESAR 

[Kemble edition, 1814, 4 14 x 7 1/± \ black cloth boards; title gilt 
up spine.] 

Crudely marked promptbook. Cuts, calls, some stage business, 
cues for effects. Checked for Casca. 

10. Henry Betty 1840's 
Folger: Julius Caesar, 1 

[Cumberland edition, 3i/£ x 53^; interleaves; gray boards and 
green cloth spine; title penciled on cover.] 

Promptbook lacking regular prompter's markings and perhaps 
not used. Brutus marked for stresses. Grooves, some stage business. 
At the back are lists of properties, scenes with grooves, calls, cues 
for some effects, a model playbill, lengths of parts, sketches of 
Roman footwear. 

11. George Bennett London 1840's 
New York Public Library: *NCP.342984 

[Oxberry edition, 1822, 4i/£ x 6%; interleaves; black cloth boards; 
title gilt up spine.] 

On November 28, 1850, W. Waller transcribed this promptbook 
from George Bennett's; in 1855 it belonged to W. H. Wilder; in 
1858 to James Stark; in 1883 to George Becks. List of supers, calls, 
maps and sketches, cues for effects. 

12. John G. Gilbert 

Harvard Theatre Collection: (Widener, 13485.47.12) 

[Acting edition, Edinburgh, 33^ x 6; gray boards and brown cloth 

spine; title gilt up cover.] 

Promptbook crudely but heavily marked, checked for Cassius. 

Cuts, cues for effects. 

13. William Charles Macready London, Drury Lane May 1, 1843 
Folger: Julius Caesar, 16 

[Oxberry edition, 1822, 4i/£ x !\/±, interleaves watermarked 1837, 
77/ 8 x 93^; white cardboard and canvas spine.] 
Transcription of Macready's promptbook made by George Ellis, 
the prompter: cuts and key-marks in ink, notations on inter- 
leaves in pencil. Contains, as if intended for publication, a Pref- 
ace, a Dramatis Personae, histories of characters, notes on Roman 
customs. Scenic indications, list of property manuscripts, calls, 
stage business, maps and sketches, cues for effects, timings. Huge 
groundplan (21 x 13) of senate scene, detailed chart of scenes and 



JULIUS CAESAR 175 

grooves. Callbook (3% x 9) "scratched out temp^, for rehearsal, 
and is incorrect, in many particulars." 

14. [Macready] 

Folger: Julius Caesar, 12 

[Oxberry edition, 1822, 4^4 x 81/4; interleaves, 7i4 x 9i/£; green 
cloth boards and half green leather gilt; title gilt on red leather 
spine label, "Prompt Copy, Mr. Charles Kean" gilt on maroon 
leather cover label.] 

Beautiful transcription of the Macready promptbook made by 
George Ellis in December, 1849, for Charles Kean's Windsor Cas- 
tle production of February 1, 1850. 

15. [Macready] 

University of Illinois: x792.9/Shl5j/no.l 

[Pages 259-351 from volume IX of a Works, 47/ 8 x 8i/ 8 ; inter- 
leaves, 7 1/2 x 9; blue marbled boards and half maroon leather; 
title gilt on spine, "Hermann Vezin" on black leather cover label.] 
Beautiful transcription of the Macready book made by George 
Ellis for Hermann Vezin. Cuts on full text. 

16. Samuel Phelps London, Sadler's Wells May 5, 1846 
Folger: Julius Caesar, 21 

[Kemble edition, 1814, 4 x 6%; interleaves; brown cloth boards 
embossed and half brown leather; title gilt on black spine label, 
"S.P./T.R.D.L." stamped on spine.] 

Promptbook originally marked in a fine round hand, with rough 
additions for 1846 and 1849 by Williams, the prompter. Cuts and 
restorations, some scenic indications, grooves, calls, stage business, 
maps, processions, list of supers, cues for effects, timing (3:05). 
Belonged to Harry Plowman. 

17. [Phelps] 

New York Public Library: *NCP.343411 

[Steevens edition, 5% x % S A'> interleaves watermarked 1840; blue 
cloth boards; title gilt on spine.] 

Promptbook originally marked by a skilled copyist, with addi- 
tions in the hand of Williams, the prompter. Cuts on full text. 
At the front, a list of 44 supers. Scenic indications, grooves, calls, 
stage business, processions, maps, cues for effects. Given to George 
Becks in 1891 by William J. Le Moyne. 



176 JULIUS CAESAR 

18. John Moore New York c.1850-70's 
Folger: Julius Caesar, 14 

[Cumberland edition, 3]/ 2 x 6; interleaves; purple wrapper; title 
inked on cover.] 

Promptbook dated 1845 and "Marked from a book of Mr. John 
Kemble's in the possession of W. H. Murray, Esq." (see nos. 5-8). 
Much used in New York theatres, and with many additions by 
Moore. At the front, lines from Childe Harold. Property lists for 
each act. Much stage business, and notes on effects. Elaborate final 
tableau of Brutus' funeral pyre, which was not used in Julius 
Caesar until the Barrett-Davenport production of 1875 (see nos. 
38-43). 

19. [Moore] 
Folger: T.b.2 

[Notebook, 6i/£ x lOi^; blue boards and black cloth spine.] 
Cues for the band for 48 plays, including Julius Caesar. 

20. N. B. Clarke New York, National July 1, 1853 
Harvard Theatre Collection: (Widener, 13485.48.5) 

[Two books bound together. French's Standard Drama, 43/£ x 7i^; 
second copy interleaved; brown cloth boards; title inked up spine.] 
The first copy is marked "Prompt Book. National. N.Y." Cues for 
effects. The second has a procession list, some stage business, a 
rough map, some cues for effects. 

21. [Clarke] 

Harvard Theatre Collection: (Widener, 13485.47.25) 
[Cumberland edition, New York, 1830, 35/g x 53^; stiff brown 
paper under red cloth boards; title gilt up spine.] 
Promptbook lightly marked. Cues for effects. 

22. Thomas Barry Boston, Boston Theatre 1854 
Harvard Theatre Collection: uncatalogued 

[Kemble edition, 1812, 5i/g x 814; few interleaves; blue marbled 

boards and brown leather spine; title and "190" inked on cover 

label.] 

Much used promptbook with early nineteenth-century markings 

probably derived from Kemble, and with additions apparently by 

Charles Melville, the English prompter, who then made his own 

(the following) copies from it. Barry brought all these books to 



JULIUS CAESAR 177 

Boston in 1854. Some scenic indications, calls, stage business, 
maps, cues for effects, timings. 

23. [Barry] 

Harvard Theatre Collection: uncatalogued 

[Oxberry edition, 1822, 4i/ 8 x 67/ 8 ; gray interleaves; bound with 

unmarked Henry V in gray boards and half red leather; titles 

and "44-45" inked on cover label.] 

Promptbook marked by Charles Melville, partly verbatim from 

preceding book. Grooves, stage business, maps, cues for effects. 

24. [Barry] 

Harvard Theatre Collection: uncatalogued 

[Oxberry edition, 1822, 4y£ x 7\/ 8 ; interleaves; blue marbled 

boards and black cloth spine; title and "251" inked on cover 

label.] 

Promptbook marked by Charles Melville. Calls, stage business 

mostly verbatim with preceding books, maps, cues for effects. 

25. J. B. Wright Boston 

New York Public Library: *NCP.342981 

[Oxberry edition, 1822, 43^ x 814; gray interleaves; black cloth 

boards; title gilt on spine.] 

Promptbook which belonged to Wright, but was probably marked 

by Charles Melville (see 3 preceding books). Grooves, calls, stage 

business, maps, cues for effects. 

26. Sydney Wilkins America 1860's 
Folger: Julius Caesar, 26 

[Cumberland edition, $5/ 8 x 55/g; stiff brown paper.] 

Crudely marked promptbook. Cuts, cues for effects. At the front 

the characters are marked for "lengths." 

27. W. H. Stephens 1860's 
Harvard Theatre Collection: (Widener, 13485.47.30) 
[Cumberland edition, 33^ x 6; gray publisher's wrappers under 
green cloth boards; title gilt up spine.] 

Promptbook and rehearsal copy, checked for Decius Brutus. Some 
stage business and rough cues for effects. 

28. J. B. Roberts America 1866 
Folger: Julius Caesar, 22 

[French's Standard Drama, 4s/ 8 x 7y 8 ; interleaves; brown card- 
board.] 



178 JULIUS CAESAR 

A touring promptbook, dated 1866: "Please return this Book 
after Performance." List of doubles, grooves, calls, stage business, 
procession lists, maps, cues for effects, timings (2:45). 

29. [Roberts] 

Folger: Julius Caesar, 23 

[Large paper edition, 6i/ 2 x 10; black cloth boards and brown 

leather spine.] 

Copy prepared for public readings, cut and marked for stresses. 

30. Harry B. Hudson Chicago 1867 
Harvard Theatre Collection: *6 1.2356 

[French's Standard Drama, 4^ x li/ A ; paper; title and Hudson's 
name pasted on cover; in box of gray cloth boards and green 
leather spine; title gilt up spine.] 

Rehearsal copy checked for Trebonius and Lucius. Cuts, costume 
notes, some penciled stage business. 

31. James E. Kirkwood Rochester, New York 1870's 
University of Illinois: x792.9/Shl5j/no.2 

[Lacy edition, 4 x 6%; interleaves; purple marbled boards and 
brown cloth spine, broken; title inked up spine label.] 
Promptbook neatly marked in brown and red ink through first 
act only: some stage business, maps, cues for effects. Further stage 
business and maps roughly penciled. Belonged in 1880 to Charles 
B. Welles. 

32. Edwin Booth New York, Booth's December 25, 1871 
New York Public Library: *NCP+.346672 

[French's Standard Drama, 4 x l?>/ % ; interleaves, 7^4 x 12i/£; 
brown and red marbled boards and half brown cloth; title inked 
up spine.] 

Much used promptbook, probably Booth's. The text as partly re- 
stored does not square with his later (1878) acting edition; but 
the binding resembles that of the Booth books at The Players, 
and a scenic notation at II, 3 — "W.T.Sc. in 2" — recalls that Win- 
ter's Tale was produced at Booth's in the preceding spring (1871). 
Some stage business, cues for effects, itemization of supers used 
on 4 different days. A news clipping concerning the play at the 
Haymarket, 1898. 

(note: It is not here possible to distinguish with certainty be- 
tween many of the following Booth and Barrett books and the 
productions they reflect.) 



JULIUS CAESAR 179 

33. Lawrence Barrett c.1872 
New York Public Library: *NCP.285341 

[Music-Publishing Company issue of Cumberland edition, 5i/ 2 x 
534; interleaves, 6]/ 8 x 8; brown cloth boards; title gilt on spine.] 
Well-developed promptbook, probably used for touring. At the 
back a gas and calcium plot "as Done by Mr. Lawrence Barrett, 
Fred P. Barton Stage Mgr." At the front a plot of supers listing 
14 women and about 85 men. Calls, much stage business, proces- 
sions, cues for effects. 

34. [Barrett] 

W. A. Clark Library, Los Angeles 

[Printed sheet, IO14 x 19^.] 

Scene plot for touring, giving description of scenes and wings and 

the groove numbers. Fred P. Barton, stage manager. 

35. [Barrett] San Francisco, California Theatre 
University of Pennsylvania, Furness Collection: C59.ShlJ 
[French's Standard Drama, 4 14 x 1\/^\ interleaves, 6 x 7^; red 
leather gilt; title and "California Theatre" gilt on cover.] 
Very fine, full promptbook which may have been transcribed 
from Barrett's when he visited the California in 1872 or when 
he and Booth were there in 1889. Scenic indications, grooves, calls, 
much stage business, good maps and sketches, cues for effects. 

36. [Barrett] Boston, Boston Museum 
University of Pennsylvania, Furness Collection: C59.ShlJP 
[French's Standard Drama pasted in a workbook, 75/ 8 x ^ 3 A> paper 
wrapper with publisher's wrapper pasted on it and endorsed 
"Prompt Book, Property of J. R. Pitman"; in red cloth board 
folder; title gilt on cover.]' 

Very fine, full promptbook made by J. R. Pitman for the Boston 
Museum, containing a cast list for March, 1878 (Barrett as Cas- 
sius, Charles Barron as Brutus, Frank Colter as Antony). Gen- 
erally verbatim with the preceding (California) book, and prob- 
ably transcribed from the same original. (See no. 47.) 

37. [Barrett] 

Harvard Theatre Collection: uncatalogued 

[Ten music score books, 9i/ 2 x 6 l A> brown cloth boards and green 

cloth spine.] 



180 JULIUS CAESAR 

Complete scores for the band for 9 plays including Julius Caesar, 
endorsed by musicians in many cities. 

38. Lawrence Barrett and E. L. Davenport 

New York, Booth's December 27, 1875 

New York Public Library: *NCOFp.v.l90.384095B 
[French edition of the Booth's Theatre version, 5x8; interleaves; 
bound with 6 other promptbooks in black cloth boards; title gilt 
on spine.] 

Apparently a transcription by Leon John Vincent of the official 
promptbook of the Barrett-Davenport-Bangs production, very 
thorough though written hastily and probably unused. At the 
front a list of doubles, a list of supers, a note on variant stagings 
of the ghost scene. Copious stage business, detailed cues for effects 
including scene change by sink and fly. At the end a good sketch 
of the funeral pyre scene, which was introduced in the Barrett- 
Davenport-Bangs production. 

39. [Barrett and Davenport] 

New York Public Library: *NCP.285343 

[Modern Standard Drama, 4]/^ x 6%; interleaves; black cloth 
boards; title gilt up spine.] 

George Becks's very full memorial book of the Barrett-Davenport- 
Bangs production, "marked from observations & notes taken dur- 
ing the performance," with additions "kindly furnished by my 
friend Mr. E. T. Mason," and "with supplementary stage direc- 
tions, 1883." Engravings of Barrett, Davenport, Bangs; engravings 
of 4 scenes; details of costume and armor. Scenic indications, 
grooves, calls, much detailed stage business, maps, cues for effects. 
Map of the funeral pyre scene. 

40. [Barrett and Davenport] 

New York Public Library: *NCP.342996 

[French's Standard Drama, 4i/£ x 7; interleaves; black and white 
marbled boards and green cloth spine; title inked up spine.] 
Another book of George Becks, less fully marked than the preced- 
ing. Some scenic indications, grooves, calls, some stage business, 
cues for effects. At the front a descriptive list of banners of Caesar, 
Brutus, Cassius, Marc Antony. 

41. [Barrett and Davenport] 

Harvard Theatre Collection: uncatalogued 



JULIUS CAESAR 181 

[French's Standard Drama, 4i/£ x 7; interleaves; black cloth boards 
and black leather spine; title gilt up spine.] 

James Taylor's very full memorial book of the Barrett-Davenport- 
Bangs production. Many engravings of Roman costume, scenes 
from the play. Genome's painting of the death of Caesar, etc., 
pasted in. Very detailed accounts of stage business, cues for effects. 

42. [Barrett and Davenport] 

New York Public Library: *NCP.52x296 

[Booth Prompt Book edition, 1912, 43/£ x 7}4; interleaves, 6l/£ x 

814; brown cloth boards; title gilt up spine.] 

Hallam Bosworth's promptbook taken mainly from the George 

Becks book (see no. 39). 

43. [Barrett and Davenport] 
Boston Athenaeum: |VE.S5I.19 

[French's Standard Drama, 4i/£ x 714; interleaves; green cloth 
boards; title gilt on spine.] 

Edward Tuckerman Mason's record of the business of Davenport 
as Brutus and Barrett as Cassius. More than 100 very vivid and 
detailed notes. 

44. Frederick Warde America 1880's 
W. A. Clark Library, Los Angeles 

[French's Standard Drama, 4s/ 8 x 7i/ 8 ; interleaves, 4% x 7i/ 8 ; 
brown limp leather; title gilt on spine.] 

Promptbook "mark'd from Rehearsals of Fred'k Warde by J. L. 
Laphore," and used by Warde for many years. Grooves, stage busi- 
ness, maps, crowd responses, cues for effects. Typed plots of 
scenery, supers, properties. Text of song for Lucius. Playbills of 
the 1875 Barrett tour in which Warde played Antony; an 1885 
performance with Warde as Brutus; a Denver bill of 1910-11. Sev- 
eral prints of scenes from the play. 

45. Frederick Paulding 1882 
Rutgers University: PR.1243.SHA 

[Two books. French's Standard Drama, 4i/ 2 x 7i/ 2 ; publisher's 

wrappers.] 

Rehearsal copies, one merely checked for Cassius, the other with 

many brief notations of the actor's business and manner. 



182 JULIUS CAESAR 

46. Edwin Booth and Lawrence Barrett 

New York, Academy of Music December 26, 1887 

The Players 

[French's Standard Drama pasted in a workbook, 5^4 x 8^4; 
red marbled boards and half green leather gilt; title gilt on spine.] 
Souvenir promptbook of the Booth-Barrett production, "Bound 
and prepared for my dear Friend Edwin Booth as a memento of 
our Season of 1887/8 with the enduring love and respect of/Law- 
rence Barrett." 

47. [Booth] 
The Players 

[French's Standard Drama pasted in a workbook, 5]/ 2 x ^ 5 /s'> nm P 
black leather gilt; title gilt on cover.] 

Excellent transcription of Booth's promptbook made by J. R. 
Pitman as a souvenir for Russ Whytal, autographed by Booth. 
Similar to Pitman's own Boston Museum book (see no. 36) and to 
various Barrett books. 

48. [Booth and Barrett] 
Folger: Julius Caesar, 9 

[French's Standard Drama interleaved into a stapled workbook, 
43/ 8 x 8.] 

A roughly made promptbook owned by Charles B. Hanford, who 
played Antony with Booth and Barrett. Some stage business, 
maps, sketches, cues for effects. 

49. [Booth and Barrett] 
Folger: Julius Caesar, 7 

[Oxberry edition, 1822, 5 x 8i/ 8 ; paper wrapper, much worn.] 
Rehearsal copy of Owen Fawcett, who played First Citizen with 
Booth and Barrett, variously dated from New York, Detroit, Lon- 
don, in 1886 and 1887. Few markings. Several prints of scenes 
pasted in. 

50. [Booth] 

Folger: Julius Caesar, 4 

[French's Standard Drama tipped into a workbook, 41/^ x 7y 8 ; 

brown leather; title on cover label.] 

Rehearsal copy checked for Soothsayer. Notes on Brutus' costume, 

on Brutus' character. 



JULIUS CAESAR 183 

51. [Booth and Barrett] 
Folger: Julius Caesar, 3 

[Booth- Winter edition, 1898, 4^ x 7|4; publisher's wrappers.] 
William Winter's copy of the edition. Contains photograph of 
Booth as Brutus, engraving of Barrett as Cassius, a note from 
Booth in 1877 discussing publication of his promptbooks, a note 
from Barrett in 1882 concerning Ludwig Barnay. 

52. Anonymous 

The Players: PB.85 

[French's Standard Drama, 4i/ 2 x 73/£; interleaves, 5 x 7%; laid 

in black cloth boards.] 

Neatly marked promptbook. Cuts and additions, calls, some stage 

business, cues for effects. 

53. Osmond Tearle Stratford-upon-Avon 1889 
Shakespeare Centre Library: 71.21(1889)J 

[French issue of Lacy edition, 4 \/ A x 7i4; interleaves; publisher's 
wrappers pasted on boards and black cloth spine.] 
Promptbook marked by C. Rainbow and owned by Charles 
Flower. Cuts, some scenic indications, some stage business, 
sketches, cues for effects. 

54. George Rignold Sydney, Her Majesty's August 24, 1889 
Folger: Julius Caesar, 11 

[Rignold edition, Sydney, 5^§ x 8i^; brown cardboard and green 
cloth spine.] 

Henry Jewett's rehearsal copy, checked for Cassius. Photograph 
on the cover said to be of Jewett. Rignold's Preface explains stag- 
ing arrangements. 

55. Anonymous c.1895 
Folger: Julius Caesar, Folio 1 

[Booth-Barrett edition, 1895, pasted on left-hand pages of a work- 
book, l7/ 8 x 12i/4; gray cloth boards and half red leather gilt.] 
Stage manager's cuebook, probably unused. Cues for effects fairly 
complete. 

56. Herbert Beerbohm Tree London, Her Majesty's Jan. 22, 1898 
Enthoven Collection: Tree, 1 

[Temple edition, 1896, pasted in a workbook, 7x9; red marbled 
boards and green cloth spine.] 



184 JULIUS CAESAR 

Rehearsal promptbook done in pencil and red ink, signed by 
Arthur Coe. Partial cast, stage business, maps. 

57. [Tree] 

Enthoven Collection: Tree, 1 

[Same format as preceding book.] 

Rehearsal promptbook roughly penciled, signed by Alfred Wigley. 

Much stage business, maps, cues for effects. 

58. [Tree] 

Enthoven Collection: Tree, 33 

[Same format as preceding book, but black cloth spine.] 
Very full and much used promptbook done mainly in red ink, 
signed by Arthur Coe. Cast list, cuts, calls, very full stage busi- 
ness, cues for effects. List of supers inserted. 

59. [Tree] 

Enthoven Collection: Tree, 33 

[Temple edition pasted in a workbook, 7 14 x 9i4; white vellum 

boards; title on cover label.] 

Promptbook even more fully developed than the preceding one. 

Full stage business, cues for effects. Printed sketches of all scenes. 

The forum scene is overcrowded with directions. 

60. [Tree] 

Enthoven Collection: Tree, 33 

[Same format as preceding book, but slightly smaller.] 
Final development of the stage manager's book, signed by Ar- 
thur E. Coe, July 15, 1898. Printed cast and list of scenes. Printed 
sketches of all scenes. All stage business necessary to the stage 
manager. Cues for effects in colored inks. Good groundplans. Text 
of forum scene especially printed with space to accommodate 
notes of crowd responses, etc. 

61. [Tree] 

British Theatre Museum: G 58 1963 

[Mixture of a Shakespeare edition and portions of (probably) 

Tree edition pasted in a workbook, 7i/ 2 x 9j4; white vellum 

boards; title and decorations on cover label.] 

Unused or souvenir copy of Tree's version made up by G. H. 

Croxon, the prompter. Few markings. Many illustrations pasted 



JULIUS CAESAR 185 

throughout. Cast list from a program at the front and a souvenir 
booklet at the back. 

62. [Tree] London, His Majesty's April 29, 1905 
Enthoven Collection: Tree, 33 

[Eight books. Two Cassell's National Library, 1904, 4x6; red 
cloth boards. Four Heinemann edition, 1904, 3^4 x 6; green cloth 
boards. Two Tree edition, 1898, 4i/£ x 53/ 8 ; tan boards.] 
Rehearsal copies for Cassius and several minor characters. Some 
stage business. 

63. [Tree] 

Enthoven Collection: Tree, 36 

[Pamphlet, h*/± x 11.] 

Many copies of a 17-page forum scene especially printed with 

cues and crowd responses. 

64. [Tree] 

Enthoven Collection: Tree, 1A 
[Pamphlet, 6 x 9s/ 4 .] 

Many copies of a 24-page printed booklet of Granville-Barker's 
forum scene, used for "Coronation Gala Performance," June 16, 
1911. The crowd of nearly 100 was divided into 11 groups, each 
assigned words, business, and motivation. 

65. [Tree] 

Enthoven Collection: Tree, 33 

[Pamphlet, 5s/ 4 x 83^.] 

Copies of a 9-page forum scene printed for touring company. 

66. [Tree] 

Enthoven Collection: Tree, 39, 41 

[Papers.] 

Printed plots for calls, crowds, costume changes, properties, limes, 

electrics, supers. Mimeographed plots of costumes. 

67. Winthrop Ames Boston, Castle Square February 26, 1906 
New York Public Library: *NCP+.41371B 

[Typescript, 8 x 123^; green cloth boards; title gilt on spine.] 
Final promptbook. Stage directions underlined in red. Cast, synop- 
sis of scenery, extremely detailed stage business, excellent ground- 
plans. Penciled rehearsal notes. Crowds were divided into teams 



186 JULIUS CAESAR 

of Reds, Yellows, Greens, Blues. The production was revived on 
October 26, 1906. 

68. [Ames] 

New York Public Library: *NCP+.41406B 

[Temple edition pasted in a workbook, 15 x 13; blue cloth boards; 

title gilt on spine.] 

Huge workbook with hundreds of preparation notes for Ames's 

production. 

69. [Ames] 

New York Public Library: *NCP+.83541B 

[Blueprints; blue cloth boards, 12i/ 2 x 17^4; title gilt on spine.] 

Seven blueprint groundplans, mounted on linen and folded. 

70. [Ames] 

New York Public Library: *NCP+.41370B 
[Carbon typescript, 8x13; blue cloth boards; title gilt on spine.] 
Cues and detailed directions for crowds. Plots of properties, music, 
costumes, lights. 

71. [Ames] 

New York Public Library: *NCP+.41369B 

[Carbon typescripts, 8 x 6\/ 2 > blue cloth boards; title gilt on spine.] 

Partbooks for 23 roles, much used, each bearing name of actor on 

brown paper cover. Plots for properties, lights, scenery, costumes, 

music. 

72. Robert Man tell New York, Academy of Music Nov. 26, 1906 
Folger: Julius Caesar, 17 

[Pages of a Shakespeare text, 4^ x 1\/ A ; interleaves, 6 x 81/2; blue 
cloth boards and half blue leather gilt; title and owner's name 
gilt on cover.] 

Excellent and much used promptbook "as played by Edwin 
Booth," prepared by William H. Young, 1906 (see nos. 32, 46-51). 
The cuts made on a full text do not exactly square with Booth's 
acting edition. Scenic indications, grooves, calls, detailed stage 
business, maps, sketches, cues for effects. 

73. Oscar Asche Australia and South Africa 1909,1912 
Shakespeare Centre Library: 72.91 5ASC 

[Temple edition pasted in a workbook, Ss/ 4 x 11; green marbled 



JULIUS CAESAR 187 

boards, much worn; title gilt on cover and spine labels; in white 
paper wrapper.] 

Heavily marked and much used promptbook signed by J. Fritz 
Russell. Some scenic indications, much stage business especially 
for crowds, maps, cues for effects. At the back a cast list and plot 
of properties. 

74. [Asche] 

Shakespeare Centre Library: 72.915ASC 

[Temple edition pasted in a workbook, 65/g x 9; green cloth 

boards; title inked on spine label.] 

Stage manager's book for Asche's touring production. Cuts on full 

text. Stage business for crowds, cues for effects. 

75. Henry Jewett Boston, Boston Opera House January 25, 1915 
Folger: Julius Caesar, 31 

[Typescript, 81/2 x 11; gray cardboard and green cloth spine.] 
Much used promptbook of the Henry Jewett Players. Cast lists, 
properties, some stage business, cues for effects, timing sheets for 
a 3-week run, light plot. Advertisement for several plays. Program 
for October 21, 1929. 

76. Lena Ashwell London 1919-29 
Birmingham, Shakespeare Memorial Library: 370/421201 
[Temple edition pasted in a workbook, 7x9; tan marbled boards 
and brown cloth spine; title gilt up spine.] 

Promptbook of the Lena Ashwell Players. Some stage business, 
cues for effects. Plots of properties and scenes. Advertisement for 
performances at Winchmore Hill, October 1, 1923. 

77. F. R. Benson England 1921 
Shakespeare Centre Library: 72.915BEN 

[Favourite Classics edition pasted in a workbook, l7/ 8 x 10; blue 
cloth boards; title inked on spine and cover labels.] 
Promptbook of Benson's North Company in 1921 and earlier. 
Cuts, some stage business including crowd responses, maps, cues 
for effects. At the back a plot of business for 20 supers. 

[Actor Lists for Following Books Are Given in This Order: 
Brutus, Cassius, Antony, Caesar.] 

78. The Players New York, New Amsterdam June 6, 1927 
The Players: PB.38 



188 JULIUS CAESAR 

[Pages of a Shakespeare text pasted in a workbook, 8 x 121,4; 
limp black imitation leather.] 

Promptbook of The Players' Sixth Annual Classic Revival. Cast 
includes Tyrone Power, Basil Rathbone, James Rennie, William 
Courtleigh. Prologue by Percy Mackaye. Blueprint groundplans 
for all scenes. Call sheets, stage business, cues for effects, timings. 

79. W. Bridges-Adams Stratford-upon-Avon April 26, 1932 
Shakespeare Centre Library: 71.21/1932J 

[Temple edition pasted in a workbook, 7x9; blue cloth boards 
and half black leather; title on cover and spine labels.] 
Probably Bridges- Adams' book for his 1932 production, of which 
the cast includes Gyles Isham, Eric Maxon, Wilfrid Walter, Ran- 
dle Ayrton. Designed by Aubrey Hammond. Much stage business, 
maps, some cues for effects. 

80. [Bridges- Adams] Stratford-upon-Avon April 19, 1934 
Shakespeare Centre Library: 71.21/1934J 

[Temple edition pasted in a workbook, 7x9; green cloth boards 
and half red leather; title on cover and spine labels.] 
Cast includes John Wyse, Baliol Holloway, Neil Porter, Eric 
Maxon. Designed by Aubrey Hammond. Much stage business, 
maps, sketches, cues for effects. Earlier markings, as for 1928 and 
1932, erased. 

81. John Wyse Stratford-upon-Avon April 14, 1936 
Shakespeare Centre Library: 71.21/1936J 

[New Temple edition pasted in a workbook, 6% x 9; purple cloth 
boards and half black leather; title on cover and spine labels.] 
Cast includes James Dale, Donald Wolfit, Peter Glenville, Donald 
Eccles. Designed by James Cox and Barbara Curtis. Director's 
workbook, not used in performance. Stage business, maps, notes 
on music. 

82. Orson Welles New York, Mercury November 11, 1937 
New York Public Library: 8-*NCP + .319879B 

[Carbon typescript, 8x11; gray cloth boards; title gilt up spine.] 
Cast includes Orson Welles, Martin Gabel, George Coulouris, 
Joseph Holland. Designed by Samuel Leve. Much used prompt- 
book used in stage management. Properties list, cues for effects. 



JULIUS CAESAR 189 

83. [Welles] 

Folger: Julius Caesar, 29 

[Typescript, 8i/£ x 11; black binder; title and "Mercury Theatre" 

inked on cover label.] 

Unused copy of the Mercury Theatre version, endorsed by Orson 

Welles. 

84. Andrew Leigh Stratford-upon-Avon April 16, 1941 
Shakespeare Centre Library: 71.21/1941 J 

[New Temple edition pasted in a workbook, 7x9; purple cloth 
boards and half black leather; title on cover and spine labels.] 
Cast includes George Hayes, Baliol Holloway, Godfrey Kenton, 
G. Kay Souper. Designed by Barbara Curtis. Lightly marked with 
stage business, maps, cues for effects. The book had been used 
in 1936. Was erased and reused. 

85. National Broadcasting Company April 3, 1949 
Folger: Julius Caesar, Folio 2 

[Two books. Mimeograph, 8i/£ x 11; in black file box.] 
Shooting script of the NBC-TV production of the Amherst Col- 
lege Masquers playing in the Folger Shakespeare Library Theatre. 

86. Anthony Quayle and Michael Langham 

Stratford-upon-Avon May 2, 1950 

Shakespeare Centre Library: O.S.71.21/1950J 
[New Temple edition pasted in a workbook, 8 x 123^; red cloth 
boards; title on cover and spine labels.] 

Cast includes Harry Andrews, John Gielgud, Anthony Quayle, 
Andrew Cruickshank. Designed by Warwick Armstrong. A par- 
tial promptbook only: stage business given for part of Act I. Calls 
and cues for effects passim. 

87. Loew's Incorporated July, 1952 
Folger: Julius Caesar, 30 

[Mimeograph, 814 x 11; yellow paper.] 

Shooting script of the film directed by Joseph L. Mankiewicz. 

88. Michael Langham Stratford, Ontario June 27, 1955 
Festival Theatre, Library 

[Two books. New Stratford Shakespeare pasted in workbooks, 
8 x 123^; black cloth boards and red cloth spine; title pasted on 
cover.] 



190 JULIUS CAESAR 

Cast includes Lome Greene, Lloyd Bochner, Donald Davis, Rob- 
ert Christie. Designed by Tanya Moiseiwitsch. The first book has 
copious stage business, maps, cast list. The second has cues for 
effects. 

89. Michael Benthall London, Old Vic September 7, 1955 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x lOi/g; black ring 
binder; title on cover and spine labels.] 

Cast includes Paul Rogers, Richard Wordsworth, John Neville, 
Gerald Cross. Designed by Audrey Cruddas. Cuts, calls, stage busi- 
ness, maps, cues for effects. Many production papers. 

90. Glen Byam Shaw Stratford-upon-Avon May 28, 1957 
Shakespeare Centre Library: O.S.71.21/1957J 

[New Temple edition pasted in a workbook, 8 x 13; red cloth 
board spring binder; title on spine label.] 

Cast includes Alec Clunes, Geoffrey Keen, Richard Johnson, Cyril 
Luckham. Designed by Motley. Very full stage business, maps, 
cues for effects. Production papers: working divisions, effects cues, 
plot of screens, 5 maps on large mimeographed groundplans. 

91. Douglas Seale London, Old Vic October 8, 1958 
Old Vic, Publicity Department 

[Temple edition pasted in a workbook, 8 x lOi/g; green ring 
binder; title on cover and spine labels.] 

Cast includes John Phillips, Michael Hordern, Peter Moynihan, 
Jack May. Designed by Berkeley Sutcliffe. Typewritten stage busi- 
ness, careful maps, cues for effects. Production papers: flys, prop- 
erties, effects cues, understudies, etc. 

92. Other books of Julius Caesar: 

Boston Public Library: K.47.13 no. 2, Thomas Barry and John 

Gilbert. 

Connecticut State Library: William Gillette, 2 books. 

Folger: Jul Caes, 2, J. B. Booth, Jr.; Jul Caes, 5, W. E. Burton, 

Philadelphia, 1840; Jul Caes, 6, Sidney A. Carey, Bowery; Jul 

Caes, 10, Charles Hill, 1838; Jul Caes, 15, H. V. Lovell; Jul Caes, 

18, William A. Minards; Jul Caes, 19, 20, Marcus Moriarty; Jul 

Caes, 25, James Taylor; Jul Caes, 27, George W. Wilson; Jul 

Caes, 28, anonymous; PR.2796.G3.J1.A1, D. Neuffer, a German 

book based on the Schlegel translation. 



JULIUS CAESAR 191 

Harvard Theatre Collection: K.47.13, John Gilbert, Boston, 
1841, New York, 1849, Philadelphia, 1852. 

Historical and Philosophical Society of Ohio: 812.3/R283/90, 
Alvin Read. 

Library of Congress, Batchelder Collection: 375, J. W. Wallack; 
376, Edwin Adams, Baltimore, 1855. 

Princeton University, Seymour Collection: JC.15, A. S. H. Mur- 
ray, Boston, 1871. 

University of Minnesota: Z820.12/Z11, volume 12, W. S. Forrest. 
University of Pennsylvania: AC85.M9415.820p.51, James Mur- 
doch, 2 books. 



King John 

Anonymous 1700's 

Folger: John, 24 

[Pages 165-252 from volume III of Theobald's Works, 47/ 8 x H/ 2 .] 
Eighteenth-century promptbook. Cuts, entrances and exits, cues 
for effects. 

David Garrick London, Drury Lane February 20, 1745 

Folger: A.a.22 

[Manuscript, 6$/ 8 x 8; soft tan paper wrapper; in red slip-case; 

title gilt on black spine label.] 

Garrick's partbook for King John, made by a copyist, with cuts 

and notes in Garrick's hand. Lines added in the first act and at 

the death of John. 

William Powell(?) London, Drury Lane 1766(?) 

Folger: John, 17 

[Pages 3-70 of an eighteenth-century edition, no title page, 5i/g x 
7^4; blue, green, and yellow marbled boards and half brown 
leather; title gilt on red cover and spine labels and on cover label 
also the letters "R.K.B."] 

An inserted slip identifies this promptbook with one of the 
Powells. (William Powell played John at Drury Lane March 20, 
1766; John Powell played Pandulph at Drury Lane November 
20, 1800.) Extensive cuts. Scenic indications, list of property man- 
uscripts, calls, stage business, some cues for effects. 

William B. Wood 1807 

New York Public Library: *NCP.164554 

[C. Bathurst edition, 1784, 4 x 6i/£; black cloth boards; title gilt 

up spine.] 

Lightly marked promptbook. Cuts, some stage business. Cast for 

1807 including Wood, the Warrens, Fennell, etc. 

[Wood] 

Folger: John, 21 

[Inchbald edition, 35/ 8 x 6; some interleaves; gray marbled boards 

and half red, half brown leather.] 

Crude promptbook. Cuts, restorations, little stage business. 

. John Philip Kemble London, Covent Garden May 1, 1810 
Folger: John, 10 
[Kemble edition, 1804, 5 x 814; interleaves watermarked 1807; 



KING JOHN 193 

brown leather; title gilt on red spine label, spine stamped "TR/ 

CG/PB/I."] 

Much used promptbook marked in Kemble's hand. Calls, stage 

business, maps, cues for effects, timings (3:10). Names of several 

minor actors are given in the calls. 

7. [Kemble] 
Garrick Club 

[Kemble edition, 1800, 5i/£ x 81/; interleaves watermarked 1809; 
blue cloth boards and brown leather spine; title gilt up spine.] 
Promptbook lightly marked in Act I mainly in Kemble's hand, 
in later acts by other hands. 

8. [Kemble] 
Folger: T.a.25 

[Manuscript, 7 x 87/ 8 ; brown leather gilt; title gilt up spine.] 
Kemble's 23-page partbook for John, in his own hand, 441 lines. 
Dated December 10, 1783, but probably written much later. 

9. R. J. Collier London, Drury Lane 
Folger: John, 9 

[Kemble edition, 1804, 47/ 8 x 8i/g; interleaves; handsome brown 
leather gilt; title and "MSS.NOTES.— KEMBLE" gilt on black 
spine label.] 

A note at the front of this promptbook asserts that it is "Mr. 
J. Kembles own Stage Copy — Authentic notes in his autograph." 
Most of the markings, however, are by R. J. C[ollier], whose ini- 
tials are at the back. Probably therefore it belonged to Drury 
Lane rather than Covent Garden Theatre. Calls, stage business, 
maps, cues for effects. (See no. 11.) 

10. Edmund Kean London, Drury Lane J une 1> 1818 

Folger: John, 23 

[Kemble edition, Lowndes, 4% x 734; interleaves; blue, yellow, 
and red marbled boards and half blue leather, front cover broken; 
title gilt up spine, spine stamped "D.L./PB/29."] 
A copyist or prompter with a round, curling hand has transcribed 
the Covent Garden book (see no. 6) for Drury Lane. Kemble's 
"R.H." and "L.H." are generally, but not always, translated into 
"OP." and "PS." The Covent Garden act timings are carried over, 
but a penciled note totals them not at 3:10 but 2:35 or 2:26. The 
Edmund Kean cast of 1818 is written in. 



194 KING JOHN 

11. R. J. Collier Bath, Theatre Royal 1823 
Shakespeare Centre Library: 50.16(1800)KEM 

[Kemble edition, 1800, 4s/ 4 x 7%; interleaves watermarked 1817; 
tan and green marbled boards and brown leather spine, much 
worn; title gilt on spine.] 

Adaptation of the Kemble book signed by R. J. Collier, who was 
prompter at Bath in 1823. Occasional scenic indications, one 
groove, calls, stage business, cues for effects, timings (3:00). Addi- 
tional markings in pencil. (See no. 9.) 

12. Fanny Kemble 1830's 
Shakespeare Centre Library: 50.16(1814) 

[Kemble edition, 1814, 4 14 x 67/ s ; bound with other plays in green 
cloth boards.] 

Miss Kemble's rehearsal copy, given to Helen Faucit by Charles 
Kemble in 1838. Checked for Constance. Marked for stresses, 
probably by Miss Faucit. 

13. Noah Ludlow and Sol Smith Mobile and St. Louis 1830's 
Harvard Theatre Collection: TS.2355.50 

[Cumberland edition, 3]/ 2 x 5^4; gray paper with title inked under 
white pamphlet boards.] 

Promptbook of simplified version reduced to 3 acts. Cuts, little 
stage business, some cues for effects. 

14. J. B. Wright Boston 1830's 
Folger: John, 22 

[Cumberland edition, Ss/ 4 x 5%; blue interleaves, 4 x 614; gray 
cardboard with publisher's cover pasted on.] 

Promptbook owned by Wright, but the markings suggest it is of 
English origin deriving from Kemble. Some grooves, some stage 
business, maps, sketches, cues for effects. Playbills of Macready in 
1831, Kean in 1852. 

15. Thomas Barry New York, Park October 1, 1832 
The Players 

[Cumberland edition, 3s/ 4 x 6; interleaves; coarse tan cloth; title 
inked on cover.] 

Promptbook used when Barry played John, with Charles and 
Fanny Kemble as Faulconbridge and Constance. Cast penciled in. 
Calls, some stage business, cues for effects. Notes by Barry on the 
playing of John. Two reviews of Miss Kemble's Constance. 



KING JOHN 195 

16. Robert Hamilton Liverpool, Theatre Royal 1835 
University of Illinois: x792.9/Shl5k/no.4 

[Cumberland edition, 3y 8 x 5s/ 8 ; brown marbled boards and 
brown leather spine; title on cover label.] 

Promptbook marked for two acts only: calls, some stage business, 
maps, some cues for effects. Later acts checked as a rehearsal copy 
for John and Faulconbridge. Belonged in 1858 to John Kirley(?) 
of the Boston Museum. 

17. William Charles Macready London, Drury Lane Oct. 24, 1842 
University of Illinois: x792.9/Shl5k/no.l 

[Pages 293-395 from volume IV of a Works, 1825, 4s/ 8 x 7i/ 8 ; 
interleaves; tan marbled boards and half brown leather; title gilt 
on spine.] 

Macready's preparation copy marked in his hand, signed in the 
front cover and dated September 8, 1842. Cuts on full text. At the 
front, 5 pages of calls. Much stage business, maps, cues for effects. 
(See nos. 24, 26, 27, 29, 37, 42, 45.) 

18. [Macready] 
Folger: John, 12 

[Pages 213-302 from volume V of a Steevens Works, 5i/g x 814 ; 
interleaves watermarked 1840; white cardboard, very worn; title 
and date inked on cover.] 

The working promptbook of Macready's Drury Lane production. 
Contains all the matter of the preceding book, transcribed by a 
professional copyist. Prompter's additions in ink and pencil ifi 
the hand of John Willmott include a list of 53 supers, bits of stage 
business, maps, cues for effects, timings. 

19. [Macready] 

Newberry Library: Case YS.737.8 

[Pages 195-287 from volume IV of Knight's Cabinet Edition, $y 8 
x 5i/4; interleaves watermarked 1843, 4% x iy 8 ; blue cloth boards 
and half brown leather gilt, broken; title gilt on red spine label, 
"Prompt Book" gilt on black spine label; in brown cloth board 
box; title gilt on spine.] 

Excellent transcription of Macready's promptbook of the 1842 
production. The manuscript title page calls it "The Private 
Property of the T.R.D.L." Stage business is in brown ink under- 
lined with red; calls and cues for effects are in blue ink. Endorsed 



196 KING JOHN 

"H. Scharf/Nov r . 1844." A later owner has penciled at the end 
"time notes of Mantell in Garrick Theatre, Chicago, 6 April, 
1915," and a few scattered notes of Mantell's business. 

20. [Macready] 
Folger: John, 8 

[Watercolors, 7i/ 8 x Sy 8 ; interleaves; red and brown marbled 
boards and half black leather gilt.] 

William Telbin's 14 watercolor scene designs for Macready's 1842 
production, which George Ellis sent to Charles Kean in America 
in March, 1846. Carpenter's notes by Ellis on facing pages. (See 
Charles H. Shattuck, William Charles Macready's "King John.") 

21. [Macready] 
University of Illinois 
[Watercolors, 4 x 6\/ 2 .] 

Twelve plates (15 figures) of costume designs by Charles Hamilton 
Smith. (See Charles H. Shattuck, William Charles Macready's 
"King John.") 

22. Helen Faucit London, Drury Lane October 24, 1842 
University of Pennsylvania, Furness Collection: C59.ShlKJ 
[Manuscript, 6$/ 8 x 8i/ 8 ; brown paper with title inked, under 
rose and white marbled boards and half red leather gilt; title 
and "Queen Constance (Lady Martin)" gilt up spine.] 
Partbook for Constance. Marked for stresses throughout, and 
many faint notes by Miss Faucit on the acting. Letter of gift from 
Sir Theodore Martin to H. H. Furness. 

23. Elizabeth Mary Anne Shaw New York, Bowery October 16, 1843 
Harvard Theatre Collection: TS.2355.53 

[Longman edition, 1804, 3^4 x 6i/£; interleaves including several 
double-size ones (folded) with maps and sketches; green leather 
gilt; title and "E. MA. Shaw" gilt on red cover label.] 
Full and much used promptbook. Scenic indications, grooves, 
calls, some stage business, maps, cues for effects. Names of some 
actors are penciled in. 

24. John Moore c.1845 
u vC*£ Folger: John, 14 

[Pages 193-290 from volume IV of a Works, 5i/ 8 x 8; interleaves; 
tan cardboard, very soiled; title and signature inked on cover.] 






KING JOHN 197 

Somewhat simplified transcription of the Macready promptbook 
or one of its derivatives. Not much used. (See nos. 17-19.) 

25. [Moore] 
Folger: T.b.2 

[Notebook, 6i/ 2 x 10 \/ A ; blue boards and black cloth spine.] 
Cues for the band for 48 plays, including King John. 

26. Samuel Phelps London, Sadler's Wells September 30, 1844 
Folger: John, 16 

[Pages 297-395 from volume IV of a Steevens Works, 43^ x 7s/ 8 ; 
interleaves watermarked 1840, 5$/ & x 7%; marbled boards worn to 
gray and half brown leather; title and "SP/TRDL" gilt on red 
spine labels.] 

Excellent transcription of the Macready Drury Lane book (see 
no. 18) made by George Ellis in May, 1843. Phelps has added a 
list of supers, some stage business. At the front, several pages of 
costume notes on sheets watermarked 1847. Used by Phelps for 
many years. 

27. Charles Kean New York, Park November 16, 1846 
Folger: John, 7 

[Pages 193-290 from volume IV of a Steevens Works, 5i/ 2 x 8%; 
interleaves, 7i/ 8 x 87/ 8 ; red and brown marbled boards and half 
black leather gilt; title gilt on spine, "Mr. Charles Kean" gilt 
on black leather cover label.] 

Excellent transcription of the Macready Drury Lane book (see 
no. 18) made by George Ellis in March, 1846. Used by Kean for 
the Park Theatre production and for London productions at the 
Princess's on February 9, 1852, and October 18, 1858 (see nos. 
37-41). Kean and his prompters have entered cuts and restora- 
tions, revisions of scenery and stage business, and timings. (See 
facsimile reproduction in Charles H. Shattuck, William Charles 
Macready 's "King John.") 

28. James B. Roberts 1847 
Folger: John, 18 

[Modern Standard Drama, 1846, 45/ 8 x 7y 8 ; interleaves; gray 
cardboard; title, signature, and date inked on cover.] 
Promptbook based on the newly published "Kean" version. Cuts, 
little stage business beyond that printed. Checked for John and 
marked for stresses. 



198 KING JOHN 

29. William Creswick London, Surrey April 2, 1851 
Shakespeare Centre Library: 50.16(1765) 

[Pages 401-504 from volume III of Tonson's Work?, 1765, 4y 4 x 
7y 8 ; interleaves watermarked 1847, 65/£ x 83,4; tan marbled boards 
and half brown leather; title gilt on black leather spine label.] 
Excellent transcription of the Macready Drury Lane book (see 
no. 18) made for Creswick by George Ellis. 

30. Thomas Barry Boston, Boston Theatre March 12, 1855 
Harvard Theatre Collection: uncatalogued 

[Oxberry edition, 1819, 5 x 7y 4 ; gray interleaves, 5i4 x 814; gray 
boards and brown leather spine; title and "2" inked on cover 
label.] 

Promptbook made by Charles Melville, the English prompter, 
and brought to America by Barry in 1854. Scenic indications, 
maps, cues for effects. Used by Barry in 1855, with certain altera- 
tions of Melville's arrangements which suggest influence by the 
Macready-Kean productions. Cast is given, with James Bennett 
as John. 

31. [Barry] 

Harvard Theatre Collection: uncatalogued 

[Acting edition, no title page, 414 x 7^; brown cloth boards; 

title gilt on cover, "11" inked on cover label.] 

Another Melville promptbook in Barry's collection. Cuts and 

restorations, calls, some stage business, cues for effects. Probably 

not used by Barry. 

32. James Bennett Pittsburgh 1855 
Folger: John, 3 

[French's Standard Drama, 4 14 x 7y 8 ; interleaves.] 
Promptbook marked by T. A. Dow, the prompter, "as played 
by Mr. Jas. Bennett." Marked in ink through 2 acts, then pencil. 
Cuts, scenic indications, grooves, calls, maps, cues for effects. 

33. W. H. Stephens New York, Bowery December 29, 1856 
Harvard Theatre Collection: (Widener, 13485.40.6) 
[Modern Standard Drama, 4i/£ x 73^; small interleaves; brown 
paper under green marbled boards and blue cloth spine; title 
inked up cover.] 

Promptbook dated 1858, but apparently taken from that of the 



KING JOHN 199 

Brougham-Davenport revival of 1856. Cuts, calls, stage business, 
cues for effects. 

34. J. B. Booth, Jr. San Francisco July 23, 1857 
Folger: John, 1 

[Modern Standard Drama, 1846, 4i4 x 7^§; gray cardboard.] 
Crude promptbook. Cuts, scenic indications. Clippings of play- 
bills for the Wallacks, the Booths with McCullough, Mrs. Julia 
Dean Hayne. 

35. [Booth] 
Folger: John, 2 

[Modern Standard Drama, 1846, 4s/ 8 x ly^; interleaves; coarse 

net cloth.] 

Crude promptbook. Scenic indications, some stage business, maps, 

cues for effects. An announcement for Agnes Booth and Joseph 

Wheelock. 

36. Anonymous America 
Folger: John, 27, 28 

[Two books. French's Standard Drama, 4i/£ x 7s/ 8 ; interleaves, 
914 x 11%; black cloth boards.] 

Two promptbooks in the same format. The first shows only cuts. 
The second is systematically developed and used: specific though 
primitive scenic indications, large maps. At the beginning of 
each scene is a chart of scene, borders, wings, lights, props. 

37. Charles Kean London, Princess's October 18, 1858 
Folger: John, 6 

[Kean edition, 1858, 5x8; interleaves, 6% x 9; tan cloth boards 
and half brown leather; title gilt up spine, "Mr, Charles Kean/ 
Prompt Copy" gilt on black leather cover label.] 
Final or souvenir promptbook made for Kean by T. W. Edmonds, 
the prompter. The text is somewhat cut from the 1846 version 
as provided by Ellis (see no. 27). Stage directions are slightly 
reduced but generally verbatim from Ellis. Fourteen watercolor 
scene designs for the 1858 production. (The scenes are repro- 
duced in Charles H. Shattuck, William Charles Macready's "King 
John.") (See nos. 43-44.) 

38. [Kean] 

Folger: Kean Costume Book, 49 



200 KING JOHN 

[Scrapbook, 10.% x 14i/£; green cloth boards and half green 
leather gilt.] 

Lying loose at the front of this scrapbook is a variant watercolor 
scene design for Act I. 

39. [Kean] 

Enthoven Collection: Box DT.46 

[Watercolors.] 

Fourteen watercolor scene designs and 6 plates of banners and 

arms, mounted on large display boards. These are substantially 

the same as those in the Edmonds promptbook (see no. 37). 

40. [Kean] 

Enthoven Collection: 94G26, plates 1732-34 
[Scrapbook, 15 14 x 21^; blue cloth boards and half blue cloth.] 
Three provisional watercolor scenes for the play (the death of 
Arthur and 2 versions of the death of John) which differ from 
other representations. 

41. [Kean] 

Folger: Kean Costume Book, Prints and Engravings, 182 

[Scrapbook, 143/£ x 21 1/4 ; brown cloth boards and half brown 

leather.] 

Contains 67 watercolor plates of costume designs. 

42. Hermann Vezin London, Surrey July 13, 1859 
University of Illinois: x792.9/Shl5k/no.2 

[Kean edition, 5 14 x 8; interleaves, 7i/ 2 x 9i/g; red, yellow, and 
blue marbled boards and half brown leather, broken; title and 
"Hermann Vezin" gilt on red leather cover label.] 
Excellent transcription of the Macready Drury Lane book (see no. 
18) made for Vezin by George Ellis. Bits of Macready's text not 
printed by Kean are restored in longhand. 

43. Charles Kean New York, Broadway May 3, 1865 
New York Public Library: *NCP.342968 

[Modern Standard Drama, 4% x 7; interleaves; bound with an 
unmarked eighteenth-century edition in blue cloth boards; title 
gilt on spine.] 

Promptbook made during Kean's last American tour. Calls, little 
stage business beyond that printed (which is full and authentic), 
cues for effects. Cast of the Kean company. (See nos. 27, 37-41.) 



KING JOHN 201 

44. [Kean] 

New York Public Library: *NCP.343030 

[French's Standard Drama, 4i4 x 6^; interleaves; gray cloth 

boards; title gilt on spine.] 

Promptbook. Cuts, calls, little stage business beyond that printed, 

cues for effects. 

45. Barry Sullivan London, Drury Lane September 22, 1866 
Shakespeare Centre Library: 50.16(1797) 

[Pages 81-168 from volume III of the Robinson Works, 1797, 
63^ x 95^; interleaves; tan marbled boards and half brown 
leather; title gilt on black leather spine label, Sullivan's name 
as of Haymarket gilt on cover label.] 

Partial transcription from the Phelps book (see no. 26) by "G. 
Hastings, 2 Grafton Street East, Fitzroy Square," made for Sullivan 
when he was at the Haymarket about 1852. Stage business is 
given, but most of the calls, maps, cues for effects are omitted. 

46. Lawrence Barrett San Francisco, California Theatre April, 1875 
Harvard Theatre Collection: TS.2355.52 

[French's Standard Drama, 4i/£ x 7i4; interleaves, 4i/ 2 x 9i/2; 
black leather; title and "R. J. Preston to L. P. Barrett" gilt on 
cover; date and place inked within on original gray paper cover; 
in box of gray cloth boards and half black leather; title gilt up 
spine.] 

Sparsely and irregularly marked promptbook, with a few restora- 
tions, little stage business beyond that printed, cues for effects. 

47. George B. Berrell Cincinnati Dramatic Festival May, 1883 
University of Pennsylvania, Furness Collection: C59.ShlKJ a 
[French's Standard Drama, 43^ x 7]^; red cloth boards; title gilt 
up spine.] 

Promptbook of George Berrell, of St. Louis, who was com- 
missioned to prepare King John for the Cincinnati Dramatic 
Festival. Scenic indications, grooves, some stage business, cues 
for effects. Enclosed is an old advertisement for the Hamblin-Shaw 
production at the Bowery, May 17, 1849. 

48. H. B. Irving Oxford, New College 1890's 
Harvard Theatre Collection: uncatalogued 

[Clarendon Press edition, 4i/£ x 61/4, printed on right-hand pages 
only; limp red leather; title gilt on spine.] 



202 KING JOHN 

Irving's studybook when he played John as an undergraduate. 
Cast entered in pencil. Cuts on full text. Stage business penciled 
on facing pages. 

49. Herbert Beerbohm Tree 

London, Her Majesty's September 20, 1899 

Enthoven Collection: Tree, 141 

[Temple edition, 1894, 4 x 5i/£; red cloth boards; title gilt up 

spine.] 

Tree's rehearsal copy for John. Cuts, stage business for various 

roles penciled in. 

50. [Tree] 

Enthoven Collection: Tree, 141 

[Temple edition pasted in a workbook, 7x9; red marbled boards 

and red leather spine; title on cover label.] 

Rehearsal promptbook signed by A. Wigley. Cuts, cast, much 

stage business, maps, cues for effects, done in pencil and red ink. 

51. [Tree] 

Enthoven Collection: Tree, 142 

[Temple edition pasted in a workbook, 7x9; red marbled boards 

and red leather spine, much worn; cover label effaced.] 

Very full and much used promptbook signed by A. Wigley and 

A. Coe. Cast at the front, including Ellen Terry as Constance. 

Cuts, copious stage business, cues for effects, done in pencil and 

colored inks. Packaged in 1902 and labeled "old book." 

52. [Tree] 

Enthoven Collection: Tree, 142 

[Temple edition pasted in a workbook, 7x9; red marbled boards 

and red leather spine.] 

Fully developed stage manager's book, signed by Cecil King, done 

in red ink. Cast at the front. Cuts blocked out in red watercolor. 

Copious but selective stage business, maps, cues for effects. 

"Tableau of Battle" is noted. Packaged in 1902 and labeled "old 

book." 

53. [Tree] 

Enthoven Collection: Tree, 141 

[Temple edition pasted in a workbook, 7x9; red marbled boards 

and red leather spine.] 



KING JOHN 203 

Fully developed stage manager's book, done in red ink. Cuts 
blocked out in red. Stage business copious but selective as in the 
preceding book, maps, cues for effects. Magna Charta tableau is 
noted. Typed notes of September, 1899, for corrections and im- 
provements of performance. 

54. [Tree] 

Enthoven Collection: Tree, 141 

[Temple edition pasted in a workbook, 6^£ x 9i/£; white vellum 

boards; title on cover label.] 

Perfected stage manager's book. Cast and scene lists from printed 

program pasted at the front. Printed sketches of all scenes and 

photographs of battle tableau, Magna Charta tableau. Cuts are 

scissored out. Excellent groundplans in black and red ink. Stage 

business, cues for effects. 

55. [Tree] 

Enthoven Collection: Tree, 40 

[Papers.] 

Mimeographed plots of supers, properties, lights. Printed fly 

plots, 12 x 22i4. 

56. Robert B. Mantell 

Chicago, Grand Opera House November 18, 1907 
Folger: John, 13 

[French's Standard Drama, 4i/£ x 7; interleaves; limp brown 
leather; title, etc., gilt on cover.] 
Rehearsal copy. Some cues for effects. (See no. 19.) 

[Actor Lists for Following Books Are Given in This Order: King 
John, Faulconbridge, Constance.] 

57. W. Bridges-Adams Stratford-upon-Avon July 13, 1925 
Shakespeare Centre Library: 71.21/1925K 

[Favourite Classics edition pasted in a workbook, 6s^ x & 7 /8> Dme 

marbled boards and blue cloth spine; title on cover and spine 

labels.] 

Cast includes Randle Ayrton, James Dale, Florence Saunders. 

Costumes by Tom Heslewood. Cuts on full text, stage business, 

maps, cues for effects, special notes for stagehands. 

58. B. Iden Payne Stratford-upon-Avon May 8, 1940 
Shakespeare Centre Library: 71.21/1940K 



204 KING JOHN 

[Eversley edition pasted in a workbook, 7x9; blue cloth boards 
and half black leather; title on cover and spine labels.] 
Cast includes George Skillan, Baliol Holloway, Joan Sanderson. 
Costumes by Barbara Curtis. Cuts on full text, stage business, 
maps, cues for effects. Small red callbook. 

59. Michael Benthall Stratford-upon-Avon April 15, 1948 
Shakespeare Centre Library: O.S.71.21/1948K 

[Temple edition pasted in a workbook, 8 x 12%; green cloth 
boards and red cloth spine; title on cover and spine labels.] 
Cast includes Robert Helpmann, Anthony Quayle, Ena Burrill. 
Designed by Audrey Cruddas. Very full stage business keyed to 
text by numbers, cues for effects. Production papers include 
Latin lines for priests. 

60. George Devine London, Old Vic October 27, 1953 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x IO1/2; black ring 

binder.] 

Cast includes Michael Hordern, Richard Burton, Fay Compton. 

Designed by Motley. Cuts, calls, stage business, maps, cues for 

effects. Many production papers including battle routines. 

61. John Houseman and Jack Landau 

Stratford, Connecticut J une 26, 1956 

Festival Theatre, Production Department 

[Two books. Mimeograph, 8i/ 2 x 11; interleaves; one in black 
cloth board ring binder, one unbound.] 

Cast includes John Emery, Fritz Weaver, Mildred Dunnock. De- 
signed by Rouben Ter-Arutunian. The first book has copious stage 
business, maps on mimeographed groundplans, cues for effects, 
property list, company lists. The second, signed by Ben Janney, 
has stage business and cues for effects roughly penciled; produc- 
tion papers much used and written upon. 

62. Douglas Seale Stratford-upon-Avon April 16, 1957 
Shakespeare Centre Library: O.S.71.21/1957K 

[Temple edition pasted in a workbook, 8 x 11%; red cloth 
board spring binder; title on spine label.] 

Cast includes Robert Harris, Alec Clunes, Joan Miller. Designed 
by Audrey Cruddas. Very full stage business, cues for effects. At 
the back a fight routine. 



KING JOHN 205 

63. [Seale] Stratford, Ontario June 27, 1960 
Festival Theatre, Library 

[Penguin edition pasted in a workbook, 7^4 x 13i/^; blue cloth 
boards bordered in red; title pasted on cover.] 
Cast includes Douglas Rain, Christopher Plummer, Ann Casson. 
Designed by Tanya Moiseiwitsch. Calls and cues for effects. 

64. Peter Potter London, Old Vic September 19, 1961 
Old Vic, Publicity Department 

[Temple edition pasted in a workbook, 8 x 10; gray ring binder; 
title on cover and spine labels.] 

Cast includes Maurice Denham, Paul Daneman, Maxine Audley. 
Designed by Audrey Cruddas. Cuts, stage business, maps, cues for 
effects. Production papers. 

65. Other books of King John: 

Folger: John, 4, William Ellis and John Spelman; John, 5, 
Walter Hubbell, E. M. Post; John, 11, A. B. Lindsley, 1825-30; 
John, 15, J. Neville, TRDL; John, 19, Crom 11 Price, Crow Street, 
Dublin; John, 20, T. J. Serle, G. S. Bennett; John, 25, anonymous; 
John, 26, J. B. Roberts. 

Historical and Philosophical Society of Ohio: 812.3/R283/93, 
Alvin Read. 

Library Company of Philadelphia: OEngShak.Log2074.0.2, anon- 
ymous, Tonson edition, 1734. 

Princeton University, Seymour Collection: KJ, 3, E. L. Daven- 
port; KJ, 4, Fanny Davenport; KJ, 7, A. S. H. Murray; KJ, 8, 
Jeanne Macpherson; KJ, 9, 10, books of Chatillon and Constance. 
University of Illinois: x792.9/Shl5k/no.3, John Bignall, W. R. 
Blake, J. W. Wallack. 

University of Pennsylvania: AC85.M9415.820p.52, James Mur- 
doch, 1839, with Charles Kean as John. 



King Lear 

1. Joseph Ashbury Dublin, Smock Alley 1670's 
Folger: Lear, Smock Alley 

[Pages 761-787 from a Third Folio (page 788 is first page of 
Othello), 8 x 12i/g ; red marbled boards and half maroon leather; 
title gilt up spine.] 

Promptbook. Cuts and alterations. Some scenic indications, calls. 
One cue for "Drum Colours." (See G. Blakemore Evans, Shake- 
spearean Prompt-Books.) 

2. Anonymous 1700's 
Folger: Lear, 30 

[Tonson edition, 1734, 4 x 6s/ 8 ; white paper wrapper and purple 
paper spine.] 

Preparation copy of a Shakespeare text (retaining the Fool), in- 
completely marked. Cuts passim. A few notes of stage business 
and arrangements. 

3. David Garrick London, Drury Lane October 28, 1756 
Harvard Theatre Collection: TS.2355.60 

[Bell edition, 1773, 45/g" x 71/4; brown marbled boards and brown 
leather spine; in box of tan cloth boards and blue leather spine; 
title gilt up spine.] 

Uncompleted promptbook lightly marked through 3 acts, thought 
to be a late record of some of Garrick's preferences. Slight cuts, 
little stage business, some cues for effects especially for the storm 
scenes. Garrick's bookplate. (See G. W. Stone, Studies in Philology, 
XLV, 89-103; Kalman Burnim, David Garrick, Director, pp. 141- 
151.) 

4. George Colman London, Covent Garden c.1768 
Shakespeare Centre Library: 50.17(1768) 

[Colman edition, London, 1768, 4% x 814; gray and red marbled 
boards and half brown leather; title gilt up spine.] 
Neatly marked promptbook probably of Covent Garden. Scenic 
indications, calls, little stage business, cues for effects. Belonged 
to John Adolphus. 

5. William Macready London, Covent Garden 1789 
Boston Public Library: G.40 12.45 

[Colman edition, London, 1768, 5 \/ 2 x %\/ 2 ; green marbled boards 
and yellow cloth spine; title gilt up red leather spine label.] 



KING LEAR 207 

Crude rehearsal copy belonging to the elder Macready. Cuts and 
some restorations; part of Tate's ending is added. Macready 
played Cornwall and Edmund in various Covent Garden per- 
formances after 1789; this book is of questionable relevance, how- 
ever, as the Colman version was no longer in use at Covent 
Garden. 

6. Anonymous Bath, Theatre Royal 1790's(?) 
Folger: Lear, 29 

[Colman edition (no title page), 4s/ 8 x 7%; interleaves; red and 
blue marbled boards and brown leather spine; title and identifi- 
cation on cover label.] 

Promptbook based on the Colman version, but with passages from 
the Bell(?) edition inserted on the interleaves mainly to restore 
the Tate love story. Calls, little stage business. 

7. John Philip Kemble London, Drury Lane November 20, 1795 
Garrick Club 

[Kemble edition, Lowndes, 4i/£ x 7\^; interleaves watermarked 

1794; blue cloth boards and brown leather spine; title gilt up 

spine.] 

Study and preparation copy, marked in Kemble's hand, much 

used. Though lacking many prompter's cues, it is more fully 

marked for stage business than Kemble books of most plays. 

(See nos. 11, 13.) 

8. [Kemble] 
Folger: T.a.17 

[Manuscript, 7 x 87/ 8 ; brown leather gilt; title gilt up spine.] 
Kemble's 32-page partbook for Lear, in his own hand. Dated 
January 21, 1788, but probably written much later. 

9. William B. Wood Philadelphia, Chestnut Street c.1804 
Harvard Theatre Collection: uncatalogued 

[Garrick (Bathurst) edition, 1786, 4 14 x 6y 8 ; interleaves; green 

marbled boards and half brown leather.] 

Crudely marked promptbook. Cuts. The Tate dialogue of Edgar 

and Cordelia restored after the throne scene. Calls, some cues for 

effects. 



208 KING LEAR 

10. George Frederick Cooke 

London, Covent Garden May 21, 1807 

University of Michigan: PR.2819.A22.K32 
[Kemble edition, Lowndes, 5i/£ x 8^; brown cloth boards; title 
gilt up spine.] 

Promptbook marked by Cooke. The dating, the inked cast on the 
page of Dramatis Personae, and the many numbered items of 
stage business at the bottoms of the pages are in Cooke's hand. 
On the title page are the words "The signature of J. P. Kemble," 
but Kemble's hand does not appear. Later belonged to John 
Duff, who probably added most of the calls, maps, cues for 
effects, and about 1826 a cast with Edwin Forrest. Still later the 
book belonged to the Boston Museum. (See no. 14.) 

11. John Philip Kemble London, Covent Garden February 27, 1809 
Harvard Theatre Collection: TS.2355.78 

[Kemble edition, 1808, 5 x 814; interleaves; red leather gilt; title 
and identification gilt on spine; in box of tan cloth boards and 
green leather spine; title gilt up spine.] 

Handsomely marked promptbook in Kemble's hand, probably 
made as a souvenir for his library rather than for use in the 
theatre. List of 32 extra characters, calls, much stage business, 
maps, cues for effects. (See nos. 7-8, 13.) 

12. Thomas Jones England 
Folger: Lear, 13 

[Kemble edition, 1808, 5i/ 8 x Ss/ 8 ; red marbled boards and half 

red leather gilt; title gilt up spine.] 

Rough promptbook. Some penciled stage business. 

13. James Harvey England 
Boston Public Library: G.4012.48 

[Inchbald edition, 1808, ii/ 2 x 6i/£; gray cardboard under brown 
marbled boards and blue leather spine; title gilt on spine.] 
Promptbook "Marked from Mr. Kemble's Book," checked for 
Edmund and Lear. Conscientious transcription of most of 
Kemble's notations, badly crowded into the margins of the 
printed text. (See nos. 7-8, 11.) 

14. George Frederick Cooke New York, Park February 20, 1811 
Harvard Theatre Collection: TS.2355.65 

[Inchbald edition, 4 x 614; interleaves; green cloth boards; title 



KING LEAR 209 

gilt up spine; in box of tan cloth boards and brown leather 
spine; title gilt up spine.] 

Promptbook of the Park Theatre marked in several hands and 
used for Cooke's performances in February and March, 1811. 
Complete cast for Cooke is entered. Cuts and restorations, calls, 
some stage business occasionally corrected to Cooke's practice, 
maps, cues for effects. (See no. 10.) 

15. Brown America 1820's 
Folger: Lear, 33 

[Longworth edition, New York, 1811, Sy 4 x h%\ "No. 3" on 

cover.] 

Crude promptbook. Calls, cues for effects. Perhaps belonged to a 

Shakespearean actor named Frederick Brown who was playing 

tragic roles in New York and Boston in the early 1820's. 

16. Edmund Kean London, Drury Lane April 24, 1820 
London Museum: Sp.822.33 

[Kemble edition, 1808, 5i/g x 8i^; tan paper; title inked on cover; 
in box of green cloth boards; title gilt up spine.] 
Promptbook originally checked for Cordelia and marked through 
the Tate happy ending. For Kean's restoration of the tragic 
ending, pages from another edition were pasted in. The original 
markings, generally derived from Kemble's (see no. 11), are in a 
tiny round hand at the bottoms of the pages, and some are 
illegible from wear. Numerous entries, including a list of extras 
pasted at the front, appear to be in the later hand of John 
Willmott. Grooves, calls, stage business, cues for effects. 

17. [Kean] 

Harvard Theatre Collection: TS.2355.76 

[Oxberry edition, 1820, 4 x 6%; tan and red marbled boards and 
tan cloth spine; title inked up cover; in box of gray cloth boards 
and black leather spine; title, etc., gilt up spine.] 
Transcription of the Drury Lane (Kean) promptbook of G. C. 
Carr, made in April, 1827, by the Glasgow prompter S. C. Ferrers. 
Not a very detailed book, but the inked cuts and restorations, 
a few bits of stage business, a map, and the cues for effects prob- 
ably are Kean's. Later cuts are penciled. 

18. Charles Kemble London, Covent Garden 1820's 
University of Nebraska: 822.33/T2k 



210 KING LEAR 

[Kemble edition, 1808, 5i/g x 8]/ 8 ; interleaves watermarked 1817; 
brown cloth boards; title gilt down spine.] 

Transcription with some alterations of the J. P. Kemble prompt- 
book (see no. 11) done in a neat sloping hand and initialed 
"GWC." At the front a list of extras. Some parts marked for 
lengths. Calls, grooves, 43 numbered items of stage business, maps, 
cues for effects. Prompter's pencilings include timings, references 
to Young and Kean, and a specific timing for Edmund Kean's 
performance at Covent Garden on March 10, 1828. 

adl8. See Addenda, p. 507. 

19. S. W. Kellogg 1830's(?) 
Harvard Theatre Collection: TS.2355.62 

[Acting edition, no title page, last leaves missing, 3s/ 8 x 5^£; inter- 
leaves; yellow paper with title and "41" inked on cover, under 
maroon cloth boards; title gilt up spine.] 

Crude but adequate promptbook. Calls, some stage business, cues 
for effects. Supers are referred to as "Soups." It has been called a 
"Kean" book, but it is not. Later belonged to W. Shires. 

20. Anonymous Boston, Tremont Street 1830's(?) 
Folger: Lear, 27 

[Longworth edition, 1811, 33^ x 5%; interleaves; limp brown 
leather; title inked on cover.] 

Neatly made promptbook. Tate's scene of the ruffians sometimes 
pinned shut, but the happy ending retained. Calls, maps, cues 
for effects. Reference to Forrest in the storm scene. 

21. Anonymous 1830's(?) 

New York Public Library: *NCP. 164545 

[Kemble edition, 1815, 4 14 x 7%; black cloth boards; title gilt 
up spine.] 

Promptbook sparsely marked "from Oxberry's edition." Tate's 
ruffians are cut out, but the happy ending is retained. Checked 
for Edgar. Calls, some stage business, cues for effects. Belonged 
to George Becks. 

22. J. M. Maddox London, Princess's(?) 1830's 
London Museum: Fl.SHA 

[Cumberland edition, Sy 4 x 6; slips laid in; publisher's wrappers; 

in box of green cloth boards; title gilt up spine.] 

Lightly marked promptbook. Grooves, calls, little stage business, 



KING LEAR 211 

maps, cues for effects. The text does not include the Fool, hence 
is an "old" one, perhaps antedating Maddox's management of 
the Princess's. 

23. H. C. Charnock New York, Park March 12, 1831 
University of Pennsylvania, Furness Collection: C59.ShlLrC 
[Edition with Tate alterations, William Smith, Dublin, 1758, 
33^ x ^ 5 /s> bound with Life's Vagaries and The Iron Chest in 
black cloth boards; title gilt on red spine label.] 
Promptbook used for performances of Mr. Barton, whose Ameri- 
can debut was in March, 1831. (Charnock, once an actor himself, 
had turned prompter.) Cuts, scenic indications, some grooves, 
calls, some stage business, maps, cues for effects. 

24. William Elton London, Haymarket 1833 
Folger: Lear, 28 

[Kemble edition, Miller, 4^ x 7y 2 ' interleaves; unsewn, in white 
paper wrapper; title inked on cover.] 

Promptbook. Cast list with Elton and Miss Pelham. Calls, some 
stage business, cues for effects. 

25. William Charles Macready 

London, Drury Lane May 23, 1834 

Victoria and Albert, Forster Library, 7919: F.48.C.17 
[Pages 3-154 of a Shakespeare edition, 4 x 6]/ 2 ; bound with other 
Macready promptbooks in green cloth boards and half tan leather; 
titles gilt on spine.] 

A studybook or preparation copy, heavily cut, the Fool deleted. 
Several roles numbered for lengths. Many curious marginalia, 
some in Latin and Greek. (See nos. 27-29, 34, 38, 49.) 

26. John G. Gilbert Boston, Tremont Street 1835 
Boston Public Library: K.47.13 

[Oxberry edition, Boston, 1822, 3^£ x 5^; publisher's wrappers; 

bound with other Shakespeare plays in marbled boards and 

maroon leather spine.] 

Promptbook or rehearsal copy. Checked for Kent, Edmund, 

Gloster. Cuts, calls. Tragic ending restored "as acted by Mr. 

Forrest." 

27. William Charles Macready 

London, Covent Garden January 25, 1838 

Victoria and Albert, Forster Library, 7920: F.48.C.18 



212 KING LEAR 

[Jennens edition, 1770, 4l/ % x 8i/ 8 ; interleaves; bound with other 
Macready promptbooks in green cloth boards and half tan leather; 
titles gilt on spine labels.] 

Heavily marked and much used promptbook of Macready's pro- 
duction with the Fool restored, done in the hand of a copyist, 
with additions by Macready and Willmott, the prompter. Cast 
list as originally set up, but corrected. Cuts on full text, and 
major transpositions and alterations in longhand. Some scenic 
indications, grooves, calls, stage business, procession lists, maps 
and sketches, cues for effects, timings. Words and music of the 
Fool's songs bound in. (See nos. 25, 34, 38, 49.) 

28. [Macready] 
Folger: Lear, 5 

[Jennens edition, 1770, 5x8; interleaves; red and yellow marbled 
boards and half green leather; title gilt on spine.] 
Handsome transcription of Macready's promptbook very much 
resembling the one endorsed by E. L. Davenport in 1851 (see 
no. 49). This one is inscribed "to Mr. Sinclair with Annie Ness's 
Kindest regards" and "From him to his dear Ned" — i.e., from 
John Sinclair to his son-in-law Edwin Forrest (probably given in 
the fall of 1838). Cuts on full text. Calls, some stage business, 
maps, cues for effects. 

29. [Macready] 
Folger: Lear, 16 

[Bell edition, 1773, augmented by scraps of other texts and by 
longhand, 57/ 8 x 65/ 8 ; interleaves, 4y 2 x ^Vs'' cream paper; title 
and "Theatre Royal Covent Garden 1839" inked on cover.] 
Transcription of Macready's promptbook made by John Moore in 
1839 (see Moore's other copy, no. 41). Cuts and alterations, some 
scenic indications, grooves, calls, stage business, maps, cues for 
effects. 

30. Mercer Hampson Simpson Birmingham, Theatre Royal 1840's 
Birmingham, Shakespeare Memorial Library: B53/455730 
[Cumberland edition, 33^ x 6]/ 8 ; gray cardboard with title inked 
on cover; bound with other Shakespeare plays in green cloth 
boards.] 

Promptbook made from the Tate version, roughly modernized by 
manuscript restoration of the Fool scenes, some of Gloster's blind- 
ing, etc. In Act V, "This, or the Scene in Tate may be played ac- 



KING LEAR 213 

cording to the judgement of the manager." Some stage business, 
maps, cues for effects. 

31. James H. Hackett New York, Park September 30, 1840 
Enthoven Collection 

[Oxberry edition, Boston, 1822, 3^4 x 6i/ 8 ; interleaves; gray card- 
board; title inked on cover.] 

Promptbook marked for Hackett by "Alex MacKenzie Prompter 
Theatre Mobile Jany 23, 1843." Cuts and restorations. Ruffians' 
scene marked for performance but pinned shut, the blinding of 
Gloster reduced, the ending revised to make it tragic. Scenic indi- 
cations, grooves, calls, some stage business, maps, cues for effects. 
Note of acknowledgment to Mrs. Hackett from J. W. Taverner, 
the elocutionist, in 1872. (See no. 38.) 

32. [Hackett] 
Enthoven Collection 
[Manuscript, 6i/g x 8; brown paper.] 

Hackett's 32-page partbook for Lear, dated 1840. A few notes of 
stage business and some hostile comments on Forrest's playing of 
Lear. 

33. W. H. Sedley Smith Boston 1843 
Harvard Theatre Collection: uncatalogued 

[Oxberry edition, 1820, 4 x 63^; cardboard; title, etc., inked on 
cover.] 

Lightly marked promptbook. Calls, cues for effects. Combat rou- 
tine at the back. "Bought of A. B. Sutherland, Boston, Jany. 20th, 
1843." 

34. William Charles Macready c.1844 
Victoria and Albert, Forster Library, 7918: F.48.C.16 

[Pages 1-103 of a Shakespeare edition, 33^ x 6i/ 2 '> interleaves; 

bound with other Macready promptbooks in green cloth boards 

and half tan leather; titles gilt on spine labels.] 

Transcription of Macready's promptbook of 1838 (see nos. 27-29), 

made by a copyist, with additions by prompters but not by John 

Willmott. Much used. Probably Macready's touring book after 

1843. 

35. B. Mulford Bristol, Theatre Royal April 15, 1845 
The Players: PB.89 



214 KING LEAR 

[Oxberry edition, 4 x 61/2; interleaves; blue marbled boards and 
half brown leather.] 

Promptbook of B. Mulford, a Bristol prompter, marked by 2 or 
3 hands. The Tate alterations largely cut: ruffians suppressed, 
Aranthe retained, tragic ending given in longhand. Calls, stage 
business, maps, cues for effects. (Compare to Forrest books, nos. 
44-47, 68-72.) 

36. Samuel Phelps London, Sadler's Wells November 5, 1845 
Folger: Lear, 19 

[Pages 5-111 from an eighteenth-century Works, 4 x 6^4; inter- 
leaves; green marbled boards and half black leather, much worn; 
title, Phelps's name, and "T.R.S.W." gilt on spine.] 
Phelps's first, full, and much used promptbook of his restored 
version. Cuts on full text, the blinding scene marked with pin- 
holes as if sometimes omitted. Grooves, calls, stage business, maps, 
sketches, cues for effects, timings (3:15). (See nos. 53, 74.) 

37. [Phelps] 

Harvard Theatre Collection: TS.2780.22 

[Pages 391-471 from volume I of Knight's Pictorial Edition, 
6i/8 x 10; tan paper.] 

Rough preparation copy. Cuts on full text. Calls, little stage busi- 
ness. A Phelps cast penciled in. 

38. William Charles Macready 

New York, Astor Place September 13, 1848 

Enthoven Collection (Hackett Books) 

[Shakespeare edition, 2]/ 2 x 4%; blue interleaves, 4 x 614; gray 
marbled boards and half black leather; "Plays" gilt on spine.] 
James Hackett wrote at the front in 1848, "I gave H. B. Phillips 
my Prompter during Macready's Engagement at the Astor Place 
Five dollars to make a perfect copy of Macready's Prompt Book 
of King Lear." Cuts on full text, major alterations in longhand. 
Scenic indications, grooves, calls, stage business, cues for effects. 
Phillips appears to have added some bits of stage business from 
observation. (See nos. 25, 27-29, 34, 49.) 

39. C. W. Couldock New York, Broadway September 20, 1849 

New York Public Library: *NCP.285349 

[Modern Standard Drama, 4i/ 2 x 7Y 2 ' interleaves, 5i/g x 8; black 
cloth boards and half black leather; title gilt on cover.] 



KING LEAR 215 

Sparsely marked but much used promptbook, checked for Edgar, 
signed in St. Paul, Minnesota. Calls, some stage business, maps, 
cues for effects. 

40. James W. Wallack, Jr. New York, Bowery October 29, 1849 
University of Illinois: x792.9/Shl5ki/no.l 

[Shakespeare edition with double border lines around text and 
with frontispiece of Cordelia, 6i/ 2 x lOi/g; interleaves; brown mar- 
bled boards and half brown leather, spine patched with brown 
canvas; title and "Mr. J. W. Wallack" gilt on black leather cover 
label.] 

Fine promptbook of a restored version. Cuts on full text. Scenic 
indications, calls, stage business, maps, cues for effects. Playbill of 
the Wallacks at the Boston Museum, 1859. Wallack's widow 
gave this book to William H. Young. Later belonged to Robert 
Mantell (see no. 101). 

41. John Moore c.1850-70's 
Folger: Lear, 17 

[Shakespeare edition with double border lines around text, 6y£ x 
10 14 ; interleaves; brown paper, much worn.] 
John Moore's second transcription (see no. 29) of Macready's 1838 
promptbook, filled out with business of J. W. Wallack, Forrest, 
and others. Moore has copied the 3 drawings of Macready's scenes 
from George Scharf's Recollections of the Scenic Effects, 1839, 
and pasted in an engraving of Forrest in the mad scene of Act 
IV, and part of the Bowery bill of March 28, 1850, when Moore 
played Gloster to Wallack's Lear. Cuts on full text, calls, stage 
business, maps, cues for effects. 

42. [Moore] 
Folger: T.b.2 

[Notebook, 6i/£ x lOi^; blue boards and black cloth spine.] 
Cues for the band for 48 plays, including King Lear. Three 
musical arrangements as for Eddy, Macready, and Forrest in 1867. 

43. Henry Betty c.1850 
Folger: Lear, 1 

[Pages 247-364 from volume VIII of Knight's Cabinet Edition, 
1843, 3i4 x 5^g; interleaves; yellow marbled boards and half 
brown leather; title gilt on spine.] 

Much used promptbook. Cuts on full text. Calls, grooves, stage 
business, maps, sketches, cues for effects. 



216 KING LEAR 

"44. Edwin Forrest New York 1850's 

Folger: Lear, 6 

[Oxberry edition, Boston, 1822, 33^ x 6; blue interleaves, 5 x 7]/ 2 ; 
blue marbled boards and maroon leather spine; title gilt on spine.] 
Promptbook "Marked as played by Mr. Forrest by Geo. W. Lewis 
Prompter Broadway 1851" and "Marked as played by Mr. Booth 
Sc Mr. Forrest & E. Kean." Forrest's tragic ending is given in long- 
hand at the front. Scenic indications, grooves, calls, stage busi- 
ness, maps, sketches, cues for effects. (See nos. 28, 68-72.) 

45. [Forrest] 
Folger: Lear, 8 

[Oxberry edition, 1820, 4s/ 8 x 7^§; interleaves; brown paper.] 
An "old" promptbook revised to match Forrest's version: the early 
Edgar-Cordelia dialogue is penciled out as "in Forrest," and the 
happy ending, though marked for performance, has been pinned 
shut as if the tragic ending were to be substituted. A very full 
book, with calls, much stage business (some of it specifically For- 
rest's), maps, cues for effects. Forrest bill for the Broadway Thea- 
tre pasted on cover. 

46. [Forrest] 

New York Public Library: *NCP.342935 

[Double-column edition of Shakespeare, iy 8 x 103^; double inter- 
leaves; black cloth boards; title gilt on spine.] 
Preparation copy of a restored version, unused, made by J. B. 
Wright of the Broadway Theatre in 1854. George Becks, to whom 
the book belonged, says that Wright made it at a time when For- 
rest considered staging the Fool. Cuts on full text. Scenic indica- 
tions, much stage business, sketches, cues for effects. Several prints 
of actors in roles from various Shakespeare plays. Two clippings 
from the 1890's concerning Irving's and Warde's Lears. 

47. [Forrest] 

New York Public Library: *NCP.342941 

[Cumberland edition, 3i/ 2 x ^Vs* interleaves, 4s/ 8 x 7]/ 2 ; red cloth 
boards; title gilt on spine.] 

Book used by John Wright to prompt Forrest. The Tate altera- 
tions are much cut or supplanted in longhand, or marked "lines 
here by Forrest." Grooves, calls, stage business, maps and sketches, 
cues for effects. 



KING LEAR 217 

48. N. B. Clarke 1850's 
Harvard Theatre Collection: TS.2355.76.2 

[Oxberry edition, 1822, 3i/£ x ^Vs* g ra Y boards and blue cloth 
spine.] 

Promptbook or rehearsal copy checked for Gloster, Edgar, Regan. 
Names of other owners or users are C. L. Stone, F. E. Davis, 
Stephens, and John Williams. Cuts and some stage business. Nota- 
tion beside old Drury Lane (Kean) cast: "5 damned good Actors." 
Part of a Forrest playbill pasted at the back. 

49. William Charles Macready 

London, Haymarket February 3, 1851 

Folger: Lear, 4 

[Pages 339-470 from volume VIII of a Works, M/ % x 77/£; blue 
interleaves watermarked 1850; red marbled boards and half black 
leather; title gilt on spine.] 

Handsome transcription of Macready's promptbook, signed 
"Edw d . L. Davenport/Theatre Royal/Haymarket/1851." A photo- 
graph of Davenport is pasted beside his signature. Partial cast 
of Macready's last performance of King Lear. The text is close 
to, but not identical with, Macready's version of a dozen years 
earlier, and the book much resembles that which went to Edwin 
Forrest (see no. 28). Cuts on full text. Calls, some stage business, 
maps, cues for effects. In 1887 Davenport's widow gave it to an 
actor named Smith. (See nos. 25, 27-29, 34, 38.) 

50. James Stark New York, Astor Place September 27, 1852 
New York Public Library: *NCP+. 407868 

[Manuscript, 8 x 13^4; black cloth boards; title gilt on spine.] 
Promptbook of Stark's arrangement of King Lear "without any 
Interpolations whatever." Cast for the Jenny Lind Theatre in 
San Francisco, November, 1850. Many pencilings indicate pro- 
longed use. Scenic indications, grooves, some stage business, cues 
for effects. At the back are music scores for the Fool. 

51. [Stark] 

New York Public Library: *NCP.346656 

[Manuscripts, 7^4 x 6}4> black and white marbled boards and 

blue cloth spine; title inked on spine.] 

Collection of 26 partbooks for King Lear, done in various hands 

on various kinds of paper (watermarks of the 1850's), perhaps 

from several productions. Actors' names include Stark, McCul- 

lough, Mayo. George Becks's partbook for Oswald is at the front. 



218 KING LEAR 

52. Joe Taylor 

New York Public Library: *NCP.342957 

[Modern Standard Library, 4i/£ x 7\^; interleaves, 534 x iy 8 ; 

white paper under black cloth boards; title gilt on spine.] 

Joe (J. B.) Taylor appears to have been a prompter. His markings 

drop off in the fifth act, and George Becks has completed the 

book. Cuts and restorations, basic stage business, maps, cues for 

effects. 

53. Samuel Phelps London, Sadler's Wells 1855 
Shakespeare Centre Library: 50.17(1854) 

[Pages 247-364 from volume III of Knight's Cabinet Edition, but 
issued separately as a 6d. booklet, 33/g x 5y 2 '> green publisher's 
wrappers under tan cardboard with inked title under gray card- 
board with title on cover and spine labels.] 

F. Haywel's promptbook of "Nov. 1855/Sadler's Wells." Shows 
Phelps's version when he had somewhat modified his restorations. 
Some scenic indications, grooves, calls, considerable stage business, 
maps, cues for effects, timing (3:15). (See nos. 36-37, 74.) 

54. Charles Kean London, Princess's April 17, 1858 
Harvard Theatre Collection: TS.2355.73 

[Proof sheets of Kean edition, 5\/ 2 x 814; gray interleaves, 7i/ 8 x 9; 
gray cardboard with title and "G. E. 1858" inked on cover; in 
box of tan cloth boards and brown leather spine; title gilt up 
spine.] 

The penciled workbook of George Ellis, the stage manager. 
Countless notes on backstage activity. Cuts, grooves, calls, stage 
business, maps, cues for effects, timings. Contains an 8-page call- 
book; a 12-page callbook with notes on costumes and properties; 
a set of 9 sheets of random rehearsal notes; a booklet of special 
cues and warnings. (See no. 90.) 

55. [Kean] 

Folger: Lear, 11 

[Kean edition, 1858, 5i/g x 814; interleaves, 67/ 8 x 9; tan cloth 

boards and half brown leather; title gilt up spine, "Mr. Charles 

Kean/Prompt Copy" gilt on blue leather cover label.] 

Final or souvenir promptbook made in 1859 by T. W. Edmonds, 

the prompter. Calls, stage business, maps, cues for effects, timings 

(2:45). Fine watercolor designs of the 13 scenes. Additional pen- 

cilings indicate later use. 



KING LEAR 219 

56. [Kean] 

Folger: Lear, 12 

[Same format as preceding book.] 

Clean second copy of Edmonds' final promptbook, but its 13 

watercolor scene designs have been removed. 

57. [Kean] 

University of Illinois: x792.9/Shl5ki/no.2 

[Kean edition, 5i/g x 7^; interleaves, 7i/ 2 x ^V%> Dme mar °l e d 
boards and half maroon leather, much worn and broken; title 
and "Hermann Vezin" gilt on black leather cover label.] 
Excellent transcription of the Kean promptbook made by George 
Ellis for Hermann Vezin. Grooves, calls, stage business, maps, 
sketches, cues for effects. 

58. [Kean] 

Enthoven Collection: DT.46 

[Watercolors.] 

Fine watercolor designs of 13 scenes and 10 plates of properties, 

mounted on large display boards. 

59. [Kean] 

Folger: Prints and Engravings, 51 

[Watercolors, 8 x bi/ 2 , mounted in an album, IO14 x 14i/£; gray 

cloth boards and half green leather gilt; "Charles Kean/Original 

Water Color Drawings" gilt on spine.] 

Fine watercolor designs of 13 scenes. 

•60. [Kean] 

Enthoven Collection: 94G26, plates 1705-25 
[Scrapbook, 15 14 x 21^; blue cloth boards and half blue cloth.] 
Provisional watercolor designs of 8 scenes; 13 watercolor costume 
plates, each containing about 6 figures. 

61. [Kean] 

Folger: Kean Costume Book, 49, 50 

[Scrapbooks, 103^ x 141^; green cloth boards and half green 

leather gilt.] 

Book 49 contains a watercolor costume plate for Lear and several 

pages of designs and tracings by Emma Hamilton Smith probably 

for this production. Book 50 contains a fine sketch for the throne 

scene. 



220 KING LEAR 

v/62. [Kean] 

Folger: Kean Costume Book, Prints and Engravings, 182 

[Scrapbook, 143^ x 21*4; brown cloth boards and half brown 

leather.] 

Contains 62 watercolor plates of costume designs. 

63. James B. Roberts New York, Burton's September, 1858 
Folger: Lear, 23 

[Kean edition, 5 14 x 8; interleaves; brown cardboard; title and 
"1858" inked on cover.] 

Roberts' studybook. Detailed description of Charles Kean's stage 
business and readings. Grooves, maps. Long note on Lear's curse 
of Goneril. Two notes on Macready's business in first scene. 

64. [Roberts] 
Folger: Lear, 22 

[Kean edition, 514 x 8; interleaves; brown and yellow marbled 
boards and half black leather; title gilt on spine.] 
Promptbook developed by Roberts on a copy of the play given 
him by Kean. Cuts, calls, stage business, cues for effects. "Please 
return this book when play is over." 

65. [Roberts] 
Folger: Lear, 21 

[Kean edition, 514 x 8; blue interleaves, 6 x 814; brown and yel- 
low marbled boards and half black leather; title gilt on spine.] 
Fully developed and much used promptbook, dated 1858. Cuts, 
grooves, stage business, maps, sketches, cues for effects. Roberts 
imitated Kean's staging arrangements and probably his business. 
Engraving of Kean's throne scene, playbills of Roberts' Lear at 
Burton's in 1858, at Walnut Street in 1858, at Metropolitan in 
1863. 

66. [Roberts] 
Folger: Lear, 24 

[Modern Standard Drama, 4y 8 x 7i/2» brown interleaves; gray 
cardboard; title inked on cover.] 

Studybook, with the role of Lear marked for stresses. Some stage 
business, partly derived from Forrest. Maps. 

67. [Roberts] 
Folger: S.a.50-64 



KING LEAR 221 

[Manuscripts, 8 x 614; brown paper.] 

Fifteen partbooks for King Lear, some written by Roberts, some 

by O. S. Fawcett. Costume notes and names of various actors. 

68. Edwin Forrest New York 1860's 
Edwin Forrest Home (On loan to the University of Pennsylvania 
Library, Rare Book Room.) 

[Forrest edition, no. 3, 1860, 4i/£ x 7i/g; interleaves; red marbled 
boards and half black leather; title gilt up spine.] 
Beautifully made promptbook done by the same hand as the 
Hamlet book at the Forrest Home, in black and red inks (see 
HAM, 65). Call-lists are set off on drawings of appropriate scenic 
objects — walls, gates, flag, serpent, spear, etc. Grooves, calls, much 
stage business, cues for effects. (See nos. 28, 44-47.) 

69. [Forrest] 
Folger: Lear, 9 

[Forrest edition, no. 1, 1860, 45^ x 7%; interleaves; publisher's 
wrapper under ragged paper.] 

Fully developed promptbook made by J. B. Wright. Grooves, calls, 
stage business, sketches, cues for effects. A Forrest bill for Phila- 
delphia, March 24, 1863. 

70. [Forrest] 
Folger: Lear, 7 

[Forrest edition, no. 3, 1860, 4i/ 2 x 7]/ 2 ; interleaves; green and 
black boards and green cloth spine; title and "Prompt/J. H. 
Browne" inked on cover label.] 

Promptbook marked from Forrest's book by J. H. Browne, a Bos- 
ton prompter, in December, 1868. Calls, stage business, maps, 
sketches, cues for effects. William Winter's bookplate. 

71. [Forrest] 

New York Public Library: *NCP.343043 

[Forrest edition, 4i/ 2 x 1\^; interleaves; blue cloth boards; title 

gilt up spine.] 

Promptbook of Forrest's Lear made by George Becks early in his 

own career and later augmented with many vivid details. Calls, 

stage business, maps, cues for effects. Remarks copied from Henry 

Chorley, the critic, comparing Forrest and Macready. Photograph 

of Becks as Oswald. 



222 KING LEAR 

72. [Forrest] 

Harvard Theatre Collection: uncatalogued 
[Davidson issue of Cumberland edition, 3i/£ x 55/ 8 ; interleaves; 
black cloth boards and black leather spine; title gilt on spine.] 
Memorial reconstruction of Forrest's Lear by James Taylor. Calls, 
much stage business, cues for effects. Passages copied from Alger 
and Rees (Forrest's biographers) describing Forrest's points. 

73. Frank Mayo 1860's 
Museum of the City of New York: 48.194.135 

[French's Standard Drama, 4s/ 8 x 67/§; blue interleaves; brown 
cloth boards and half black leather; title and "Frank Mayo" gilt 
on cover.] 

Fairly thorough promptbook. Cast for Memphis with Mayo, Mrs. 
Moore, Mrs. Waldron. Cuts, calls, stage business, maps, sketches, 
cues for effects. Some curious suggestions for stage business. 

74. Samuel Phelps London, Sadler's Wells, Drury Lane 1860-66 
Folger: Lear, 20 

[Pages 5-133 from volume VIII of a Works, 5*4 x 8i/£; interleaves; 
gray marbled boards and half black leather; title gilt on brown 
leather spine label, "S. Phelps, Esq." gilt on black leather cover 
label.] 

Handsome promptbook made in 1861 by G. H. Gates, the copyist. 
Cuts on full text (modified restoration: blinding scene sewn shut). 
Casts given for the Wells, 1860, 1861; "super plot" for Drury Lane, 
1864, 1865, 1866. Contents mainly transcribed from Phelps's earlier 
books (see nos. 36-37, 53). 

75. H. C. Davis Nashville 1866 
New York Public Library: *NCP.343418 

[Pages 3-133 from volume VII of a Works, 5i/£ x 85/£; interleaves; 
dark marbled boards and half black leather; title on spine label.] 
Uncompleted promptbook. Cuts on full text, stage business, maps, 
cues for effects all carefully entered in first 2 acts and part of the 
third. 

76. James E. Kirk wood Rochester, New York 1870's 
University of Illinois: x792.9/Shl5ki/no.4 

[Lacy edition, 4x7; interleaves; red marbled boards and brown 

cloth spine, broken.] 

Promptbook which first belonged to Kirkwood, who underlined 



KING LEAR 223 

the stage business. Belonged in 1880 to Charles B. Welles. The 
penciled stage business and cues for effects are probably in the 
hand of William Farnum. 

77. James Taylor 1870's(?) 
Harvard Theatre Collection: (Widener, 13485.78) 

[French's Standard Drama, 4i/£ x 7^; yellow publisher's wrap- 
pers; bound with several other French copies in green cloth 
boards; title gilt up spine.] 

Roughly marked studybook. Cuts and restorations, Lear's pauses 
marked, stage business for Gloster, Kent, and Lear, some cues 
for effects. 

78. Hermann Vezin 1870's(?) 
Folger: Lear, 37 

[Reprint of the Steevens edition, 6 x S7/ 8 ; gray interleaves; brown 
leather gilt; title and "M.L." gilt on spine; in carrying case of 
blue and white striped canvas containing also the canvas covers 
for 20 partbooks.] 

Handsome promptbook prepared by G. Johnson Frampton, al- 
tered and corrected by its owner (Hermann Vezin or "M. L."). A 
sketch showing throne up center is scratched and throne at left 
is substituted; some of Goneril's violence during the curse is can- 
celed; the blinding scene is pinned shut, etc. Cuts on full text, 
grooves, calls, much stage business, maps, sketches, cues for ef- 
fects. The 20 partbooks are missing. 

79. William Creswick Newcastle-on-Tyne November 9, 1873 
Shakespeare Centre Library: 50.17(1851) 

[Pages 293-374 of Pattie(?) acting edition, 3i/£ x 53^; interleaves; 
red marbled boards and half red leather; title gilt up spine, Cres- 
wick's name (misspelled) gilt on cover label.] 
Promptbook signed and dated from Newcastle: "I play'd Lear 
the first time I ever play'd it, in 1843, at the T. R. in this city." 
Creswick cast for the Surrey Theatre. Cuts and restorations, scenic 
indications, grooves, calls, stage business, maps, cues for effects. 
About a dozen sketches of scenes, the throne scene resembling that 
in Scharf's Recollections of the Scenic Effects. (See nos. 92, 94.) 

80. Edwin Booth New York, Fifth Avenue November 16, 1875 
The Players 

[French issue of Lacy edition, 4 x 7i4; brown marbled boards 
and half maroon leather; title gilt on spine.] 



224 KING LEAR 

Preparation copy. Cuts and alterations. 

(note: The books of Booth's Lear, made at various times over 

15 years, are here listed together.) 

81. [Booth] 
The Players 

[Pages 5-71 from a double-column pictorial edition, 6^g x 10^4; 

brown and red marbled boards and half brown leather; title gilt 

on spine, inked on cover label; in red leather slip-box; title gilt 

on spine.] 

Preparation copy. Cuts on full text, scenic indications (some of 

them provisional), stage business, maps, sketches, cues for some 

effects. 

82. [Booth] 
The Players 

[Manuscript, 75/g x 10i/g; brown marbled boards and half maroon 
leather; title gilt on spine.] 

Early manuscript promptbook, much used. Calls, some stage busi- 
ness, cues for effects. Act V is misbound at the front. Portion of 
a partbook for Lear (8 x 614) is fastened in. 

83. [Booth] 
The Players 

[Typescript, 8 x 10; orange marbled boards and brown leather 
spine; title from playbill as cover label; in red leather slip-box; 
title gilt on spine.] 

Improved copy of the preceding book. At the front, plots of scenes 
and grooves, properties, cast. Calls, stage business, cues for effects. 
Timings for New York and Chicago, 1877. Partbook for Regan 
autographed by several actresses and signed "Willie Seymour 
Scrib." 

84. [Booth] 
The Players 

[Booth edition, 1878, 43^ x 65^; brown marbled boards and half 
maroon leather; title gilt on spine.] 

Corrected for reprinting by William Winter. Several notations 
by Booth. 

85. [Booth] 
The Players 



KING LEAR 225 

[Booth edition, 4y 8 x 6i/£; limp black leather gilt; title gilt on 
cover.] 

Fine transcription of Booth's perfected promptbook made by J. R. 
Pitman as a souvenir for Russ Whytal, autographed by Booth. 
Scenic indications, calls, stage business, maps, cues for effects. 

86. [Booth] 

University of Pennsylvania, Furness Collection: C59.ShlLrP 
[Booth edition, 4s/ 8 x 6i/£; red cloth boards; title gilt on spine.] 
Transcription of Booth's promptbook signed "Property of J. R. 
Pitman." Calls, some stage business, maps, cues for effects. 

87. [Booth] 

Library of Congress, Batchelder Collection: 393 

[Booth edition, 4^£ x 6^; m DOX °f brown leather; title gilt on 
red leather spine label.] 

Letter of gift from William Seymour to J. D. Batchelder in 1930 
attests this was Booth's promptbook during a 16- week engagement 
at the Boston Museum in the middle 1880's. Partly in ink, partly 
in pencil. Calls, some stage business, maps, cues for effects. Maga- 
zine article on the career of William Seymour enclosed. 

88. Lawrence Barrett New York, Booth's December 4, 1876 
University of Pennsylvania, Furness Collection: C59.ShlLrB 
[Clarendon edition, 45/g x 6i/£; interleaves, 5x8; green leather 
gilt; title and identification gilt on spine.] 

Excellent promptbook of a spectacular production. Cuts on full 
text. Scenic indications, grooves, much stage business, fine maps 
and sketches, cues for elaborate effects. 

89. [Barrett] 

Harvard Theatre Collection: TS.2355.77 

[Two title pages: French's Standard Drama and Forrest edition, 
no. 3, 1860, 45/ 8 x 6^; interleaves, 6 x 7^; maroon cloth boards 
and half red leather; title gilt on cover and spine; in box of gray 
cloth boards and red leather spine; title gilt up spine.] 
The hand-drawn title page declares this to be Barrett's prompt- 
book as taken from John McCullough's, by R. J. Preston, 1876. 
Most of the text is in longhand. Almost no stage business or 
prompter's cues or signs of use. Does not seem to derive from the 
McCullough book. 



226 KING LEAR 

90. John McCullough New York, Booth's April 23, 1877 
Harvard Theatre Collection: TS.2355.75 

[Proof sheets of Kean edition, 5 14 x 734; double interleaves, one 
set blue and watermarked 1858, the other set white, 614 x 7%; 
black leather; title and "John McCullough" gilt on cover; in box 
of tan cloth boards and brown leather spine; title, etc., gilt up 
spine.] 

Very full promptbook much used by McCullough, said to have 
been made by Harry Edwards (see following book). It was orig- 
inally marked by T. W. Edmonds, who was Kean's prompter at 
the Princess's. Kean's cast was inked in, and on the blue inter- 
leaves Edmonds penciled alterations, calls, stage business, maps, 
cues for effects. All these pencilings were erased by Edwards and 
redone in ink. On the white interleaves are Edwards' additional 
markings. (On the first blue interleaf is discernible, though erased, 
the original map of Kean's throne scene.) (See nos. 54-62.) 

91. [McCullough] 

New York Public Library: *NCP.342994 

[Shakespeare edition, 414 x 7i/g; interleaves; black cloth boards; 
title gilt on spine.] 

Transcription of McCullough's promptbook by George Becks. 
Becks says that McCullough's book was made by Harry Edwards 
and "it is but a variation of Charles Kean's." Cuts on full text. 
Becks transcribed much of Kean's printed matter (Preface, scenic 
indications, vocabulary notes, etc.) as well as the Edwards-McCul- 
lough markings. 

92. William Creswick Sydney, Victoria December, 1877 
Shakespeare Centre Library: 50.17(1857) 

[Lacy edition, 4 x 7 14; purple cloth boards and half black 
leather; title gilt up spine.] 

Much used promptbook and rehearsal copy checked for Kent, 
Fool, and Edgar. List of Kent's properties. Scenic indications, 
grooves, stage business in abbreviated form, cues for effects. Sev- 
eral special warnings for stage managers. (See nos. 79, 94.) 

93. W. E. Sheridan Melbourne, Theatre Royal September 25, 1882 
Folger: Lear, 25 

[French issue of Lacy edition, 4 x 7^; interleaves, 614 x 814; gray 
marbled boards and blue cloth spine; title and identification 
printed on cover label.] 



KING LEAR 227 

Well-made, much used promptbook, first marked by a professional 
copyist in brown ink, augmented by several hands in inks and 
pencils. Cuts and restorations, calls, some stage business, cues for 
effects. 

94. William Creswick Stratford-upon-Avon 1883 

Shakespeare Centre Library: 50.17(187-) 

[French issue of Lacy edition, 4 x l\/±; interleaves, 45^ x 7 14; 
purple cloth boards; title gilt on spine.] 

According to notes within signed "JSW," this promptbook was 
used at Stratford (probably by Creswick in 1883). Calls, some 
stage business, cues for effects. (See nos. 79, 92.) 

^95. Henry Irving London, Lyceum November 10, 1892 

Folger: Lear, 10 

[Pages 319-487 from volume IX of a Works, 3% x 63/£; brown 
leather gilt; title gilt on cover and spine.] 
Preparation copy. Penciled cuts. 

96. [Irving] 
Folger: Lear, 31 

[Kean edition, 1858, 5i/£ x 8; publisher's wrappers.] 

A few notes on Irving's performance by an anonymous spectator. 

97. Ellen Terry London, Lyceum November 10, 1892 
Smallhythe 

[Proof copy of Irving edition, 1892, 5i4 x 8i/£; interleaves; maroon 
leather; title gilt up spine.] 

Book inscribed to Miss Terry by Irving, June 21, 1892. Names 
of actors entered in green ink. In Act IV Miss Terry transcribes 
part of a letter from Irving on the effect he intended in the mad 
scene. Note on a visit to an insane asylum. 

98. Frederick Warde Salt Lake City February, 1896 
University of California, Los Angeles: Special collections 669, 
Box 1 

[Edition pasted in thick workbook, 6^§ x 814; brown leather; title 
and Warde's name gilt on cover.] 

Promptbook and souvenir collection accumulated by Warde dur- 
ing two decades. Stage business, cues for effects. Two playbills, 
7 reviews down to 1916, 33 photographs of Warde as Lear, his son 
as the Fool, and other actors and scenes from his productions. 



228 KING LEAR 

99. E. H. Sothern c.1898 

Museum of the City of New York: 43.430.648 
[Partly printed text and partly manuscript in a workbook, 5]/ 2 x 
85/£; limp brown leather; title on cover label.] 
Preparation copy made by William Harris, who discusses the state 
of the text in an appendix. Signed by Sothern, as of Daly's Thea- 
tre, at the front. Interesting descriptions of scenes, including 
Camelot, Stonehenge. Apparently not used. 

100. Julia Marlowe 

Museum of the City of New York: 43.430.649 

[Shakespeare edition pasted in a workbook, 5 14 x 8i/£; limp 

brown leather; title printed on cover label.] 

Incomplete preparation copy made by Julia Marlowe. Cuts and 

some stage business for first act. 

101. Robert B. Mantell New York, Garden November 27, 1905 
Folger: Lear, 15 

[Booth edition, 1904, 45/ 8 x 67/ 8 ; interleaves; limp red leather, 
worn and broken.] 

Much used promptbook. Cuts and restorations, stage business, 
maps, cues for effects. 

102. Anonymous October 10, 1913 
Folger: Folios 2, 3 

[Two books. Pages 381-486 from an edition of Shakespeare, 4 34 x 
7i4; interleaves, 77/ g x 1134; limp black cloth boards.] 
Two copies of the director's book for an amateur production. 
Stage business given in great detail. Lear's daughters have been 
translated into sons named Cordelius, Godfred, Botolf. 

103. Anonymous 

Folger: Lear, Folio 1 

[Booth edition, 1911; interleaves, 8s/ 8 x 11%; limp black cloth 
boards; title gilt on cover.] 

Stage manager's book for an amateur production (see preceding 
book), marked with sign of the cross and "A.M.D.G." Cuts, res- 
torations, "professional" scenic indications, maps, cues for effects. 

[Actor Lists for Following Books Are Given in This Order: Lear, 
Fool, Goneril, Regan, Cordelia.] 



KING LEAR 229 

104. W. Bridges-Adams Stratford-upon-Avon May 3, 1932 
Shakespeare Centre Library: 71.21/1932 

[Temple edition pasted in a workbook, 67/ 8 x 9; red cloth boards; 
title inked on cover; in brown paper wrapper.]. 
Cast includes Randle Ayrton, Geoffrey Wilkinson, Dorothy Mas- 
singham, Dorothy Francis, Hilda Coxhead. Scenic indications, 
considerable stage business, maps, cues for effects. The book had 
been used in 1924, 1931, and for the American tour of 1931-32. 

105. Theodore Komisarjevsky Stratford-upon-Avon April 20, 1936 
Shakespeare Centre Library: 71.21/1936K 

[New Temple edition pasted in a workbook, 7x9; purple cloth 
boards and half black leather; title on cover and spine labels.] 
Cast includes Randle Ayrton, Geoffrey Wilkinson, Barbara Cou- 
per, Buena Bent, Rosalind Iden. Unused copy of the 1936 book. 
Cuts on full text, a groundplan, stage business, cues for effects. 

106. [Komisarjevsky] Stratford-upon-Avon March 30, 1937 
Shakespeare Centre Library: 71.21/1937K 

[Same format as preceding book.] 

Cast includes Randle Ayrton, Andrew Leigh, Joyce Bland, Clare 

Harris, Rosalind Iden. Similar in contents to the preceding book. 

107. John Gielgud London, Old Vic April 15, 1940 
Folger: T.b.17 

[Typescript, 73^ x 10; red cloth boards; title printed on spine 
label.] 

Unpublished study by Hallam Fordham called Player in Action, 
John Gielgud as "King Lear," with notes by Gielgud and photo- 
graphs by Edwin Smith. Cast includes John Gielgud, Stephen 
Haggard, Cathleen Nesbitt, Fay Compton, Jessica Tandy. Di- 
rected by Lewis Casson, assisted by Harley Granville-Barker. 

108. Peter Creswell Stratford-upon-Avon May 2, 1943 
Shakespeare Centre Library: 71.21/1943K 

[Eversley edition pasted in two workbooks. Acts I-IV in book, 
5% x 9i/£; blue cloth boards and red leather spine. Act V in book, 
6x8; red cloth boards.] 

Cast includes Abraham Sofaer, Geoffrey Wincott, Patricia Jessel, 
Alison Pickard, Anna Konstam. Designed by Barbara Curtis and 
Charles Reading. Cuts on full text, some stage business, maps, 
cues for effects. 



230 KING LEAR 

109. John Gielgud and Anthony Quayle 

Stratford-upon-Avon July 18, 1950 

Shakespeare Centre Library: O.S.71.21/1950K 
[New Temple edition pasted in a workbook, 8 x 121/4; red cloth 
boards; title on cover and spine labels.] 

Cast includes John Gielgud, Alan Badel, Maxine Audley, Gwen 
Ffrangcon-Davies, Peggy Ashcroft. Designed by Leslie Hurry. Cuts 
on full text. Copious stage business, maps, cues for effects. 

110. John Houseman New York, National December 25, 1950 
New York Public Library: *NCP 

[Mimeograph, 8x11; black boards; title typed up spine.] 
Cast includes Louis Calhern, Norman Lloyd, Jo Van Fleet, Edith 
Atwater, Nina Foch. Designed by Ralph Alswang and Dorothy 
Jeakins. Kurt Richard's copy, checked for Oswald and Fool. Cuts, 
restorations, notations for these 2 roles. At the back many re- 
hearsal notes. 

111. [Houseman] 

University of California, Los Angeles: Houseman Box 13 
[Mimeograph, 8\/ 2 x 11; black cloth board spring binder.] 
Rough production book with some working notes. 

112. [Houseman] 

University of California, Los Angeles: Houseman Box 9 
[Mimeograph, 8i/ 2 x 11; blue leather; title gilt on spine; in slip- 
case of brown marbled boards.] 

Final or souvenir promptbook copiously illustrated with photo- 
graphs. 

113. George Devine Stratford-upon-Avon July 14, 1953 
Shakespeare Centre Library: O.S.71.21/1953K 

[New Temple edition pasted in a workbook, 8 x 13; green cloth 
board spring binder; title on spine label.] 

Cast includes Michael Redgrave, Marius Goring, Joan Sanderson, 
Rachel Kempson, Yvonne Mitchell. Designed by Robert Colqu- 
houn. Cuts on full text. Copious stage business, many maps on 
mimeographed groundplans, sketches, cues for effects. 

114. [Devine] London, Palace July 26, 1955 
Shakespeare Centre Library: O.S.71.21/1955K 

[New Temple edition pasted in a workbook, 8 x 121/4; green cloth 
boards and red cloth spine; title on spine label.] 



KING LEAR 231 

Cast includes John Gielgud, David O'Brien, Helen Cherry, Moira 
Lister, Peggy Ashcroft. Designed by Isamu Noguchi. Cuts on full 
text. Copious stage business, cues for effects. Production papers, 
including groundplans. This book used for London and the 
Continental tour. 

115. Douglas Seale London, Old Vic February 19, 1958 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x lOi/g; black ring 
binder.] 

Cast includes Paul Rogers, Paul Daneman, Coral Browne, Bar- 
bara Jefford, Rosemary Webster. Designed by Leslie Hurry. Cuts, 
calls, stage business, maps, cues for effects. Many production 
papers. 

116. Glen Byam Shaw Stratford-upon-Avon August 18, 1959 
Shakespeare Centre Library: O.S.71.21/1959K 

[New Temple edition pasted in a workbook, 8 x 13; blue cloth 
board ring binder; title on spine label.] 

Cast includes Charles Laughton, Ian Holm, Stephanie Bidmead, 
Angela Baddeley, Zoe Caldwell. Designed by Motley. Cuts, copi- 
ous stage business, maps on mimeographed groundplans, cues for 
effects. 

117. Other books of King Lear: 

Boston Public Library: K.47.13, no. 3, anonymous. 
Brown University: Eng.P.17a, Asa Cushman. 
Folger: Lear, 2, Agnes Booth; Lear, 18, Marcus Moriarty; Lear, 
32, anonymous. 

Harvard Theatre Collection: (Widener 13485.78), F. Chippen- 
dale. 

Historical and Philosophical Society of Ohio: 812.3/R283/94, 
Alvin Read. 

Museum of the City of New York: 32.485. 175A, J. H. Ring. 
The Players: MSS.97, manuscript promptbook in German. 
Princeton University, Seymour Collection: KL.2, 3, 4, William 
Seymour, 1872. 

University of Illinois: x792.9/Shl5ki/no.5, E. L. Davenport and 
W. H. Sedley Smith. 
University of Minnesota: Z820.12/Z11, volume 12, W. S. Forrest. 



Love's Labor's Lost 

1. David Garrick c.1773 
Folger: LLL, 1 

[Tonson edition, 1735, 4i/£ x 7; interleaves, 614 x 7^; blue-gray 
paper; title inked on cover.] 

Preparation copy of an operatic version arranged for Garrick 
about 1773 by Captain Edward Thompson, not produced. Con- 
tains 21 songs adapted from Shakespeare's lines. (See G. W. Stone, 
Review of English Studies, XV, 323-328.) 

2. Elizabeth Vestris London, Covent Garden September 30, 1839 
Folger: LLL, 2 

[Pages 109-217 from volume III of a Works, 5\^ x 9; interleaves 
watermarked 1838; brown paper, much worn; title inked on 
cover.] 

Thoroughly developed promptbook mainly marked in pencil. 
Cuts on full text. Cast list marked for lengths, and a list of supers. 
Calls, considerable stage business, maps, cues for effects, timings. 
Description of the processions of Spring, Winter, and the Nine 
Worthies. 

3. Samuel Phelps London, Sadler's Wells September 30, 1857 
Folger: LLL, 8 

[Pages 105-198 from volume III of a Works, 4 x 6s/ 8 ; lavender 
interleaves watermarked 1857; white paper, much worn; title 
inked on cover.] 

Phelps's promptbook partly in Phelps's hand, partly by Williams, 
the prompter. Cuts on full text. Cast list and list of 16 supers. 
Calls, stage business, maps, cues for effects, timing (2:55). A 
formal march of all the characters at the end. 

4. [Phelps] 

Shakespeare Centre Library: 50.18(1851) 

[Pages 149-244 from Knight's Cabinet Edition, 1851, 3i/£ x 5; in- 
terleaves, 45/ 8 x 7i4; stiff paper under brown marbled boards and 
half brown leather; title gilt on red leather spine label.] 
Inscribed "Phelps/Marked Books." Cuts on full text. List of 16 
supers. Calls, stage business, maps, cues for effects, timing (2:55). 
Pageant in fifth act. Belonged to William Creswick. 

5. [Phelps] 

Shakespeare Centre Library: 39(1 83?- 186?) 

[Duncombe issue of Cumberland edition, 35/ 8 x 5%; interleaves, 



love's labor's lost 233 

4 J /4 x ^Vs'' D * ue marbled boards and blue cloth spine; publisher's 
wrapper pasted on cover.] 

Promptbook which belonged to Charles Flower and was probably 
used in the Stratford production of 1885 by Charles Bernard and 
Miss Alleyn; appears to be a transcription from the preceding 
Phelps book. Pencilings suggest further cutting. 

6. Augustin Daly New York, Fifth Avenue February 21, 1874 
Folger: LLL, 3 

[Daly edition, 1874, 55/g x % 3 A> interleaves, 6 x 10; brown paper; 
title inked on cover.] 

Promptbook of John Moore, the stage manager, made on Daly's 
acting edition. List of property manuscripts, calls, considerable 
stage business, maps, cues for sounds. Nine sheets of production 
papers: groundplans, descriptions of scenery, property lists. Copies 
of playbill, advertisement, 3 reviews. 

7. [Daly] 

Folger: LLL, 4, 5, 6, 7 

[Four books. Cumberland (3 copies) and Spencer (1 copy) editions; 

publisher's wrappers except no. 4, which is pasted in a workbook, 

5i/ 2 x 8s/ 4 .] 

Rehearsal copies for the 1874 production checked for various 

characters. Cuts and very little stage business. 

8. [Daly] New York, Daly's March 28, 1891 
New York Public Library: 8*T-*NCP+. 686465 

[Daly edition, 1891, 5^£ x 9i/g, mounted in window pages, 9^£ x 
13V/g; red marbled boards and half brown leather gilt, front cover 
missing; title gilt on spine.] 

Souvenir album containing Daly's edition, a silk program of the 
opening night, a Boston playbill, several old engravings, several 
magazine engravings, and 25 photographs of scenes and characters 
in Daly's production. Belonged to Ada Rehan. 

9. [Daly] 

Folger: Prints and Engravings 

[Daly edition mounted in an album, 97/g x 13%; red marbled 
boards and half brown leather gilt; title gilt on spine.] 
Souvenir album containing Daly's edition, numerous old prints 
and old playbills, Daly's bill for 1874, Daly's silk bill for 1891, 



234 love's labor's lost 

26 photographs of the actors, and 42 watercolor costume designs 
for Daly's production. 

[Actor Lists for Following Books Are Given in This Order: Don 
Adriano, Biron, Rosaline, Princess.] 

10. W. Bridges-Adams Stratford-upon-Avon April 23, 1934 
Shakespeare Centre Library: 71.21/1934L 

[Two books. Temple edition pasted in workbooks, 7x9; the 
first in blue cloth boards and red leather spine, the second in 
purple cloth boards and half black leather; title on spine labels.] 
Cast includes Baliol Holloway, Neil Porter, Dorothy Black, Rachel 
Kempson. Designed by Aubrey Hammond. Considerable stage 
business, maps, cues for effects. The first book had been used for 
the 1925 production, was erased and reused; the second is a clean 
copy of the first. 

11. Peter Brook Stratford-upon-Avon April 26, 1946 
Shakespeare Centre Library: O.S.71.21/1946L 

[Temple edition pasted in a workbook, 7^g x 10; tan marbled 
boards and green cloth spine; title on cover and spine labels.] 
Cast includes Paul Scofield, David King-Wood, Ruth Lodge, 
Valerie Taylor. Designed by Reginald Leefe. Copious stage 
business, maps, cues for effects. 

12. [Brook] April 14, 1947 
Shakespeare Centre Library: O.S.71.21/1947L 

[New Temple edition pasted in a workbook, 7% x 12%; tan 
boards; title on cover and spine labels.] 

Cast of the 1947 revival includes Paul Scofield, Lawrence Payne, 
Helen Burns, Veronica Turleigh. The stage business less fully 
but more carefully entered than in the preceding book. Cue 
sheet for the scene of the Nine Worthies. 

13. Frith Banbury London, Old Vic October 20, 1954 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x 10i/£; black ring 
binder; title on cover and spine labels.] 

Cast includes Paul Rogers, John Neville, Virginia McKenna, 
Gwen Cherrell. Designed by Cecil Beaton. Calls, stage business, 
maps, cues for effects. Many production papers: cast, properties, 
groundplans, timings. 



love's labor's lost 235 

14. Peter Hall Stratford-upon-Avon July 3, 1956 
Shakespeare Centre Library: O.S.71.21/1956L 

[New Temple edition pasted in a workbook, 8 x 13; black cloth 
board spring binder; title on spine label.] 

Cast includes Harry Andrews, Alan Badel, Jeannette Sterke, Greta 
Watson. Designed by James Bailey. Copious stage business, many 
maps on mimeographed groundplans, cues for effects. 

15. Michael Langham Stratford, Ontario J un e 21, 1961 
Festival Theatre, Library 

[Penguin edition pasted in a workbook, 7^4 x l^ 1 /^ Dme doth 
boards bordered in red; title pasted on cover.] 
Cast includes Paul Scofield, John Colicos, Zoe Caldwell, Michael 
Learned. Designed by Tanya Moiseiwitsch. Copious stage business, 
maps, cues for effects. 

16. Other books of Love's Labor's Lost: 
Brown University: Eng.P.17, Celia Logan. 



Macbeth 

1. Anonymous England c.1640 
Biblioteca Universitaria, Padova 

[Pages 131-151 in an unbroken First Folio, 1623, &i/ 2 x 12%; 
brown leather, newly bound.] 

Promptbook marked in the early seventeenth century. Names of 
several minor actors. Cuts, some properties, calls, cues for effects. 
(See G. Blakemore Evans, Shakespearean Prompt-Books.) 

2. Joseph Ashbury Dublin, Smock Alley 1670's 

Folger: Mac, Smock Alley 

[Pages 711-728 (last sheet missing) from a Third Folio, 1663, 
8 x 12i/g; red marbled boards and half brown leather gilt; title 
gilt up spine.] 

Promptbook. Cuts, a few scenic indications, calls, cues for effects. 
On the first page are copied some lines from Julius Caesar, the 
preceding play in the Folio. For the last page see HAM, 1. (See 
G. Blakemore Evans, Shakespearean Prompt-Books.) 

3. Anonymous Douai 1694 
Bibliotheque de Douai: MS.7.87 

[Manuscript, folios 171-209 of a volume, 6^£ x 8i^; parchment.] 

Manuscript version used for amateur staging at Douai. Cuts and 
alterations, stage business. (See G. Blakemore Evans, Philological 
Quarterly, XLI, 158-172.) 

4. Edward Salmon Edinburgh 1753 

New York Public Library: NCOFp.v.l56.300583B 

[Cheyne edition, Edinburgh, 1753, 4?/ 4 x 8; bound with four 
other promptbooks in black cloth boards; title gilt on spine.] 

Lightly marked promptbook signed "Edward Salmon prompter" 
on the title page. Some cuts and restorations, little stage business. 
Belonged to William B. Wood, the Philadelphia manager. 

5. [Salmon] 

Shakespeare Centre Library: 50.19(1753) 

[Cheyne edition, Edinburgh, 1753, 43^ x 7s/ 4 ; brown marbled 
paper and brown leather, much torn; title once inked on cover.] 

Promptbook signed on the title page by Edward Salmon, the 
prompter, and identified (in pencil) as in the adaptation of J. Lee. 



MACBETH 237 

At the back, among various scribblings, are the names of West 
Digges and John Bland. On the half title, "Samuel Hindley's/ 
Book/1785" and "F. Faraday." Initials of a cast are entered along 
the Dramatis Personae. Cuts, calls, stage business for Banquo, 
cues for effects. 

6. West Digges Edinburgh, Concert Hall December 26, 1757 
Harvard Theatre Collection: uncatalogued 

[Cheyne edition, Edinburgh, 1753, 4% x 8; interleaves; brown 
leather gilt; title, etc., gilt on cover; in box of gray cloth boards 
and red leather spine; title gilt up spine.] 

Promptbook signed on the title page by Edward Salmon, the 
prompter. Cuts, calls, some stage business, cues for effects. Be- 
longed to West Digges (see also the preceding book). A note by 
T. L. Dick, 1803, tells how the book passed from Digges to a 
relative of the Dick family in lieu of room rent. 

7. David Beatt and James Love Edinburgh 1761 
University of Pennsylvania, Furness Collection: C59.ShlMCB 
[Manuscript, 7^4 x 9 ! /2» blue marbled boards and half brown 
leather; title gilt on spine, inked on cover.] 

Handsomely written manuscript version as "Adapted to y e Edin- 
burgh Theatre." Stage directions are set into the dialogue in a 
bold hand. Much used, and additional directions entered in 
margins in a lighter hand. Complete cast. Scenic indications, 
grooves, stage business, cues for effects. 

8. David Garrick London, Drury Lane c.1773 
Folger: Mac, 13 

[Bell edition, 1773, S7/ 8 x 61/4; red and blue marbled boards, very 
faded, and brown leather spine.] 

Promptbook marked in two hands: in brown ink (said to be in 
the hand of William Hopkins) and in red crayon. Cuts, scenic 
indications, some grooves, calls, little stage business, cues for 
effects. A note of gift from C. Roeder to Henry Irving in 1894 
asserts that the book served Garrick. Garrick did not play 
Macbeth as late as 1773, but the book doubtless reflects his earlier 
practice. (See G. W. Stone, Studies in Philology, XXXVIII, 625; 
Kalman Burnim, David Garrick, Director, pp. 103-126.) 

9. Anonymous Wynnstay 1784 
Folger: Mac, 43 



238 MACBETH 

[Bell edition, 1773, 4 x 61/4; interleaves; brown boards and half 
black leather; title gilt on spine.] 

Well-developed promptbook probably of the private theatre at 
Wynnstay, marked in three hands: in red ink, in lead pencil re- 
peating the red ink markings, in brown ink. Cast given in pencil. 
Scenic indications including names of the painters Wilkinson, 
Sandby, and Richards, who all had worked at Wynnstay. Cuts, 
some stage business, cues for effects. (See G. W. Stone, Studies in 
Philology, XXXVIII, 626-627.) 

10. John Philip Kemble London, Drury Lane March 31, 1785 
Folger: T.a.ll 

[Manuscript, 7 x 8%; brown leather gilt, cover detached; title 
gilt up spine.] 

Kemble's 36-page partbook for Macbeth, in his own hand, 796 
lines. Dated from Drury Lane as above, but probably written 
much later. (See no. 15.) 

11. John Palmer London, Drury Lane April 21, 1794 
Garrick Club 

[Kemble edition, 1794, 47/ 8 x 8i/ 8 ; bound, together with an in- 
complete copy of "Macbeth Reconsidered," 1786, inscribed "From 
the Author to Mr. Kemble," in blue cloth boards and brown 
leather spine; title gilt up spine.] 

Rehearsal copy checked for Macduff, probably marked by Palmer, 
who played Macduff. Some stage business. Some special business 
and readings of Kemble and Mrs. Siddons are noted and com- 
mented on. 

12. George Frederick Cooke 

London, Covent Garden April 22, 1807 
New York Public Library: *NCP.285342 

[Inchbald edition, 37/g x 6]/ 8 ; interleaves; brown cloth boards; 
title gilt on spine.] 

Study or rehearsal copy largely in Cooke's hand, giving detailed 
stage business for the scenes in which Macbeth appears. Partial 
cast with Cooke is given for 1806, but this is probably an error 
for 1807: the book was made up sometime later, perhaps for 
Cooke's first American performance on December 10, 1810. Be- 
longed to J. B. Wright and George Becks. 

13. Sarah Siddons 
Folger: W.a.70 



MACBETH 239 

[Inchbald edition, 1808, 334 x & l A'> interleaves; bound with 
Henry VIII and Winter's Tale in brown leather gilt; "Siddons" 
gilt on spine.] 

George Joseph Bell's copious notations of Mrs. Siddons' perform- 
ance of Lady Macbeth, and a few hostile comments on Kemble's 
Macbeth. 

14. James Grice(?) 

The Players: PB.66 

[Longman edition, 1794, 4^ x 7i/£.] 

Promptbook inscribed "James Grice's Property," marked in the 

manner of the early nineteenth century. Some scenic indications, 

calls, some stage business, cues for effects. 

15. Anonymous London, Covent Garden 1820-37 
Shakespeare Centre Library: 50.19(1803) 

[Kemble edition, 1803, 5]^ x Sy 8 ; interleaves watermarked 1814, 
1816; brown leather; title gilt on red leather spine label, spine 
stamped "TR/CG/PB/I." The spine is a replacement of the 
original.] 

Though probably a transcription from J. P. Kemble's prompt- 
book, it is not in his hand: perhaps marked by R. J. Collier. 
The signature "J. Toovey[?] Pro 1820" appears on the title page. 
A note by William Creswick, to whom it once belonged, identifies 
it as "Covent Garden Prompt Book/Used 1828." Fourteen of the 
lesser roles are marked for lengths. List of supers. Some scenic 
indications, grooves, calls, some stage business, maps, properties, 
cues for effects, timings (3:20). A great many dated pencilings 
show use from about 1824 to 1837. These include cuts and resto- 
rations, names of minor actors, calls, cues for effects, many 
timings. References to business of Kean, Mason, C. Hill, Meadows, 
Vandenhoff, C. K., etc., and especially Macready. 

16. William Charles Macready 

London, Covent Garden June 9, 1820 
Victoria and Albert, Forster Library, 7920: F.48.C.18 
[Kemble edition, 1814, 4 x 7y 8 ; interleaves watermarked 1817, 
5 x 814; bound with other Macready promptbooks in green 
cloth boards and half tan leather; titles gilt on spine labels.] 
Early Macready promptbook, much used, mainly in his own 
hand but with prompter's additions. At the front, lists of costumes 
and properties and the signature "W. C. M'Cready." Grooves, 



240 MACBETH 

calls, stage business, maps, sketches, cues for effects. (See nos. 25, 
27, 43-44.) 

17. H. C. Charnock Boston 1826 
University of Pennsylvania, Furness Collection: C59.ShlMCC 
[Longman edition, 1794, 4i/£ x 7]^; interleaves; green marbled 
boards and half brown leather.] 

Well-marked promptbook dated 1810; a list of actors for the 
apparitions of Kings has been identified by A. C. Sprague with 
a Boston performance of 1826. Cuts and restorations, some scenic 
indications, grooves, calls, stage business, maps, cues for effects. 
A reference to Macready, whom Charnock would have seen and 
perhaps prompted in 1826. 

18. Sol Smith Montgomery 1830's 
Folger: Mac, 39 

[Oxberry edition, Boston, 1823, 3i/£ x 5i/ 2 -] 

A crude but much used promptbook. Cuts, calls, cues for effects. 

19. N. M. Ludlow Nashville 1830's 
Folger: Mac, 23 

[Longworth edition, New York, 1816, Sy 8 x 5^; interleaves; 
gray cardboard; title inked on cover.] 

Lightly marked promptbook. Calls, stage business, cues for 
effects. Also used as actor's studybook, with many notations of 
interesting business. At the back routines for "Caldwell's fight 
with me" and "Pelby's fight." 

20. Charles Kean Dublin 1835 
Folger: Mac, 18 

[Kemble edition, 1814, 4i/£ x 7; interleaves; gray boards and half 
green leather, much worn; title and "Mr. C. Kean" gilt on spine.] 
Promptbook made for Kean in 1835 by the prompter R. J. Collier, 
"TRD" (Dublin). Cuts and restorations, grooves, calls, some stage 
business, maps, cues for effects. Some later pencilings by George 
Ellis, who was Kean's stage manager in the 1850's. (See nos. 27, 
48-54.) 

21. [Kean] 

Folger: Mac, 19 

[Kemble edition, 1803, 5 x 7^; interleaves; yellow and blue 



MACBETH 241 

marbled boards and half brown leather; title and "M r C hs Kean" 
gilt on blue leather spine labels.] 

Transcription of the preceding book made for Kean by J. Parsloe, 
the Drury Lane prompter, probably during Kean's engagement at 
Drury Lane early in 1838. 

22. [Kean] 

Folger: W.a.10 

[Notebook of sheets watermarked 1837, 4^£ x 7 3 /£; brown marbled 
boards and half brown leather gilt; "Theatrical Costumes" inked 
on spine label.] 

Kean's touring wardrobe list for Macbeth is the tenth of 16 such 
lists in this book. 

23. [Kean] 

Folger: T.b.15 

[Notebook, 73,4 x 125/g; brown marbled boards and black leather 
spine.] 

Touring book of scene plots, property plots, text of written 
papers, call-lists, music cues, for many plays including Macbeth. 

24. Stanley Charles Ferrers 

Edinburgh, Theatre Royal November, 1836 
Princeton University, Seymour Collection: MAC, 9 
[Cumberland edition, 31^ x 5i/£; blue cardboard and white 
paper spine.] 

Neat though sparse promptbook marked by Ferrers, the Edin- 
burgh stage manager and prompter, and brought by him to 
America. Calls, cues for effects. Variously belonged to James 
Gallagher, James Seymour, Barton Hill, William Seymour. 

25. William Charles Macready 

London, Covent Garden November 6, 1838 

Victoria and Albert, Forster Library, 7918: F.48.C.16 
[No title page, but apparently the edition of 1814 as "Revived 
at the Theatre Royal, Drury Lane," 4i^ x 7i4; interleaves; bound 
with other Macready promptbooks in green cloth boards and 
half tan leather; titles gilt on spine labels.] 

Very much used promptbook (fouled and torn) made by a pro- 
fessional copyist, with additional notes by Macready and his 
prompters, John Willmott and George Ellis. The notes in Ellis' 
hand are of 1841-43 at Drury Lane. Provisional cuttings "at the 



242 MACBETH 

pleasure of the Theatre" prove its use on tour. At the front, a 
list of supers. Grooves, calls, stage business, maps, sketches, cues 
for effects, some timings. (See nos. 16, 27, 43-44.) 

26. C. Butcher Calcutta, New Sans Souci November 10, 1841 
Folger: Mac, 44 

[Englishman Press, Calcutta, 4s/ 8 x 714.] 

Rehearsal copy checked and marked for Malcolm. Cast list. Cues 

for effects. 

27. William Charles Macready 

London, Drury Lane March 28, 1842 
Folger: Mac, 20 

[Hinds English stage, 1839, 4% x 8i/ 8 ; interleaves, 7i4 x 9; white 
cardboard, covers loose; title inked on cover.] 
Excellent transcription of Macready's Drury Lane promptbook 
made by George Ellis in 1846 and sent by him to Charles Kean 
in America. Some scenic indications with interesting carpenter's 
notes, calls, properties, stage business, fine maps and sketches, 
cues for effects. (See nos. 16, 25, 43-44.) 

28. Helen Faucit Dublin June 6, 1842 
Shakespeare Centre Library: 50.14(1815) 

[Edition of 1814 as "Revived at the Theatre Royal, Drury Lane," 
414 x 6%; bound with 3 other plays in blue-green cloth boards.] 
Fanny Kemble's rehearsal copy given by her father to Helen 
Faucit in 1838. Many pencilings by Miss Faucit: stresses, pauses, 
admonitions about the acting. Miss Faucit first played Lady 
Macbeth on the above date. 

29. Samuel Phelps London, Sadler's Wells May 27, 1844 
Folger: Mac, 41 

[Pages 83-188 from volume IV of a Works, 5 14 x 7i/ 2 > g ra y inter- 
leaves watermarked 1845; marbled boards and half black leather, 
cover broken loose; title and "Mrs. Warner" gilt on spine.] 
Very full, handsomely written, much used promptbook prepared 
for Mrs. Warner during the second season of Phelps's first pro- 
duction of Macbeth, with additional notations by Williams and 
other prompters. Scenic indications, grooves, calls, much stage 
business, maps, sketches, cues for effects, timings (3:00). One note 
on Modjeska, one on Edwin Booth. (See nos. 35-36, 56, 63.) 



MACBETH 243 

30. James H. Ring Boston, Boston Museum 1845 
Museum of the City of New York: 32.485.235 

[Acting edition, Ss/ 8 x 5s/ 8 ; interleaves.] 

Crude but workable promptbook from the Boston Museum 
dated 1845 and 1858, checked for Third Witch and Physician. 
Cues for effects. Macbeth was not produced at the Boston 
Museum until October 14, 1850, when the Wallacks did it. 

31. Henry Betty London, Covent Garden January^, 1845 
Folger: Mac, 3 

[Cumberland edition, Si/ 2 x 5^4; interleaves watermarked 1841; 
gray boards and green cloth spine.] 

Neatly marked promptbook showing signs of use. Cuts and res- 
torations. Scenic indications, grooves, calls, stage business, maps, 
cues for effects. Dummy playbill entered at the back. 

32. James Murdoch New York, Society Library April 18, 1845 
Harvard Theatre Collection: Murdoch Collection 

[Three manuscript volumes, 103/£ x 12^; brown cloth boards; 
title inked on cover labels.] 

A version of the play made up in 3 books, used by Murdoch for 
public readings. Written in a huge hand, about 20 lines per page. 
A prefatory essay and interspersed commentary. 

33. [Murdoch] New York, Park October, 1845 
Harvard Theatre Collection: Murdoch Collection 

[Oxberry edition, New York, 1829, Sy , 2 x ^ 1 /2' li m P brown marbled 

boards and brown leather spine.] 

"The first book used by James E. Murdoch in studying Macbeth." 

34. [Murdoch] 

University of Pennsylvania: AC85.M9415.820p.53 

[Modern Standard Drama, 4^§ x 7; stiff brown marbled paper 

and brown leather spine.] 

Studybook. A few notes on the role of Macbeth. 

35. Samuel Phelps London, Sadler's Wells September 27, 1847 
Folger: Mac, 31 

[Knight's Cabinet Edition, 3s/ 8 x 5]/ 2 , pasted in a workbook 
(both sides of sheets), 6i/2 x 87/g; several layers of brown paper, 
much soiled and torn; title inked on cover.] 
Very full, much used promptbook of Phelps's second production 



244 MACBETH 

of Macbeth, with restored text, mainly in Phelps's hand with 
additions by Williams, the prompter. Restored scenes later 
penciled out. Full cast. Cuts on full text. Scenic indications (some 
of them detailed), grooves, calls, stage business, maps, cues for 
effects, timings (3:00). (See nos. 29, 56, 63.) 

36. [Phelps] 
Folger: Mac, 33 

[Jennens edition, 1773, 5 x iy A ; gray and blue interleaves water- 
marked 1846, 1847; blue marbled boards and half brown leather; 
title gilt on spine.] 

Handsome transcription of Phelps's 1847 promptbook, apparently 
unused. 

37. Charlotte Cushman New York, Broadway September 10, 1849 
Library of Congress, Manuscripts Division: Cushman Box 
[Modern Standard Drama, A\/ 2 x 7^; Dlue interleaves, 6i/g x 734; 
gray cloth boards and half green leather gilt; title gilt on cover 
and green spine label.] 

Excellent promptbook much used in touring, made for Miss 
Cushman by R. J. Jones, then a New York prompter. Other 
prompters who signed it are John Rose of Providence in 1852 
and William Mearchael of Baltimore in 1858. At the front a list 
of property manuscripts and a set of timings (3:00). Calls, some 
stage business, maps, detailed cues for effects. 

38. John Moore 1850's 
Folger: Mac, 28 

[Pages 83-188 from volume IV of a Works, 5}/ 8 x 8; interleaves; 
brown paper; title inked on cover.] 

Excellent and much used promptbook of the 1850's and after. 
Probably taken initially from the Phelps- Warner book at Sadler's 
Wells (see no. 29). Cuts and additions of traditional non-Shake- 
spearean elements tend to restore it to the Kemble version. Scenic 
indications, grooves, calls, stage business, cues for effects. Nota- 
tions of special business of Hamblin, Wallack, Forrest, Macready, 
Fisher, Eddy, Faucit, Montague, Cushman. List of supers at the 
Park. Editorial matter from Lacy's 1853 edition. News clippings 
about Garrick, Siddons, and Cushman, and Abraham Lincoln's 
letter to Hackett about Falstaff. 

39. [Moore] 
Folger: Mac, 27 



MACBETH 245 

[Eighteenth-century acting edition, S7/ 8 x 63/ 8 ; interleaves.] 
Rehearsal copy checked for Rosse. Cues and lines in Moore's 
hand at the back. 

40. [Moore] 
Folger: T.b.2 

[Notebook, 6\/ 8 x lOi^; blue boards and black cloth spine.] 
Cues for the band for 48 plays, including Macbeth. 

41. Asa Cushman Providence 1850's 

Brown University: Eng.P.17 

[French's Standard Drama, 4i/^ x 7]/±; interleaves, 6x8; lined 
paper.] 

Ambitious but not quite literate promptbook finished only 
through 4 acts. Scenic indications ("Set Cheve Aux de Friez 
Walls"), grooves, calls, much stage business, good maps, cues for 
effects. 

42. C. M. Davis Boston, Howard Athenaeum September, 1850 
Folger: Mac, 10 

[Modern Standard Drama, 4i/£ x 7]/ 8 ; blue interleaves, 65/s x 7i/g; 
brown leather gilt; title gilt down black leather spine label, Davis' 
name gilt on cover label.] 

Good and much used promptbook. At the front a cast for 
September, 1850, with Charlotte Cushman. Restorations, calls, 
some stage business, maps, sketches, cues for effects. A special 
cue for Sullivan, another for E. Booth. 

43. William Charles Macready 

London, Haymarket October 28, 1850 

Princeton University, Seymour Collection: Mac, 12 
[Oxberry edition, 1821, 4^ x 7; interleaves; marbled boards and 
half brown leather, broken and unsewn; title gilt on black spine 
label.] 

Fine transcription of Macready's latest promptbook apparently 
made by George Hastings, the copyist, much used and augmented 
by E. L. Davenport, whose signature is on the title page. Daven- 
port entered the cast for "1st night Mr. Macready's farewell en- 
gagement," when he himself played Macduff. Cuts and restora- 
tions, grooves, calls, stage business, maps, cues for effects. (See 
Alan S. Downer, Quarterly Journal of Speech, XXXIII, 172-181.) 
(See nos. 16, 25, 27.) 



246 MACBETH 

44. [Macready] 

Shakespeare Centre Library: 50.19(1797) 

[Pages 1-80 from volume III of the Robinson Works, 1797, 6^4 x 

95/gj interleaves; brown marbled boards and half brown leather; 

"Barry Sullivan/Theatre Royal Haymarket" gilt on red leather 

cover label, title gilt on black leather spine label.] 

Fine transcription of Macready's latest promptbook made by 

George Hastings for Barry Sullivan, part of a collection gathered 

by Sullivan when he was at the Haymarket in 1852. The contents 

very similar to the preceding book. Penciled alterations by 

Sullivan. 

45. John G. Gilbert 

Philadelphia, Chestnut Street December 1, 1851 

New York Public Library: *NCP.342998 

[Oxberry edition, Boston, 1823, 33^ x 6; green cloth boards; title 
gilt up spine.] 

Gilbert's promptbook originally checked for Macduff and dated 
1827, but giving cast for 1851, when Gilbert played Macbeth with 
Charlotte Cushman. Calls, cues for effects. Two references to 
Edwin Forrest. 

46. Robert Jones Boston, Howard Athenaeum 1852 
New York Public Library: *NCP.343040 

[Modern Standard Drama, 4 14 x 7y 2 > blue-gray interleaves, 5% x 
75/ g ; black cloth boards; title gilt up spine.] 

Excellent promptbook frequently verbatim with Charlotte Cush- 
man's book (see no. 37), which Jones also prepared, and some- 
times with George Lewis' and J. B. Wright's books (see nos. 47, 
57). Exact scenic indications, grooves, calls, some stage business, 
good maps and sketches, cues for effects, timings. 

' 47. George W. Lewis New York, Broadway 1852 

New York Public Library: *NCP.342940 

[Modern Standard Drama, 4s/ 4 x 7^§; interleaves; black cloth 
boards; title gilt up spine.] 

Very full and interesting promptbook, "Marked as played by 
Messrs. Forrest — Macready — Booth 8cc," and including references 
to Hamblin and J. W. Wallack. Scenic indications, calls, stage 
business, maps and sketches, cues for effects. Some elaborate 
effects including tableau of the murder of Duncan. 



MACBETH 247 

48. Charles Kean London, Princess's February 14, 1853 
Folger: Mac, 17 

[Lacy edition, 4i4 x 7i/ 2 ; interleaves, 7 x 8%; green cloth boards 
and half purple leather; title gilt up spine, Kean's name gilt on 
green leather cover label.] 

The Lacy edition was made from Kean's promptbook and ante- 
dated Kean's own edition in 1853. Kean's prompter, T. W. 
Edmonds, used the Lacy issue to make up this promptbook on 
August 18, 1853. Scenic indications, grooves, list of property 
manuscripts, calls, much stage business, good maps, cues for 
effects, timings (3:00). A few penciled additions by George Ellis, 
the stage manager. (See nos. 20-23, 27.) 

49. [Kean] 

Folger: Mac, 16 

[Kean edition, 1853, 5i4 x 7%; interleaves, 6% x 8^; tan cloth 
boards and half brown leather; title gilt up spine, Kean's name 
gilt on blue leather cover label.] 

Final or souvenir promptbook made by T. W. Edmonds in 1859. 
Emended transcription of the 1853 book. Contains fine water- 
colors of the 18 scenes. At the back is the sales catalogue descrip- 
tion of the 65-volume collection of Kean promptbooks to which 
this one belonged. 

50. [Kean] 

Folger: Mac, 21 

[Same format as preceding book.] 

Another copy of the Edmonds final promptbook, later used for 

touring. Some new cuts. Contains the 18 watercolor scene designs. 

Much worn, cover detached. A Memphis prompter, C. D. Lovett, 

signed it in 1865. 

51. [Kean] 

Folger: Prints and Engravings, 51 

[Watercolors, 8 x 5]/ 2 > mounted in an album, IO14 x 14i/£; gray 

cloth boards and half green leather gilt; "Charles Kean/Original 

Water Color Drawings" gilt on spine.] 

Contains fine watercolors of the 18 scenes. 

52. [Kean] 

Enthoven Collection: Box DT.47 



248 MACBETH 

[Watercolors mounted on large display boards.] 

Twenty-three fine watercolor scene designs (compare with those 

in the Edmonds 1859 books) and 6 plates of properties. 

53. [Kean] 

Enthoven Collection: 94G26, plates 1726-31 

[Scrapbook, 15 14 x 21 3^; blue cloth boards and half blue cloth.] 

Six provisional watercolor scene designs. 

54. [Kean] 

Folger: Kean Costume Book, 181 

[Scrapbook, 14i/£ x 165/g; green cloth boards and half green 

leather gilt.] 

Contains 19 handsome plates of costume designs (47 figures) for 

Macbeth, by "P. Bishop 1853." 

55. Anonymous England c.1853 
University of California, Los Angeles: Special Collection 714, 
Box 6 

[Lacy edition, 414 x 7*4; interleaves.] 

Promptbook neatly marked in ink with some penciled revisions. 

Some cuts, grooves, calls, some stage business, cues for effects. 

56. Samuel Phelps London, Sadler's Wells August 27, 1853 
Shakespeare Centre Library: O.S.P.50. 19(1 827) 

[Davidson issue of Cumberland edition, 3i/2 x 5^4; blue inter- 
leaves; reddish marbled stiff paper; title inked on cover.] 
Promptbook signed "F. Haywel/Sept. 1854" and "with Shake- 
spearian Restorations by F. Haywell." Said to be taken from 
Phelps's book of that time, when Phelps had reintroduced some 
of the traditional non-Shakespearean elements. Rather sparsely 
marked. Grooves, calls, cues for effects. (See nos. 29, 35-36, 63.) 

57. J. B. Wright New York, Broadway 1854 
New York Public Library: *NCP.285353 

[Lacy edition (Kean cast of 1853), 4i/ 8 x 7i/ s ; interleaves, 43^ x 
7i4; black cloth boards; title gilt on spine.] 

Transcription of a London promptbook, very like Macready's 
book as prepared by George Ellis for Charles Kean, also re- 
sembling the Phelps-Warner book (see nos. 27, 29). Belonged to 
Wright, but except for some pencilings not in his hand. Scenic 



MACBETH 249 

indications, grooves, calls, stage business, maps and sketches, cues 
for effects. 

58. [Wright] Boston 
New York Public Library: *NCP.342965 

[Dolby's British Theatre, 1824, 31^ x 5i/^; interleaves, 5 x 5^; 
black cloth boards; title gilt on spine.] 

Promptbook resembling the preceding one but much less fully de- 
veloped. Some scenic indications, calls, some stage business, maps, 
some cues for effects. One reference to Wallack. 

59. J. B. Roberts 1855 
Folger: Mac, 36 

[Pages 1-70 of a Shakespeare edition, 4i4 x 6%; blue interleaves; 
stiff brown paper; title, etc., inked on cover.] 
Actor's studybook. The Macbeth role marked for stresses and 
heavily annotated for stage business and histrionic manner. Some 
stage business for other roles, maps. Note on Macready and the 
daggers. At the back a fight routine. 

60. [Roberts] 
Folger: Mac, 38 

[Pages 171-262 from a Works, 6y 8 x 93^; black cloth boards and 
brown leather spine.] 

Copy used for public readings, marked for stresses. Program for 
Irving and Terry in Philadelphia. 

61. Alexander Burger (or Berger) New York 1856 
Folger: Mac, 15 

[French's Standard Drama, 4 \/ A x 7|4» bound with other plays in 
brown marbled boards and black leather spine; Burger's name 
gilt on spine and cover.] 

Crude promptbook, thoroughly marked but probably not used. 
At the front a list of properties and a drawing of the banquet 
scene. Cuts, calls, cues for effects. 

62. William H. Stephens 1860's 
Folger: Mac, 42 

[Modern Standard Drama, A\/ 2 x 7i^; blue cardboard; title inked 
on cover.] 

Crudely penciled promptbook, checked for Second Witch. Cues 
for effects. Also signed by William H. Whalley. 



250 MACBETH 

63. Samuel Phelps London, Sadler's Wells November 10, 1860 
Folger: Mac, 32 

[Pages 1-107 from volume VI of a Works, b$/ 8 x 834; interleaves 
watermarked 1860; brown marbled boards and half brown leather; 
title gilt on spine, identifications gilt on brown leather cover 
label.] 

Handsomely written promptbook of Phelps's later productions 
(after 1853) when he had reintroduced some of the traditional 
non-Shakespearean elements. Much used, and augmented with 
prompters' notations. Cuts on full text. List of supers (45) as of 
1860, stage business, maps, cues for effects, timings. (See nos. 29, 
35-36, 56.) 

64. Edwin Booth New York, Winter Garden February 4, 1861 
The Players 

[Pages 77-177 from volume IV of a Works, 5y 8 x Sy 8 ; interleaves; 

green leather fold-over cover; title and Booth's name gilt on 

cover.] 

This book is not marked, but it belongs to a set of promptbooks 

in similar format which Booth prepared in the 1860's. (See nos. 

102-105.) 

65. [Booth] 

Museum of the City of New York: 35.339.28 

[French's Standard Drama, 4t/ 2 x 7 l A'> heavy brown paper, front 

cover missing.] 

Promptbook belonging to W. Henry Flohr, the stage manager. 

Cuts and restorations, scenic indications, grooves, some stage 

business, cues for effects. References to Booth. 

66. J. C. Cowper England 1864 
Folger: Mac, 9 

[Lacy edition, 1853, 4 14 x li/ 8 ; blue interleaves; gray cloth boards 
and maroon leather spine.] 

Actor's studybook. The Macbeth role marked for stresses and 
annotated for stage business. Lists of costumes, properties, doubles 
(at Jersey). Five fight routines as used by Joseph Proctor, Meads, 
T. C. King, G. V. Brooke, Cowper. Three essays on Macbeth. 
Programs for 1864 and for Leeds in 1868. Review of Cowper's 
Macbeth from the Liverpool Porcupine; news note of his being 
cut up in Richard III. Vivid notes on Macready's points; notes 



MACBETH 251 

on B. S., Charles Kean; much about Mme. Ristori's text, costume, 
and interpretation. 

67. Frank Mayo 

San Francisco, Maguire's Opera House April 23, 1864 
Museum of the City of New York: 48.194.138 
[French's Standard Drama, 4s/ 8 x 6%; blue interleaves; brown 
cloth boards and half black leather; title and Mayo's name gilt 
on cover.] 

Thorough promptbook in Mayo's hand with rough penciled 
corrections. Cuts and restorations, calls, some stage business, cues 
for effects. At the back a fight routine. Cast for Mayo's first per- 
formance of Macbeth at the "Triennial Centennial." 

68. William Creswick London, Drury Lane November, 1864 
Shakespeare Centre Library: 50.19(1864) 

[Lacy edition, 5i/£ x 8i/ 2 ; publisher's wrappers, loosely laid into 
cover of purple cloth boards and half black leather; title gilt on 
spine.] 

Studybook copiously annotated for Creswick's own business and 
histrionic manner. Some restorations. List of Macbeth's costumes, 
sketch of opening scene, notes on music, a fight routine. The 
cast as printed is emended to show that in November, 1864, 
Creswick shared the roles of Macbeth with Phelps and of Macduff 
with H. Marston. 

69. Edwin Forrest c.1868 
Harvard Theatre Collection: 13486.12.6 

[Forrest edition, no. 4, 1860, 4i^ x 73/ 8 ; interleaves; limp purple 
cloth boards; title gilt on cover; in box of tan cloth boards and 
brown leather spine; title gilt up spine.] 

Fully developed promptbook by George H. Clarke, who was stage 
manager to Forrest in 1868-69. Calls, much stage business, maps, 
sketches, cues for effects. Symbolic interpretation of the appari- 
tions. 

70. [Forrest] 

New York Public Library: *NCP.342970 

[Forrest edition, 4s/ 8 x 7; interleaves; black cloth boards; title 

gilt up spine.] 

George Becks's memorial reconstruction of Forrest's stage business 

and manner through 4 acts (the fifth act marked only lightly). 



252 MACBETH 

Grooves, calls, stage business, maps, cues for effects. Very vivid 
accounts of Forrest and Mme. Ponisi in major scenes. 

71. Fanny Davenport America 1870's 
Harvard Theatre Collection: TS. 2405. 50 

[French's Standard Drama pasted in a workbook, 7s/ 4 x lOi^; red 
marbled boards and half black leather.] 

Roughly developed promptbook marked in ink, purple pencil, 
lead pencil. Some scenic indications, some stage business, crude 
maps and sketches, some cues for effects. 

72. Charles Waverly 1870's 
The Players: PB.67 

[French's Standard Drama, 4s/ 8 x 1\/ A ; interleaves; heavy blue 
paper and red cloth spine.] 

Rehearsal copy checked for Banquo, Rosse, Physician. Expanded 
into a promptbook by the addition of interleaves bearing key 
words to mark insertion: calls, some stage business, cues for effects. 
Later augmentations in ink and pencil. One reference to Wallack. 

73. James E. Kirkwood Rochester, New York 1870's 
University of Illinois: x792.9/Shl5m/no.l 

[French's Standard Drama, 4j4 x 7^; interleaves; green marbled 
boards and faded red cloth spine, broken.] 

Promptbook neatly marked in brown and red ink. Cues for effects, 
properties plot. Toronto playbill for 1877 pasted in. 

74. [Kirkwood] 

University of Illinois: x792.9/Shl5m/no.2 

[Lacy edition, 1865, 3z/ 4 x 65/£; interleaves; brown marbled boards 

and brown cloth spine; title inked down spine label.] 

Promptbook neatly marked in brown and red ink: cues for effects. 

Belonged in 1880 to Charles B. Welles. Later belonged to William 

Farnum, who probably added the considerable penciled stage 

business. 

75. J. R. Pitman Boston, Boston Museum 1870 
University of Pennsylvania, Furness Collection: C59.SMMCP 
[French's Standard Drama, 4i/£ x 7i/ 2 ; interleaves, 6i/4 x 7s/ 4 ; 
soft tan paper; title and identification inked on cover; in red 
cloth board folder; title gilt on cover.] 



MACBETH 253 

Carefully marked and much used promptbook. Scenic indications, 
grooves, calls, much stage business, maps, sketches, cues for effects. 

76. Annie Clarke Boston, Boston Museum 
Library of Congress: PR.2823.A2.F73 

[French's Standard Drama, 4i/2 x 7i/2» interleaves, 5i/ 8 x 8*4; 
brown paper, publisher's wrapper pasted on cover.] 
Transcription of the preceding book made for Miss Clarke by 
J. R. Pitman. 

77. Anonymous 

New York Public Library: *NCP.342991 

[French's Standard Drama, 4x7; interleaves; green cloth boards; 

title gilt up spine.] 

Interesting promptbook apparently taken from one of Pitman's 

books. Scenic indications, grooves, much stage business, maps, 

some cues for effects. 

78. John McCullough 

San Francisco, California Theatre c.1873 

Harvard Theatre Collection: 13486.12.5 

[Forrest edition, no. 4, 1860, 4 \/ A x 7\/ A ; interleaves; blue cloth 
boards; in box of gray cloth boards and black leather spine; 
title gilt up spine.] 

Full promptbook largely derived from Edwin Forrest's, marked 
in several inks and pencil, one of the hands being that of Barton 
Hill, acting manager at the California. Cuts, scenic indications, 
grooves, calls, stage business, maps, cues for effects. 

79. Marcus J. Moriarty 1875 
Folger: Mac, 30 

[French's Standard Drama, 4x7; brown cloth boards, detached; 
title and Moriarty's name gilt on cover.] 

Rehearsal copy checked for Lennox and Rosse; contains Cushman 
bill of 1875 in which Moriarty played those roles. At the front his 
analysis of Macbeth's character and some historical notes; through- 
out notes on acting the role. 

80. Mrs. James Hackett Brooklyn March 20, 1875 
Folger: MW, 20 

[See MWW, 18.] 



254 MACBETH 

Folded into James Hackett's Merry Wives are relics of Mrs. 
Hackett's first season on the stage: an Albany bill of Medea; an 
Albany review of her Lady Macbeth; her property manuscript for 
the first scene of Lady Macbeth. 

81. Henry Irving London, Lyceum September 25, 1875 
University of Pennsylvania, Furness Collection: C59.ShlMcl 
[Clarendon Press edition, 1874, 4i/£ x 65/£; publisher's orange 
covers; in slip-box of red cloth boards and red leather spine; 
title gilt on spine.] 

Irving's studybook. Cuts on full text. Some passages marked for 
stresses, key words at the head of certain scenes, many notes on 
stage business and manner. Music cues are systematically entered, 
perhaps by Robert Stoepel, composer and director of the Lyceum 
band. Stoepel gave the book to Henry Miller, who gave it to 
Charles Rann Kennedy, who gave it to Dr. Furness. (See nos. 
90-96.) 

82. Henry Holmes England 1880's 
Enthoven Collection 

[French issue of Lacy edition, 4i/£ x 7*4; publisher's wrappers 
under blue cardboard.] 

Lightly marked promptbook. At the front a plot of the 18 scenes. 
Cues for effects throughout. 

83. Frank Lodge 1880's 
Folger: Mac, 37 

[Booth-Winter edition pasted in a workbook, 45^ x 71/4; brown 
leather; title pasted on cover.] 

Rehearsal copy. Costume list and notes throughout about chang- 
ing costume. 

84. Charles Leslie Allen 1880's 
Folger: Mac, 1 

[Modern Standard Drama, 4 x 614 ; publisher's wrappers under 
brown paper.] 

Rehearsal copy checked for Macbeth. Many notations of business 
and manner especially for Lady Macbeth. Belonged to Viola Allen. 

85. Lawrence Barrett 1880's 

Harvard Theatre Collection: uncatalogued 

[Ten music score books, 914 x 614; brown cloth boards and green 
cloth spine.] 






MACBETH 255 

Complete scores for the band for 9 plays including Macbeth, 
endorsed by musicians in many cities. 

86. Tommaso Salvini Philadelphia April, 1880 
Folger: Mac, 35 

[Parallel text edition, London, 1876, 5 14 x 814; green publisher's 

wrappers.] 

J. H. Ring's rehearsal copy, checked for First Murderer and 

Doctor. (See no. 89.) 

87. J. H. Barnes and Adelaide Ristori 

London, Drury Lane July 3, 1882 

Harvard Theatre Collection: TS.2405.50.4 

[French edition, Drury Lane production of 1865, 4 14 x 7 14 ; gray 
interleaves, 65/g x 814; brown cardboard; title inked on cover; in 
box of tan cloth boards and brown leather spine; title gilt up 
spine.] 

"Prompt Book of Macbeth as played at Drury Lane Theatre by 
me 1882. JB." Barnes was Macduff to William Rignold's Macbeth 
and Madame Ristori's Lady Macbeth. At the front a plot of scenes 
with grooves, and throughout specific scenic indications, very 
little stage business, maps, cues for effects. 

88. George C. Miln Brooklyn, Academy of Music Feb. 15, 1884 
Folger: Mac, 25 

[Booth-Winter edition, 1878, 4]/ 2 x §¥%' interleaves; limp brown 
leather; title and Miln's name gilt on cover.] 
Actor's studybook. Some stage business, notes on dagger soliloquy, 
fight routine. Photograph of a company of men in front of a 
"Theatre Royal" showing posted bills of Miln's last week in 
Richelieu, Macbeth, and Hamlet. 

89. Tommaso Salvini London, Covent Garden March, 1884 
Folger: Mac, 26 

[Clarendon Press edition, 1877, 4 14 x 6s/ 8 ; brown publisher's 

wrappers.] 

William A. Minard's "Notes made during Salvini's performance": 

many maps, copious notations of moves and positions of the 

characters. (See no. 86.) 

90. Henry Irving London, Lyceum December 29, 1888 
Folger: Mac, 48 



256 MACBETH 

[Pages 1-95 of a Shakespeare edition, 5 x 814, tipped onto pages 
of a workbook, 7x9; gray cardboard and green cloth spine.] 
Extensive compilation of "Notes and Suggestions for Macbeth" 
assembled for Irving by Percy Fitzgerald. Copious notes on acting 
and production of the play gathered from study of Garrick, 
Siddons, Edmund Kean, Macready, Charles Kean, etc. A few 
pencilings by Irving. (See no. 81.) 

91. [Irving] 
Smallhythe 

[Cassell(?) edition, 4i/£ x 63/ 8 ; thin paper interleaves; black 

leather.] 

Very full preparation and studybook in Irving's hand. Long notes 

of analysis of Macbeth's character. Dozens of pencilings of stage 

business. Much provisional detail of scenic and stage effects, 

maps, sketches. 

92. [Irving] 

Harvard Theatre Collection: uncatalogued 

[Proof copy of Irving edition, 1888, 5i/g x 8i/ 8 ; limp red leather 

gilt; title gilt up spine.] 

Preparation book for the whole production done in red, blue, and 

black pencil in Irving's hand. Synopsis of scenery, notes on 

lighting. Notes on stresses, pronunciation, the acting. Many notes 

on effects. 

93. [Irving] 

Harvard Theatre Collection: uncatalogued 
[Irving edition, 1889, 5% x 814.] 

Lightly marked studybook. Some cuts and some stage business. 
Engraving of his Macbeth from Illustrated London News, Decem- 
ber 15, 1875. 

94. [Irving] 
Folger: Mac, 14 

[Irving edition, 1889, 5$/ 8 x 814; gray publisher's wrappers.] 
Spectator's copy. Large number of descriptive and critical notes 
on Irving's performance and production, mostly hostile; some 
written on letterhead paper of the London Daily News. 

95. [Irving] 

Folger: Mac, Folio 1 



MACBETH 257 

[Huge type edition, 1890, 13 x 16; brown cloth boards.] 

Special printing of the play "as arranged for the public readings 

of Henry Irving and Ellen Terry." Some blue-penciled cuts. 

96. [Irving] 

Harvard Theatre Collection: TS. 10075. 10F 

[Huge type edition, 1890, 13 14 x 16^4; green leather gilt; title 

and Irving's name gilt on cover.] 

Another copy of the book printed for public readings, heavily 

scored in blue and red crayon. Program for a reading in St. James 

HalL 

97. Ellen Terry London, Lyceum December 29, 1888 
Smallhythe 

[Proof copy of Irving edition, 1888, 5i/ 8 x 8i/ 8 ; red leather; title 
gilt up spine.] 

Miss Terry's studybook, with dozens of notes on her own and 
Irving's acting, the play, the text, and the production. 

98. [Terry] 
Smallhythe 

[Proof copy of Irving edition, 1888, 5]/ 2 x 814; bound with 
J. Comyns Carr's essay on "Macbeth and Lady Macbeth," 1889, 
in maroon leather, much worn; title gilt on cover.] 
Study and souvenir book, heavily annotated. Analyses of charac- 
ters, many details of specific business, vivid impressions of dra- 
matic moments. Contains program of December 29, 1888, an 
anecdote about Kean, a lock of Irving's hair, many of Partridge's 
illustrations of the production, photograph of Sargent's original 
sketch for his portrait of her, many photographs of her as Lady 
Macbeth. 

99. [Terry] 
Smallhythe 

[Irving edition, 1890, 5 14 x Ss/ 8 ; gray publisher's wrappers.] 
Rehearsal copy. Several notes by Miss Terry criticizing use of 
music, commenting on tempo of scenes, mentioning the public 
readings. 

100. [Terry] 

British Theatre Museum 

[Pamphlet, 5s/ 8 x 8i/ 2 ; blue leather; title gilt on spine.] 



258 MACBETH 

An essay-review of Knight's Cabinet Edition, from Westminster 
Review, August 12, 1843. This first belonged to Helen Faucit, 
later to Ellen Terry, later to T. H. "She told me this criticism 
on 'Macbeth' had influenced Irving's $c her reading of the charac- 
ters more than anything else. T.H." Copiously marked and 
annotated by Miss Terry. 

101. [Terry] 
Smallhythe 

[Temple edition, 1914, $l/ 8 x 5y 2 > re d leather; title gilt on spine.] 
Personal copy. Photograph of Edith Craig dated 1919, and note by 
Miss Terry: "Wouldn't E. C. be a good lady Macbeth." 

102. Edwin Booth New York, Broadway November 18, 1889 
The Players 

[Booth-Winter edition, 1878, 45/£ x 6i/ 2 > printed on right-hand 
pages only; limp black leather gilt; title gilt on cover.] 
Handsome transcription of Booth's promptbook made by J. R. 
Pitman as a souvenir for Russ Whytal, autographed by Booth. 
Scenic indications, grooves, calls, stage business (some very de- 
tailed), excellent maps, cues for effects. (See nos. 64-65.) 

103. [Booth] 

Boston Athenaeum: $VE.S58.1911 

[Pages of banquet scene pasted in a workbook, 6s/ 4 x 8i/£; with two 

scenes of Modjeska's Ophelia; black leather.] 

Detailed notes of Booth's business during the banquet scene by 

Edward Tuckerman Mason. Good map. 

104. [Booth] 
Folger: Mac, 5 

[Booth-Winter edition, 1878, 4i/£ x 6i^.] 

Crudely developed promptbook. Some stage business, rough maps, 

cues for effects. 

105. [Booth] 
Folger: Mac, 4 

[Booth-Winter edition, 1897, 4i/£ x 61/4; maroon cloth boards; 
title gilt up spine.] 

William Winter's copy of the edition. Engraving of Booth as 
Macbeth, note on the setting, picture of Cushman as Lady Mac- 



MACBETH 259 

beth, note on her reputed remark that Macbeth was the "ancestor 
of all the Bowery ruffians." 

106. George Becks 1890's 
Folger: S.b.19 

[Alden's Ideal edition, 4 14 x 7*4; interleaves, 7% x 97/ 8 ; also 
much manuscript matter; in 4 red cloth board folders contained 
in red cloth board slip-box, 83^ x 10%; title gilt on brown leather 
spine label.] 

Becks's compilation of Macbeth material for his projected but 
unpublished The Actor's Shakespeare, apparently complete. In 
folder 1, plots of scenes, properties, and costumes, notes on music, 
and the promptbook: traditional non-Shakespearean elements 
restored to the text, coventional nineteenth-century scenery and 
effects; stage business derived from Kemble, Siddons, Macready, 
Phelps, Forrest, Warner, C. Kean, Murdoch, Cushman, Glyn, 
Hamblin, Wallack, Lander, Ponisi, E. Booth, Modjeska, Irving, 
Terry, and others. In folder 2, music scores. In folder 3, hundreds 
of pages of transcribed and printed matter concerning the inter- 
pretation of the play and its characters; its stage history. In 
folder 4, engravings of actors and a bundle of notes on the text. 

107. William Harris c.1900 
Harvard Theatre Collection: uncatalogued 

[Partly manuscript and partly printed pages pasted in a work- 
book; black cloth boards and half red leather, 814 x 10^; title 
printed on cover label.] 

Incomplete and unused preparation copy put together by an old 
stager (Harris died in 1916 at the age of 93). The first 3 acts 
(dialogue, directions, maps) are almost entirely in longhand; the 
last 2 acts use more printed pages. Some vivid effects. 

108. Hallam Bosworth c.1900 
New York Public Library: *NCP.52x296 

[American Academy of Dramatic Arts edition, 1901, 534 x S]/ 8 ; 
interleaves, 6i/ 2 x 814; black boards; title gilt up spine.] 
Promptbook made up by transcribing traditional stage arrange- 
ments and business from many sources: from George Becks's 
memorial book of Edwin Forrest, from George Lewis' book, from 
records of Siddons, Cushman, Edwin Booth, Salvini, Ellen Terry, 
etc. 



260 MACBETH 

109. Minnie Maddern Fiske c.1903 
Folger: S.b.137 

[Shakespeare text pasted on stiff sheets, 8% x H^8» not bound 
but tied between brown marbled boards.] 

Preparation book which William Winter undertook for Mrs. Fiske 
but did not complete. Statement of his principles in a long 
Preface. Scenery described for the first 3 acts. Printed articles on 
Phelps's restorations, Locke's music, Mrs. Siddons' farewell per- 
formance. 

110. Anonymous c.1905 
Folger: Mac, 8 

[American Academy of Dramatic Arts edition, 1901, decayed 
sheets mounted on gauze; in box of blue boards, 63/£ x Ss/ 8 .] 
Penciled preparation copy badly disintegrated but carefully re- 
stored. Cuts, grooves, some cues for effects. 

111. Robert B. Mantell New York, Garden November 13, 1905 
Folger: Mac, 24 

[American Academy of Dramatic Arts edition, 534 x 83^; inter- 
leaves; limp red leather.] 

Much used promptbook done in several colors of ink and pencil. 
Cuts and restorations. At the front a plot of scenes. Some stage 
business added to that already printed, cues for effects, fight 
routine. Sketches of Macbeth's headdress. 

112. Tyrone Power Philadelphia October 17, 1907 
Folger: Mac, 34 

[Elizabethan Shakespeare edition, 1903, 63^ x 91/4; publisher's 
red cloth boards; title gilt on spine.] 

Preparation copy dated as above; in 1916 given to William 
Winter. Copiously annotated in margins, on endpapers, and on 
scraps of hotel stationery. Long notes on interpretation of the 
play, some scenic notes with sketches and a watercolor, stage 
business, maps, notes on effects, a fight routine. Contains a 1915 
letter from Power to Winter on the "beastly $c ridiculous" Mid- 
summer Night's Dream of Granville-Barker. 

113. E. H. Sothern and Julia Marlowe 

New Haven November 10, 1910 
Museum of the City of New York: 43.430.654 



MACBETH 261 

[Temple edition pasted in a workbook, 6 x 9y 2 > black leather 
ring binder.] 

Preparation copy for the 1910 production. Marked for stresses. 
Notes on the text and on the play. Much stage business. 

114. [Sothern and Marlowe] 

Museum of the City of New York: 43.430.655 

[Rolfe edition, 1903, 4s/ 8 x 6s/ 8 ; limp green leather gilt; title 

gilt on spine.] 

Preparation copy copiously annotated, much of it verbatim from 

the preceding book. 

115. [Sothern and Marlowe] 
Folger: Mac, Folio 8 

[Shakespeare text pasted on pages of a workbook, 8 x lOi/^I 
black boards.] 

Preparation copy of Frederick Kaufman, general stage manager: 
"The rough copy which I compiled and from which the newer 
copy was made." Cast list, plots of scenery and properties, much 
stage business, maps, cues for effects. 

116. [Sothern and Marlowe] 
Folger: Mac, Folios 3, 4, 5, 6, 7 

[Five books. Typescript, 8i/ 2 x 11; brown paper.] 

Five clean copies (unused carbons) apparently containing all the 

matter in the preceding book. 

117. [Sothern and Marlowe] 
The Players: TS.118A 

[Typescript, 8 x lOi^; the 6 acts separately bound in blue covers.] 
In this typing there is relatively little stage business. 

118. [Sothern and Marlowe] 
The Players: TS.118B, C 

[Two books. Typescript, 8 x 101^; B in manila wrapper, C in 

limp leather.] 

Later version than the preceding book. Very full stage business 

and cues for effects. Copy C lacks ending. Copy B much used as a 

promptbook: penciled maps give names of many of the minor 

actors. 



262 MACBETH 

119. [Sothern and Marlowe] 

New York Public Library: *NCP.276569B 

[Carbon typescript, 8 x 10i/£; the 6 acts separately bound in green 

paper; all in brown manila folder.] 

Much used promptbook. Text is marked for stresses. Stage 

directions underlined in red. Much stage business and many 

notes on scenic arrangements added in pencil and red ink. 

120. [Sothern and Marlowe] 
Folger: Mac, Folio 2 

[Pages 424-480 of a Works pasted in a workbook, 7i/ 2 x §Vi> 
black boards.] 

Promptbook record of the production made by the actor Lark 
Taylor, who played various small roles. Cuts on full text. Record 
of variation of cuts. Detailed notes of scenery and stage business, 
with maps and sketches. Cast list. Anecdotes from the history 
of the production. 

121. [Sothern and Marlowe] 

W. A. Clark Library, Los Angeles 

[Acting edition, 43^ x 7i/£; interleaves; brown cloth boards; title 

gilt on spine.] 

Promptbook record made by Lark Taylor "with all the cuts . . . 

used by them in their first production of the play." Cast as of 

1911. Copious stage business, groundplans, notes on lighting 

and special effects, anecdotes. 

122. Herbert Beerbohm Tree 

London, Her Majesty's September 5, 1911 
Enthoven Collection: Tree, 160 

[Shakespeare text pasted in a workbook, 67/ 8 x 83^; red marbled 
boards and half black leather, much worn and loose.] 
Rehearsal promptbook, roughly penciled, much used, signed by 
Cecil King. Cuts, much stage business, maps, cues for effects. 

123. [Tree] 

Enthoven Collection: Tree, 250 

[Cassell's National Library edition pasted in a workbook, 7x9; 
red marbled boards and blue cloth spine, much worn.] 
Promptbook roughly penciled, much used. Groundplans, stage 
business essential to stage management, maps, cues for effects 
carefully entered and boxed. 



MACBETH 263 

124. [Tree] 

Enthoven Collection: Tree, 160 

[Seven books. Eversley, 1911; Macmillan, 1908; Favourite Classics, 

1904.] 

Rehearsal copies with cuts and random stage business for various 

characters. 

125. [Tree] 

Enthoven Collection: Tree, 160 

[Papers.] 

Actor lists, plots of properties, scenes and lights, 6 groundplans, 

rehearsal notes, etc. 

126. F. R. Benson 1917-18 
Shakespeare Centre Library: 72.919BEN 

[French acting edition pasted in a workbook, 7x9; bound with 
Don Caesar de Bazan in red marbled boards and black cloth 
spine; title inked on cover and spine labels.] 

Promptbook "Probably used 1917-18 on 14 week tour of army 
camps with twice nightly Shakespeare." Cuts and restorations. 
Scenic indications, calls, maps, cues for effects. Stage business usu- 
ally entered only as "Business." 

127. [Benson] 

Shakespeare Centre Library 

[Cassell's National Library edition (mainly) pasted in a workbook, 
8 x 10; blue cloth and half black leather, worn and broken.] 
Promptbook marked by several hands, owned by Dennis Roberts, 
the stage manager, used from early in the century down to at 
least 1923. Program for March 16 pasted in. Scenic indications, 
calls, much stage business, cues for effects, list of properties, tim- 
ings for several towns. This book is on loan to the library from 
Mr. and Mrs. Dennis Roberts of Shottery. 

128. LenaAshwell London 1919-29 
Birmingham, Shakespeare Memorial Library: 370/421202 
[Temple edition pasted in a workbook, 614 x 8; tan marbled 
boards and black cloth spine; title gilt up spine.] 

Promptbook of the Lena Ashwell Players. Careful groundplans, 
some stage business, maps. 

129. James K. Hackett London, Aldwych November 2, 1920 
Folger: Mac, 11, 12 



264 MACBETH 

[Two books. Brandes edition, 1912, 35/ 8 x b%; publisher's green 

cloth boards. Rolfe edition, 1905, 4$/ 8 x 6^; green limp leather 

gilt.] 

The first is a rough preparation copy for the production with 

Mrs. Patrick Campbell. Severe cuts, some stage business, cues for 

effects. The other is a rehearsal copy. 

130. [Hackett] 

Princeton University, Seymour Collection: MAC, 13B 
[Rolfe edition pasted in a workbook, 8 x 13.] 
Preparation copy labeled on the cover "James K. Hackett's orig- 
inal prompt copy" and dated 1914. A typed note at the back de- 
clares that "whatever ideas of value may be contained in these 
notes . . . are my own, absolutely," and this is attested by 2 wit- 
nesses. Some scenic indications and many notes on mood and mo- 
tivation. Later belonged to and probably used by George Tyler 
(seenos. 133-136). 

131. Henry Jewett Boston, Boston Repertory March 7, 1927 
Folger: Mac, Folio 9 

[Typescript, S]/ 2 x H; g ra y cardboard and green cloth spine.] 
Much used promptbook. Explanatory footnotes, stage business, 
maps, cues for effects. News clipping celebrating the 14-year his- 
tory of the Jewett Company and their fourth anniversary in the 
new theatre, photograph of Frances Jewett, Macbeth program 
for 1927 with photograph of Henry Jewett, program for Provi- 
dence. 

[Actor Lists for Following Books Are Given in This Order: Mac- 
beth, Lady Macbeth, Macduff, Banquo.] 

132. Barry Jackson London, Royal Court February 6, 1928 
British Drama League 

[Shakespeare edition pasted in a workbook, 7x9; green cloth 
boards and red cloth spine.] 

Promptbook of Matthew Forsyth, the stage manager for Jackson's 
modern-dress Macbeth, which originated at the Birmingham 
Repertory Theatre. Cast includes Eric Maturin, Mary Merrall, 
Scott Sunderland, Marshall Sheppard. Cuts on full text. Copious 
stage business, maps. Production papers at the back include calls, 
plot of scenes and costumes, etc. Program for the Royal Court. 



MACBETH 265 

133. George C. Tyler New York, Knickerbocker November 19, 1928 
New York Public Library: *NCP.920354A 

[Shakespeare text pasted in a workbook, 614 x 9i/£; old brown 
leather with remains of metal clasp; title inked on spine.] 
Cast includes Lyn Harding, Florence Reed (replacing Margaret 
Anglin), Basil Gill, William Farnum. Designed by Gordon Craig. 
Fully developed promptbook: cuts, copious stage business, maps, 
cues for effects. (See no. 130.) 

134. [Tyler] 

Princeton University, Seymour Collection: MAC, 13 
[Temple edition (with some French's Standard Drama) pasted in 
a workbook, 6^ x 8%; blue-green boards and black cloth spine.] 
Promptbook and preparation copy. "Used for making Tyler's 
prod. 1928-29. See also Hackett's." Considerable cuts, scenic indi- 
cations, much stage business, cues for effects. Signed by E. M. 
Beckley, 25 Wimpole St. 

135. [Tyler] 

Princeton University, Seymour Collection: MAC 
[Booth-Winter edition pasted in a workbook, 734 x 101^; yellow 
cover; title and Tyler's name on cover.] 
Promptbook. Scenic indications, stage business, cues for effects. 

136. [Tyler] 

Princeton University, Seymour Collection: MAC, 13C 
[Shakespeare edition pasted in a workbook, 7 x 12; cloth boards; 
"RECORD" embossed on cover.] 

Promptbook. Much stage business, cues for effects. At the front 
a list of scenes, and printed casts for Drury Lane and Covent 
Garden in 1823, Paris in 1847. 

137. Theodore Komisarjevsky Stratford-upon-Avon April 18, 1933 
Shakespeare Centre Library: 71.21/1933MA(6056,7935) 

[Two books. Temple edition pasted in workbooks, 7x9; purple 
cloth boards and half black leather; title on spine label.] 
Cast includes George Hayes, Fabia Drake, Anew McMaster, 
R. Eric Lee. The first book has cuts on full text, stage business, 
maps, cues for effects, but has mostly been erased; contains pro- 
duction papers. The second is a clean unused copy lacking only 
some of the cues for effects. 



266 MACBETH 

138. Philip Merivale New York, Ethel Barrymore October 7, 1935 
New York Public Library: *NCP.328671B 

[Carbon typescript, %i/ 2 x 11; black cloth boards; title gilt up 
spine.] 

Cast includes Philip Merivale, Gladys Cooper, Kenneth Mac- 
Kenna, Charles Francis. Staged by Henry Herbert. Designed by 
P. Dodd Ackerman and Charles Falls. Copy used in stage arrange- 
ment, copiously marked for effects. Some stage business is in the 
typed text. 

139. [Merivale] 

New York Public Library: *NCP+.899318A 

[Carbon typescript, 814 x IO34; blue cloth boards; title gilt up 

spine.] 

Alexandra Carlisle's copy of the preceding book. A few pencilings. 

140. Orson Welles New York, Lafayette April 14, 1936 
New York Public Library: *NCP + .978746A 
[Mimeograph, 8 x 11; brown cloth boards; title gilt up spine.] 
Complete working script of the WPA Negro version, "Conceived 
* Arranged * Staged by Orson Welles." Cast includes Jack Carter, 
Edna Thomas, Maurice Ellis, Canada Lee. Designed by Nat 
Karson. Blueprint groundplans, 9 photographs of scenes. 

141. B. Iden Payne Stratford-upon-Avon April 11, 1938 
Shakespeare Centre Library: 71.21/1938MA 

[Penguin edition pasted in a workbook, 7x9; purple cloth 
boards and half black leather; title on cover and spine labels.] 
Cast includes James Dale, Phyllis Neilson-Terry, Gyles Isham, 
Guy Belmore. Designed by Osborne Robinson. A clean unused 
copy. Cuts on full text. Stage business, maps, cues for effects. 

142. [Payne] April 14, 1942 
Shakespeare Centre Library: 71.21/1942MA 

[Same format as preceding book.] 

Cast includes George Skillan, Margaretta Scott, Duncan Yarrow, 
George Hayes. Designed by Osborne Robinson. The book, orig- 
inally used for the 1938 production, contains the same stage busi- 
ness, more cues for effects. 

143. Robert Atkins Stratford-upon-Avon April 12, 1944 
Shakespeare Centre Library: 71.21/1944MA 



MACBETH 267 

[Temple edition pasted in a workbook, 7x9; blue cloth boards 
and half red leather; title on cover and spine labels.] 
Cast includes George Hayes, Patricia Jessel, Antony Eustrel, 
Raymond Pollett. Designed by Guy Sheppard. The book had been 
used by Bridges- Adams in 1929-30, was erased and written over. 
Stage business, maps, cues for effects. Small blue callbook. 

144. Anthony Quayle Stratford-upon-Avon April 16, 1949 
Shakespeare Centre Library: O.S.71.21/1949MA 

[Temple edition pasted in a workbook, 8x13; green cloth boards; 
title on cover and spine labels.] 

Cast includes Godfrey Tearle, Diana Wynyard, Leon Quarter- 
maine, Harry Andrews. Designed by Edward Carrick. Cuts on 
full text. Copious stage business, maps, cues for effects. 

145. [Quayle] Australia November 20, 1949 
Shakespeare Centre Library: O.S.71.21/1949MA 
[Mimeograph, 8 x 13, in envelope.] 

A 36-page radio version as performed by the Memorial Theatre 
Company in Australia. 

146. John Gielgud Stratford-upon-Avon J une 10» 1952 
Shakespeare Centre Library: O.S.71.21/1952M 

[New Temple edition pasted in a workbook, 8 x 13; black cloth 
board spring binder; title on spine label.] 

Cast includes Ralph Richardson, Margaret Leighton, Jack Gwil- 
lim, Raymond Westwell. Designed by Michael Northen and Ken- 
neth Rowell. Cuts on full text. Copious stage business, cues for 
effects. 

147. Glen Byam Shaw Stratford-upon-Avon J une 7, 1955 
Shakespeare Centre Library: O.S.71.21/1955M 

[New Temple edition pasted in a workbook, 8 x 13; black cloth 
board spring binder; title gilt on cover, inked on spine label.] 
Cast includes Laurence Olivier, Vivien Leigh, Keith Michell, 
Ralph Michael. Designed by Roger Furse. Very full stage business, 
maps on mimeographed groundplans, cues for effects. Production 
papers include fight routines. 

148. Douglas Seale London, Old Vic December 17, 1958 

Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x 10; blue ring 
binder.] 



268 MACBETH 

Cast includes Michael Hordern, Beatrix Lehmann, John Phillips, 
Jack May. Designed by Desmond Heeley. Cuts, calls, stage busi- 
ness, maps, cues for effects. Production papers. 

149. Jack Landau Stratford, Connecticut J une 18, 1961 
Festival Theatre, Production Department 

[Mimeograph, 8\/ 2 x 11; interleaves; blue cloth board ring binder.] 
Cast includes Pat Hingle, Jessica Tandy, Richard Waring, Donald 
Harron. Designed by Robert O'Hearn and Motley. Copious stage 
business, maps. Production papers include company lists, property 
list, large blueprint of stage. 

150. Other books of Macbeth: 

Brown University: Eng.P.17, Asa Cushman, 1852. 
Connecticut State Library: William Gillette. 
Folger: Mac, 2, Gorman T. Bell; Mac, 6, E. W. Boyle; Mac, 7, 
Sedley Brown, 1877; Mac, 22, James Lewis; Mac, 40, Felix A. Vin- 
cent, 1853-55; Mac, 45, 46, 47, anonymous. 

Historical and Philosophical Society of Ohio: 812.3/R283/112, 
Alvin Read. 

Princeton University, Seymour Collection: MAC, 1, William 
Seymour and Angela Sefton; MAC, 10, T. H. Evans, Boston Mu- 
seum; MAC, 11, P. E. Sullivan; MAC, 25, anonymous. 
Rutgers University: PR.1243.SHA, Barry Sullivan, April 7, 1860. 



Measure for Measure 

1. Anonymous England c.1640 
Biblioteca Universitaria, Padova 

[Pages 61-84 in an unbroken First Folio, 1623, 81/2 x 12%; brown 

leather, newly bound.] 

Promptbook marked in the early seventeenth century. Cuts, calls, 

some cues for effects. (See G. Blakemore Evans, Shakespearean 

Prompt-Books.) 

2. Thomas Betterton London, Lincoln's Inn Fields 1704 
Folger: Measure, 2 

[Gildon version, 1700, 6% x 8; gray cardboard under blue paper.] 
Promptbook of Charles Gildon's operatic version subtitled Beauty 
the Best Advocate, in the hand of John Downes, the prompter. 
Calls with names of actors and cues for music, badly cropped. 

3. Anonymous Covent Garden c.1780 
New York Public Library: *NCP.285347 

[Bell edition, 1773, 41/ x 6s/ 4 ; black cloth boards; title gilt up 

spine.] 

Promptbook lightly marked in a flowing hand. Some restorations, 

list of property manuscripts, scenic indications (including "Dall's 

Hall," "Dall's Town," "Perseus' Town"), calls. 

4. John Philip Kemble London, Drury Lane December 30, 1794 
Folger: T.a.35 

[Manuscript, 7 x 8%; brown leather gilt; title gilt up spine.] 
Kemble's 38-page partbook for Vincentio, in his own hand, 826 
lines. Dated from Drury Lane as above but probably written long 
afterwards. 

5. [Kemble] London, Covent Garden October 30, 1811 
Garrick Club 

[Kemble edition, 1803, 5 x %i/ A ; interleaves watermarked 1807; 
blue cloth boards and brown leather spine; title gilt up spine.] 
Promptbook marked by Kemble. List of supers, properties list, 
grooves, calls, some stage business, maps, timing (2:56). 

6. [Kemble] November 21, 1815 
The Players 

[Kemble edition, Lowndes, n.d., 43^ x 7%; red and green marbled 
boards and brown leather spine.] 



270 MEASURE FOR MEASURE 

Transcription of Kemble's promptbook in two or more hands. On 
the title page marked "Theatre Royal/Drury Lane"; on the page 
of Dramatis Personae marked "Theatre Royal, Covent Garden/ 
By Command of their Majes/Monday Evening, November 21st/ 
1815." Two Kemble casts. Cuts, property list, calls, some stage 
business, some cues for effects. Earlier markings are in a neat 
round hand, later ones in a rough hand. Given to Edwin Booth 
by E. S. Conner. 

7. Anonymous London, Drury Lane c.1824 
University of Nebraska: 822.33/Ulk 

[Kemble edition, 1803, 4^£ x Ti/ % ; interleaves; black cloth boards; 
title gilt down spine, attributed to Covent Garden.] 
Promptbook neatly but lightly marked in same hand as CE, 9. 
Calls, little stage business, some maps, procession list for Act V, 
some timings. No sign of use. 

8. Samuel Phelps London, Sadler's Wells November 4, 1846 
Folger: Measure, 3 

[Cumberland edition, 3^£ x 5%, with pages from some other edi- 
tion; interleaves, 4i4 x 7%; paper, much worn; title and identifi- 
cation inked on cover.] 

Much used promptbook in the rough hand of Williams, the 
prompter. Cuts and many restorations. Grooves, calls, stage busi- 
ness, maps, cues for effects, timing. 

9. [Phelps] 

Shakespeare Centre Library: 50.20(18 — ) 

[Pages 257-394 from volume II of a Works, 4 x 614 ; interleaves; 

blue-green marbled boards and half red leather; title gilt on 

spine.] 

Very neatly marked, unused promptbook owned by William 

Creswick, thought to be a transcription from the Sadler's Wells 

book. Cuts on full text. Scenic indications, grooves, calls, stage 

business, maps, sketches, cues for effects, timing (2:35). 

10. Henry Betty 

Folger: Measure, 1 

[Pages 287-380 from volume III of Knight's Cabinet Edition, 

1843, 3s/ 8 x 5i/2; green publisher's wrappers.] 

Uncompleted, unused promptbook. Cuts and transpositions 

marked on full text. Calls. 



MEASURE FOR MEASURE 271 

11. Thomas Barry Boston, Boston Theatre 1854 
Harvard Theatre Collection: uncatalogued 

[Oxberry edition, 1822, 4i/ 8 x 67/ 8 ; bound with Twelfth Night in 
brown boards and half brown leather; title and "37-38" inked 
on cover labels.] 

Promptbook signed by Charles Melville, the English prompter, 
and "Marked from Covent Garden Book." Brought to Boston 
by Barry in 1854. Grooves, calls, some stage business, maps, cues 
for effects. 

12. George Becks New York 1880's 
New York Public Library: *NCP.342992 

[French issue of Cumberland edition, 4 x 1\/ A , pasted on sheets 
bearing advertisement for Madison Square Theatre, 9 14 x 7%; 
black cloth boards; title gilt on spine.] 

Lightly marked preparation copy for a version in 3 acts. Heavy 
cuts. Some scenic indications, grooves, some stage business, few 
cues for effects. Enclosed sheets of advertising for a farce with 
George Fawcett Rowe at Palmer's Madison Square Theatre. 

13. [Becks] 

New York Public Library: *NCP.342943 

[Cumberland edition, 314 x 5^; interleaves; brown cloth boards; 
title gilt on spine.] 

Full and interesting preparation copy, not used. Provisional cuts 
and directions. Scenic indications, grooves, calls, much stage busi- 
ness, cues for effects. 

14. James Taylor(?) 

New York Public Library: *NCP.276100B 
[Lacy issue of Cumberland edition, 3^4 x 6; interleaves; black 
cloth boards and black leather spine; title gilt on spine.] 
Apparently a transcription, not quite complete, from the preced- 
ing book. 

15. Oscar Asche London, Adelphi March 20, 1906 
Shakespeare Centre Library: 79.920ASC 

[Temple edition pasted in a workbook, 63^ x 9; blue cloth boards 
and red leather spine; title gilt on cover and spine labels.] 
Fair copy of Asche's promptbook. Heavily cut. Some scenic indica- 
tions, little stage business. 



272 MEASURE FOR MEASURE 

16. Ellen Terry London, Adelphi April 28, 1906 
Smallhythe 

[Temple edition, 1906, 37/ 8 x 5y 2 : Oscar Asche's acting version 
and also a full text; limp maroon leather; "Adelphi Theatre" gilt 
on cover.] 

Miss Terry's rehearsal copy for the part of Francisca the nun, 
which she played on the occasion of her Jubilee. 

17. William Poel Manchester, Gaiety April 11, 1908 
Enthoven Collection 

[Shakespeare edition pasted in a workbook, 7x9; red marbled 
boards and red cloth spine.] 

Promptbook of Poel's "Elizabethan" production for Miss Horni- 
man at Manchester and on April 21 at Stratford-upon-Avon. Cuts 
on full text. Calls, some stage business, maps, cues for effects. 

18. [Poel] 

British Drama League 

[Heinemann edition, 1904, pasted in a workbook, 7x9; black 
cloth boards and red cloth spine; title page pasted on cover.] 
Miss A. E. F. Horniman's copy of the Poel promptbook, carefully 
marked, not much used. Cuts on full text. Some stage business, 
maps, cues for effects. 

19. E. H. Sothern and Julia Marlowe 

Museum of the City of New York: 43.430.658 

[Temple edition pasted in a workbook, 5x8; black rubberized 

cloth; printed title as cover label.] 

Preparation copy signed "Julia Marlowe Sothern," not used in 

production. Several notes on the playing of Isabella. 

20. Henry Jewett Boston, Boston Repertory November 16, 1929 
Folger: Measure, Folio 1 

[Typescript, 81/4 x 11; gray cardboard and green cloth spine.] 
Promptbook of Jewett's own adaptation. Descriptions of costumes. 
Much stage business. Timing sheet for 2 weeks of performances. 

21. [Jewett] 

Joint University Libraries, Nashville 

[Temple edition, 1911, 4 x 5]/ 8 ; red leather, loose; title gilt on 
spine.] 



MEASURE FOR MEASURE 273 

Rehearsal copy of Lark Taylor, checked for the Duke. Cuts on 
full text, little stage business. 

[Actor Lists for Following Books Are Given in This Order: Duke, 
Angelo, Isabella.] 

22. W. Bridges- Adams Stratford-upon-Avon April 16, 1931 
Shakespeare Centre Library: 71.21/1931MEA 

[Temple edition pasted in a workbook, 63^ x 8%; blue marbled 
boards and red cloth spine; title on cover label; in brown paper 
wrapper.] 

Cast includes Randle Ayrton, Gyles Isham, Hilda Coxhead. Cos- 
tumes by Eric Maxon. Calls, stage business, maps, some cues for 
effects. 

23. Frank McMullan Stratford-upon-Avon August 24, 1946 
Shakespeare Centre Library: O.S.71.21/1946M 

[New Temple edition pasted in a workbook, 1i/ % x 1234; blue 
cloth boards and red cloth spine; title on cover and spine labels.] 
Cast includes David King-Wood, Robert Harris, Ruth Lodge. 
Designed by Otis Riggs. Cuts on full text, calls, copious stage 
business, maps, cues for effects. 

24. Ronald Giffen Stratford-upon-Avon April 13, 1947 
Shakespeare Centre Library: O.S.71.21/1947MEA 

[Eversley edition pasted in a workbook, 7i/g x 9; blue cloth boards 
and half black leather; title on cover and spine labels.] 
Cast includes Michael Golden, Robert Harris, Beatrix Lehmann. 
Designed by Otis Riggs. The book had been used for the 1940 
production by B. Iden Payne, was erased and reused by Giffen 
for revival of the McMullan production of 1946. Calls, stage busi- 
ness and maps only partially developed, cues for effects. 

25. Peter Brook Stratford-upon-Avon March 9, 1950 
Shakespeare Centre Library: O.S.71.21/1950ME(7437) 

[New Temple edition pasted in a workbook, 8 x 13; red cloth 
boards; title on cover and spine labels.] 

Cast includes Harry Andrews, John Gielgud, Barbara Jefford. 
Designed by Brook, Michael Northen, Keegan Smith. Cuts on full 
text. Calls, copious stage business, maps, cues for effects. 

26. [Brook] April 23, 1950 
Shakespeare Centre Library: O.S.71.21/1950ME 



274 MEASURE FOR MEASURE 

[Mimeograph, 8 x 13; in manila envelope.] 

The 55-page script of the radio version of Brook's production, 

broadcast on Shakespeare's birthday. 

27. Cecil Clarke Stratford, Ontario June 28, 1954 
Festival Theatre, Library 

[Two books. Temple edition pasted in workbooks, iy A x 121/2? 
one in red cloth boards and red cloth spine; one in black cloth 
boards and red cloth spine; title pasted on cover.] 
Cast includes Lloyd Bochner, Donald Davis, Frances Hyland. De- 
signed by Tanya Moiseiwitsch. Calls, much stage business, many 
maps, cues for effects. The second has cues for effects. 

28. Michael Benthall Old Vic, Australian Tour 1955 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 814 x 13; blue ring 
binder.] 

Cast includes Leon Ryan, Robert Helpmann, Katharine Hep- 
burn. Designed by Leslie Hurry. Cuts on full text, much stage 
business, maps, cues for effects. Arrangements for street scene 
enclosed. 

29. [Benthall] 

Old Vic, Publicity Department 

[Same format as preceding book.] 

Perfected copy of the preceding book, with all stage directions 

typewritten, used for the Australian tour. 

30. John Houseman and Jack Landau 

Stratford, Connecticut J un e 27, 1956 

Festival Theatre, Production Department 
[Mimeograph, 8i/£ x 11; black spring binder.] 
Cast includes Arnold Moss, Kent Smith, Nina Foch. Designed by 
Rouben Ter-Arutunian. This copy, which also served at the 
Phoenix in New York in 1957, is signed by Robert Leaf. Stage 
business, maps, cues for effects, cast list. 

31. [Houseman and Landau] 

New York Public Library: *NCP 

[Mimeograph, 7^4 x 10%; red cloth boards; title gilt up spine.] 

Unused copy of the preceding book. 



MEASURE FOR MEASURE 275 

32. [Houseman and Landau] 

University of California, Los Angeles: Houseman Box 13 

[Two books. Mimeograph, 8i/£ x 11; black cloth board spring 
binders.] 

One rough production book with a few working notes. One un- 
marked copy. 

33. Anthony Quayle Stratford-upon-Avon August 14, 1956 
Shakespeare Centre Library: O.S.71.21/1956M 

[New Temple edition pasted in a workbook, 8 x 13; red cloth 
board spring binder; title on spine label.] 

Cast includes Anthony Nicholls, Emlyn Williams, Margaret John- 
ston. Designed by Tanya Moiseiwitsch. Copious stage business, 
many maps on mimeographed groundplans, cues for effects. Many 
production papers. 

34. Margaret Webster London, Old Vic November 19, 1957 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x lOi^; black ring 

binder.] 

Cast includes Anthony Nicholls, John Neville, Barbara Jefford. 

Designed by Barry Kay. Cuts, stage business, many maps, cues 

for effects. Many production papers including groundplans. 

35. Other books of Measure for Measure: 
Brown University: Eng.P.17, Celia Logan. 
Folger: Measure, 4, 5, anonymous. 

Library Company of Philadelphia: Oe2+.11602.D, William 

Warren. 

Shakespeare Centre Library: 39(1833-186?), Charles Flower, with 

cuts from Miss Alleyn's book. 



The Merchant of Venice 

1. Anonymous 1600's 
University of Michigan 

[Pages 163-184 from a Second Folio.] 
Preparation copy. Rough cuts through 2 acts. 

adl. See Addenda, p. 507. 

2. William Ward Doncaster October 25, 1772 
Folger: Y.d.42 

[Manuscript, 5 x 6i/ 2 > g ra y cardboard; title inked on cover.] 
Ward's 10-leaf partbook for Shylock, called 10 lengths, well 
thumbed. Once belonged to William Dowton. 

3. Anonymous London, Covent Garden c.1780 
Folger: Merch, 16 

[Bell edition, 1773, 4i/ 2 x 7i^; red marbled boards and half black 
leather gilt; title gilt on spine.] 

Promptbook handsomely marked in a perfect round hand. Cuts 
and restorations, list of property manuscripts, scenic indications 
(including "Athens," "Ryalto," "French Town," "Roman Hall," 
"Waltham Cross"), grooves, calls, little stage business, cues for 
effects. (Compare AW, 1; AYL, 4; R&J, 4; TEM, 2.) 

4. John Philip Kemble London, Drury Lane January 22, 1784 
Folger: T.a.30 

[Manuscript, 7 x 87/ 8 ; brown leather gilt; title gilt up spine.] 
Kemble's 24-page partbook for Shylock, in his own hand, 431 lines. 
Dated from Drury Lane as above but probably written long after- 
wards. 

5. [Kemble] c.1797 
Harvard Theatre Collection: 13486.38.5 

[Kemble edition, 1797, 5]/ 2 x 8^; red cloth boards.] 
Promptbook lightly marked in Kemble's hand. Cuts, some stage 
business, maps, few cues for effects. 

6. [Kemble] London, Covent Garden c.1810 
Garrick Club 

[Kemble edition, 1810, 5]/ s x 8s/ 8 ; interleaves; blue cloth boards 

and brown leather spine; title gilt up spine.] 

Promptbook lightly marked in Kemble's hand. Some properties, 



THE MERCHANT OF VENICE 277 

some stage business, maps. Some of Portia's lines marked for 
stresses. 

7. [Kemble] 1810-37 
Shakespeare Centre Library: 50.21(1810) 

[Kemble edition, 1810, 5 x 814; interleaves; brown leather; title 
gilt on red leather spine label, spine stamped "TR/CG/PB/M/ 
15."] 

Promptbook originally marked by Kemble: calls, some stage busi- 
ness, map of trial scene, some cues for effects, timings (3:10). 
Later markings, in ink and pencil, show use from 1825 to 1837. 
Lesser roles marked for lengths. Grooves, stage business, cues for 
effects, notes on omission of songs, many timing notes. Actors 
named include Kean, Webster, Wood, C. Kemble, Fawcett, Heath, 
Wilson, the Misses Paton, Romer, Kemble, Faucit. 

8. William B. Wood Philadelphia, Chestnut Street April 10, 1811 
Folger: Merch, 49 

[Longworth edition, 1811, Sy 4 x 6; gray stiff paper; title and 
Wood's name inked on cover.] 

Lightly marked rehearsal copy. Penciled cuts, marks for stresses. 
Inked cast for 1811 with Cooke as Shy lock. 

9. Edmund Kean London, Drury Lane January 26, 1814 
Folger: W.a.71 

[Inchbald edition, 1808, 3^£ x 6i/£; interleaves; bound with Ham- 
let and King Lear in brown leather gilt; "Siddons" gilt on spine.] 
George Joseph Bell's notes describing points in Kean's Shylock. 
Also his description of Mrs. Siddons in her public readings of 
the play. 

10. Laurence Macdonald 1820's 
Folger: T.a.76 

[Manuscript, 5% x 71/2; bound with several non-Shakespearean 
parts.] 

A 6-page partbook for Gratiano, apparently of the early nine- 
teenth century. Macdonald ("scripsit") was perhaps a copyist 
rather than an actor. 

11. Mark Allen 1830's 
Harvard Theatre Collection: 13486.39.20 

[Cumberland edition, Sy 8 x 53^; gray interleaves, 4x6; tan mar- 
bled boards and yellow cloth spine; title inked on cover.] 



278 THE MERCHANT OF VENICE 

Lightly marked but much used promptbook of the early nine- 
teenth century. Calls, cues for effects, some timings. Last act pin- 
holed for omission. 

12. Charles Kean London, Drury Lane April 5, 1838 
Folger: Merch, 22 

[Kemble edition, 1810, 5 x 1?>/ A ; interleaves; marbled boards, very 
worn, and half brown leather; title and Kean's name gilt on 
spine.] 

Promptbook made for Kean in 1838 by James Parsloe, the Drury 
Lane prompter, and used for many years. Penciled cast. Non- 
Shakespearean songs deleted; arrangements provided to end with 
the trial scene. Scenic indications, grooves, calls, stage business, 
maps, cues for effects, timings. On the interleaves, 7 fine drawings 
of the sets, washed with color. Signatures of prompters: John 
George Steele of New Orleans, C. D. Lovett of Memphis, W. E. 
Anderton of Charleston. A reference to Mrs. Kean. (See nos. 17, 
30, 34-41.) 

13. [Kean] 
Folger: W.a.10 

[Notebook of sheets watermarked 1837, 4^ x 7^4 ; brown marbled 
boards and half brown leather gilt; "Theatrical Costumes" inked 
on spine label.] 

Kean's touring wardrobe list for Shylock is the fourteenth of 16 
such lists in this book. 

14. J. H. Ring Boston, Tremont Street 1839 
Folger: Merch, 33 

[Oxberry edition, Boston, 1823, 3i/2 x 55/ 8 ; brown marbled paper 
and black leather spine.] 

Rehearsal copy checked for several characters but especially for 
Old Gobbo. Cuts, little stage business, some cues for effects. 

15. William P. Davidge London 1840's 
Harvard Theatre Collection: (Widener: 13486.39.11) 

[Dolby edition, 1824, Ss/ 8 x 51/9; brown cloth boards; title gilt up 

spine.] 

Studybook checked for Bassanio and Shylock. Some notes on the 

acting. At the front a 31 -line lyric poem. 

16. William Charles Macready 

London, Drury Lane December 27, 1841 

Folger: Merch, 24 



THE MERCHANT OF VENICE 279 

[Pages 3-100 from volume III of a Works, 5 x 75/ 8 ; interleaves 
watermarked 1845, 7i4 x % 5 A> white cardboard, broken; title 
inked on cover.] 

Transcription of the promptbook of Macready's Drury Lane pro- 
duction made by George Ellis. Cuts in ink, notations on inter- 
leaves in pencil. Property lists, grooves, calls, stage business, maps, 
sketches, cues for effects, timings (2:35). 

17. [Macready] 
Folger: Merch, 17 

[Pages 5-100 from volume XII of a Works, 5 x 81/2; interleaves 
watermarked 1844, 7 x 87/ s ; green cloth boards and half brown 
leather, broken; title gilt on maroon spine label, "Mr Charles 
Kean/Prompt Copy" gilt on black leather cover label.] 
Excellent transcription of Macready's Drury Lane promptbook 
made by George Ellis for Charles Kean in November, 1846. Cuts 
on full text. Unused. (See nos. 12-13, 30, 34-41.) 

18. [Macready] 

University of Illinois: x792.9/Shl5mer/no.l 

[Pages 469-563 from volume II of a Works, 5i/£ x 8^; interleaves 

watermarked 1847, l5/ 8 x 91/2', brown marbled boards and half 

green leather, broken; title and Hermann Vezin's name gilt on 

maroon leather cover label.] 

Excellent transcription of Macready's Drury Lane promptbook 

made by George Ellis for Hermann Vezin in the 1850's. Cuts on 

full text. Much used by Vezin, many penciled additions. 

19. [Macready] 
Folger: Merch, 18 

[Watercolors, 7 x 8%; interleaves watermarked 1846; green cloth 
boards and half brown leather; title and "Scenery" gilt on maroon 
spine label.] 

Fine watercolor designs for 9 scenes, probably Charles Marshall's 
originals for the Drury Lane production, with identifying notes 
by George Ellis on facing pages. Sent to Kean with the prompt- 
book in 1846. (See no. 17.) 

20. [Macready] 
Folger: Merch, 19 

[Watercolors on sheets watermarked 1846, 7 14 x 93/£; green cloth 



280 THE MERCHANT OF VENICE 

boards and half brown leather; title and "Costume" gilt on 
maroon spine label.] 

Thirty-four sheets of fine watercolor costume designs sent to 
Charles Kean by George Ellis in 1846, probably drawn and 
painted by Ellis. Two pages of explanatory notes including his- 
torical authorities. A cast list penciled by Kean. (See no. 17.) 

21. [Macready] 
University of Illinois 
[Watercolors, 4i/£ x 85/ 8 .] 

Five plates of watercolor costume designs (6 figures) made for 
Macready by Colonel Charles Hamilton Smith. The costumes of 
Morocco and Arragon, here included, were not used. 

22. John Proctor Philadelphia 1843 
New York Public Library: *NCP.255324B 

[Oxberry edition, Boston, 1823, 3 14 x 5 \/±\ bound with Comedy 

of Errors (see no. 13) in gray marbled boards and half black 

leather.] 

Nicely marked promptbook, with numerous comments on staging 

and arrangement of text. Grooves, calls, little stage business, cues 

for effects. A penciled cast. 

23. Henry Betty c.1845 
Folger: Merch, 4 

[Pages 179-267 from volume II of Knight's Cabinet Edition, 3% x 
5i/g; interleaves; gray boards and green cloth spine; title penciled 
on cover.] 

Thoroughly marked but not much used promptbook. Cuts on full 
text. Scenic indications, grooves, stage business and comments on 
the acting, cues for effects. 

24. John Moore 1845-75 

Folger: Merch, 28 

[Cumberland edition, 33^ x 6; interleaves; purple paper, much 
worn.] 

Promptbook begun in England and used for many years in 
America: references to Helen Faucit, Edward Eddy, Edwin Booth. 
List of distribution of supers, cuts, calls, considerable stage busi- 
ness, maps, cues for effects, timings. (See no. 53.) 

25. John B. Wright Boston c.1850 
New York Public Library: *NCP.343037 



THE MERCHANT OF VENICE 281 

[National Acting Drama Office, London, 1848, 4 14 x 1\/^\ blue 
interleaves; red cloth boards; title gilt up spine.] 

Promptbook. Cuts, little stage business, maps. Costume notes for 
Shylock. Printed Kean cast of 1848. 

26. [Wright] 

New York Public Library: *NCP.342615 

[Roach edition, London, 1804, %\/ 2 x 5s/ 4 ; interleaves; bound with 

Henry IV and All in the Wrong in red cloth boards; "Henry IV" 

gilt on spine.] 

An older promptbook which belonged to Wright. References to 

Cooper (c.1815) and Mr. B. Costume notes for Shylock. Cuts, 

some stage business, a map. 

27. [Wright] 

Folger: Merch, 50 

[Cumberland edition, 3i/ 2 x 5^§; interleaves; green marbled 

boards and brown leather spine.] 

Rehearsal copy. Some cuts, some music cues. Playbills for Kean 

at Drury Lane, December 29, 1823; F. Robson at the Olympic, 

July 18, 1853; McCullough in Dayton, March 13, 1866. 

28. Anonymous Boston, Boston Museum 1850's 
Princeton University, Seymour Collection: MV, 5 

[Modern Standard Drama, 4i/£ x 7y 2 > coarse cloth; title and 
"Boston Museum" inked on cover.] 

Promptbook of a version cut to 4 acts, checked for Jessica and 
Bassanio. References to Mrs. Wallack, Miss Shaw. Cuts, calls, some 
stage business, cues for effects. 

29. James Stark California 1850's 
New York Public Library: *NCP.342973 

[Modern Standard Drama, 4 14 x l\/±\ interleaves; black cloth 
boards; title gilt up spine.] 

Lightly marked promptbook checked for Antonio. Maps, cues for 
effects. Amusing note by Sarah Stark. Reference to Irving's con- 
duct of trial scene perhaps added by George Becks, to whom the 
book later belonged. 

30. Charles Kean London, Princess's November 2, 1850 
New York Public Library: *NCP.342960 

[Mixture of a Shakespeare edition with some leaves of French's 



282 THE MERCHANT OF VENICE 

Standard Drama, 4]/ 8 x 7i/ 8 ; interleaves; black cloth boards; title 
gilt on spine.] 

George Becks's transcription, "Kindness Mr. Schonberg," of 
Kean's promptbook of 1850-51, by T. W. Edmonds. Cuts and 
transpositions on nearly full text; non-Shakespearean songs in- 
troduced. Grooves, calls, some stage business, maps, sketches, cues 
for effects, timings. (See nos. 12-13, 17, 34-41.) 

31. James Anderson America c.1852 
Folger: Merch, 2 

[Pages 345-382 from a double-column Works, 7y 4 x 1 U/ 8 .] 
Promptbook of Anderson, the American stage manager, also 
signed "George W. Muir, Cin. Ohio." At the end of Act I Mo- 
rocco and Arragon are introduced in a manuscript scene on sheets 
watermarked 1852. Cuts, calls, some stage business, cues for effects, 
timings with waits. 

32. May Vandenhoff c.1855 
Harvard Theatre Collection: 13486.39.31 

[Modern Standard Drama, 4]/ 8 x 7i/g; interleaves; marbled boards, 
leather corners, brown cloth spine.] 

Promptbook owned by Mrs. Vandenhoff and also signed before 
1855 in her maiden name, Miss M. E. J. N. Makeah. Calls, little 
stage business, cues for effects. 

33. Edwin Booth New York, Burton's New May 7, 1857 
Folger: Merch, 9 

[Modern Standard Drama, 4i4 x 7%; interleaves; black cloth 
boards; Booth's name gilt on cover.] 

Early Booth promptbook, neatly written by a copyist, with addi- 
tions in Booth's hand. Marked for whole play, but fifth act has 
sometimes been pinned shut. Calls, stage business, maps, sketches, 
cues for effects. (See nos. 46, 48, 70-71, 79-80.) 

34. Charles Kean London, Princess's J une 12, 1858 
Folger: Merch, 23 

[Proof sheets of Kean edition, 1858, 7 x 9i/ 8 ; interleaves, 7]/ 2 x 9; 
white cardboard; title inked on cover.] 

Rehearsal workbook of George Ellis, the stage manager, signed 
"G. E. June, 1858." Copious penciled notes of stage business, 
rough maps, sketches. Large sheet of notes on costumes of minor 
characters. (See nos. 12-13, 17, 30.) 



THE MERCHANT OF VENICE 283 

35. [Kean] 

Folger: Merch, 20 

[Kean edition, 1858, 5x8; interleaves, 6% x 87/g; tan cloth boards 
and half brown leather, broken; "Mr. Charles Kean/Prompt 
Copy" gilt on brown leather cover label.] 

Final or souvenir promptbook made by T. W. Edmonds, the 
prompter. Calls, stage business, maps, cues for effects. Originally 
contained 11 watercolor scene designs, but only the one of Shy- 
lock's house on the canal remains. Much used by Kean on tour in 
the 1860's; soiled and broken. 

36. [Kean] 

Folger: Prints and Engravings, 52 

[Watercolors, 8 x 514, mounted in an album, 10^ x 14i/£; gray 

cloth boards and half green leather gilt; "Charles Kean/Original 

Water Colors" gilt on spine.] 

Fine watercolor scene designs for 3 plays, including 10 for The 

Merchant of Venice. 

37. [Kean] 

Enthoven Collection: Box DT.47 

[Watercolors.] 

Thirteen fine watercolor scene designs and 7 plates of properties 

mounted on large display boards. 

38. [Kean] 

Enthoven Collection: 94G26, plates 1683-1704 

[Scrapbook, 15 14 x 213^; blue cloth boards and blue cloth spine; 

"Kean Theatrical Scenery" gilt up spine.] 

Eight watercolor scene designs; 12 plates of watercolor costume 

designs, 6 figures each; 1 plate of the gondola; 1 plate each of 

Shylock's and Portia's costume. 

39. [Kean] 

Enthoven Collection: 94G27, plates 1803-06 

[Same format as preceding book.] 

Four pages of watercolor costume designs, 24 figures. 

40. [Kean] 

Folger: Kean Costume Book, Prints and Engravings, 182 
[Scrapbook, 143^ x 211^; brown cloth boards and half brown 
leather.] 



284 THE MERCHANT OF VENICE 

Contains 65 plates of watercolor costume designs and 4 plates of 
banners and properties for The Merchant of Venice. 

41. [Kean] 

Folger: Kean Costume Book, Prints and Engravings, 50 
[Scrapbook, 103/ x 14i/£; green cloth boards and half green 
leather gilt.] 

Contains 44 sheets of tracings by Emma Hamilton Smith for cos- 
tumes and properties for The Merchant of Venice. 

42. Barry Sullivan New York, Broadway c.November 25, 1858 
Shakespeare Centre Library: 50.21(1797) 

[Pages 93-180 from volume II of the Robinson Works, 1797, 63/ x 
9^; interleaves; brown marbled boards and half brown leather; 
title gilt on spine label, Sullivan's name and "T.R. Haymarket" 
gilt on black leather cover label.] 

Transcription probably by George Hastings, perhaps from Mac- 
ready's Drury Lane promptbook; part of a set gathered by 
Sullivan when at the Haymarket in 1852. Cuts on full text. Some 
grooves, calls, some stage business, maps including a good one of 
the trial scene, cues for effects. 

43. [Sullivan] 

Shakespeare Centre Library: 50.21(1840) 

[Lacy edition, 4i/ 2 x 7, with passages from another edition pasted 
in; interleaves; tan marbled boards and half black leather; title 
gilt up spine.] 

Promptbook signed by Sullivan as of London, New York, Mel- 
bourne. Arranged to play the whole or to end with the trial scene. 
Scenic indications, some stage business, cues for effects. At the 
back a plot of scenes and grooves. 

44. J. W. Wallack New York, Wallack's December 9, 1858 
New York Public Library: *NCP.342979 

[Kean edition, 1858, 5x8; interleaves, 614 x 8; black cloth 
boards; title gilt on spine.] 

Lightly marked but much used promptbook inscribed "To Jas. 
W m Wallack from his Brother H. J. Wallack." Cast for Wallack's 
Theatre, 1858, with J. W. and Lester Wallack. Grooves, calls, 
some stage business, maps, sketches, cues for effects. 

45. J. B. Roberts c.1860-1900 
Folger: Merch, 35 



THE MERCHANT OF VENICE 285 

[Lacy edition, 4i4 x 7y 8 ; interleaves, 6]/ 2 x 8i/ 8 ; black and white 
boards and red leather spine.] 

Good promptbook of a 6-act version, with copious reference to 
other actors. Many notes on Irving's Shylock, some on Mansfield's, 
and some of the business of Cooke, Kean, the elder Booth. Scenic 
indications, grooves, stage business, many fine maps, cues for 
effects. Two Irving playbills: Lyceum, 1897, and Chestnut Street 
Opera House. (See no. 74.) 

46. Edwin Booth London, Haymarket September 30, 1861 
The Players 

[Pages 7-92 from volume III of a Works, 5]/£ x 8$/ 8 ; interleaves; 
green leather fold-over cover; title and Booth's name gilt on 
cover.] 

Transcription by a professional copyist of an older book, probably 
English, in which the fifth act was to be played; additional 
pencilings. Cuts on full text. Some stage business, maps, cues for 
effects. Nice drawings of Shylock with moneybags, exterior of 
Shylock's house, trial scene. Partial cast for the Haymarket. 
(See nos. 33, 48, 70-71, 79-80.) 

47. James H. Hackett 1862 
Enthoven Collection 

[Manuscript, 6^4 x 8i/£; orange and brown marbled paper.] 
Hackett's partbook for Shylock, dated 1862. Several bits of stage 
business. 

48. Edwin Booth New York, Winter Garden January 28, 1867 
Harvard Theatre Collection: (Widener, 13486.40.11) 
[Booth-Hinton edition, 1867, 5^4 x 9; pictorial publisher's wrap- 
per under gray and red marbled boards and brown cloth spine; 
title inked on cover.] 

The Winter Garden promptbook, with calls and some stage busi- 
ness crudely penciled and cues for effects inked. At the back, 3 
rough maps. (See nos. 33, 46, 70-71, 79-80.) 

49. James E. Kirk wood Rochester, New York 1870's 
University of Illinois: x792.9/Shl5mer/no.3 

[Lacy edition, 4i/£ x 7]/^; interleaves; green marbled boards and 
brown cloth spine.] 

Promptbook of a 4-act version neatly marked in brown and red 
ink. Cuts, stage business, maps, cues for effects. Belonged in 1880 



286 THE MERCHANT OF VENICE 

to Charles B. Welles. Penciled additions of stage business are 
perhaps in the hand of William Farnum. 

50. J. B. Booth, Jr. c.1870 
The Players 

[Modern Standard Drama, 4i/£ x 71/2; publisher's wrappers, torn.] 
Crudely marked promptbook checked for Bassanio. Cuts, few 
scenic indications, calls, cues for effects. 

51. E. L. Davenport c.1870 
Folger: Merch, 27 

[French's Standard Drama, 4y 8 x 7i/g; interleaves; tan paper; title 
written on cover.] 

Promptbook of a version "Condensed in 3 Acts Ending with Trial 
Scene by ELD." He proposes to find "some good tag" to end the 
play. Cuts, scenic indications, grooves, cues for effects. Belonged 
to John Moore. 

52. [Davenport] 

New York Public Library: *NCP. 164543 

[French's Standard Drama, 4 14 x 7i4; green and black marbled 

boards and black cloth spine; in manila folder.] 

E. T. Taylor's copy, "cut as Mr. Davenport Plays it 3 Acts." Cuts, 

cues for effects. 

53. John Moore c.1875 
Folger: Merch, 25 

[Booth-Hinton edition, 1867, pasted in a workbook, 6 x 9i4; tan 
paper, much worn.] 

Promptbook of a version which ends with the trial scene. Scenic 
indications, grooves, calls, considerable stage business, cues for 
effects. Much printed matter pasted in: a Gravesend playbill of 
1839 with Moore as Salarino; an advertisement for Wallack; an 
1868 essay on Shylock; reviews of C. Kean and E. Booth. Probably 
used for Augustin Daly's production at the New Fifth Avenue 
Theatre on January 11, 1875. (See nos. 24, 84-85.) 

54. William Creswick Melbourne December 10, 1877 
Shakespeare Centre Library: 50.21(1840) 

[Lacy edition, 4s/ 8 x 7y 8 ; publisher's wrappers under blue cloth 
boards and half black leather; title gilt up spine.] 



THE MERCHANT OF VENICE 287 

Studybook checked for Shylock. Costume list, a few rough notes 
on stage business and interpretation. 

55. Henry Irving London, Lyceum November 1, 1879 
Folger: Merch, 15 

[Pages 475-563 from volume II of Collier's Works, 1842, 5^ x 
71/4; interleaves; purple cloth boards and half red leather; title 
gilt up spine, Irving's name gilt on cover.] 

Early Irving promptbook, finely prepared by a professional 
copyist, with jottings and sketches by Irving. Cuts on full text. 
Grooves, calls, some stage business, maps, cues for effects. 

56. [Irving] 

Museum of the City of New York: 43.156.15 
[Mixture of French's Standard Drama and other texts pasted in a 
workbook, 7^4 x 10; blue cloth boards and half red leather gilt.] 
Extremely full and careful copy (probably an augmented tran- 
scription) of Irving's promptbook. In 1909 Fuller Mellish told 
Eleanor Robson that it is "exactly as produced by Irving at the 
Lyceum Theatre." Used by Winthrop Ames to prepare his pro- 
duction in 1928. Detailed scenic indications, excellent ground- 
plans, vivid accounts of stage business, sketches, cues for effects. 

57. [Irving] 

Harvard Theatre Collection: uncatalogued 
[Irving edition, 1881, 5 x 8; red leather gilt; title gilt up spine.] 
Studybook for Shylock. Call-list for first scene. Some markings 
for stresses, words of the text jotted in margins, a few notes on 
the acting. 

58. [Irving] 

Folger: Merch, 14 

[Irving edition, 1879, 5y 8 x S]/ 2 ; publisher's wrappers.] 

Spectator's notes on the performances of Irving and Ellen Terry. 

59. [Irving] 

Folger: Merch, 13 

[French edition (Irving version), 5i/2 x 83^; some interleaves; 
green paper with publisher's wrapper pasted on cover.] 
Spectator's notes on the performances of Irving and Ellen Terry 
made by Charles Bamburgh in 1888. Some property lists, some 
stage business, effects. 



288 THE MERCHANT OF VENICE 

60. Ellen Terry London, Lyceum November 1, 1879 
Smallhythe 

[French edition, 4 \/ A x l\/ % ; publisher's wrappers.] 
Rehearsal copy signed "E.T." Cuts and comments on the tradi- 
tional acting version. Random notes on the playing of Antonio 
and Shylock. 

61. [Terry] 
Smallhythe 

[Pages 395-498 from volume II of a Works, Chiswick Press, 4i/£ x 
65/ 8 ; black oilcloth.] 

Studybook, much used. Cuts on full text. List of properties for 
Portia. Notations of time of day of the scenes. 

62. [Terry] 
Smallhythe 

[Pages 355-431 from a Works, 4i/£ x 614 ; white vellum boards; 
title gilt on spine.] 

Souvenir book signed by Miss Terry on the flyleaf. Several photo- 
graphs of Irving and Terry in their own persons; a Christmas 
card with a watercolor of Terry as Portia; many photographs of 
Venetian scenes, details from paintings, etc.; pictures of Irving 
and Terry in character. Cuts and revisions on full text. A few 
notes on the playing of Antonio. 

63. [Terry] 
Smallhythe 

[Clarendon Press edition, 1879, 4i/ 2 x 6i/£; publisher's orange 

paper cover and green cloth spine.] 

Rehearsal copy. Cuts on full text. A few notes on the playing of 

Portia. 

64. [Terry] 
Smallhythe 

[Irving edition, 1880, 5i/£ x 8i/£; interleaves; maroon leather, 
much worn.] 

Rehearsal copy, signed from the Lyceum as of 1879. Many printed 
illustrations of the production by E. Abbey, 1882. Cuts. Many 
notes on the playing of Portia. 

65. [Terry] 
Smallhythe 



THE MERCHANT OF VENICE 289 

[Irving edition, 1880, 5% x 8i/£; white boards; title gilt on 

cover celebrating the hundredth performance on February 14, 

1880.] 

Rehearsal copy signed by Miss Terry. Cuts. Numerous rehearsal 

notes mainly descriptive of the playing of Antonio. Program of 

the hundredth performance. 

66. [Terry] 
Smallhythe 

[Irving edition, 1879, 5i/£ x 814; white boards; title on cover.] 
"Illustrated by Miss E. Webling, the drawings being made at the 
Lyceum Theatre." Along the margins over 30 delicate drawings 
of characters from the Irving-Terry production, dated 1880. Be- 
longed to L. D. Nicholson. 

67. [Terry] 
Smallhythe 

[Temple edition, 1895, 3% x 5; limp maroon leather; title gilt 

up spine.] 

Miss Terry's critical notes on an unidentified production. 

68. [Terry] 

Folger: Merch, 45 

[Clarendon Press edition, 1897, 43/ 8 x 6^; red cardboard cover.] 
Studybook signed by Miss Terry in 1904. The Introduction under- 
scored. A few cuts and jottings of stage business. 

69. William H. Gillette Boston, Globe c.1880 
Connecticut State Library 

[French's Standard Drama, 4s/ 8 x 7i/ 2 > publisher's wrapper.] 
Studybook. Considerable stage business for Shylock for the trial 
scene only. 

70. Edwin Booth c.1880 
The Players 

[Booth-Winter edition, 1878, 4% x 6]/ 2 ; limp black leather gilt; 
title gilt on cover.] 

Fine transcription of Booth's promptbook made by J. R. Pitman 
as a souvenir for Russ Whytal, autographed by Booth. Scenic 
indications with excellent groundplans, calls, stage business, maps, 
cues for effects. A non-Shakespearean song introduced. Ends with 
trial scene. (See nos. 33, 46, 48, 79-80.) 



290 THE MERCHANT OF VENICE 

71. [Booth] 

University of Pennsylvania, Furness Collection: C59.ShlMeP 
[Booth-Winter edition, 1881, 4s/ 8 x 6i/£; interleaves, 5x8; bound 
with Katherine and Petruchio in gray cardboard publisher's 
cover.] 

Transcription from Booth's book made by J. R. Pitman, who used 
it at the Castle Square Theatre, Boston, in 1901-03. Ends with 
trial scene. Calls, stage business, maps, sketches, cues for effects. 
Two Castle Square playbills. (See no. 87.) 

72. James L. Carhart c.1880 
Harvard Theatre Collection: 13486.39.30 

[Modern Standard Drama, 41/g x 7 y 8 ; tan paper under green 
marbled boards and green cloth spine; title inked on cover.] 
Promptbook originally marked in ink by John W. Buck — 
(Buckland?, 1850's); later pencilings by Carhart. Cuts, grooves, 
calls, some stage business, cues for effects. Checked for Duke, 
Salarino, Old Gobbo. 

73. Fred G. Ross c.1880 
Museum of the City of New York: 48.194.113 
[Booth-Winter edition, 1878, 4$/^ x 6s/ 4 ; front wrapper missing.] 
Lightly marked promptbook and studybook, checked for Bassanio. 
Calls, some stage business, cues for effects. 

74. J. B. Roberts 1880 
Folger: Merch, 34 

[Pages 167-252 from a Works, 614 x 9^4 ; black cloth boards and 
maroon leather spine.] 

Copy used for public readings. Heavy cuts. Shylock speeches 
marked for stresses. Essay on Shylock pasted in the front. (See 
no. 45.) 

75. Frederick Warde America 1880's 
University of California, Los Angeles: Special Collections 669, 
Box 1 

[Shakespeare edition, 5 x 71/2; interleaves, 6 x 7]/ 2 '> brown limp 
leather; title gilt on spine.] 

Promptbook used by Warde for many years after it was given 
him by O. W. Blake in 1882. Some stage business, maps and 
sketches, cues for effects. Over 2 dozen pictures and photographs, 



THE MERCHANT OF VENICE 291 

including many from Calvert's production at the Prince's Theatre 
in Manchester in 1870, when Warde played Bassanio. 

76. John Musgrove London, Drury Lane 1881 
Harvard Theatre Collection: (Widener, 13486.39.22) 
[Davidson issue of Cumberland edition, 31/4 x 51/^; lavender inter- 
leaves watermarked "LONDON"; brown cloth boards; title gilt 
up spine.] 

Promptbook. Cuts, maps, cues for effects. List of actors' names 
at the back. A reference to John McCullough, who visited Drury 
Lane in May of 1881, though not with this play. 

77. Frederick Paulding 1882 
Rutgers University: PR.1243.SHA 

[Two books. French's Standard Drama, 4i/£ x 7i/ 2 ; one has 
publisher's wrappers.] 

One rehearsal copy checked for Bassanio. One lightly marked 
promptbook: some stage business, maps, cues for effects. 

78. Louis James New York, Windsor December 10, 1886 

New York Public Library: *NCP 

[French's Standard Drama pasted in a workbook, 61/2 x 814; in 
manila folder.] 

Promptbook of a version in 6 acts, used for many years. Calls, 
copious stage business, maps, cues for effects. A non-Shakespearean 
song introduced. James played Bassanio in Daly's production of 
January, 1875; he first played Shylock in New York as above. 

79. Edwin Booth 1887 
University of Pennsylvania, Furness Collection: C59.ShlMeB 
[Booth-Winter edition, 1878, 4y 4 x 63^; publisher's wrappers; 
in red cloth folder and red leather gilt slip-box; title gilt on 
spine.] 

More than 100 notes on Shylock, endorsed "To Rabbi Furness, 
the Scribe— from his disciple E. T[ubal] Booth— 1887." Most but 
not all of these are printed in the Furness Variorum edition. 
(See nos. 33, 46, 48, 70-71.) 

80. Edwin Booth and Lawrence Barrett 1887-88 
Harvard Theatre Collection: TS.2424.110 

[French's Standard Drama tipped into a workbook, 7i/2 x 91/4; 
tan cloth boards and half red leather; title, Barrett's name, and 



292 THE MERCHANT OF VENICE 

prompter's name inked on cover; in box of tan cloth boards and 
blue leather spine; title gilt up spine.] 

Crude but much used promptbook, "marked by Oliver Doud 
1887." Last act cut and restored as if to be played. Scenic in- 
dications, excellent groundplan of opening scene. Some stage 
business penciled. Cues for effects. 

81. [Barrett] 

Harvard Theatre Collection: uncatalogued 

[Ten music score books, 9i/£ x 6i/; brown cloth boards and green 

cloth spine.] 

Complete scores for the band for 9 plays including The Merchant 

of Venice, endorsed by musicians in many cities. 

82. Charles B. Hanford 1890's 
Folger: Merch, 12 

[French's Standard Drama pasted in a workbook, 71,4 x 9i/£; limp 
green leather; title on cover label.] 

Fully developed promptbook of a version ending with the trial 
scene, probably unused. Scenic indications, grooves, much stage 
business especially for act-end tableaux, cues for effects. Post- 
card of Columbian Exposition, 1893. 

83. George Becks 1890's 
New York Public Library: *NCP.343044 

[Lacy edition, 4 x l\/ 2 \ interleaves; black cloth boards; title gilt 
up spine.] 

Promptbook marked through the whole play, but Dr. Valpy's al- 
teration is suggested for reducing it to 4 acts. Calls, much stage 
business, maps, cues for effects. Illustrations from the Booth- 
Hinton edition and an engraving of Irving and Terry in the trial 
scene. 

84. Augustin Daly New York, Daly's November 19, 1898 
Folger: Prints and Engravings 

[Daly edition, 1898, mounted in pages of albums (2 volumes), 
12 x 167/g; green and gold marbled boards and half brown leather 
gilt; title gilt on spines.] 

Souvenir album in 2 volumes. The first volume contains many 
prints of old actors, many prints and photographs of Venetian 
scenes, a long series of watercolors of past actors of Shylock and 
Portia, reviews of Daly's production, 24 photographs of actors, 



THE MERCHANT OF VENICE 293 

and 18 photographs of scenes from Daly's production. The 
second volume contains many prints of old actors, many 
eighteenth- and nineteenth-century playbills, and 53 watercolor 
costume designs for Daly's production. (See no. 53.) 

85. [Daly] 

New York Public Library: 8*T-*NCP + 

[Daly edition, 1898, mounted in a scrapbook, 12i4 x 16^; brown 

and green marbled boards and half brown leather, broken; title 

gilt on spine.] 

Souvenir album given to Ada Rehan by Augustus Toedteberg in 

1901. Dozens of photographs of characters and scenes of the Daly 

production, playbills, etc. 

86. William Poel London, St. George's Hall November 29, 1898 
Enthoven Collection 

[Shakespeare edition pasted in a workbook, 4i/£ x 7; black imita- 
tion leather boards.] 

Preparation copy only partially marked. Calls and properties given 
for two acts. 

87. J. R. Pitman Boston, Castle Square April 1, 1901 
University of Pennsylvania, Furness Collection: C59.ShlMeP 2 

[French's Standard Drama, 4i/£ x 7]/ 2 '> interleaves, 5i/ 2 x ^ S A> 
tan paper; title and "Property of J. C. Pitman, Prompter" inked 
on cover; in red cloth board folder; title gilt on cover.] 
Promptbook considerably more fully developed than the Pitman 
one listed above as a transcription of Booth's (see no. 71). Ends 
with the trial scene. Casts from Castle Square playbills, 1901 and 
1903, pasted in. Detailed scenic indications, grooves, much stage 
business, fine maps, sketches, cues for effects. 

88. F. R. Benson c.1905 
Shakespeare Centre Library: 72.921 BEN 

[Chiswick edition, 1904(?), pasted in a workbook, 7x9; red 

marbled boards and green cloth spine; title on cover and spine 

labels.] 

Thoroughly marked promptbook. Scenic indications, calls, much 

stage business, maps, cues for effects. Names of actors appear in 

the directions. At the back lists of supers and hand properties. 

Separate list of larger properties folded in a pocket. 



294 THE MERCHANT OF VENICE 

89. E. H. Sothern and Julia Marlowe 

New York, Knickerbocker October 30, 1905 

Museum of the City of New York: 43.430.659 
[Shakespeare edition pasted in a workbook, 5% x 9; black leather.] 
Preparation copy, roughly written. Marked for stresses. Scenic 
indications and list of extras at the front. Much stage business. 

90. [Sothern and Marlowe] 

Museum of the City of New York: 43.430.660 

[Shakespeare edition pasted in a workbook, 5]/ 2 x 8]/ 2 ; brown 

leather.] 

Preparation copy in which stage directions of the preceding book 

have been organized, numbered, and entered on the left-hand 

pages. 

91. [Sothern and Marlowe] 
Folger: Merch, 43 

[Shakespeare edition pasted in a workbook, 8 x lOi/g; black cloth 
board and half red leather ring binder.] 

Perfected promptbook made by Francis Powell, the stage man- 
ager, and Frederick Kaufman, assistant. At the front a 5-page plot 
of properties. Excellent groundplan at head of each scene. 
Copious stage business fully described in numbered notations on 
left-hand pages. Cues for effects (with scenic gondolas). 

92. [Sothern and Marlowe] 
Folger: Merch, 38, 40, 41 

[Three books. Typescripts, 8% x 10%; brown paper wrappers.] 
Copies of a version which includes scenic gondolas, compiled and 
used by Frederick Kaufman, general stage director. Of these, 38 
is an original and 40 a carbon; 41, in a different typing, is soiled 
and was perhaps a working promptbook. 

93. [Sothern and Marlowe] 
Folger: Merch, 36, 37, 39 

[Three books. Typescripts, 8% x 10%; brown paper wrappers, 
except no. 36, which is in gray cardboard.] 

Copies of a version without scenic gondolas, compiled and used 
by Frederick Kaufman, general stage director. Full-page sketch 
or map of each set. Of these, 36 was probably a working prompt- 
book. 



THE MERCHANT OF VENICE 295 

94. [Sothern and Marlowe] 
The Players: TS.114 

[Typescript, S]/ 2 x H; brown paper wrapper.] 

Copy of the version with scenic gondolas, and with notation on 

reducing it when gondolas were not used. 

95. [Sothern and Marlowe] 

New York Public Library: *NCP.276568B 
[Typescript, 814 x 11; red cloth boards; title gilt up spine.] 
Copy of the version with scenic gondolas, and with notation on 
reducing it when gondolas were not used. Soiled from use. Be- 
longed to V. H. Collins. 

96. [Sothern and Marlowe] 

Princeton University, Seymour Collection 
[Carbon typescript, 8i/£ x 11; brown paper.] 

Stage manager's copy of the version with scenic gondolas, much 
used. Belonged to Mr. Tilden. Calls, maps, cues for effects, tim- 
ings. 

97. [Sothern and Marlowe] 

New York Public Library: *NCP+.51x304 
[Typescript, 8 x 103^; blue cloth boards; title gilt up spine.] 
Clean copy of one of the versions, in different typing from the 
preceding book. 

98. [Sothern and Marlowe] 
Folger: T.a.81, 82 

[Notebooks, 65^ x 8]/ 8 ; brown and red marbled boards and black 
cloth spine.] 

"Sothern & Marlowe Elect Dept." Light plots for 5 Shakespearean 
productions, including 8 plots (sketches) for The Merchant of 
Venice: instruments, colors, maps, cues. With it a typed plot 
mounted on cardboard for use at the controls. 

99. [Sothern and Marlowe] 

University of Illinois: x792.9/Shl5mer/no.2 
[Acting edition, 4s/ 4 x 7i/ 8 ; interleaves; brown cloth boards; title 
gilt on spine.] 

Promptbook record of the production made in 1906 by Lark Tay- 
lor, the actor. Gives cast of Daly's production in 1898 when 



296 THE MERCHANT OF VENICE 

Taylor played Leonardo. Cast of Sothern and Marlowe produc- 
tion in 1906 with Taylor in several roles. Cuts, copious stage 
business, maps, notes on effects. 

100. [Sothern and Marlowe] 
Folger: Merch, 42 

[Shakespeare edition pasted in a workbook, 6^£ x 814; red paper 
and black cloth spine; title on cover label.] 

Another promptbook record made by Lark Taylor. Cuts on full 
text. Full account of stage business and effects, and many notes on 
the history of the production. 

101. Winthrop Ames Boston, Castle Square January 15, 1906 
Harvard Theatre Collection: uncatalogued 

[American Academy of Dramatic Arts edition (Irving version), 
5# x 87/ 8 .] 

Preparation copy. Production notes penciled throughout. The 
production was revived on April 1, 1907. (See nos. 117-118.) 

102. [Ames] 

New York Public Library: *NCP + .40736B 
[Carbon typescript, 8 x 127/g; green cloth boards; title gilt on 
spine.] 

Promptbook called "Castle Square Theatre Version," though 
heavily revised in ink and pencil as if for later use (see no. 117). 
At the front a penciled cast and synopsis of scenes. Excellent 
groundplans for all scenes. Copious stage business. Critical and 
interpretive notes from standard authorities. Notes on earlier pro- 
ductions of Irving, Booth, Tree, Novelli, Forbes-Robertson, etc. 

103. Robert B. Man tell Buffalo October 20, 1906 
Folger: Merch, 8 

[Mixture of a Shakespeare edition and a bowdlerized text, 4^ x 
65/ 8 ; interleaves, 5y 4 x 814 ; black cloth boards and half black 
leather; title and Mantell's name gilt on cover.] 
Handsome promptbook prepared by William H. Young in 1906, 
"as played by Edwin Booth." Marked both to end with the trial 
scene and to include the fifth act. Much used by Mantell. Scenic 
indications with excellent groundplans, grooves, stage business, 
maps, fine sketches, cues for effects. 



THE MERCHANT OF VENICE 297 

104. Herbert Beerbohm Tree 

London, His Majesty's April 4, 1908 

Folger: Merch, 44 

[Pages of a Shakespeare edition, 4x6, pasted in a workbook, 
10 i/ s x 81/2; black cloth boards and half black leather.] 
Tree's preparation copy. Copious penciled notes on the acting 
and production. 

105. [Tree] 

Enthoven Collection: Tree, 205 

[Cassell's National Library edition pasted in a workbook, 7x9; 

red marbled boards and red cloth spine.] 

Rehearsal promptbook initialed by Cecil King. Cuts and stage 

business crudely penciled. 

106. [Tree] 

Enthoven Collection: Tree, 205 

[Same format as preceding book but black cloth spine.] 
Rehearsal promptbook initialed "S.B." Stage business and cues 
for effects crudely penciled. 

107. [Tree] 

Enthoven Collection: Tree, 251 

[Cassell's National Library edition pasted in a workbook, 614 x 

83^; red marbled boards and red cloth spine, very worn and 

broken; title typed on cover label.] 

Final, very full promptbook as "produced April 4, 1908 — May 

30th 1908/59 performances," signed by Courtice Pounds and 

Claude Rains. Much used. At the front an itemization of the 90 

roles. Each scene has plots of properties, lights, crowd business, 

music, excellent groundplans. Stage business in great detail. Last 

page missing. Program pasted in. 

108. [Tree] 

Enthoven Collection: Tree, 205 

[Cassell's National Library edition, 1906, 4x6; red publisher's 

boards.] 

Rehearsal copy of Mr. Bellew. Cuts, notes on music, etc. 

109. [Tree] 

Enthoven Collection: Tree, 257 
[Papers.] 



298 THE MERCHANT OF VENICE 

Partbook for Portia. Designs and swatches of materials for all 
footwear. Good watercolor designs for 5 scenes. 

110. [Tree] 

Enthoven Collection: Tree, 204A 
[Papers.] 

Plots of properties, limes, electrics, cast, dressing rooms; 5 ground- 
plans with list of scenic pieces for each. 

111. Oscar Asche Australia and South Africa 1909-13 
Shakespeare Centre Library: 72.921ASC(5407) 

[Temple edition pasted in a workbook, 7x9; black oilcloth 
boards; title on cover and spine labels.] 

Promptbook of the Asche-Brayton tours of Australia in 1909-10 
and Australia-South Africa in 1912-13. Calls, much stage business, 
maps, cues for effects. Good sketches of 3 scenes. Names of actors 
are jotted throughout. Production papers at the back. 

112. [Asche] 

Shakespeare Centre Library: 72.92 1ASC(5408) 
[Cassell's National Library edition pasted in a workbook, 8 x 10i/g; 
red marbled boards and black cloth spine; title on cover label.] 
Another promptbook, much used, of the Asche-Brayton tours. 
Calls, much stage business, cues for effects, timings. Many casual 
sketches of heads, scenery, furniture, etc. At the back production 
papers: lights, properties, trumpet scores. 

113. Hallam Bosworth 

New York Public Library: *NCP 

[American Academy of Dramatic Arts edition (Irving version), 

5 1/2 x 9; interleaves, 7]/ 2 x 9^; blue cloth boards; title gilt up 

spine.] 

Promptbook compiled by transcribing stage business, maps, 
sketches from older books. Plots of properties, lights, etc., from 
various old promptbooks. 

114. Henry Jewett Boston, Boston Opera House February 8, 1915 
Folger: Merch, 21 

[Typescript, 81/2 x 11; gray cardboard and green cloth spine.] 
Promptbook of the Henry Jewett Players used in 1915, 1921, 1929. 
The production resembles that of Sothern and Marlowe. Scenic 
indications, copious stage business, maps, cues for effects, time 
sheet. 



THE MERCHANT OF VENICE 299 

[Actor Lists for Following Books Are Given in This Order: Shy- 
lock, Portia, Antonio.] 

115. David Belasco New York, Lyceum December 21, 1922 
New York Public Library: *NCP.388978B 

[Belasco edition, 1922, 614 x 93^; blue cloth boards; title gilt on 

spine.] 

Cast includes David Warfield, Mary Servoss, Ian MacLaren. This 

is not a marked copy, but an unusually interesting acting edition, 

privately printed, containing an Introduction justifying Belasco's 

principles of production and all major stage business and effects. 

116. Percival Vivian 
Folger: Merch, 47 

[Ben Greet edition, 1912, 4s/ 4 x 7\/ A ; green cloth boards; title gilt 
on cover and spine.] 

Rehearsal copy for Old Gobbo in the Belasco production. Much 
scribbled stage business. Inscribed to Belasco. 

117. Winthrop Ames New York, Broadhurst January 16, 1928 
New York Public Library: *NCP + .40735B 

[Shakespeare edition pasted in a workbook, 8 x IO1/2; black cloth 
boards; title gilt on spine.] 

Cast includes George Arliss, Peggy Wood, Leonard Willey. Synop- 
sis of scenes, groundplans, copious stage business, maps. At the 
back plots of music, properties, lights, rehearsals, and a road sheet. 
(See nos. 101-102.) 

118. [Ames] 

New York Public Library: 8-*NCP.37087B 

[Tudor edition, 1927, $7/ 8 x 53/£; red cloth boards; title gilt on 

spine.] 

Souvenir volume given to Ames by the 1928 company. Nineteen 

photographs of the actors and 6 of the sets. 

119. Maude Adams Cleveland November 3, 1931 
New York Public Library: *NCP + .279441B 

[Typescript, 814 x 11 7/ 8 ; red cloth boards; title gilt up spine.] 
Clean first copy of a 3-act "prose" version as played by Maude 
Adams and Otis Skinner for Erlanger Productions, Inc. 

120. Theodore Komisarjevsky Stratford-upon-Avon July 25, 1932 
Shakespeare Centre Library: 71.21/1933ME 



300 THE MERCHANT OF VENICE 

[Two books. Temple edition pasted in a workbook, 7x9; blue 
cloth boards and half red leather; title on cover and spine labels.] 
Cast includes Randle Ayrton (1932) and George Hayes (1933), 
Fabia Drake, Wilfrid Walter (1932) and Laidman Browne (1933). 
Designed by Mrs. Lesley Blanch. The first book had been used 
for the 1929 production; was erased and reused for the 1932 pro- 
duction, which was revived in 1933. Cuts, sketch of the scenery, 
considerable stage business, maps, cues for effects. The second 
book is an unused copy, less thoroughly marked. 

121. B. Iden Payne Stratford-upon-Avon April 4, 1942 
Shakespeare Centre Library: 71.21/1942 

[Temple edition pasted in a workbook, 7x9; purple cloth boards 
and half black leather; title on cover and spine labels.] 
Cast includes Baliol Holloway, Margaretta Scott, George Skillan. 
Designed by Peggy Neale. The book had been used for produc- 
tions in 1936, 1940, 1941. Rather sparsely marked: cuts, some 
stage business, maps, irregular cues for effects. 

122. Robert Atkins Stratford-upon-Avon April 8, 1944 
Shakespeare Centre Library: 71.21/1944 

[Penguin edition pasted in a workbook, 63^ x 9; green cloth 
boards and blue cloth spine; title on cover and spine labels.] 
Cast includes George Hayes, Helen Cherry, Antony Eustrel. De- 
signed by Guy Sheppard. The book had been used before; was 
erased and rewritten. Cuts, stage business, maps, cues for effects. 

123. Michael Benthall Stratford-upon-Avon July 11, 1947 
Shakespeare Centre Library: O.S.71.21/1947 

[New Temple edition pasted in a workbook, 8 x 1234; blue cloth 
boards; title on cover and spine labels.] 

Cast includes John Ruddock, Beatrix Lehmann, Walter Hudd. 
Designed by Sophie Fedorovitch. Cast and understudy list, much 
stage business, maps, cues for effects. Revived in 1948. 

124. Denis Carey Stratford-upon-Avon March 17, 1953 
Shakespeare Centre Library: O.S.71.21/1953 

[New Temple edition pasted in a workbook, 8 x 13, red cloth 
board spring binder; title on spine label.] 

Cast includes Michael Redgrave, Peggy Ashcroft, Harry Andrews. 
Designed by Hutchinson Scott. Cuts on full text, copious stage 



THE MERCHANT OF VENICE 301 

business, maps (many of them on mimeographed groundplans), 
cues for effects. Production papers. 

125. Michael Benthall 

Sydney (Old Vic, Australian Tour) May 14, 1955 
Old Vic, Publicity Department 

[Temple edition pasted in a workbook, 814 x 13; bound with 
Taming of the Shrew in blue ring binder.] 

Cast includes Robert Helpmann, Katharine Hepburn, David 
Dodimead. Designed by Loudon Sainthill. Cuts, much stage busi- 
ness, cues for effects. 

126. Tyrone Guthrie Stratford, Ontario June 29, 1955 
Festival Theatre, Library 

[Two books. New Stratford Shakespeare pasted in a workbook, 
8 x 123^; black cloth boards and red cloth spine; title pasted on 
cover.] 

Cast includes Frederick Valk, Frances Hyland, Robert Goodier. 
Designed by Tanya Moiseiwitsch. The first book has much stage 
business, maps, cues for effects, cast list. The second, a rougher 
copy, has stage business, maps, cues for effects. 

127. Margaret Webster Stratford-upon-Avon April 17, 1956 
Shakespeare Centre Library: O.S.71.21/1956 

[New Temple edition pasted in a workbook, 8 x 13; red and black 
cloth board spring binder; title on spine label.] 
Cast includes Emlyn Williams, Margaret Johnston, Anthony 
Nicholls. Designed by Alan Tagg. Cuts on full text, copious stage 
business, maps (many on mimeographed groundplans), cues for 
effects. Production papers. 

128. Jack Landau Stratford, Connecticut July 10, 1957 
University of California, Los Angeles: Houseman Box 14 
[Mimeograph, 8x11; blue stiff paper binder.] 

Cast includes Morris Carnovsky, Katharine Hepburn, Richard 
Waring. Designed by Rouben Ter-Arutunian. Unmarked copy 
of the acting version owned by John Houseman. 

129. [Landau] 

University of California, Los Angeles: Houseman Box 9 
[Mimeograph, $i/ 2 x 11; red cloth board ring binder.] 
Final or souvenir promptbook owned by John Houseman. Stage 
business typed along margins. Many production papers. 



302 THE MERCHANT OF VENICE 

130. Michael Langham Stratford-upon-Avon April 12, 1960 
Shakespeare Centre Library: O.S.71.21/1960 

[Cambridge Pocket Shakespeare pasted in a workbook, 8 x 13; 
black cloth board spring binder; title on spine label.] 
Cast includes Peter O'Toole, Dorothy Tutin, Patrick Allen. De- 
signed by Desmond Heeley. Cuts on full text, copious stage busi- 
ness, many maps on mimeographed groundplans, cues for effects. 
Production papers. 

131. Peter Potter London, Old Vic May 30, 1961 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x 10; red ring 

binder; title on cover and spine labels.] 

Cast includes Robert Harris, Barbara Leigh-Hunt, George Baker. 

Designed by Felix Kelly and Rosemary Vercoe. Cuts, calls, stage 

business, maps, cues for effects. Production papers, including 

groundplans. 

132. Other books of The Merchant of Venice: 
British Drama League: Edith Craig. 
Brown University: Eng.P.17a, Asa Cushman. 

Essex Institute, Salem: 822.08/S24/61, Harry George. 

Folger: Merch, 1, 3, 6, 26, 31, 32, anonymous; Merch, 5, Alfred 

Bucklaw; Merch, 7, William Winter; Merch, 10, George Becks; 

Merch, 11, R. H. Fitzgerald; Merch, 29, Marcus Moriarty, 1874; 

Merch, 30, Julia M. Powell; Merch, 46, H. B. Tree; Merch, 48, 

J. W. Wallack; Merch, 51, V. Wyngate; Merch, Folio 1, Adelaide 

Neilson. 

Harvard Theatre Collection: 13486.40.30, anonymous; TS.2424.- 

109, Maude Adams. 

Historical and Philosophical Society of Ohio: 812.3/R283/123, 

Alvin Read. 

Museum of the City of New York: 32.485.253A, Joseph Kirby 

and Boston Museum; 32.485.253c, anonymous. 

Princeton University, Seymour Collection: MV, 1, 4, William 

Seymour; MV, 6, Mueller and Everett. 



The Merry Wives of Windsor 

1. Anonymous 1630's 
Boston Public Library: G.17b.21 

[R. Meighen, London, 1630, 5]/ 8 x 7; red leather gilt; title gilt 
up spine.] 

Calls to "Entter" through the first 4 acts are given in a seven- 
teenth-century hand. These are probably only a reader's markings, 
not of theatrical significance. 

2. Joseph Ashbury Dublin, Smock Alley 1670's 
Folger: MW, Smock Alley 

[Pages 39-60 from a Third Folio, 1663, 7?/^ x 12i/£; red marbled 
boards and half maroon leather gilt; title gilt up spine; pages 
53-56 missing.] 

Promptbook marked comparatively generously. Cuts, scenic indi- 
cations, calls, cues for entrances (horizontal line with vertical 
slashes), cues for music. (See G. Blakemore Evans, Shakespearean 
Prompt-Books.) 

3. [Ashbury] 
Folger: V.b.240 

[Manuscript, 7 1/ 2 x 11^4; red marbled boards and half green 
leather gilt; title gilt up spine.] 

An 8-leaf manuscript of a portion of The Merry Wives done in 
a seventeenth-century hand, being a replacement of the pages 
missing from the preceding book. No theatrical markings. 

4. Anonymous 1700's 
Folger: Second Folio, 41 

[Pages 39-60 in a complete Second Folio, 1632, 8y 2 x l2s/ 4 ; brown 
leather, broken.] 

Promptbook probably of the latter part of the eighteenth century. 
(In this Folio only The Merry Wives has been marked for per- 
formance.) Cut, calls, some cues for act endings. Belonged to 
Chr. E. Merrett. 

5. George Colman London, Haymarket August 24, 1781 
Folger: MW, 3 

[Pages 5-70 from volume III of a Works, A\/ 2 x 8 : interleaves, 
5 x 7y 2 ; once bound in brown leather, but now only spine remain- 
ing; title gilt on spine.] 



304 THE MERRY WIVES OF WINDSOR 

Promptbook endorsed by Colman and dated from the Haymarket; 
also marked "Promptbook/Hitchcock." Most of the markings in 
a clear round hand; additions and timings in Hitchcock's more 
careless, sloping hand. Cuts, scenic indications, calls, some stage 
business, cues for effects, timings. 

6. S. Powell London, Covent Garden(?) February 13, 1797(?) 
Folger: MW, 27 

[Kemble edition, 1797, 5 x 814; blue marbled boards and brown 
leather spine; title and Powell's name printed on cover label.] 
Promptbook endorsed "S.Powell." Sparks Powell died in 1798. 
Snelling Powell of Boston and New York lived into the nineteenth 
century. Another Powell is listed as Page in both Arnold's and 
West's promptbooks of c.1813 (see nos. 10, 11). Cuts, some scenic 
indications, calls, stage business, cues for effects. 

7. George Frederick Cooke London, Covent Garden April 28, 1802 
Folger: MW, 32 

[Manuscript, 63/ 8 x 8.] 

Cooke's 14-leaf partbook for Falstaff, in his own hand. Property 

list. Endorsed on the front from "Boulton Street, (4) Piccadilly/ 

Tuesday./Half past Eleven, at Night,/April the 27th,/1802./ 

Coofke]." 

8. John Philip Kemble London, Covent Garden May 10, 1808 
Folger: MW, 36 

[Kemble edition, 1804, 5i/g x 8i/£; interleaves watermarked 1805 
or 1807; brown leather; title and "C.G./P.B./M/3" stamped on 
spine.] 

Promptbook originally marked by Kemble: calls, some stage busi- 
ness, cues for effects, timings (2:40). Lengths are marked for sev- 
eral short roles. Additional markings by a prompter in 1831. 
Sometime later the prompter George Ellis inserted some groove 
numbers and a note objecting to an interpolated gag. 

9. [Kemble] 

Boston Public Library: G.4013.18 

[Kemble edition, 1797, 5x8; red and blue marbled boards and 

maroon leather spine; title gilt up spine.] 

Rehearsal copy for Mrs. Page, with a few directions marked by 

Kemble. A signature or the name of the assigned actress has been 

cut from the top of the title page. 



THE MERRY WIVES OF WINDSOR 305 

10. S. J. Arnold London, Drury Lane c.1813 
Folger: MW, 1 

[Kemble edition, 1797, 5i/ 8 x Sy 8 ; green marbled boards and 
brown leather spine, broken; title gilt down spine.] 
Rough promptbook or preparation copy with penciled mar- 
ginalia, owned by Arnold, the Drury Lane manager in 1812, but 
perhaps dating from earlier. Penciled cast list. Calls, little stage 
business, cues for effects. 

11. W. H. West London, Drury Lane c.1813 
Folger: MW, 2 

[Kemble edition, 1797, 5 14 x S]/^; gray-green marbled boards and 
brown leather spine, broken; title gilt down spine.] 
Probably a transcription from the Drury Lane promptbook, and 
"Mark'd by W. West." Cuts and additions, calls, some stage busi- 
ness, cues for effects. In a cast list marked "OTRDL," Robin is by 
"Master West" and Shallow and Slender are "Both W. West." 
In a cast list marked "NTRDL, 1813" the name of West does not 
appear. The terms "OP" and "PS" are noted as meaning "RH" 
and "LH." 

12. William B. Wood Philadelphia, Chestnut Street Feb. 20, 1818 
Folger: MW, 29 

[Kemble edition, 1815, 4 x 6^4 ; gray marbled boards and brown 
leather spine.] 

Lightly marked book: cuts, little stage business. Belonged to 
George Becks. 

13. Anonymous London, Drury Lane February 20, 1824 
University of Nebraska: 822.33/U2k 

[Kemble edition, 1804, 43^ x 7%; interleaves watermarked 1819; 
red cloth boards; title gilt down spine and identified perhaps 
wrongly with Covent Garden.] 

Promptbook heavily marked in several hands at several times; 
probably originally used for the dramatic version and finally as 
preparation copy for the Reynolds operatic version. Cast given 
with Madame Vestris. Cuts, alterations, additions, and notes for 
insertion of songs. Projected but canceled final scene of revelry at 
Page's villa. Calls, some stage business, cues for effects. 

14. Mrs. Edward Wright 1830's 
Harvard Theatre Collection: (Widener, 13486.47.6) 



306 THE MERRY WIVES OF WINDSOR 

[Longworth edition, New York, 1817, 3s/ 8 x 63/£; interleaves; green 
cloth boards; title gilt up spine.] 

Promptbook revised to match the Reynolds operatic version of 
1824. Cuts and restorations, notes for insertion of songs, some 
stage business. 

15. Anonymous 1830's 
Harvard Theatre Collection: (Widener, 13486.47.5) 
[Longworth edition, New York, 1817, 3i/2 x 6]/ 8 ; some interleaves; 
tan paper under green cloth boards; title gilt up spine.] 
Promptbook "Corrected and Cut according to Prompt Book 
T.R.D.L." and "From Wilmott's correction T.R.D.L.," roughly 
revised to match the Reynolds operatic version. Cuts and restora- 
tions, notes for insertion of songs, some grooves, some stage busi- 
ness, cues for effects. 

16. James H. Hackett 1832-70 
Enthoven Collection 

[Dolby edition, 3i/£ x 5i/^; interleaves; tan cardboard; title inked 

on cover.] 

Promptbook of a 3-act version, marked for Hackett by S. C. 

Ferrers at the Park Theatre, in September, 1841. Appears to have 

been marked originally for 5 acts, later much cut. Cast for 1838 

is entered. Calls, stage business, sketch, cues for effects. 

[note: Hackett played Falstaff in The Merry Wives, sometimes 

in 5 acts and sometimes in 3, from 1832 to about 1869. His many 

promptbooks are here listed together.] 

17. [Hackett] 
Enthoven Collection 

[Cumberland edition, 3i/ 2 x 53^; interleaves, 3i/ 2 x 65/ 8 ; red cloth 
and leather spine.] 

Promptbook of a 5-act version marked for Hackett by Augustus C. 
Lewis at the Park Theatre in 1843. Casts for the Park in 1843 and 
Boston in 1848. Grooves, calls, stage business slightly fuller than 
in preceding book, cues for effects. 

18. [Hackett] 
Folger: MW, 20 

[Pages 637-685 from an illustrated Works, §\/ 2 x 10; interleaves; 
brown cloth boards and half black leather; title gilt on spine, 
printed on cover label.] 



THE MERRY WIVES OF WINDSOR 307 

Promptbook of a 5-act version marked for Hackett by H. B. Phil- 
lips at the Astor Place Opera House in 1848. Also dated 1861, 
1862. Cuts on full text, grooves, calls, stage business, maps and 
sketches, cues for effects. 

19. [Hackett] 
Enthoven Collection 

[Pages 3-52 from a double-column illustrated edition, 63^ x 10i/£; 
interleaves; tan marbled boards and half black leather; title 
printed on cover label.] 

Promptbook of a 5-act version marked for Hackett by Henry B. 
Phillips at Niblo's in 1849. Also signed by John W. Clifford of 
Buffalo, 1856. Cuts on full text. Markings transcribed from the 
preceding book. 

20. [Hackett] 
Enthoven Collection 

[Spencer's Boston Theatre, 1855, 4 \/± x 7*4; interleaves; brown 
cloth boards and half black leather; title gilt on spine.] 
Promptbook of a 5-act version marked for Hackett by F. G. 
Crocker at Laura Keene's Theatre on May 31, 1858 ("and very 
badly marked too"). Signed by prompters John G. Steele of New 
Orleans, J. Whitaker of Detroit, and T. V. Jones of Cleveland in 
1866 and 1867. Casts entered for Laura Keene's in 1858, the St. 
Charles in 1866, Memphis in 1868. Some scenic indications, maps 
and sketches. Stage business not written out because already 
printed in Spencer's acting edition. 

21. [Hackett] 
Enthoven Collection 

[Davidson issue of Cumberland edition, 3^4 x 5s/ 8 ; interleaves; 

tan marbled boards and half black leather; title printed on cover 

label.] 

Promptbook dated 1868. A scrap of playbill shows E. L. and 

Fanny Davenport as Mr. and Mrs. Ford. In early scenes the stage 

business is generously marked though in a shaky hand; later 

scenes sparsely marked. 

22. [Hackett] 
Folger: MW, 19 

[Davidson issue of Cumberland edition, 3^4 x 5^.] 
Promptbook "To be returned to J H Hackett 1868." 



308 THE MERRY WIVES OF WINDSOR 

23. [Hackett] 
Folger: MW, 18 

[Dunigan issue of Cumberland edition, S]/ 2 x 5^; tan paper 

wrapper.] 

Promptbook of a 3-act version. Cuts, calls, and notes on doubling 

"as reduced to three acts for a small company." 

24. [Hackett] 

Folger: MW, Folio 2 

[Pages 81-120 from Halliwell's Works, 7s/ 8 x lli/£; brown paper 

wrappers.] 

Promptbook of a 3-act version. Cuts on full text. 

25. [Hackett] 

Library of Congress, Batchelder Collection: 410 
[Longworth edition, New York, 1817, 3% x 6; blue interleaves; 
stiff brown paper; title inked on cover.] 

Promptbook "Marked from Hackett" and owned by S. T. Naylor. 
Cuts, scenic indications, grooves, calls, much stage business, maps, 
cues for effects. This transcription is fuller and more orderly than 
most of the Hackett books, but its contents are perhaps not en- 
tirely authentic Hackett. 

26. [Hackett] and Charles Bass 

New York Public Library: *NCP. 342959 

[Spencer's Boston Theatre, 1855, 4 14 x 67/ 8 ; interleaves; brown 

cloth boards; title gilt on spine.] 

Promptbook compilation of mid-century directions made by 

George Becks, taken from the promptbooks of James Hackett and 

Charles Bass (Bass played The Merry Wives in New York on 

June 24, 1850). At the front a list of property manuscripts and a 

detailed description of Falstaff's makeup. Scenic indications, 

grooves, calls, copious stage business, cues for effects, timing (2:40). 

27. Stanley Charles Ferrers New York, National 1837; May 30, 1839 
Folger: MW, 14 

[Two books. Cumberland edition, 3 14 x 51/^; interleaves. Oxberry 
edition, Boston, 1822, 314 x 514. Bound together in gray marbled 
boards and half green leather.] 

The Cumberland copy is a well-developed promptbook of the 
operatic version, made by Ferrers, the prompter, in 1837: cuts, 
scenic indications, grooves, calls, some stage business, maps, cues 



THE MERRY WIVES OF WINDSOR 309 

for effects. The Oxberry non-operatic copy is crudely and lightly 
marked as of May, 1839, probably for John Dwyer's final per- 
formance of Falstaff at the National on May 30. 

28. Mercer Hampson Simpson Birmingham, Theatre Royal 1840's 
Birmingham, Shakespeare Memorial Library: B53/455732 
[Cumberland edition, 33^ x 6; bound with other plays in green 
cloth boards; "Shakespeare's Separate Plays" gilt on spine.] 
Carefully marked promptbook, much used, checked for Ford. 
Calls, some stage business, maps, cues for effects, timings. 

29. Anonymous 

Birmingham, Shakespeare Memorial Library: B54/456354 
[Shakespeare edition, 3]4 x 5i/ 2 '> interleaves, 4 14 x 7; blue paper; 
title inked on cover; bound with other plays in green cloth 
boards; "Shakespeare's Separate Plays" gilt on spine.] 
Promptbook thoroughly marked in a small neat hand. Ground- 
plans, grooves, calls, much stage business, maps, cues for effects. 

30. Elizabeth Vestris London, Covent Garden September 11, 1840 
Folger: MW, 25 

[Shakespeare edition, 6]/ 2 x 10i/£; blue interleaves; heavy tan 
paper; title and "London 1840" in blue ink on cover.] 
Extremely full and interesting promptbook compiled by John 
Moore. The original markings, in blue ink, are a transcription of 
Madame Vestris' book of 1840. Cuts on full text. Addition of songs 
and other non-Shakespearean matter to match the Reynolds op- 
eratic version as Vestris used it. Scenic indications, grooves, much 
stage business, cues for effects. After 1848, in America, Moore 
added, in brown ink and in pencil, further details from Hackett 
and from William Burton's 1853 production. Finally, in 1872 and 
perhaps again in 1886, Moore used the book in helping prepare 
Augustin Daly's productions: further cuts and alterations includ- 
ing the addition of a Falstaff Epilogue; scenic indications, prop- 
erty lists, much stage business, cues for effects. Extra matter fas- 
tened in includes: 10 printed casts from French's Standard Drama, 
clippings of a Covent Garden playbill of 1840, 3 Burton playbills, 
a Hackett playbill of 1869, 2 Daly playbills, 4 reviews from 1850 
to 1869, an obituary of Hackett, comic engravings, a Daly prop- 
erty list, a list of rehearsal absences. (See nos. 41, 44-45, 48-50.) 

31. George Bartley London, Covent Garden September 11, 1840 
The Players: PB.79 



310 THE MERRY WIVES OF WINDSOR 

[French issue of Lacy edition, 4s/ 8 x 7; interleaves; limp green 
leather gilt; title and "Property of W. F. Owen" gilt on cover.] 
W. F. Owen's transcription of a promptbook of Edward Hastings, 
prompter at Brighton, which is a partial record of Madame 
Vestris' 1840 production and in some scenes a detailed record of 
George Bartley's stage business for Falstaff. 

32. [Bartley] 

New York Public Library: *NCP.342938 

[Spencer's Boston Theatre, 1855, 4i/£ x 7^; interleaves; brown 

cloth boards; title gilt on spine.] 

Transcription of the preceding book made by W. F. Owen as a 

gift for George Becks. Explanatory notes by Owen, and a few 

additions of what "E. H. told me," especially about stage business 

of Falstaff. 

33. W. H. Sedley Smith 1848 
Harvard Theatre Collection: uncatalogued 

[Oxberry edition, Boston, 1822, 3f>/g x 6; interleaves; publisher's 
wrappers under tan cardboard; title inked on cover.] 
Lightly marked studybook, checked for Falstaff and Shallow, with 
bits of stage business. Also dated 1853. 

34. Henry Farren St. Louis 1850's 
Harvard Theatre Collection: TS.2424.125 

[Oxberry edition, 1820, 4i/ 8 x 7]/ 2 ; interleaves, 4% x 73/£; marbled 
boards and black leather spine; title inked on cover.] 
Lightly marked promptbook: cuts, some stage business, cues for 
effects. Originally belonged to E. W. Danforth of Boston. 

35. Charles Kean London, Princess's November 22, 1851 
Folger: MW, 21 

[Pages 175-279 from volume I of a Works, 4^£ * 73/g; blue inter- 
leaves, 6s/ 8 x 8; white cardboard; title and "Mr. Geo. Ellis" inked 
on cover.] 

Promptbook or stage manager's workbook of George Ellis. Cuts 
on full text. Stage business, maps entered in ink in a small round 
hand. Many further notes, sketches, and warnings penciled by 
Ellis. 

36. [Kean] 

Folger: MW, 22 



THE MERRY WIVES OF WINDSOR 311 

[Pages 205-309 from volume I of a Works, 5 \/ A x 81/*,; interleaves, 
63^ x %i/ 2 ; tan cloth boards and half brown leather; title gilt up 
spine and "Mr. Charles Kean/Prompt Copy" gilt on blue leather 
cover label.] 

Final or souvenir promptbook made by T. W. Edmonds, the 
prompter, in 1859. Cuts on full text. Grooves, calls, stage business, 
maps and sketches, cues for effects, timings (2:20). 

37. [Kean] 

Enthoven Collection: 94G27, plates 1807-09 

[Scrapbook, 15i^ x 21 s/ 8 ; blue cloth boards and blue cloth spine; 

"Kean Theatrical Scenery" gilt up spine.] 

Three pages of watercolor costume designs (16 figures). 

38. [Kean] 

Folger: MW, 15 

[Lacy edition, 4 x 73/g; gray cardboard.] 

Book marked for scenery, signed by Randle Fitzgerald, "Supt. St. 

Scene." Notations of stock sets to be used, partly in the hand of 

George Ellis. The sets include "Thompson's Chamber," "Bowley 

Hall," "Man of Quality," "Led Astray." 

39. John G. Gilbert Philadelphia, Chestnut Street January 12, 1853 
Boston Public Library: K.47.13 

[Oxberry edition, Boston, 1822, 334 x 5^; bound with 5 other 
plays in marbled boards and maroon leather spine; "Shakespeare" 
gilt on spine.] 

Promptbook checked for Ford and Mrs. Quickly. Cuts, grooves, 
calls, cues for effects. Dated 1838. Philadelphia cast for January 
12, 1853. 

40. [Gilbert] 

Harvard Theatre Collection: uncatalogued 

[Two books. Cumberland edition, 3^ x 5%; bound with William 

Davidge's copy (also Cumberland) in green cloth boards; title gilt 

up spine.] 

Gilbert's copy, checked for Falstaff, is dated London, January, 

1848, and gives Philadelphia cast for 1853. Davidge's copy is dated 

Norwich, May, 1840, when Davidge played Shallow, and contains 

an Augustin Daly bill for 1872, when he played Sir Hugh Evans. 

41. William Burton New York, Burton's March 14, 1853 
[See John Moore's book of Mme. Vestris' production (no. 30).] 



312 THE MERRY WIVES OF WINDSOR 

42. John B. Wright Boston, Boston Theatre c.1854 
New York Public Library: *NCP.342962 

[Cumberland edition, 3^ x 5 7 A'> ST^Y interleaves; blue cloth 
boards; title gilt on spine.] 

Very full promptbook made by John Wright, the stage manager, 
probably to be associated with John Gilbert, who was the Falstaff 
of the Boston Theatre Stock Company in 1854-58. Scenic indica- 
tions, grooves, calls, copious stage business, maps. This book ap- 
pears to be the source of Spencer's Boston Theatre edition of 1855. 

43. [Wright] Boston, Boston Theatre c.1854 
Harvard Theatre Collection: uncatalogued 

[French's Standard Drama, 4s/ 8 x 7y 2 > interleaves, 5x8; pub- 
lisher's wrappers.] 
Lightly marked promptbook: cuts, some stage business, maps. 

44. Augustin Daly New York, Fifth Avenue November 19, 1872 
Folger: MW, 8 

[French edition, 4i/2 x 73/ 8 ; interleaves, 5 x 83^; tan paper; title 
inked on cover.] 

Preparation copy for Daly's production made by John Moore, the 
stage manager. Cuts and transpositions, scenic indications for the 
first act, some detailed stage business. (See no. 30 for fuller record 
of the Daly production, and see nos. 48-50.) 

45. [Daly] 

Folger: MW, 11, 12 

[Manuscripts, c.7i^ x c.614.] 

Partbooks for Shallow, Host, Caius, in the hand of John Moore. 

One large folded sheet of maps and scenery for 4 acts. 

46. George B. Berrell St. Louis 1875 
Princeton University, Seymour Collection: MWW, 5 

[French edition, 1855, 43^ x 7s/ 8 ; interleaves.] 
Promptbook in preparation. Many careful notes on interleaves 
which are inserted, but not bound, in an acting edition. Cuts, 
scenic indications, stage business, maps, cues for effects. 

47. Frederick Paulding 1880's 
Rutgers University: PR.1243.SHA 

[French edition, 4]/ 2 x 7^2-] 



THE MERRY WIVES OF WINDSOR 313 

Carelessly marked promptbook. Cuts, some stage business, maps, 
some cues for effects. 

48. Augustin Daly New York, Daly's January 14, 1886 
Harvard Theatre Collection: uncatalogued 

[Shakespeare edition pasted in a workbook, 714 x 9i4; in box of 
tan cloth boards and green leather spine; title gilt up spine.] 
Partial preparation copy marked by William Winter through only 
2 acts. Cuts, schedule of scenes, lists of properties, some stage 
business. (See nos. 30, 44-45.) 

49. [Daly] 

Folger: MW, 5, 6, 7, 9, 35 

[Daly edition, 1886, 53^ x 9\/ 8 .] 

Rehearsal copies for Mrs. Ford, Nym, Bardolph, Evans, Fenton. 

Some contain notes of stage business. 

50. [Daly] 

Folger: Prints and Engravings 

[Daly edition, 1886, with facsimile of the 1602 Quarto, mounted 

in an album, 11% x 15%; red and green marbled boards and 

half brown leather gilt; title gilt on spine.] 

Souvenir album with many old prints of actors and scenes from 

the play, many old playbills, the Lucy coat of arms colored, the 

Cruikshank cartoons of Falstaff, playbills of Daly's productions, 

30 photographs of Daly's actors in the play. 

51. Herbert Beerbohm Tree London, Haymarket January 2, 1889 
Enthoven Collection: Tree, 17 

[Tree edition, 4 x 614; brown paper.] 

Preparation copy. Cuts and revisions, stage business lightly de- 
veloped in the margins. (See nos. 57-62.) 

52. [Tree] 

Enthoven Collection: Tree, 17 

[Typescript, 8 x 10; brown papers; title typed on cover labels.] 

Rehearsal promptbook of Tree's 5-act version, the acts bound 

separately. Some stage business and cues for effects added in 

pencil. 

53. [Tree] 

Folger: MW, 13 



314 THE MERRY WIVES OF WINDSOR 

[Tree edition, 1889, 4i/£ x 6y 8 ; interleaves; publisher's wrapper.] 
Originally the rehearsal copy for Ford. Name of James Ferndey 
(Fernandez?) and date of January 19 on the cover. Two penciled 
sketches of Ford's costume. Cuts and restoration of traditional gag 
lines. Copious record of stage business, hastily penciled. 

54. [Tree] 

Folger: M W, 30 

[Tree edition, 1889, 4 14 x 6$/ 8 ; publisher's wrappers.] 

Spectator's comments on the Tree production. 

55. William Seymour Saratoga August 2, 1895 
Princeton University, Seymour Collection: MWW, 4 
[Spencer's Boston Theatre, 1855, 4i/ 2 x ^ l A-\ 

Incompletely marked promptbook. Calls, some stage business, a 
map at the foot of nearly every page, some cues for effects. 

56. [Seymour] 

Princeton University, Seymour Collection: MWW, 8, 9 
[Two books. French's Standard Drama, 4i/£ x 7^g.] 
One is the stage manager's book with music cues. The other is 
Mrs. John Drew's rehearsal copy for Dame Quickly. Both are 
dated as of the Saratoga production. 

57. Herbert Beerbohm Tree London, His Majesty's June 10, 1902 
Enthoven Collection 

[Tree edition, 1889, 4 x 63/£; publisher's wrappers.] 

One of Tree's studybooks, checked for Falstaff. Cuts, a few bits of 

stage business probably for 1902. (See nos. 51-54.) 

58. [Tree] 

Enthoven Collection: Tree, 250 

[Tree edition pasted in a workbook, 7x9; tan marbled boards 
and green cloth spine, much worn.] 

Completed and much used promptbook of Tree's 3-act version. 
Cast of 1902. Cuts, copious stage business in red ink with pen- 
ciled additions; maps, sketches, cues for effects. 

59. [Tree] 

Enthoven Collection: Tree, 143 

[Tree edition pasted in a workbook, 6% x 9; red marbled boards 

and black cloth spine, much worn; title on cover label.] 



THE MERRY WIVES OF WINDSOR 315 

Fullest promptbook of Tree's 3-act version. Printed cast of 1889 
pasted in; 1902 cast written in. Cuts, good groundplan for each 
scene, much stage business typewritten and in longhand, cues for 
effects, timings. 

60. [Tree] 

Enthoven Collection: Tree, 143 

[Mixture of a Shakespeare edition and Tree edition pasted in a 
workbook, 7x9; red marbled boards and black spine; title on 
cover label.] 

Cleaned-up copy of the 3-act version, but not as complete as the 
preceding book. 

61. [Tree] 

Enthoven Collection: Tree, 250, 48, 143 

[Papers.] 

Plots of scenes, properties, lights. Printed work-sheets for use on 

tour: scenes, properties, flys, limes, electrics, etc. Program for the 

Festival of 1908. Cast lists, a hundred or more printed copies of 

the fairies' songs. Typescript partbooks for Falstaff and Mrs. Ford. 

62. [Tree] 

Enthoven Collection: Tree, 144 
[Notebook, 4s/ 8 x 7; black leather.] 

Contains inventory of scenery, properties, wardrobe for an Ameri- 
can tour. 

63. Ellen Terry London, His Majesty's May 30, 1908 
Smallhythe 

[Temple edition, 1908, 3% x 5; limp maroon leather; title gilt up 

spine.] 

Gift copy from an admirer used as a rehearsal copy. Cuts, several 

bits of stage business. 

64. [Terry] 
Smallhythe 

[Temple edition, 1919, $7/ 8 x 5; limp maroon leather; title gilt 
up spine.] 

One scene marked for a public reading. At the front a list of se- 
lections for the program of readings. 

65. Winthrop Ames New York, New Theatre November 7, 1910 
Harvard Theatre Collection: uncatalogued 



316 THE MERRY WIVES OF WINDSOR 

[French's Standard Drama, 4i/2 x 7i/£; interleaves; publisher's 
wrappers.] 

Preparation copy, signed also by W. C. Masson. Cuts and restora- 
tions, properties plot, calls, some stage business. 

66. [Ames] 

New York Public Library: •NCP+.42608B 
[Typescript, 8]/ 2 x 13; green cloth boards; title gilt on spine.] 
Clean first copy of "New Theatre Version," arranged in 12 scenes. 
Complete stage business, maps. At the back are plots of properties, 
lights, scenery, etc.; references to Henry IV for illumination of 
characters. Timing (1:46). 

67. Henry Jewett Boston, Boston Opera House January 18, 1915 
Folger: MW, Folio 1 

[Typescript, 8i/£ x 11; gray cardboard and green cloth spine.] 
Much used promptbook of a 4-act version. Stage business typed 
into the text, with penciled additions, maps, cues for effects. 
Printed programs of the 1915 production, an unpublished Preface, 
penciled cast of a later company. 

68. James K. Hackett New York, Criterion March 20, 1916 
Library of Congress, Manuscripts Division: Fiske Box 31 
[Shakespeare edition tipped into a workbook, 9 x 14i/£; heavy 
black cloth boards and black imitation leather spine.] 
Hackett's promptbook, owned by Minnie Maddern Fiske but 
marked "Nothing to do with the Fiske production." Cuts on full 
text; a Falstaff Epilogue. Copious penciled stage business, maps, 
cues for effects, timings. At the back a complete light plot, a 
dressing room list, addresses of the actors. 

69. Lena Ash well London 1919-29 
Birmingham, Shakespeare Memorial Library: 370/421203 
[Favourite Classics edition pasted in a workbook, 614 x 8; black 
oilcloth; title gilt up spine.] 

Promptbook of the Lena Ashwell Players. Scenic indications, 
properties, some stage business, maps, cues for effects. 

70. Minnie Maddern Fiske Philadelphia October 31, 1927 
Library of Congress, Manuscripts Division: Fiske Box 31 
[Shakespeare edition pasted in 5 booklets, Si/ 2 x 11; brown paper 
covers.] 



THE MERRY WIVES OF WINDSOR 317 

Preparation copy. Cuts, alterations, little stage business, synopsis 
of scenes. 

71. [Fiske] 

Library of Congress, Manuscripts Division: Fiske Box 31 
[Carbon typescript, S]/ 2 x 11; green paper cover.] 
Rehearsal copy, not much marked, of the version as "arranged 
and edited for stage representation by Harrison Grey Fiske, 
September 1927." 

72. [Fiske] 

Library of Congress, Manuscripts Division: Fiske Box 31 
[Typescript, S]/ 2 x Hj green paper cover.] 

Perfected and clean copy of the final promptbook, marked in ink 
in a neat hand. Cuts and alterations, interpolated final song, 
scenic indications, copious stage business, light plot. 

73. [Fiske] 

Library of Congress, Manuscripts Division: Fiske Box 31 
[Typescript, 814 x 11; black cloth board binder.] 
Promptbook used in production. Cuts and alterations. List of 
understudies. Much stage business but less complete than in the 
preceding book. Cues for effects. 

74. [Fiske] 

Library of Congress, Manuscripts Division: Fiske Box 32, 33 
[Papers.] 

Many folders of production and business papers. Ink drawings of 
properties. Sketches of Otis Skinner and Harrison Grey Fiske. 
Plots of properties, lights, dressing rooms. Testimonials from 
distinguished Shakespeareans. Publicity releases. Weekly financial 
statements, October 29, 1927, to May 19, 1928. Box office reports, 
contracts, salary lists, inventories of wardrobe and properties, rout- 
ing plans, etc. 

75. George E. Lask 1927 
University of California, Los Angeles: Special Collections 714, 
Box 6 

[Vade Mecum edition, 1900, S7/ 8 x 5^4; publisher's gray boards; 

title in red down spine.] 

Rehearsal copy. Rough cuts, some stage business, some notes on 

scenery. 



318 THE MERRY WIVES OF WINDSOR 

[Actor Lists for Following Books Are Given in This Order: Fal- 
staff, Ford, Mrs. Ford, Mrs. Page.] 

76. W. Bridges- Adams Stratford-upon-Avon July 5, 1928 
Shakespeare Centre Library: O.S.71.21/1928M 

[Temple edition pasted in a workbook, 8 x 10; green cloth board 
spring binder; title on cover and spine labels.] 
Cast includes Roy Byford, Wilfrid Walter, Mary Holder, Dorothy 
Massingham. Cuts on full text, stage business, some cues for effects. 
The book had been used by Bridges-Adams for production at 
Stratford and at the Lyric, Hammersmith, in 1923. 

77. [Bridges- Adams] June 30, 1931 
Shakespeare Centre Library: 71.21/1931ME, 1934MER 

[Two books. Temple edition pasted in a workbook, 7x9; blue 
cloth boards; title on cover label.] 

Cast includes Roy Byford, Randle Ayrton, Dorothy Francis, 
Dorothy Massingham. Costumes by Eric Maxon. Clean copy, in- 
completely marked. The second book (which is in blue cloth 
boards and half red leather) is erroneously marked 1934; ap- 
parently it is another copy of the 1931 book, with much business, 
cues for effects. 

78. Theodore Komisarjevsky Stratford-upon-Avon April 18, 1935 
Shakespeare Centre Library: 71.21/1935MERR, M 

[Two copies. Temple edition pasted in a workbook, 7]/ 8 x 9; 
purple cloth boards and half black leather; title on cover and 
spine labels.] 

Cast includes Roy Byford, Roy Emerton, Gwynne Whitby, Cath- 
erine Lacey. Cuts, calls, map at the front, some stage business. The 
second copy is very similar to the first. 

79. H. K. Ayliff Stratford-upon-Avon April 5, 1937 
Shakespeare Centre Library: 71.21/1937ME 

[Eversley edition pasted in a workbook, 7x9; purple cloth boards 
and half black leather; title on cover and spine labels.] 
Cast includes Baliol Holloway, Donald Wolfit, Joyce Bland, 
Valerie Tudor. Costumes by Barbara Harris. Most of the writing 
has been erased; can be made out with close inspection. 

80. F. Owen Chambers Leamington Spa, Loft May, 1938 
Shakespeare Centre Library: 72.922CHA, 1 and 2 



THE MERRY WIVES OF WINDSOR 319 

[Collins edition pasted in two workbooks, 614 x 8; gray boards 
and red (1), green (2) cloth spines; title on cover and spine labels.] 
Promptbook. Cuts, copious stage business. At the front a ground- 
plan. 

81. Robert Atkins Stratford-upon-Avon April 3, 1945 
Shakespeare Centre Library: 71.21/1945ME 

[Eversley edition pasted in a workbook, 7i/£ x 9; blue cloth boards 
and half black leather; title on cover and spine labels.] 
Cast includes Robert Atkins, Antony Eustrel, Claire Luce, Viola 
Lyel. Designed by Martin Battersby. Stage business, maps, some 
cues for effects. The book had been used by B. Iden Payne in 
1940; was erased and reused. 

82. Romney Brent March 14, 1948 
New York Public Library: *NCP+ 

[Three books. Typescript, 734 x 11; black boards.] 
Three books of a production which toured the United States from 
March 14 to June 3, 1948. One of them, marked no. 7, has a 
special Prologue and some introductory scenes from Henry IV. 
Another is without these additions. The third, marked no. 13 and 
signed by Lionel Ince, was much used on the tour. 

83. Glen Byam Shaw Stratford-upon-Avon July 12, 1955 
Shakespeare Centre Library: O.S.71.21/1955ME 

[New Temple edition pasted in a workbook, 8 x 13; blue cloth 
board spring binder; title on spine label.] 

Cast includes Anthony Quayle, Keith Michell, Joyce Redman, 
Angela Baddeley. Designed by Motley. Very full stage business, 
maps, mimeographed groundplans, cues for effects. Cast lists. 
Television script of Act II. 

84. Douglas Seale London, Old Vic September 27, 1955 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x lOi/^; black ring 
binder.] 

Cast includes Paul Rogers, Richard Wordsworth, Margaret Raw- 
lings, Wendy Hiller. Designed by Paul Shelving. Cuts, calls, stage 
business, maps, cues for effects. Many production papers including 
a callbook. 

85. Michael Langham Stratford, Ontario June 19, 1956 
Festival Theatre, Library 



320 THE MERRY WIVES OF WINDSOR 

[Two books. New Temple edition pasted in workbooks, 8 x 1234; 
black cloth boards and red cloth spine; title pasted on cover.] 
Cast includes Douglas Campbell, William Hutt, Helen Burns, 
Pauline Jameson. Designed by Tanya Moiseiwitsch. The first book 
has copious stage business. The second book has cues for effects, 
cast list, some production papers, and the stage manager's notes 
on the effectiveness of various actors and performances. 

86. John Houseman and Jack Landau 

Stratford, Connecticut July 8, 1959 

Festival Theatre, Production Department 

[Two books. Mimeograph, 81/g x 11; one in blue cloth board ring 
binder, one in black ring binder.] 

Cast includes Larry Gates, Hiram Sherman, Nancy Wickwire, 
Nancy Marchand. Designed by Will Steven Armstrong and 
Motley. The first book has copious stage business, maps. The 
second, signed "Goodman," has random stage business. 

87. [Houseman] 

University of California, Los Angeles: Houseman Box 12 
[Mimeograph, 81/2 x 11; rose interleaves; red cloth boards; title 
gilt on cover.] 

Final or souvenir promptbook prepared for Houseman by the 
Connecticut stage managers. Stage business typed on interleaves. 
Full set of production papers at the back. 

88. John Hale London, Old Vic December 22, 1959 
Old Vic, Publicity Department 

[Temple edition pasted in a workbook, 8 x 10i/£; black ring 
binder with green spine and corners.] 

Cast includes Joss Ackland, Alec McCowen, Maggie Smith, Moyra 
Fraser. Designed by Carl Toms. Cuts, much stage business, cues 
for effects. Production papers. 

89. Other books of The Merry Wives of Windsor: 

Boston Public Library: G.176.21, G.4013.18, anonymous. 

British Drama League: Edith Craig. 

Brown University: Eng.P.17, Asa Cushman. 

Connecticut State Library: William Gillette, 2 books. 

Folger: MW, 4, Thomas Shirley and Geo. W. Clarke, Baltimore, 

1858; MW, 16, D. J. Palmer, P. E. Elliott, W. C. Forbes; MW, 17, 



THE MERRY WIVES OF WINDSOR 321 

Miss Gwynne; MW, 23, N. M. Ludlow; M W, 24, Marcus Moriarty, 
1874; MW, 26, F. W. Percy and George Brown, 1848; MW, 28, 
S. J. Willis; MW, 31, 33, anonymous; MW, 34, marked libretto 
of Nicolai opera. 

Historical and Philosophical Society of Ohio: 812.3/R283/124, 
Alvin Read. 

Missouri Historical Society: John W. Norton. 
New York Public Library: *NCP, Peter Richings. 
Princeton University, Seymour Collection: MWW, 1, anon- 
ymous; MWW, 12, A. D. Bradley; MWW, 19, A. S. H. Murray, 
1874. 



A Midsummer Night's Dream 

1. Joseph Ashbury Dublin, Smock Alley 1670's 
University of Edinburgh 

[Pages 145-162 from a Third Folio, 1663, Si/ 8 x \2\/ A ; blue boards 
and half blue leather; title gilt up spine.] 

Perhaps a preparation copy: lacks calls and entrance signals. 
Cuts and alterations, scenic indications, some bits of stage busi- 
ness, one cue for music. (See G. Blakemore Evans, Shakespearean 
Prompt-Books) 

2. Anonymous London, Hatton Garden c.1672 
University of Edinburgh 

[Pages 145-162 from a First Folio, 1623, 8 x 12l/£; red marbled 
boards and half blue leather; title gilt up spine.] 
Preparation copy. Cuts for 3 acts. (See G. Blakemore Evans, 
Shakespearean Prompt-Books.) 

3. David Garrick and George Colman 

London, Drury Lane November 23, 1763 

Folger: MND, 6 

[Tonson edition, 1734, 4 \/ A x 7i/£; red marbled boards and brown 
leather spine.] 

Garrick's preparation copy, which Colman altered and produced 
during Garrick's trip to the Continent. Developed as a prompt- 
book: scenic indications, calls, stage business, cues for effects. 
Numbers in margins mark insertions of 23 songs. (See G. W. 
Stone, PMLA, LIV, 467-482.) 

4. [Garrick and Colman] 
Folger: A.b.49 

[Manuscripts; red cloth board box, 81/2 x 10^; title gilt on black 
spine label.] 

Manuscripts related to the 1763 production: (1) provisional cast 
list and notice of rehearsal absences initialed by Garrick; (2) par- 
tial cast list; (3) prompter's callbook, being a large sheet, 814 x 13, 
folded into 6 columns, 3i/£ x 814, with 32 calls; (4) and (5) parts 
for Moth and Peaseblossom; (6) list of songs, in Garrick's hand; 
(7) song for a fairy, in the hand of Edward Capell; (8) Colman's 
commentary on Garrick's proposed text. 

5. [Garrick and Colman] 

Henry E. Huntington Library: Larpent, 229 



A MIDSUMMER NIGHT'S DREAM 323 

[Manuscript, 6$/ 8 x8i/; gray paper under blue cardboard; title 

inked on cover.] 

Additions to the play as submitted by Colman for licensing. 

6. [Colman] London, Haymarket July 18, 1777 
Folger: A Fairy Tale (promptbook) 

[Tonson edition of A Fairy Tale, 1763, 5i/£ x 8i/£; interleaves; 
red and yellow marbled boards and half brown leather, broken; 
title gilt on black spine label.] 

Promptbook of the 2-act afterpiece which Colman substituted for 
the Dream at Drury Lane in 1763, and produced at the Hay- 
market in 1777. (This is the Haymarket promptbook.) Cuts, 
scenic indications, properties list, calls, assignment of songs, cues 
for effects. 

7. John Philip Kemble London, Covent Garden January 17, 1816 
Folger: MND, 19 

[Tonson edition of Garrick-Colman version, 1763, 5 x 7%; black 
cloth boards and brown leather spine; title gilt up spine.] 
Preparation copy of Frederic Reynolds' operatic version, based 
upon the Garrick-Colman version. Provisional cast. Copious 
notes for revising the text and on staging arrangements. 

8. [Kemble] 
Folger: MND, 18 

[Kemble edition, 1816, 5y 8 x 814 ; interleaves; brown leather; 
title gilt on spine, spine stamped "TR/CG/PB/M/24."] 
Promptbook of the operatic version marked by Kemble. Cuts, 
scenic indications, calls, some stage business, cues for effects. 

9. Edmund Kean(?) London, Drury Lane c.1824 
Folger: MND, 8 

[Kemble edition, 1816, 514 x 8$/ 8 ; interleaves watermarked 1824; 
reddish boards and half brown leather; title stamped up spine.] 
Promptbook which sometime belonged to Charles Kean and 
according to a notation of questionable authority had belonged 
to his father. The original markings of cuts, calls, stage business, 
cues for effects are in the hand (steady, light hand with divided 
letters) of a prompter who marked numerous books in the early 
1820's. Additional markings in ink and pencil and the manuscript 
last page appear to be in the hand of Charles Kean. (See nos. 
15-17.) 



324 A MIDSUMMER NIGHT'S DREAM 

10. William E. Burton New York, Burton's February 3, 1854 
Folger: MND, 21 

[Shakespeare edition, 6% x lOS/gj blue interleaves; heavy brown 
paper; title and John Moore's signature on cover.] 
Promptbook record of Burton's production done in brown ink 
by John Moore, the stage manager, who played Egeus. Occasional 
notes on Madame Vestris' Covent Garden production of Novem- 
ber 16, 1840; cast for Covent Garden. At the front full plots of 
scenes, grooves, properties, costumes. Cuts on full text, calls, much 
detailed stage business, maps, cues for effects. Pasted in are 
Burton's 24-page pamphlet on his production, 2 Burton playbills 
and some advertisements, 9 reviews of the productions by Burton 
and Thomas Barry (which were simultaneous). There are also 
many penciled notes referring to Augustin Daly's production, 
either that of August 19, 1873, at the Grand Opera House, or 
that of January 31, 1888, at Daly's. Moore would have used this 
book to help prepare the Daly productions. (See nos. 14, 23-25.) 
[note: All Burton, Barry, Wright, Moore, and Becks books of 
the Dream need comparative analysis.] 

11. [Burton] 

Folger: MND, 15 

[French's American Drama, no. 1, 4^ x 7i4; publisher's wrappers 

under tan paper.] 

Contains John Moore's manuscript partbook for Egeus, 8 x 614, 

by "Jas. E. Bell copyist." 

12. Thomas Barry New York, Broadway February 6, 1854 
New York Public Library: *NCP.343412 

[Pages 5-73 from volume II of a Works, 65/£ x 10; double inter- 
leaves, 7 \/ 2 x 10; tan paper under red cloth boards; title gilt on 
spine.] 

Very full promptbook of the Barry production by John B. Wright, 
the stage manager. Cuts on full text, very detailed scenic indica- 
tions, grooves, much stage business, processions, maps, sketches, 
cues for effects. 

13. [Barry] and William E. Burton 
Folger: MND, 20 

[French's American Drama, CVI, 4s/ 8 x 7; interleaves; black and 
white cloth boards and black leather spine; title gilt up spine.] 



A MIDSUMMER NIGHT'S DREAM 325 

Composite promptbook made by George Becks based on an acting 
edition apparently derived from the Barry production. In brown 
ink Becks has entered much data from John Wright's (Barry) 
book, which belonged to him; in black ink he has entered details 
from the following (John Moore?) book, which also belonged to 
him. At the front plots of scenes, grooves, properties, processions. 
Calls, much stage business, maps, sketches, cues for effects. 

14. [Barry and Burton] 

New York Public Library: *NCP. 164552 

[French's American Drama, CVI, 4]/ 2 x 7^; interleaves, 5x8; 

green and black boards and black cloth spine; title inked on 

spine.] 

Unidentified promptbook compilation of stage business and scenic 

indications and effects which seems to derive from both the Barry 

and Burton productions. Very full and interesting; at many 

points provisional and advisory in tone. It is perhaps John Moore's 

preparation book for the Daly production of 1873. (See nos. 10, 

23-25.) 

15. Charles Kean London, Princess's October 15, 1856 
Folger: MND, 9 

[Proof pages of Kean edition, 1856, 5 14 x 814; gray interleaves, 
714 x 9; gray cardboard; title and "G.E./R.P.T.-Oct r -1856" inked 
on cover.] 

Workbook of George Ellis, the stage manager. Cuts on provisional 
acting version. Copious penciled notations of stage business and 
the working of machinery. Dance routine at end of third act. 
Timing (2:40). On large enclosed sheets, lists of properties and 
supers. Three small sheets of rehearsal notes. (See no. 9.) 

16. [Kean] 

Folger: Kean Costume Book, Prints and Engravings, 181 
[Scrapbook, 14i/g x 165/g; green cloth boards and half green 
leather gilt.] 

Contains a group of small plates of watercolor costume designs 
(nearly 50 figures) for the Dream. 

17. [Kean] 

Enthoven Collection: Box DT.43 

[Watercolors mounted on large display boards.] 

Fine watercolor designs of 10 scenes, and 5 plates of properties. 



326 A MIDSUMMER NIGHT'S DREAM 

18. Laura Keene New York, Laura Keene's April 18, 1859 
New York Public Library: NCOFp.v.l94.385194B 

[French's American Drama, CVI, 4 14 x 7 14; gray interleaves, 5]/ 2 x 
7i4; bound with 4 other books in brown paper under black cloth 
boards; title gilt on spine.] 

Roughly marked promptbook or stage manager's workbook. Cuts 
and restorations, calls, maps, cues for effects. Many warnings for 
the working of machines. 

19. Samuel Phelps London, Sadler's Wells October 19, 1861 
Folger: MND, 13 

[Pages 307-387 from volume II of a Works, 5i/ 8 x 8%; blue inter- 
leaves watermarked 1858, 5i/ 2 x 9\4'> green marbled boards and 
black leather spine; title gilt up spine.] 

A beautifully written promptbook apparently made for Phelps's 
1861 revival (he had produced the Dream in 1853, 1855, 1856). 
Cuts on full text, scenic indications, grooves, calls, copious stage 
business, maps, sketches, cues for effects, timings. Occasional 
notice to "Go back to old book." Belonged to Harry Plowman. 

20. [Phelps] Manchester, Prince's c.1870 
Folger: MND, 14 

[Mixture of Calvert edition, Manchester, 1865, 4^4 x 714, and a 
Shakespeare edition mounted between the leaves of a workbook, 
7 1/2 x 9; black cloth boards and half black leather; title and 
"Prince's Theatre, Manchester" inked on cover label.] 
Rough promptbook probably made for one of Phelps's engage- 
ments with Charles Calvert at Manchester. Some scenic indica- 
tions, calls, stage business, maps, cues for effects. One note to 
"Go to Mr. Phelps Book." Belonged to Harry Plowman. 

21. William Seymour 1880's 
Princeton University, Seymour Collection: MND, 2 
[French's American Drama, CVI, 4i/ 8 x 7 14 ; interleaves, 5 14 x 8; 
paper wrappers.] 

Promptbook. Cuts, some stage business, maps, many cues for music 
and lights. 

22. [Seymour] 

Princeton University, Seymour Collection: MND, 3 
[Laura Keene edition, 1859, 4 14 x 7*4; interleaves of hotel sta- 
tionery dated 188- 4 \/ A x 814; paper wrappers.] 



A MIDSUMMER NIGHT'S DREAM 327 

Crudely penciled promptbook mainly concerned with music and 
lights. 

23. Augustin Daly New York, Daly's January 31, 1888 
Folger: MND, 5 

[Daly edition, 1888, 7x11; gray paper under gray cardboard.] 
Promptbook based on Daly's edition in which most of the stage 
directions are printed. Some cuts, calls, additional stage business, 
maps, cues for effects. Several photographs of the production 
pasted in. Cue sheet for "Calcium Light in front of house." (See 
nos. 10, 14.) 

24. [Daly] 

Folger: MND, 4 

[Manuscript, 734 x 6i/£.] 

Partbooks, in the hand of John Moore, the stage manager, for 

Cobweb, First Fairy, Moth, Mustard Seed. 

25. [Daly] 

New York Public Library: 8-*NCP.686464 
[Daly edition, 1888, 6i/ 2 x 103^, expanded into an album; leather 
gilt; title gilt on cover and spine.] 

Ada Rehan's souvenir album, given her by Daly in 1888. About 30 
old engravings and contemporary cartoons, and about 75 photo- 
graphs of scenes and characters in the production, some printed 
on satin. 

26. George Becks 

New York Public Library: *NCP.342976 

[Lacy edition, 4i/£ x 7; interleaves; green cloth boards; title gilt 

up spine.] 

Not a complete promptbook, lacking calls and regular cues; 

perhaps notes made by Becks as a spectator at some production. 

(The date on the book — 1861 — is probably not the date of the 

notes.) Some scenic indications, some grooves, interesting but 

random stage business, maps, sketches, some cues for effects. 

27. F. R. Benson London, Globe December 19, 1889 
Shakespeare Centre Library: 72.923BEN 

[Memorial Theatre edition pasted in a workbook, 4]/ 2 x 7^; black 

cloth boards; title on cover and spine label.] 

"Working Stage Book for Music, Gas, Limes, Supers and Chil- 



328 A MIDSUMMER NIGHT'S DREAM 

dren's Entrances," signed and dated (1897) by F. R. Ayrton. (The 
date given above is that of Benson's important first London pro- 
duction.) Names of actors, crowd movements and responses, cues 
for effects, timings (3:10). 

28. Herbert Beerbohm Tree 

London, Her Majesty's January 10, 1900 
Enthoven Collection: Tree, 144 

[Temple edition pasted in a workbook, 8 x 12i/2; tan marbled 
boards and black cloth spine, much worn.] 
Rehearsal promptbook. Cuts, much stage business roughly entered 
in pencil and red ink. 

29. [Tree] 

Enthoven Collection: Tree, 144 

[Temple edition pasted in a workbook, 7x9; blue marbled 

boards and red leather spine, much worn.] 

Rehearsal promptbook done in red ink with penciled additions. 

Cuts blocked out in red wash. Copious stage business, maps, cues 

for effects. Good groundplan for last scene. 

30. [Tree] 

Enthoven Collection: Tree, 144 

[Temple edition pasted in a workbook, 7 x 9$/ 4 ; white vellum 

boards, very soiled; title on cover label.] 

Final promptbook, carefully written in red ink with penciled 

additions. Cuts, good groundplans, essential stage business, cues 

for effects. Printed cast and scene lists pasted in. 

31. [Tree] 

Folger: MND, 7 

[Clarendon Press edition, 1888, 4 14 x 6i/ 2 ; interleaves; red cloth 
boards; title and "F. Grove" gilt on green spine label.] 
Souvenir promptbook of Tree's production made by Fred Grove. 
Cuts, scenic indications, very detailed stage business, some maps. 

32. [Tree] 

Enthoven Collection: Tree, 144 

[Two books. Eversley edition, 1908, i]/ 2 x 63^; Favourite Classics 

edition, 1904, 3% x 6.] 

Rehearsal copies, with cuts and some stage business. 



A MIDSUMMER NIGHT'S DREAM 329 

33. [Tree] 

Enthoven Collection: Tree, 144 

[Papers.] 

Property list, cast list, distribution charts, etc. 

34. [Tree] 

Enthoven Collection: Tree, 144 

[Notebook, 45/£ x 7; black leather.] 

Inventory of scenery, properties, wardrobe for an American tour. 

35. Harley Granville-Barker London, Savoy February 6, 1914 
University of Michigan, Shakespeare Collection 

[Favourite Classics edition, 1912, tipped between sheets of a work- 
book, 97/ 8 x 1134; red cloth boards; title gilt up spine.] 
Very full prompt or production book. Copious stage business, 
excellent maps and groundplans, cues for effects. At the front, 
program, plots of lights, arcs, properties, and 8 large photographs 
of the sets. At the back, a 32-page book of Cecil Sharp's songs and 
incidental music for the production. (This book or any part of 
it cannot be copied without the written permission of Mr. C. B. 
Purdom, 39 Woodland Rise, Welwyn Garden City, Hertfordshire, 
England.) 

36. Henry Jewett Boston, Boston Opera House March 1, 1915 
Folger: MND, 12 

[Typescript, Si/ 2 x 11; gray cardboard and green cloth spine.] 
Much used promptbook. Cast, scenic indications, much stage 
business, cues for effects. Many songs added. Photograph of Green 
Room of the theatre. Program, which lists about 180 productions 
by Jewett's company from 1915 to 1926. 

37. F. Owen Chambers c.1920 
Shakespeare Centre Library: 72.923CHA 

[Favourite Classics edition pasted in a workbook, 7x9; black 

cloth boards and black leather spine; title on cover and spine 

labels.] 

Promptbook probably for an amateur performance. Groundplans, 

much stage business, cues for effects. Photograph of a woods scene 

as model for set. Production papers: cast, costumes, wigs, scenes, 

properties, dances, lights. 



330 a midsummer night's dream 

[Actor Lists for Following Books Are Given in This Order: 
Bottom, Puck, Hermia, Helena.] 

38. W. Bridges-Adams Stratford-upon-Avon April 28, 1932 
Shakespeare Centre Library: 71.21/1932 

[Temple edition pasted in a workbook, 7x9; blue cloth boards 
and half black leather; title on cover and spine labels.] 
Cast includes Roy Byford, Geoffrey Wilkinson, Hilda Coxhead, 
Fabia Drake. Designed by Norman Wilkinson. Stage business, 
maps, cues for effects. 

39. [Bridges-Adams] 1934 
Shakespeare Centre Library: 71.21/1934MI 

[Temple edition pasted in a workbook, 6% x 87/ 8 ; blue cloth 
boards and half red leather; title on cover label.] 
Cast includes Roy Byford, John Denis, Gwynne Whitby, Dorothy 
Black. Designed by Norman Wilkinson. Stage business, maps, 
some cues for effects. The book had been used in 1928, 1930, 1932, 
and for an American tour in 1928-29. 

40. Robert Atkins London, Regent's Park July 21, 1936 
Shakespeare Centre Library: 72.923ATK 

[Shakespeare edition pasted in a workbook, 67/£ x 87^; tan boards 
and green cloth spine, much worn; title on spine label.] 
Cast includes Baliol Holloway, Leslie French, Margaretta Scott, 
Rosalyn Boulter. Stage business, maps, cues for effects, 5 pages of 
timings. Plots of properties, lights, cast, etc. The book was used 
also in following seasons in the Open Air Theatre and at East- 
bourne. 

41. [Atkins] Stratford-upon-Avon May 9, 1944 
Shakespeare Centre Library: 71.21/1944MI 

[Penguin edition pasted in a workbook, 7x9; purple cloth boards 
and half black leather; title on cover and spine labels.] 
Cast includes Cliff Weir, Mary Honer, Anna Burden, Viola Lyel. 
Designed by Guy Sheppard. Stage business, maps, some cues for 
effects. The book had been used in 1938; was erased and reused. 

42. Michael Benthall Stratford-upon-Avon April 23, 1949 
Shakespeare Centre Library: O.S.71.21/1949MI 
[Shakespeare edition pasted in a workbook, 7^4 x ^ 3 A'> re d cloth 
boards; title on cover and spine labels.] 



A MIDSUMMER NIGHT'S DREAM 331 

Cast includes John Slater, Philip Guard, Penelope Munday, 
Diana Wynyard. Directed by Anthony Quayle. Designed by James 
Bailey. Copious stage business, maps, cues for effects. 

43. George Devine Stratford-upon-Avon March 23, 1954 
Shakespeare Centre Library: O.S.71.21/1954M 

[New Temple edition pasted in a workbook, 8 x 13; red cloth 
board spring binder; title on spine label.] 

Cast includes Anthony Quayle, David O'Brien, Zena Walker, 
Barbara Jefford. Designed by Motley. Copious stage business, cues 
for effects. At the back 19 maps on mimeographed groundplans. 

44. Jack Landau Stratford, Connecticut J une 20, 1958 
Festival Theatre, Production Department 

[Two books. Mimeograph, 8i/ 2 x 11; one in cream cloth board ring 
binder, one in black board ring binder.] 

Cast includes Hiram Sherman, Richard Easton, Barbara Barrie, 
Inga Swenson. Designed by David Hays and Thea Neu. The first 
book has copious stage business typed on facing pages, cues for 
effects typed on text pages; production papers include 19 pages 
of ad libs and business for walk-ons, hanging section, plots for 
flys, traps and machines, properties, wigs and beards. The second 
book has cues for effects and timings. 

45. [Landau] 

University of California, Los Angeles: Houseman Box 11 
[Mimeograph, 81/2 x 11; white cloth board ring binder.] 
Final or souvenir promptbook which belonged to John House- 
man. Stage business typed along margins. Production papers at 
the back. 

46. Peter Hall Stratford-upon-Avon June 2, 1959 
Shakespeare Centre Library: O.S.71.21/1959M 

[New Temple edition pasted in a workbook, 8 x 13; in 2 green 
cloth board spring binders.] 

Cast includes Charles Laughton, Ian Holm, Priscilla Morgan, 
Vanessa Redgrave. Designed by Lila de Nobili. Copious stage 
business typed on interleaved sheets, many maps on mimeo- 
graphed groundplans, cues for effects. 

47. Douglas Campbell Stratford, Ontario June 28, 1960 
Festival Theatre, Library 



332 A MIDSUMMER NIGHT'S DREAM 

[Two books. Penguin edition pasted in workbooks, 7^4 x l% l A'> 
blue cloth boards bordered in red; title pasted on cover.] 
Cast includes Tony van Bridge, Jake Dengel, Helen Burns, Kate 
Reid. Designed by Brian Jackson. The first book has copious 
stage business, cues for effects. The second has calls. 

48. Michael Langham London, Old Vic December 20, 1960 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x 10; green ring 

binder.] 

Cast includes Douglas Campbell, Tom Courtenay, Judi Dench, 

Barbara Leigh-Hunt. Designed by Carl Toms. Cuts, much stage 

business, maps, cues for effects. Many production papers: cast, 

singers, flys, properties, etc. 

49. Other books of A Midsummer Night's Dream: 

Folger: MND, 1, 2, George Becks; MND, 3, William Winter 

and Augustin Daly; MND, 10, 11, Emilie Melville; MND, 16, 

James Taylor; MND, 17, anonymous. 

Historical and Philosophical Society of Ohio: 812.3/R283/125, 

Alvin Read. 

Princeton University, Seymour Collection: MND, 13, A. S. H. 

Murray, 1875. 



Much Ado About Nothing 

1. Anonymous 1600's 
Victoria and Albert: Dyce 8980 

[Wise and Aspley Quarto, 1600.] 

Preparation copy probably of the seventeenth century. Dramatis 
Personae, cuts, and speeches checked for retention. (See G. Blake- 
more Evans, Shakespearean Prompt-Books.) 

2. John Philip Kemble London, Drury Lane April 30, 1788 
Folger: T.a.34 

[Manuscript, 7 x Sy 8 ; brown leather gilt; title gilt up spine.] 
Kemble's 23-page partbook for Benedick, in his own hand, 577 
lines. Dated from Drury Lane as above, but probably written 
much later. (See nos. 5-7.) 

3. William Warren and William Wood 

Philadelphia, Chestnut Street March 16, 1804 
Harvard Theatre Collection: (Widener, 13486.69) 
[Bell edition, 1773, 4i/£ x 6%; interleaves; brown cloth boards; 
title gilt on spine.] 

Promptbook of eighteenth-century English origin, more generously 
marked than most Warren and Wood books. Cuts, scenic indica- 
tions, grooves, calls, some stage business, maps, cues for effects. 
Penciled additions, including the names of some actors, are 
Philadelphian. (See no. 9.) 

4. Anonymous London, Drury Lane c.1805 
Harvard Theatre Collection: uncatalogued 

[Kemble edition, 1797, 5 x 8i/£; gray paper.] 

Promptbook "Marked as at Drury Lane." Hasty copy with 

minimal stage business. (See OTH, 5.) 

5. Maria Foote London, Covent Garden c.1815 
Folger: Mu Ad, 3 

[Kemble edition, 1810, 5 x 8]/^; orange leather and half red 
leather; title gilt on blue leather cover label.] 
Partbook for Beatrice, marked by John Philip Kemble. Cuts, calls, 
stage business and maps for Beatrice. Additional dialogue for 
Beatrice-Benedick at end of the church scene. A note by an owner 
in 1870 identifies "these plays" as the acting copies of Miss Foote. 

6. Charles Kemble London, Covent Garden c.1820 
Garrick Club 



334 MUCH ADO ABOUT NOTHING 

[Kemble edition, 1810, 5 x S\/ 2 ', interleaves; blue cloth boards and 
brown leather spine; title gilt up spine.] 

Transcription of John Philip Kemble's promptbook in a clear 
flowing hand, probably made for Charles Kemble in the early 
1820's. Considerable stage business, maps. Additional dialogue for 
Beatrice and Benedick at end of the church scene. (See no. 20.) 

7. [Kemble] 

Harvard Theatre Collection: uncatalogued 

[Kemble edition, 1810, 47/ 8 x 8; interleaves; red marbled boards 

and half red leather; title gilt on spine.] 

Transcription of the preceding book made by Walter Lacy at the 

Garrick Club in 1859. Cuts, stage business, maps. Some additions 

to stage business by Lacy. Several notes about Lacy, personal and 

professional, entered by himself. (See no. 32.) 

8. J. W. Wallack 1823-59 
Folger: Mu Ad, 24 

[Oxberry edition, 1823, 4 x 6i/£; interleaves; green cloth boards; 
title gilt up spine, Wallack's name gilt on cover.] 
Promptbook carefully marked in ink with penciled additions, 
checked for Don Pedro. Cuts and restorations, grooves, calls, stage 
business, cues for effects. Wallack's farewell to the stage was as 
Benedick at Wallack's Theatre in New York on May 14, 1859. 

9. William B. Wood Baltimore February 11, 1829 
Folger: Mu Ad, 27 

[Inchbald edition, 4i/g x 65/ 8 ; interleaves; limp brown leather; 
title and Wood's name inked on cover.] 

Promptbook with cast for above date. Cuts and restorations, 
calls, some stage business, cues for effects. Kemble's additional 
dialogue for Beatrice-Benedick at end of the church scene. (See 
no. 3.) 

10. Charles Kean 1830's 

Folger: Mu Ad, 12 

[Kemble edition, 1810, 47/ 8 x 8i/ 8 ; interleaves; gray cloth boards 
and half black leather; title and Kean's name gilt on spine.] 
Early Kean promptbook used for many years. Marked originally 
in a light neat hand transcribing the essentials of the Kemble 
book: grooves, calls, stage business, maps, cues for effects, addi- 
tional dialogue for Beatrice and Benedick at end of the church 



MUCH ADO ABOUT NOTHING 335 

scene. Additional markings in darker ink, rougher style (probably 
Kean's hand): cuts and restorations, further stage business, etc. 
One note signed by J. B. Addis, the American prompter, and 
many other prompters' jottings. A note about stone benches in 
the hand of George Ellis (1858). Timings range from 2:25 to 2:35. 
(See nos. 18, 26-31.) 

11. [Kean] 
Folger: W.a.10 

[Notebook of sheets watermarked 1837, 4^£ x 7 3 A'> brown marbled 
boards and half brown leather gilt; "Theatrical Costume" inked 
on cover label.] 

Kean's touring wardrobe list for Benedick is the fifth of 16 such 
lists in this book. 

12. Frederick Vining London, Haymarket J une 23, 1832 
Harvard Theatre Collection: (Widener, 13486.69.4) 

[Kemble edition, 1815, 4i4 x 7i/g» interleaves; gray boards and 
green cloth spine; title inked on cover.] 

Rehearsal copy dated from the Haymarket, May, 1833. Few scenic 
indications and properties, considerable stage business for Bene- 
dick personal to Vining, few cues for effects. Additional dialogue 
for Beatrice and Benedick at end of the church scene. 

13. James E. Murdoch New York, Park June 4, 1838 
University of Pennsylvania: AC85.M9415.820p.54a 

[French's Standard Drama, 4y 2 x 71,4; interleaves, 4i/ 8 x 734; 
purple and yellow marbled boards and brown leather spine; title 
on cover label.] 

Thorough promptbook. Scenic indications, grooves, calls, some 
stage business, maps, dance routine, cues for effects. Additional 
dialogue for Beatrice and Benedick at end of the church scene 
and in the final scene. 

14. [Murdoch] 

University of Pennsylvania: AC85.M9415.820p. 54 
[Kean edition, 1859, 414 x 65/ s ; gray pamphlet boards.] 
Rehearsal copy of Murdoch's later 3-act version checked for Don 
John. Cuts, a few scenic notes. 

15. William Charles Macready 

London, Drury Lane February 24, 1843 

British Theatre Museum: G 49 1963 



336 MUCH ADO ABOUT NOTHING 

[Pages 275-366 from volume II of a Works, 5\/ 8 x 8; interleaves, 
614 x 8; tattered brown paper.] 

Promptbook marked in several hands including the round ink 
hand of a copyist and pencilings by John Willmott and George 
Ellis. Cuts on full text, some grooves, some stage business, several 
rough sketches and maps, cues for effects, timings (2:35). Belonged 
to George Wightwick, later to Henry Irving. 

16. [Macready] 

Harvard Theatre Collection: uncatalogued 
[Pages 217-312 from volume XII of a Works, bi/ 2 x 81/; inter- 
leaves; gray cardboard; title and "GE — TRDL — 1845" inked on 
cover; in box of tan cloth boards and black leather spine; title 
gilt up spine.] 

Transcription of Macready's promptbook done in pencil by 
George Ellis in 1845. Cuts on full text. Additional dialogue for 
Beatrice and Benedick at end of the church scene. Scenic indica- 
tions, calls, stage business, fine maps, cues for effects, timings 
(2:35). Contains Ellis' 1843 callbook: 12 pages, 3x8, gray paper 
in tan cover. 

17. [Macready] 

Victoria and Albert, Forster Library, 7918: F.48.C.16 

[Pages 8-208 (last pages missing) of a Shakespeare edition, 4i/£ x 

7 1/4; bound with other Macready promptbooks in green cloth 

boards and half tan leather; titles gilt on spine.] 

Macready's study copy, probably older than the preceding book. 

Marked for stresses. Numerous marginal notes of stage business, 

in English, Latin, Greek. 

18. [Macready] 
Folger: Mu Ad, 13 

[Pages 205-301 from volume II of a Steevens Works, 5^ x 8i/£; 
interleaves, 7\/g x 9i/g; reddish brown marbled boards and half 
green leather gilt; title gilt on red leather spine label, "Prompt 
Copy/Mr. Charles Kean" gilt on black leather cover label.] 
Excellent transcription of Macready's book made by George Ellis 
for Charles Kean in 1850. Cuts on full text. Scenic indications, 
grooves, calls, stage business, maps, sketches, cues for effects, 
timings (2:25). Pencilings indicate use by Kean. Contains 2 copies 
of a poem to "My dearest Jane" on paper watermarked 1862, in 
Kean's hand. (See nos. 10-11, 26-31.) 



MUCH ADO ABOUT NOTHING 337 

19. [Macready] 

University of Illinois: x792.9/Shl5mu/no.l 

[Pages 205-301 from volume II of a Steevens Works, 5y 8 x 8^£; 

gray interleaves, 7^ x 834; blue marbled boards and half green 

leather, broken; title gilt up spine, "Hermann Vezin" gilt on red 

cover label.] 

Excellent transcription of Macready's book "as acted at the 

TRDL" made by George Ellis for Hermann Vezin. Cuts on full 

text. Scenic indications, grooves, calls, stage business, maps and 

sketches, cues for effects, timings (2:35). 

20. [Macready] and Charles Kemble 

New York Public Library: *NCP.342944 

[Cumberland edition, 3i/^ x 51/g; interleaves, 3^ x 6; black cloth 

boards; title gilt up spine.] 

Promptbook compilation made by George Becks: "N.B. From 

Promptbook under Mr. Macready's Direction, T.R.D.L. 1842. 

Where the bus. of C. Kemble differed from Mr. M — a note is 

made of same." Restorations of text, scenic indications, grooves, 

calls, stage business, maps and sketches, cues for effects, timings 

(2.35). (See nos. 6, 38.) 

21. John Moore New York, Burton's 1846-70 
Folger: Mu Ad, 17 

[Cumberland edition, 3i/£ x 6; interleaves, 47/ 8 x 8; tan paper; 
title inked on cover.] 

Promptbook first marked by Moore in England in 1846, and used 
in America (mainly at Burton's) for many years. Checked for 
Verges, which Moore often played. At the front a dance routine. 
Grooves, calls, stage business, maps, cues for effects, timings. Ref- 
erences to particular business of Helena Faucit, Mrs. Nisbett, 
Mrs. Kean, Mrs. Barrow. Playbills of Charles Kemble, 1818; 
James Murdoch, 1857; Belton, Barrow, and Burton, 1857; Barry 
Sullivan, 1858; Lester Wallack, 1869; Scott-Siddons, 1870. Reviews 
of the Wallack production (4), Scott-Siddons (2), Adelaide Neilson 

0). 

22. [Moore] 

Folger: Mu Ad, 18 

[Modern Standard Drama, 4i/£ x Ti/ 2 ; interleaves, 5x8; pub- 
lisher's wrappers under blue paper.] 



338 MUCH ADO ABOUT NOTHING 

Unfinished promptbook. At the front good plots of scenes with 
grooves, gas, properties, supers. 

23. E. F. Taylor 1850's 
New York Public Library: *NCP.164541 

[French's Standard Drama, 4i4 x iy 8 ; green cloth boards; title 
gilt up spine.] 

Lightly marked promptbook of a 4-act version. Calls, some stage 
business, cues for effects. 

24. Barry Sullivan 1850*s 
Shakespeare Centre Library: 50.24(1797) 

[Pages 419-505 from volume I of the Robinson Works, 1797, 
6^4 x 95^; interleaves; brown marbled boards and half brown 
leather; title gilt on black spine label, Sullivan's name and "T.R. 
Haymarket" gilt on black cover label.] 

Neat but sparsely marked promptbook, probably a transcription 
by George Hastings from some earlier book. Cuts on full text, 
some stage business, maps, cues for effects. Part of a set of books 
gathered by Sullivan while at the Haymarket in 1852. 

25. T. Agnew Dow Philadelphia, Arch Street December 7, 1854 
Folger: Mu Ad, 2 

[Modern Standard Drama, 1848, 4 x 65/ 8 ; interleaves; white paper 

spine.] 

Carefully prepared promptbook checked for Don John. Cuts, 

scenic indications, grooves, calls, stage business resembling Kem- 

ble's, map, sketches, cues for effects. 

26. Charles Kean London, Princess's November 19, 1858 
Folger: Mu Ad, 10 

[Kean edition, 1858, 5i/ 8 x 8; interleaves, 6% x 8s/ 8 ; tan cloth 
boards and half brown leather; title gilt up spine, "Prompt Copy/ 
Mr. Charles Kean" gilt on blue leather cover label.] 
Final or souvenir promptbook made by T. W. Edmonds in 1859. 
Contents generally similar to the book George Ellis made for 
Kean in 1850 (see no. 18); notes on mechanics of lighting. Fine 
watercolor designs of 8 scenes. (See nos. 10-11.) 

27. [Kean] 

Folger: Mu Ad, 11 

[Same format as preceding book.] 



MUCH ADO ABOUT NOTHING 339 

Another copy of Edmond's final promptbook (with scene designs) 
used on tour by Kean after 1859. 

28. [Kean] 

Folger: Prints and Engravings, 51 

[Watercolors, 8 x 5i/£, mounted in an album, IO14 x Hi/ 8 ; gray 

cloth boards and half green leather gilt; "Charles Kean/Original 

Water Color Drawings" gilt on spine.] 

Fine watercolor scene designs for 4 plays, including 8 for Much 

Ado. 

29. [Kean] 

Enthoven Collection: Box DT.46 
[Watercolors mounted on large display boards.] 
Fine watercolor designs for 8 scenes. 

30. [Kean] 

Folger: Kean Costume Book, Prints and Engravings, 182 
[Scrapbook, l4s/ 8 x 21^; brown cloth boards and half brown 
leather.] 

Contains 25 watercolor plates of costume designs for Much Ado. 

31. [Kean] 

Enthoven Collection: 94G27, plate 1815 

[Scrapbook, 15 14 x 21 %; blue cloth boards and half blue cloth; 

"Kean Theatrical Scenery" gilt up spine.] 

A plate of watercolor costume designs (6 figures). 

32. Walter Lacy London, Haymarket September 21, 1859 
Folger: Mu Ad, 9 

[Oxberry edition, 1823, 4s/ 8 x 7\/±; interleaves; reddish brown 
marbled boards and half green leather; title gilt on spine.] 
Promptbook originally marked by Lacy as a transcription of the 
Kemble book at the Garrick Club (see his other copy, no. 7), then 
bound and dated June 15, 1859; then augmented with "The Bus: 
from Haymarket Prompt Book" when he played Benedick at the 
Haymarket in September of 1859. Cuts, calls, stage business, maps, 
cues for effects. Many notes on the differences in text and busi- 
ness between the Kemble book, the Haymarket book, and T. H. 
Lacy's edition. References to Macready and Charles Kean. Con- 
tains Benjamin Webster's addition to the Kemble addition to the 



340 MUCH ADO ABOUT NOTHING 

Beatrice-Benedick dialogue in the church scene. Belonged to 
Henry Irving. 

33. J. B. Roberts c.1860 
Folger: Mu Ad, 20 

[Pages 423-507 from volume I of a Works, 6s/ & x 9^; black cloth 
boards and maroon leather spine; "12" on spine label.] 
Rehearsal and reading copy, checked for Benedick. Cuts. 

34. Kate Terry c.1860 
Smallhythe 

[Kean edition, 1858, 5i/g x 77/ 8 ; interleaves; green cloth boards; 
"Miss Kate Terry" gilt on cover.] 

Promptbook carefully marked by "B.T." (Ben Terry). At the 
front 3 pages of notes on sixteenth-century costume for women. 
Page references listed for Hero and Beatrice. Scenic indications, 
stage business, maps, cues for effects. 

35. James Taylor Boston, Boston Theatre c.1860 
Harvard Theatre Collection: uncatalogued 

[Davidson issue of Cumberland edition, 3^ x 5$/ 8 ; interleaves; 
brown cloth boards and black leather spine; title gilt up spine.] 
Promptbook "copied from Boston Theatre Prompt Book," 
checked for Leonato. Cuts, calls, stage business, maps and sketches, 
cues for effects. 

36. E. L. and Fanny Davenport 1870's 
Princeton University, Seymour Collection: M Ado, 7 
[French's Standard Drama, 4i/£ x 7i4; interleaves; publisher's 
wrappers.] 

Carefully written but mechanical promptbook "as played by" the 
Davenports. Scenic indications, some stage business, dance routine, 
maps, cues for effects. 

37. William Seymour Boston, Boston Museum 1870's 
Princeton University, Seymour Collection: M Ado, 9 
[Modern Standard Drama, 4i/£ x 7^4; coarse cloth; title and "Bos- 
ton Museum" inked on cover.] 

Crude promptbook which belonged to Seymour but is of earlier 
vintage, checked for Claudio. Cues for effects. Partial cast with 
Eliza Logan. Timing for Mr. and Mrs. Davenport (2:10). 



MUCH ADO ABOUT NOTHING 341 

38. George Becks 1870's 
New York Public Library: *NCP.285345 

[French issue of Booth-Hinton edition, 5\^ x 814; interleaves; 
black cloth boards; title gilt up spine.] 

Promptbook of a version in 6 acts marked throughout at one 
time and emended with additions later; belonged to George Becks 
perhaps as a user, perhaps only as a collector. Calls, considerable 
stage business, maps and sketches, cues for effects. The arrange- 
ments frequently recall Macready's and there are explicit refer- 
ences to Charles Kemble's. (See no. 20.) 

39. [Becks] 

New York Public Library: *NCP.342986 

[Music-Publishing Company edition, 3i/£ x 51/g; interleaves; black 

cloth boards; title gilt on spine.] 

Promptbook very similar in contents to the preceding book but 

somewhat less full, and probably written much later. At end of 

the first act an elaborate notation of pantomime and music from 

Modjeska's production. 

40. Edwin Booth 1871-90 
Museum of the City of New York: 35.339.20 
[Booth-Winter edition, 1878, 4s/ 8 x 6%; publisher's wrappers.] 
Lightly marked promptbook of W. Henry Flohr, the stage man- 
ager. A few maps and cues for effects. 

41. [Booth] 

Folger: Mu Ad, 25 

[Booth-Winter edition, 1890, 4i/ 2 x 614; red cloth boards; title gilt 
up spine.] 

William Winter's souvenir copy. Contains a letter from Booth, 
November 17, 1889, discussing problems of admission to The 
Players, his health, rehearsals, newspaper attacks; a printed itin- 
erary of the 1889-90 tour with Modjeska; a letter from J. H. 
Magonigle, January 9, 1893, about Booth's illness. 

42. Junius Brutus Booth, Jr. c.1875 
Folger: Mu Ad, 1 

[French's Standard Drama, 4i/2 x 7s/ 8 ; interleaves; yellow pub- 
lisher's wrappers.] 
Promptbook crudely penciled. Abbreviated stage business, a few 



342 MUCH ADO ABOUT NOTHING 

maps, cues for effects. Part of a playbill for January 11, 1875, with 
Agnes Booth and Joseph Wheelock. 

43. George B. Berrell 

Indianapolis, Academy of Music January 31, 1876 

University of Pennsylvania, Furness Collection: C59.ShlMu 
[Modern Standard Drama, 1845, 5]/ 2 x 9; interleaves, 63^ x 91/4; 
purple cloth boards and half black cloth; title gilt up spine.] 
Thinly marked promptbook. Some scenic indications and grooves, 
some stage business, some cues for effects. Cast for above date with 
Agnes Booth and J. W. Norton. 

44. William Creswick Melbourne, Bijou November 26, 1877 
Shakespeare Centre Library: 50.24(1873) 

[French issue of Lacy edition, 4 x 7]/^; few interleaves; publisher's 
wrappers under purple cloth boards and half black leather; title 
gilt up spine.] 

Partial promptbook. Cuts, some stage business for Benedick, maps, 
a sketch, cues for music, timings. Some pencilings by "G. Tharp." 

45. Henry Irving London, Lyceum October 11, 1882 
Folger: Mu Ad, 8 

[Irving edition, 1882, 5x8; red leather gilt; title gilt up spine.] 
Rehearsal copy. Cuts, insertion of the traditional extra dialogue 
for Beatrice and Benedick at end of the church scene, notes on 
scenery, many jottings about Benedick, partial cast. 

46. [Irving] 

Folger: Com Err, 11 

[Pages 80-182 from volume II of Aldine edition; green cloth pub- 
lisher's boards of the whole volume; titles gilt on spine.] 
Rehearsal and preparation copy. Cuts on full text. Notes on 
extras, scenery. Sketches of garden scene. Dozens of notes on the 
playing of Benedick. 

47. [Irving] 

New York Public Library: *NCP.342969 

[Modern Standard Drama, 4 1,4 x 7\/ A \ gray interleaves, 5 x 7i/ 2 ', 

blue cloth boards; title gilt up spine.] 

Hastily written but very thorough promptbook record of Irving's 

production as played at the Star Theatre in New York, March 31, 

1883; belonged to George Becks, probably his transcription of 



MUCH ADO ABOUT NOTHING 343 

Irving's promptbook. Scenic indications, grooves, much stage busi- 
ness, maps and sketches, cues for effects. 

48. Ellen Terry London, Lyceum October 11, 1882 

Smallhythe 

[Longmans, Green edition, 4]/ 8 x 6i/£; purple cloth boards; title 
stamped on cover.] 

Rehearsal copy dated from the Lyceum, 1880, checked for Bea- 
trice. Several notes on the acting, a few on music and other effects. 

49. Henry Holmes 1884 
Enthoven Collection 

[French issue of Lacy edition, 4i/£ x 7^§; brown paper.] 
Lightly marked promptbook. Cuts, maps, cues for effects. 

50. Edward Gordon Craig London, Lyceum January 5, 1891 
University of California, Los Angeles: Craig Collection 
[Irving edition, 1887, 5y 8 x &3/ 8 .] 

Studybook for the Messenger in the first scene. Lines marked for 
stresses, notes of stage business and motivation. 

51. Augustin Daly New York, Daly's December 21, 1896 
New York Public Library: *NCP.686459 

[Daly edition, 1897, 614 x 10; interleaves; blue publisher's wrap- 
pers under red cloth boards; title gilt up spine.] 
Well-developed promptbook owned by Ada Rehan. Fine sketches 
of the principal scenes, with descriptive notes. Calls, some stage 
business in addition to that which is printed, cues for effects. 

52. [Daly] 

New York Public Library: *NCP.52x296 

[French's Standard Drama, 41/4 x 71/4, tipped into a workbook, 
7^4 x 9%; gray boards and black cloth spine; title gilt up spine.] 
Transcription of Daly's promptbook by Hallam Bosworth. Cuts 
and restorations, stage business, cues for effects, etc. 

53. [Daly] 

Library of Congress, Batchelder Collection: 412 

[Daly edition, 1897, 614 x 10; publisher's wrappers.] 

Partial promptbook marked only through the first act. Calls, stage 

business, cues for effects. 



344 MUCH ADO ABOUT NOTHING 

54. [Daly] 

Folger: Prints and Engravings 

[Daly edition, 1897, mounted in pages of an album, 12^§ x 163^; 

green and gold marbled boards and half brown leather gilt; title 

gilt on spine.] 

Souvenir album with many old prints of actors and scenes from 

the play, many nineteenth-century playbills, bills and review of 

Daly's production, several photographs of Ada Rehan. 

55. [Daly] 

New York Public Library: 8*T*NCP + 

[Daly edition, 1897, mounted in pages, 12i4 x 16^£; bound with 

The Tempest in brown cloth boards; "The Tempest" gilt on 

spine.] 

Ada Rehan's souvenir book. A few old prints, an engraving of 

Irving and Terry, a playbill, several photographs of Miss Rehan. 

56. Charles B. Hanford c.1900 
Folger: Mu Ad, 5 

[Mixture of a Shakespeare edition and French's Standard Drama 
pasted in a workbook, 7i/g x 9 \/±; red cloth boards; title on cover 
label.] 

Full and much used promptbook of Hanford's touring com- 
pany. Scenic indications, copious stage business, cues for effects. 
At the back a dummy playbill with Hanford and Marie Drofnah. 

57. William Poel London, Court March 19, 1904 
Enthoven Collection 

[Shakespeare edition pasted in a workbook, A\/ 2 x 7; black imita- 
tion leather.] 

Rehearsal promptbook. Cuts on full text, calls, some stage busi- 
ness, cues for music. Names of actors. 

58. E. H. Sothern and Julia Marlowe Chicago September 27, 1904 
Folger: Mu Ad, Folio 2 

[Typescript, 8]/ 2 x 11; limp brown leather.] 

Rough promptbook of Frederick Kaufman, the stage manager, 
much used, revised, patched, written upon. Pages bound out of 
order. Some scores for songs. 

59. [Sothern and Marlowe] 
Folger: Mu Ad, Folio 1 



MUCH ADO ABOUT NOTHING 345 

[Typescript, Si/ 2 x 11; brown paper wrappers.] 
Clean copy of version as perfected by Frederick Kaufman, the 
stage manager. At the front plots of properties, furniture, calci- 
ums, lights, cast. Copious stage business, cues for effects. 

60. [Sothern and Marlowe] 

New York Public Library: *NCP.276554B 

[Carbon typescript, 814 x 10%; black cloth boards; title gilt on 
spine.] 

Another copy of the preceding book. 

61. [Sothern and Marlowe] 
The Players: PB.103 

[Typescript, 8 x IO1/2; blue paper wrappers.] 
Much used, much marked promptbook of a different version from 
that of preceding books. Plots of calciums, lights. Three casts. 
Copious stage business, maps. 

62. [Sothern and Marlowe] 

W. A. Clark Library, Los Angeles 

[Acting edition, 43^ x 7i/ 8 ; interleaves; brown cloth boards; title 

gilt on spine.] 

Souvenir promptbook made by Lark Taylor, the actor. Cast of 

1906 and notes on Taylor's various roles. Copious stage business, 

groundplans, cues for effects underlined as printed. 

63. [Sothern and Marlowe] 
Folger: Mu Ad, 22 

[Irving edition, 5y 2 x 8%; interleaves; blue cloth boards; title 
and "Prompt Book" gilt on cover.] 

Souvenir promptbook made in the summer of 1911 by Lark Tay- 
lor, who played Borachio in 1906, later Dogberry, later Leonato. 
Cuts, very detailed stage business, maps, sketches, a drawing of 
himself as Dogberry, costume notes. 

64. George E. Lask 

University of California, Los Angeles: Special Collections 714, 
Box 6 

[French issue of Irving edition, 5^4 x 9\/ 8 ; publisher's gray wrap- 
pers under brown paper.] 

Partial promptbook or spectator's notes, marked in the first 2 
acts. Some stage business, rough maps, cues for music and dance. 



346 MUCH ADO ABOUT NOTHING 

65. Herbert Beerbohm Tree London, His Majesty's Jan. 24, 1905 
Enthoven Collection: Tree, 179 

[Temple edition pasted in a workbook, 7x9; red marbled boards 
and green cloth spine, broken.] 

Rehearsal promptbook roughly penciled. Cuts, much stage busi- 
ness, cues for effects. 

66. [Tree] 

Enthoven Collection: Tree, 179 

[Temple edition pasted in a workbook, 7x9; black oilcloth, much 

worn.] 

Rehearsal promptbook or preparation book roughly penciled. 
Cuts, some stage business, maps, some cues for effects. 

67. [Tree] 

Enthoven Collection: Tree, 179 

[Cassell's National Library edition pasted in a workbook, 7x9; 
red marbled boards and green cloth spine, damaged.] 
Uncompleted promptbook. Some good groundplans. 

68. [Tree] 

Enthoven Collection: Tree, 179 

[Temple edition pasted in a workbook, 7x9; red marbled boards 

and purple cloth spine, broken.] 

Final promptbook, probably the one used for performances, done 

in ink with penciled additions. Cuts, groundplans, much stage 

business, maps, cues for effects. 

69. [Tree] 

Enthoven Collection: Tree, 179 

[Cassell's National Library edition pasted in a workbook, 7x9; 
red marbled boards and red cloth spine; title on cover label.] 
Final promptbook, clean and perhaps unused. Cuts are scissored 
out. Seven excellent groundplans, copious stage business, maps, 
cues for effects, neatly inked. 

70. [Tree] 

Enthoven Collection: Tree, 179 

[Eighteen books. Cassell's National Library edition (12), 4x6; 

Temple edition, 1904 (6), 4 x 514.] 

Rehearsal copies, 7 of them assigned, with cuts and bits of stage 

business. 



MUCH ADO ABOUT NOTHING 347 

71. [Tree] 

Enthoven Collection: Tree, 185 

[Oil paintings on wooden panels, 4% x 8i/£; papers.] 

Five costume designs done in oil on wood; 21 sheets of sketches 

for women's costumes; 52 sheets of sketches for men's costumes, 

some in watercolor. 

72. [Tree] 

Enthoven Collection: Tree, 178, 179 

[Papers.] 

Plots of properties, limes, electrics, sound, cast, dressing rooms, 

etc. 

73. Fred Grove London 
Folger: Mu Ad, 4 

[Cassell edition, 1904, 3% x 5^; interleaves; green cloth boards; 
title gilt on green spine label.] 

Rehearsal copy checked for Antonio, Dogberry. Cuts, random 
stage business. 

74. Winthrop Ames Boston, Castle Square October 30, 1905 
New York Public Library: *NCP + .55875B 

[Typescript, 73/£ x 123^; green cloth boards; title gilt on spine.] 
Very thorough promptbook. Synopsis of scenes, much detailed 
stage business, excellent groundplans, light plots. Copious anno- 
tation of the text. Many notes on the Irving and Booth produc- 
tions. The production was revived on April 22, 1907. 

75. [Ames] 

New York Public Library: *NCP+.55874B 
[Typescripts, 734 x 6i/ 2 > green cloth boards; title gilt on spine.] 
Eighteen partbooks. Plots of costumes, properties, lights, music. 
At the front a typescript of the program. 

76. [Ames] 

New York Public Library: *NCP+ 

[Music scores; tan boards, 103^ x 13i4; title on cover label.] 
Five copies of the Bridal Chorus from The Rose Maiden; 4 copies 
of "Pardon Goddess" for the tomb scene. 

77. A. E. F. Horniman Manchester, Gaiety December 27, 1909 
British Drama League 



348 MUCH ADO ABOUT NOTHING 

[Shakespeare edition pasted in a workbook, 7x9; red marbled 
boards and red cloth spine.] 

Promptbook fully developed for two acts; thereafter only stage 
manager's penciled cues. Calls, much stage business, maps, cues 
for effects. Music scores. 

78. [Horniman] 

British Drama League 

[Temple edition, 1894, 4i/£ x 7; blue cloth boards; title gilt up 
spine.] 

Workbook to accompany the preceding book. Cuts, scenic notes, 
some stage business, many maps, cues for effects. Names of actors. 

79. Charles Frohman New York, Empire September 1, 1913 / 
New York Public Library: *NCP.53x300 

[Carbon typescript, 7*4 x IO14; gray boards and black cloth spine; 
title gilt up spine.] 

Unused copy of an acting version prepared by John Drew. Some 
stage business. Cast includes Laura Hope Crews, John Drew, 
Hubert Druce. 

80. Albert Lang 1921 
Princeton University, Seymour Collection 

[Irving edition, 1882, with some leaves of French's Standard 
Drama, pasted in a workbook, 7i/g x 9 \/±, black cloth boards and 
half red leather; title page pasted on cover.] 

Excellent promptbook of an itinerant producer from Fort Lee, 
N.J. Dated by an enclosed costume rental list from Waas & Son, 
Philadelphia. Synopsis of scenes, 2 scaled groundplans, very full 
stage business, maps, cues for effects, light chart, music chart. 

81. Henry Jewett Boston, Boston Repertory January 11, 1926 
Folger: Mu Ad, Folio 3 

[Typescript, 8i/£ x 11; gray cardboard and green cloth spine.] 
Much used promptbook. Copious stage business of a traditional 
sort, partly typewritten, partly longhand. Additional dialogue for 
Beatrice and Benedick at end of the church scene. Maps, cues for 
effects, cast. Contains programs and a 12-page brochure, "Story 
of the Play." 

82. Robert Edmond Jones New York, Theatre Guild 1928 
New York Public Library: *NCP.57xl0 



MUCH ADO ABOUT NOTHING 349 

[Carbon typescript, ly^ x 11; black cloth boards; title gilt up 

spine.] 

Rehearsal promptbook of a version conceived and directed by 

Robert Edmond Jones, with Alfred Lunt and Lynn Fontanne. 

Rehearsed but never performed. Penciled notes throughout. 

83. Minnie Maddern Fiske Boston, Hollis Street November 19, 1928 
Library of Congress, Manuscripts Division: Fiske Box 34 
Shakespeare edition pasted in four folders, 8i^ x 11; brown paper.] 
Preparation copy made in August, 1928, by Harrison Grey Fiske. 
Cuts. 

84. [Fiske] 

Library of Congress, Manuscripts Division: Fiske Box 35 
[Three books. Typescript, 81/2 x 11; each of the 4 acts bound in 
green paper wrappers.] 

One book is a clean copy of the final version. One has notes on 
music. One is a rehearsal promptbook, crudely marked, with 
much stage business, cues for effects. 

85. [Fiske] 

Library of Congress, Manuscripts Division: Fiske Box 35 
[Papers.] 

Notes on music, words for final song, properties plot, 15 ground- 
plans (9 x 12), salary lists, expenses of production, booking sheets, 
cast lists, inventories of scenery and properties, timing sheets, con- 
tracts, box office reports, financial statements, etc. 

[Actor Lists for Following Books Are Given in This Order: Bea- 
trice, Benedick, Dogberry.] 

86. W. Bridges- Adams Stratford-upon-Avon July 3, 1929 
Shakespeare Centre Library: 71.21/1929MU 

[Favourite Classics edition pasted in a workbook, 61/2 x 9; green 
cloth boards and tan canvas spine; title on cover and spine labels.] 
Cast includes Dorothy Massingham, Wilfrid Walter, Roy Byford. 
Designed by Conrad Leigh and Eric Maxon. Stage business, maps, 
cues for effects. The book had been used in 1922, 1923, 1925, 1927. 

87. [Bridges- Adams] April 17, 1933 
Shakespeare Centre Library: 71.21/1933MU 

[Temple edition pasted in a workbook, 7x9; purple cloth boards 
and half black leather; title on cover and spine labels.] 



350 MUCH ADO ABOUT NOTHING 

Cast includes Fabia Drake, George Hayes, Stanley Lathbury. Cos- 
tumes by Mrs. Lesley Blanch. Clean, unused copy: much stage 
business, maps, cues for effects. 

88. [Bridges- Adams] April 18, 1934 
Shakespeare Centre Library: 71.21/1934MU 

[Temple edition pasted in a workbook, 8 x 10; blue oilcloth 
boards gilt; title on cover and spine labels.] 

Cast includes Dorothy Black, Baliol Holloway, Roy Byford. Much 
stage business, maps, some cues for effects. A music score. The 
book had been used for the 1929-30 tour, and in 1930 and 1933. 

89. B. Iden Payne Stratford-upon-Avon April 23, 1936 
Shakespeare Centre Library: 71.21/1936MU 

[Temple edition pasted in a workbook, 7i/ 8 x 9; purple cloth 
boards and half black leather; title on cover and spine labels.] 
Cast includes Barbara Couper, James Dale, Roy Byford. De- 
signed by Aubrey Hammond. Much stage business, maps, cues for 
effects. 

90. Columbia Broadcasting System July 19, 1937 
Folger: Mu Ad, 4 

[Mimeograph, 8i/ 2 x ^ l A> green paper.] 

Radio adaptation by Brewster Morgan, as broadcast with Rosa- 
lind Russell and Leslie Howard. 

91. Robert Atkins Stratford-upon-Avon March 31, 1945 
Shakespeare Centre Library: 71.21/1945MU 

[New Temple edition pasted in a workbook, 67/ 8 x 8%; purple 
cloth boards and half black leather; title on cover and spine 
labels.] 

Cast includes Claire Luce, Antony Eustrel, George Skillan. De- 
signed by J. Gower Parks. Considerable stage business, maps, 
cues for effects. The book had been used for the Payne production 
of 1939, was erased and reused. 

92. John Gielgud and Anthony Quayle 

Stratford-upon-Avon April 20, 1949 

Shakespeare Centre Library: O.S.71.21/1949MU 

[Temple edition pasted in a workbook, 7»4 x 12^; maroon cloth 

boards and red cloth spine; title on spine label.] 



MUCH ADO ABOUT NOTHING 351 

Cast includes Diana Wynyard, Anthony Quayle, George Rose. 
Designed by Mariano Andreu. Very much stage business, maps, 
cues for effects. Cast lists and understudies. 

93. John Gielgud Stratford-upon-Avon June 6, 1950 
Shakespeare Centre Library: O.S.71.21/1950MU 

[New Temple edition pasted in a workbook, 8 x 12^4; red cloth 
boards; title on spine label.] 

Cast includes Diana Wynyard, Anthony Quayle, George Rose. 
Designed by Mariano Andreu. Very much stage business, maps, 
cues for effects. Many production papers. 

94. [Gielgud] London, Palace July 21, 1955 
Shakespeare Centre Library: O.S.71.21/1955M 

[New Temple edition pasted in a workbook, 77/ 8 x 12^4; green 
cloth boards and red cloth spine; title on cover and spine label.] 
Revival of 1949 and 1950 productions. Cast includes Peggy Ash- 
croft, John Gielgud, George Devine. Designed by Mariano An- 
dreu. Very much stage business typed and pasted in, maps, cues 
for effects. 

95. Denis Carey London, Old Vic October 23, 1956 

Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x 10i/£; black 
board ring binder.] 

Cast includes Barbara Jefford, Keith Michell, Dudley Jones. 
Designed by Peter Rice. Cuts, calls, stage business, maps, cues for 
effects. Many production papers. 

96. John Houseman and Jack Landau 

Stratford, Connecticut August 7, 1957 

Festival Theatre, Production Department 
[Mimeograph, 81/2 x 11; heavy blue paper.] 

Cast includes Katharine Hepburn, Alfred Drake, Larry Gates. 
Designed by Rouben Ter-Arutunian. Much roughly penciled 
stage business, maps. Signed by B. Gersten. 

97. [Houseman] 

University of California, Los Angeles: Houseman Box 14 
[Mimeograph, 8i/£ x 11; black cloth board spring binder.] 
Rough production book. Some stage business and other working 
notes. 



352 MUCH ADO ABOUT NOTHING 

98. [Houseman] 

University of California, Los Angeles: Houseman Box 11 
[Mimeograph, 81/2 x 11; green cloth board ring binder.] 
Final or souvenir promptbook. Stage business typed along mar- 
gins. Production papers at the back. 

99. Michael Langham Stratford, Ontario J une 24, 1958 
Festival Theatre, Library 

[Two books. New Clarendon edition pasted in workbooks, 7^4 
x 13i/g; dark blue cloth boards bordered in red.] 
Cast includes Eileen Herlie, Christopher Plummer, Tony Van 
Bridge. Designed by Desmond Heeley. The first book has much 
stage business, many maps on mimeographed groundplans, cues 
for effects. The second has calls. 

100. Douglas Seale Stratford-upon-Avon August 26, 1958 
Shakespeare Centre Library: O.S.71.21/1958M 

[New Temple edition pasted in a workbook, 8 x 13; red cloth 
board spring binder; title on spine label.] 

Cast includes Googie Withers, Michael Redgrave, Patrick Wy- 
mark. Designed by Tanya Moiseiwitsch and Motley. Much stage 
business, cues for effects. 

101. Michael Langham Stratford-upon-Avon April 4, 1961 
Shakespeare Centre Library: O.S.71.21/1961M 

[Cambridge Pocket Shakespeare pasted in a workbook, 8 x 13; 
red cloth board spring binder; title on cover label.] 
Cast includes Geraldine McEwan, Christopher Plummer, Newton 
Blick. Designed by Desmond Heeley. Unused copy: copious stage 
business, cues for effects. 

102. Other books of Much Ado About Nothing: 
Boston Public Library: K.37.22, Mrs. John Gilbert. 

Brown University: Eng.P.17a, Asa Cushman and Anna Cora, 
Mowatt, 1850. 

Essex Institute, Salem: 822.S52.78, John B. Adams, 1867. 
Folger: Mu Ad, 6, George Holland and Harry Crisp; Mu Ad, 
7, Walter Hubbell; Mu Ad, 14, James Lewis; Mu Ad, 15, Frank 
Lodge; Mu Ad, 16, C. Meggett; Mu Ad, 19, Marcus Moriarty, 
1876; Mu Ad, 21, Charles Seabert; Mu Ad, 23, Felix A. Vincent; 



MUCH ADO ABOUT NOTHING 353 

Mu Ad, 26, William Winter; Mu Ad, 28, William Hildebrand; 

Mu Ad, 29, anonymous; Mu Ad, 30, W. M. Cambridge. 

Harvard Theatre Collection: Emma Reignolds. 

Historical and Philosophical Society of Ohio: 812.3/R283/134, 

Alvin Read. 

Missouri Historical Society: John W. Norton. 

The Players: PB.74, Irving edition, anonymous. 

Princeton University, Seymour Collection: M Ado, 12, book for 

Beatrice; M Ado, 22, Albert Bradley, 1851. 

Shakespeare Centre Library: O.S.P.50.24(1831), F. Haywel. 

Smallhythe: 3 books of Ellen Terry, including an Irving edition 

checked for Beatrice. 

University of Minnesota: Z820.12/Z11, volume 12, W. S. Forrest. 

University of Pennsylvania: AC85.M9415.820p.54b, c, James 

Murdoch, 2 books. 



Othello 

1. Anonymous England 1600's 
Henry E. Huntington Library: 69337 

[Sheets of 1622 Quarto, 5y 8 x 67/ 8 , mounted in window pages, 
6s/ 8 x 8i/^; red leather gilt; title gilt on cover and up spine.] 
Promptbook with several bits of stage business in an apparently 
seventeenth-century hand (e.g., page 81, "gives up ye gost"). Be- 
longed to George Steevens, who entered certain notes on the text. 
Later belonged to J. P. Kemble, who numbered the scenes, 
mounted it in the window pages, and marked it "collated & per- 
fect, J.P.K.— 1804." 

2. Joseph Ashbury Dublin, Smock Alley 1670's 
Folger: Oth, Smock Alley 

[Pages 789-816 from a Third Folio, 1663, 8 x 12#; maroon cloth 
boards and half maroon leather gilt; title gilt up spine.] 
Promptbook marked in some detail. The first page of this book is 
the last page of King Lear. Pages 795-800 are missing. Cuts, scenic 
indications, calls, cues for effects. Entrance cues are horizontal 
lines with vertical slashes. Names of several actors. (See G. Blake- 
more Evans, Shakespearean Prompt-Books.) 

3. John Palmer London, King's and Haymarket August 8, 1766 
Folger: Oth, 27 

[C. Hitch acting edition, 1761, 4 x 6s/ 8 ; white paper and purple 

spine.] 

Neatly marked promptbook. ' Cuts, scenic indications, grooves, 

some stage business, cues for effects, list of property manuscripts. 

Palmer played Montano. 

4. Richard Power Kilkenny October 29, 1803 
Folger: Oth, 38 

[Garland edition, 1765, $7/ 8 x 6]/ 2 '> interleaves watermarked 1801; 
green marbled boards and half red leather gilt; title gilt on spine.] 
Promptbook of the private theatre of Kilkenny, where Othello 
was often produced from 1803 to 1819. Cast list with amateur 
gentlemen and professional ladies. Cuts and restorations, some 
stage business, many notes on histrionic manner. 

5. Anonymous London, Drury Lane c.1805 
Harvard Theatre Collection: uncatalogued 

[Kemble edition, 1804, 5x8; gray paper.] 



OTHELLO 355 

Unidentified promptbook, apparently a companion to a Much 
Ado book at Harvard which was "marked as at Drury Lane." 
Minimal stage business. (See MA, 4.) 

6. George Frederick Cooke New York, Park May 8, 1811 
Harvard Theatre Collection: TS.2493.50 

[West issue of Kemble edition, Boston, 1807, 334 x $ 5 /s,'> inter- 
leaves; brown cloth boards; in box of tan cloth boards and red 
leather spine; title gilt up spine.] 

Promptbook of the Park Theatre when Cooke played Iago to 
Cooper's Othello. A note or two on Cooke's special business. Cast 
given. Cuts, calls, some stage business, cues for effects. Note on 
use of supers. 

7. John Howard Payne 
Folger: Oth, 28 

[Pages 192-286 from volume VIII of a Works, 3y 4 x 6^; inter- 
leaves; gray marbled boards and half red leather; title and 
Payne's name gilt on spine.] 
Rehearsal copy. Cuts, little stage business. 

8. Sarah Siddons c.1815 
Birmingham, Shakespeare Memorial Library: S639.4 1/666730 
[Garland edition, 1765, 47/ 8 x 8; brown leather gilt; title gilt up 
spine.] 

Copy marked for a reading at Mrs. Weddel's. Introductory re- 
marks, cuts, transitions. Explanatory notes by Mrs. C. Fitzhugh, 
to whom Siddons gave it. Belonged to Fanny Kemble, R. J. Lane, 
John Pritt Harley. Description from Maggs Bros. Catalogue 871, 
1960, pasted at the back. 

9. John Philip Kemble London, Covent Garden October 10, 1816 
Folger: Oth, 19 

[Kemble edition, 1804, 5]/ 8 x 8i^; interleaves watermarked 1816; 
brown leather; "Othello/MB/10" gilt on vestiges of spine.] 
Promptbook marked by Kemble. Cuts, calls, stage business, maps, 
cues for effects, timings (3:35). Given to Thomas Powrie by the 
actor Frank Cooke, who entered at the back an authentication of 
the book by George Bartley. 

10. James Burchall 
Folger: Oth, 37 



356 OTHELLO 

[Kemble edition, 1804, 5i/£ x Ss/ 8 ; interleaves watermarked 1816; 
gray marbled boards and half brown leather gilt; title gilt on 
spine.] 

Probably a transcription from some Kemble book: each interleaf 
is given act, scene, and page number, as if for insertion after mark- 
ing. Cuts and alterations, some stage business, some cues for lights. 

11. Edmund Kean London, Drury Lane c.1818 
Folger: Oth, 18 

[Rodwell issue of Kemble edition, 1818, 4i/ 8 x 7\/ 8 ; interleaves; 
marbled boards worn to common brown and half brown leather, 
broken.] 

"Corrected from the Prompt-Book" for Kean by G. C. Carr, the 
Drury Lane prompter. Cuts, calls, some stage business, maps, 
cues for effects, timing (3:27). Note on redivisioning of last act. 
Pencilings of a later prompter. Given to Henry Irving in 1876 by 
the Baroness Burdett-Coutts. (See no. 16.) 

12. Anonymous London, Drury Lane c. 1820-43 
Folger: Oth, 20 

[Kemble edition, 1804, 45^ x 7^4; interleaves; gray marbled 
boards and half brown leather; title gilt on spine.] 
The official "T.R.D.L./P.B." as inscribed at head of Act I, but 
not used by Kemble and Siddons, as stated in an inscription by 
E. T. Smith, since they did not play at Drury Lane after 1802. 
Cuts and corrections, grooves, calls, stage business, maps and 
sketches, cues for effects. Many entries by John Willmott and a 
few by George Ellis, prompters in the 1830's and early 1840's: note 
on the "Great Row/Kean v. Cox" on January 28, 1825; anecdote 
of Kean's last performance; list of supers for October, 1836; tim- 
ings showing the hour of Half Price in May, 1838; Macready 
cast for June 8, 1843; variant entrances and arrangements for 
Macready, Forrest, Charles Kean. A cartoon, some prompter's 
jokes. (See no. 24.) 

13. Thomas Abthorpe Cooper 

Boston,Tremont Street March 19, 1824 

Folger: Oth, 5 

[Kemble edition, 1814, 4]/^ x iy 8 ; gray marbled boards and half 
brown leather; title inked on cover label.] 

Promptbook used for many years belonging to a prompter or a 
theatre rather than to the actor. Cooper cast for 1824. Arrange- 



OTHELLO 357 

ments for Macready on March 7, 1827. A prompter named Nelson 
Wentworth marked it "as played by Mr. Forrest" on May 5, 1842. 
Cuts, scenic arrangements, calls, cues for effects, timings. 

14. James Henry Hackett New York, Park April 10, 1828 
Folger: Oth, 8 

[Cumberland edition, 3^4 x 5%.] 

Rehearsal copy dated 1827, checked for Roderigo, Iago, Othello. 

Cuts, some stage business. "For Readings & Comments See 8v? 

Copy." 

15. Charles Kean New York, Park September 7, 1830 
Folger: Oth, 11 

[Kemble edition, 1804, 5]/ 8 x 8s/ 8 ; interleaves; green marbled 
boards and half green leather, much worn; title and "Mr. C. 
Kean" gilt up spine.] 

Kean's early promptbook and studybook. Notes on meanings of 
words. Calls, stage business, maps, irregular cues for effects. (See 
nos. 21-23, 25-27.) 

16. Edmund Kean 1831 
Folger: Oth, 17 

[Oxberry edition, 1822, 4i/£ x 7; interleaves; green marbled boards 
and half brown leather, broken.] 

Promptbook mainly transcribed from Kean's earlier book (see no. 
11). Inscribed "Edmundi Kean/Theatrum, Mundi, — /1831." Re- 
quest to prompters to mark only in pencil. Note on scene "always 
omitted in the country." 

17. W. H. Smith Boston, Tremont Street 1832 
Folger: Oth, 10 

[Cumberland edition, 3^g x 5%; interleaves.] 
Studybook for Iago and partial promptbook. Smith's name is 
scratched and the book given by J. Jones to John Burroughs 
Wright on November 23, 1840. Marginal notes on the playing of 
Iago. Irregular cues for effects. 

18. William Charles Macready 

London, Drury Lane November 26, 1832 

Victoria and Albert, Forster Library, 7919: F.48.C.17 
[Cumberland edition, 3i/£ x 6; bound with other Macready 
promptbooks in green cloth boards and half tan leather; titles 
gilt on spine.] 



358 OTHELLO 

Macready's studybook for Iago, not dated but probably of the 
early 1830's. Marked for stresses. Penciled marginal notes of stage 
business and histrionic manner, some in Latin. (See nos. 24-28, 
29, 44.) 

19. Stanley Charles Ferrers Edinburgh, Theatre Royal 1836 
New York Public Library: *NCP.343041 

[Cumberland edition, 3i/£ x 5l^; interleaves; black cloth boards; 
title gilt on spine.] 

Fully developed promptbook which Ferrers, the prompter, 
brought from Edinburgh to New York. Belonged to James Stark 
and later (1883) to George Becks, who augmented its markings. 
Grooves, calls, stage business, many maps, cues for effects, tim- 
ings (3:20). Notes on arrangements or business of J. Wallack, 
Booth, Hamblin, Scott, Kean, Brooke, Forrest, Mrs. Farren, Mme. 
Ponisi. 

20. J. W. Wallack New York, National October 24, 1837 
Folger: Oth, 7 

[Acting edition, Sy 2 x 5i/£; a few interleaves; green cloth boards; 
title gilt up spine, "J. W. Wallack" gilt on cover.] 
Promptbook marked for Wallack by S. C. Ferrers, the prompter. 
Call-lists at the front. Some stage business, maps, cues for effects. 
Checked for Othello and Emilia. Last pages missing. Later be- 
longed to or signed by George Washington Barton, D. D. Mc- 
Kinney, George F. Rowe. 

21. Charles Kean London, Drury Lane May 16, 1838 
Folger: Oth, 12 

[Kemble edition, 1804, 5 x 73^; interleaves; marbled boards and 
half brown leather, much worn; title and "M r C hs Kean" gilt on 
black spine labels.] 

Promptbook much used and marked by many hands: neat mark- 
ings by the original copyist (probably Parsloe), Kean's additions, 
prompters' pencilings. Cast for Drury Lane, September 21, 1838. 
Cuts, grooves, calls, stage business, maps and sketches, cues for 
effects, timings (3:10). Excellent ink- wash drawings of the 8 scenes. 
(See nos. 15, 25-27.) 

22. [Kean] 

Folger: T.b.15 

[Notebook, ly^ x 12^; brown marbled boards and black leather 
spine.] 






OTHELLO 359 

Touring book of scene plots, property plots, calls, etc., for Othello 
and 3 other plays. 

23. [Kean] 
Folger: W.a.10 

[Notebook of sheets watermarked 1837, 43^ x 734, brown marbled 
boards and half brown leather gilt; "Theatrical Costumes" inked 
on spine label.] 

Kean's touring wardrobe list for Othello is the eleventh of 16 
such lists in this book. 

24. William Charles Macready London, Drury Lane May 23, 1842 
Folger: Oth, 16 

[Hinds English Stage, 1838, 63/£ x 10; interleaves, 7i/£ x 9; white 
cardboard.] 

Corrected transcription of Macready's promptbook of Drury Lane, 
1842, done in pencil by George Ellis. The original of this (the 
book Macready used) was probably the old "T.R.D.L./P.B." (see 
no. 12). The Hinds edition was apparently derived from Mac- 
ready's Covent Garden promptbook of 1838. Cuts, list of property 
manuscripts, scenic indications, grooves, stage business, timings 
(3:20). Enclosed papers: list of supers, notes on costumes for 
supers, plan for a program of readings. (See nos. 18, 29, 44.) 

25. [Macready] 
Folger: Oth, 13 

[Hinds English Stage, 614 x 10; blue interleaves watermarked 
1846, 7y 8 x 10; green cloth boards embossed in floral pattern and 
half brown leather; title gilt up spine, "Mr. Charles Kean/Prompt 
Copy" gilt on maroon leather cover label.] 

Excellent transcription of the preceding book made by Ellis for 
Charles Kean in 1846. Unused. (See nos. 15, 21-23.) 

26. [Macready] 
Folger: Oth, 14 

[Watercolors, 7i/2 x 10i/£; interleaves; same binding as preceding 
book, broken; "Othello/Scenery" gilt up spine.] 
Excellent watercolor designs of the 7 scenes of Macready's pro- 
duction, with identifications and grooves on facing pages. Given 
to Charles Kean by George Ellis with the promptbook. A note that 
the council chamber scene is identical with the trial scene in The 
Merchant of Venice. 



360 OTHELLO 

27. [Macready 
Folger: Oth, 15 

[Watercolors, 8s/ 8 x 10^; same binding as preceding book, broken; 
"Othello/Costumes" gilt up spine.] 

Fine watercolor designs for 13 costumes probably drawn and 
painted by George Ellis, who sent them to Charles Kean with the 
promptbook. An inventory, and explanatory notes showing the 
identity of many costumes with those of The Merchant of Venice. 

28. [Macready] 1843-51 
Victoria and Albert, Forster Library, 7918: F.48.C.16 
[Kemble edition, 1814, 4 x l\/±; gray interleaves; bound with 
other Macready promptbooks in green cloth boards and half tan 
leather; titles gilt on spine.] 

Promptbook mostly in Macready's hand, with notes and signatures 
of prompters: W. E. Anderton of Charleston and Savannah; 
George James Wilton, 1850. Used in touring, probably from 
1843 on. Cuts and restorations, careful scenic indications, grooves, 
stage business, pauses, maps, sketches, cues for effects. 

29. Samuel Phelps London, Sadler's Wells June 3, 1844 
Folger: Oth, 24 

[Hinds English Stage, 1838, 4i/£ x 8; interleaves; green cloth 
boards and half brown leather; title gilt down green spine label.] 
Excellent transcription of Macready's promptbook (see no. 24) 
made by George Ellis for Samuel Phelps, used by Phelps for many 
years. Cuts, lists of supers for Sadler's Wells and for Drury Lane 
in 1860 and 1861, additional stage business entered by Phelps and 
his prompters. Given to Henry Irving by Frank Paul, comedian. 

30. James E. Murdoch New York, Park c.October 23, 1845 
University of Pennsylvania: AC85.M9415.820p.55a 
[Turner's Dramatic Library, Philadelphia, Ss/ 4 x 6; interleaves; 
green marbled boards and red leather spine.] 

Promptbook marked for Murdoch in 1845 by George W. Lewis, 
the prompter at the Walnut Street Theatre in Philadelphia. Some 
scenic indications, grooves, calls, stage business, maps, sketches, 
cues for effects, timing (3:15). 

31. [Murdoch] 

University of Pennsylvania: AC85.M9415.820p.55 

[Oxberry edition, Boston, 1822, Sy 2 x 5^; bound with other plays 



OTHELLO 361 

in brown marbled boards and half black leather; title inked on 
spine label.] 

Studybook checked for Othello, signed and dated by Murdoch at 
Louisville, March 13, 1849. Cuts and restorations, a few notes on 
the acting. 

32. John Moore Edinburgh and New York 1846-70 
Folger: Oth, 26 

[Pages 291-424 from volume IX of a Works, 5% x S5/ 8 ; interleaves; 
black paper; title inked on cover label.] 

Very full promptbook, marked at Edinburgh from some English 
original in blue and red inks, brought to America about 1848, 
and further marked over the years in brown ink and in pencil. 
Cuts on full text. Lists of property manuscripts, properties, supers. 
Scenic indications, grooves, calls, copious stage business, maps, 
cues for effects, timings. Arrangements are noted for Edmund 
Kean, Forrest, Macready, J. W. Wallack, J. R. Scott, Hamblin, 
Gilbert, Anderson, Graham, Fisher, Eddy, Edwin Booth, Miss 
Wemyss, Miss Montague, Mrs. Hamblin, Mrs. Warner. Part of a 
playbill with Charles Fisher as Othello; playbills for Burton's, 
September 24, 1858, with H. Loraine and J. B. Roberts. 

33. James Stark New York, Park September 15, 1846 
New York Public Library: *NCP.343039 

[Hinds English Stage, 1838, 4s/ 4 x 7$/ 4 ; blue interleaves, 6 x 7^; 
brown marbled boards and half black leather; title gilt up spine.] 
Carefully marked promptbook with additional notes by George 
Becks (1883). Cuts and restorations, scenic indications, grooves, 
calls, stage business, maps and sketches, cues for effects. Stark 
was Cassio in Forrest's company on the above date; he played 
Othello at the Jenny Lind in San Francisco on November 5, 1850. 

34. E. F. Taylor 1850's 
New York Public Library: *NCP.285354 

[Davidson issue of Cumberland edition, 31/4 x 6; interleaves; 

green and black boards and black cloth spine; title inked up 

spine.] 

Lightly marked promptbook, done in pencil. Cues for effects. 

35. James B. Roberts 1850 
Folger: Oth, 30 



362 OTHELLO 

[Modern Standard Drama, 4i/£ x l?>/ 8 , brown interleaves; brown 
paper; title, etc., inked on cover.] 

Studybook dated 1850. Copious notations of stage business and 
histrionic manner for Iago and Othello. Lines marked for stresses. 
Maps, some cues for effects. Many notations of the stage business 
of other actors: Anderson, Kean, Macready, Booth, etc. A Phila- 
delphia review of Macready's Othello. 

36. [Roberts] 
Folger: Oth, 31 

[Pages 395-518 from a Works, 614 x 9s/ 4 ; black cloth boards and 

maroon leather spine.] 

Book cut and marked for public reading, dated 1851. 

37. George W. Lewis New York, Broadway 1851 
New York Public Library: *NCP.342999 

[Modern Standard Drama, 4i/£ x Ti/ 2 ; gray interleaves; blue cloth 
boards; title gilt up spine.] 

Well-developed promptbook often resembling that of S. C. Ferrers 
(see no. 19), marked by George W. Lewis, the prompter, "as 
played by Mr. Forrest" and "as played at Broadway Theatre — 
Walnut St. Theatre — by Mr. Forrest, Booth, & c." At the front a 
good drawing of the bedroom scene. Scenic indications, grooves, 
calls, stage business, maps, cues for effects, timings (3:20). Notes 
on arrangements of J. Wallack, Hamblin, Conway, Brooke, Mme. 
Ponisi. Later markings by George Becks. 

38. Thomas Barry Boston, Boston Theatre 1854 
Harvard Theatre Collection: uncatalogued 

[Oxberry edition, 1819, Ai/ 8 x 8; gray interleaves; blue marbled 
boards and black cloth spine; title and "10" inked on cover label.] 
Promptbook marked in England by Charles Melville and brought 
to Boston by Barry in 1854, with penciled additions suggesting 
later use. Cuts, grooves, calls, stage business, maps, cues for effects. 

39. [Barry] 

Harvard Theatre Collection: uncatalogued 

[Cumberland edition, $5/ 8 x 6i/ 8 ; gray interleaves, 4% x li/ 8 ; 

gray boards and red leather spine; title and "253" inked on cover 

label.] 

Another Melville promptbook. At the front a plot of scenes with 



OTHELLO 363 

grooves and wings. Calls, stage business, maps, cues for effects. 
Penciled additions suggest later use. 

40. Anonymous Boston, Boston Museum October, 1854 
Princeton University, Seymour Collection: Othello, 8 
[Modern Standard Drama, 4i/£ x 7]/ 2 > rough cloth; "Boston 
Museum" inked on cover.] 

Crude but workable promptbook. At the front a list of supers. 
Calls, cues for effects. Reference to Couldock. 

41. Alexander Burger 1856 
Folger: Mac, 15 

[French's Standard Drama, 4 14 x 7]/^; bound with Macbeth and 
other plays in brown marbled boards and black leather spine; 
Burger's name gilt on cover and spine.] 

Crude promptbook thoroughly marked but probably unused. At 
the front a list of properties. Cuts, calls, cues for effects. 

42. James Taylor March 25, 1857 
Harvard Theatre Collection: uncatalogued 

[French's Standard Drama, 4i/ 2 x 7i/<>; blue interleaves; tan 

cardboard.] 

Lightly marked rehearsal copy. Cuts, some stage business, maps. 

Playbills with Taylor as Othello and Iago. 

43. [Taylor] 

Harvard Theatre Collection: uncatalogued 

[Notebook, 4^ x 7]/ 8 ; limp green cloth boards.] 

Manuscript studybook for Othello. A 6-page list of entrances, 

crosses, cues, exits; a 15-page transcription from a Life of Kean; 

an 8-page transcription of Mrs. Mowatt's essay "The Stage." Many 

Othello passages marked with numerals keying the phrases to 

accompanying lists of appropriate emotions, manners, tones. 

44. Hermann Vezin London, Surrey July 9, 1859 
University of Illinois: x792.9/Shl5o/no.l 

[Hinds English Stage, 5 x 8i/£; interleaves, 7i/£ x ^Vs'' Dme 
marbled boards and half maroon leather, worn; title gilt on spine, 
title and "Hermann Vezin" gilt on black cover label.] 
Excellent transcription of Macready's promptbook (see no. 24), 
made by George Ellis for Hermann Vezin. Much used, with addi- 
tional markings, cuts, maps, etc., by Vezin and his prompters. 



364 OTHELLO 

45. J. C. Cowper England 1860's 
Folger: Oth, 6 

[Fechter edition, 1861, 4s/ 8 x 6%; interleaves; limp green cloth 

boards.] 

Lightly marked promptbook based on the Fechter version. 

46. Mercer Hampson Simpson 

Birmingham, Theatre Royal 1860's 

Birmingham, Shakespeare Memorial Library: C52/455740 
[Lacy edition, 4i^ x 7]/ 2 ; gray cardboard; title inked on cover; 
bound with other plays in green cloth boards; "Shakespeare's 
Separate Plays" gilt on spine.] 

Promptbook lightly marked in ink with penciled additions. Calls, 
little stage business, cues for effects. 

47. Edwin Forrest 1860's 
Folger: Oth, 41 

[French's Standard Drama, 4i/£ x iy 8 ; stiff gray paper; title 
elaborately inked on cover.] 

Lightly marked promptbook. Cuts, calls, some stage business, 
maps, cues for effects. (Compare the cover with that of HAM, 64.) 
(See nos. 52, 56.) 

48. George Becks September, 1861 
New York Public Library: *NCP.342977 

[Forrest edition, 4i/£ x 7; interleaves; blue cloth boards; title 

gilt up spine.] 

Rehearsal copy and partial promptbook for "Eng* of Sep r 1861," 

probably with Forrest. Becks variously played Messenger, Duke, 

Montano, Roderigo, Cassio. Random notes of stage business, 

maps, some cues for effects. Numerous penciled references to 

McCullough. 

49. William Creswick London, Drury Lane October 8, 1864 
Shakespeare Centre Library: 50.25(1851) 

[Pages 241-352 from volume I of Knight's Works, 5]/ 2 x 81^; gray 
marbled boards and half black leather; title gilt up spine.] 
Studybook for Iago. At the front a list of actors, a list of Iago's 
dresses. Cuts on full text. A great many notations of Iago's stage 
business and manner, cues for effects. Shakespeare Penny Memo- 
rial stamp, 1864. Advertisement for Drury Lane performance. 



OTHELLO 365 

50. [Creswick] 

Shakespeare Centre Library: 50.25(1838) 

[Hinds English Stage, 1838, 5y 8 x 91^; interleaves; brown marbled 
boards and half brown leather; title gilt on red leather spine 
label.] 

Well-developed promptbook. Scenic indications, 4 good sketches 
of scenes, stage business, maps, cues for effects, timings. Shake- 
speare Penny Memorial stamp. Playbill and prospectus of Drury 
Lane performance on October 8, 1864. Signed in 1878 by W. 
Curie, the prompter at the Academy and Opera, Melbourne. 

51. W. H. Lewellyn Louisville November 5, 1867 
Folger: Oth, 21 

[Modern Standard Drama, 41/4 x 7y 2 '> interleaves.] 

Stage manager's promptbook which claims to show the "Business 

of Edwin Booth" but in fact records only cues for effects. 

52. Edwin Forrest New York, Niblo's Garden October 21, 1868 
Harvard Theatre Collection: 13486.75.6 

[Forrest edition, 4i/£ x 7^4; interleaves; purple cloth; title gilt 
on cover; in box of tan cloth boards and green leather spine; title 
gilt up spine.] 

Promptbook signed and dated (November) by George H. Clarke, 
who played Iago and appears to have been Forrest's stage manager. 
Some restorations, calls, some stage business, good maps, cues 
for effects. At the front a costume note. (See nos. 47, 56.) 

53. Edwin Booth New York, Booth's April 12, 1869 
New York Public Library: *NCP.342993 

[Booth-Hinton edition, 5i4 x 1i/ 2 ; interleaves, 6 x 7i/ 2 ; blue cloth 
boards; title gilt up spine.] 

Promptbook of Booth's first production of Othello at his own 
theatre. At the front a list of minor actors and supers. Cuts, some 
scenic indications, grooves, calls, some stage business, maps and 
sketches, cues for effects. Notes on doubling. Proposal dated May 
19 to shorten the third act in some future revival. (See nos. 55, 
59, 65, 67-70, 74, 76-78, 90.) 

54. Edwin Adams Detroit June 1, 1870 
Harvard Theatre Collection: uncatalogued 
[Booth-Hinton edition, 5 x 7i/£; interleaves; green leather gilt; 
title and Adams' name gilt on cover.] 



366 OTHELLO 

Well-developed promptbook for instruction of stage managers, 
used by Adams on tour. No stage business, but cuts, careful scenic 
indications, grooves, cues for effects. 

i 55. Edwin Booth New York, Booth's March 20, 1871 

The Players 

[Pages 415-541 from volume VIII of a Works, 5s/ 8 x Sy 8 ; inter- 
leaves; green leather fold-over cover; title and Booth's name gilt 
on cover.] 

Excellent promptbook marked by William Seymour and dated 
April 1, 1871. Cast for March 20 for a run in which Booth and 
Barrett alternated Othello and Iago. Cuts on full text. At the 
front detailed plots of scenes with grooves, properties. Very good 
groundplans, calls, stage business, cues for effects, timings (3:10). 
(See nos. 53, 59, 65, 67-70, 74, 76-78, 90.) 

56. Edwin Forrest c.1872 
New York Public Library: *NCP.342933 

[Forrest edition, 1860, 4i/£ x 7y 2 > interleaves, 4y s x 8; black cloth 
boards; title gilt up spine.] 

Promptbook record of Forrest's production by John B. Wright, 
who was Forrest's last stage manager. Lacks the cues of a working 
promptbook. Scenic indications, much stage business, maps, 
sketches. (See nos. 47, 52.) 

57. John McCullough 

San Francisco, California Theatre c.1873 

Harvard Theatre Collection: 13486.75.11 

[Forrest edition, 1860, 4 l/ A x l\/ 8 ; interleaves; green cloth boards; 
title gilt on cover and up spine; in box of tan cloth boards and 
red leather spine; title gilt up spine.] 

Promptbook much used on tour, roughly marked by several hands, 
one of them said to be that of Barton Hill of the California 
Theatre. Calls, much stage business, maps, cues for effects. At the 
back a list of supers and a timing note for Providence. 

58. [McCullough] 

New York Public Library: NCOFp.v.l40.304766B 

[French's Standard Drama, 4 14 x 7; bound with 11 other books 

in black cloth boards; title gilt on spine.] 

Studybook for Othello elaborately marked with notes and symbols 

denoting emotion and vocal effects. Many maps. 



OTHELLO 367 

59. Edwin Booth New York, Booth's November, 1873 
The Players 

[Booth-Hinton edition, 1868, 57/g x 8y 8 ; tan paper under brown 
marbled boards and half maroon leather; title gilt on spine.] 
Fully marked promptbook mainly in pencil. Cuts, scenic indica- 
tions, calls, stage business, maps, cues for effects. Minor actors 
mentioned in calls. Reference in a scenic note to "Winters Tale 
platform circle" : the only production of Winter's Tale in these 
years was at Booth's in April, 1871; the next Othello at Booth's 
was as dated above. Enclosed is a playbill for December 29, 1866, 
when Booth played Iago in English to Bogumil Dawison's 
German Othello. (See nos. 53, 55, 65, 67-70, 74, 76-78, 90.) 

60. Tommaso Salvini Hartford May 15, 1874 
Connecticut State Library 

[Salvini bilingual edition, 1873.] 

Notes on Salvini's stage business and histrionic manner made by 

William Gillette. (See nos. 64, 80-81.) 

61. Marcus J. Moriarty c.1875 
Folger: Oth, 40 

[French's Standard Drama, 4 \/± x 73/£; torn and unsewn.] 
Rehearsal copy checked for Iago. Several sheets of manuscript 
notes on the playing of Iago and Othello. Clippings of playbills 
for Edwin Booth, December, 1874, and McVicker's Theatre, April 
14, 1876. 

62. Leon John Vincent Cleveland c.1875 
Folger: Oth, 34 

[French's Standard Drama, 4 \/ A x 7; interleaves; brown paper; 
title inked on cover.] 

Crude but thorough promptbook. Cuts, calls, little stage business, 
maps, cues for effects. 

63. William H. Gillette Boston, Globe c.1875 
Connecticut State Library 

[French's Standard Drama, A\/ 2 x 7V4-] 

Rehearsal copy checked for Duke, Montano. Provisional or de- 
scriptive notes of the stage business of Othello. 

64. Tommaso Salvini London, Drury Lane April 1, 1875 
Folger: Oth, 32 



368 OTHELLO 

[Salvini parallel text edition, London, 1876, 5^ x 83^; purple 

publisher's wrappers.] 

Spectator's notes on Salvini's performance. (See nos. 60, 80-81.) 

65. Edwin Booth New York, Lyceum January 18, 1877 
The Players 

[Pages of Booth-Hinton edition, 5]/^ x 7 1/2, tipped to stubs between 
leaves of a workbook, 67/ 8 x %\/ A ; red marbled boards and half 
red leather; in slip-box of red leather; title gilt on spine.] 
Well-developed (though ill-spelled) promptbook much used on 
tour in the 1870's. Cuts and corrections, calls, stage business, maps, 
cues for effects. Names of minor actors mentioned in calls. Printed 
cast for Booth's Theatre in 1869. Timings for several cities, in- 
cluding New York for 1877. (See nos. 53, 55, 59, 67-70, 74, 76-78, 
90.) 

66. Stella Boniface New York April, 1878 
Folger: Oth, 2 

[French's Standard Drama, 4s/ 8 x 71/4; publisher's yellow wrappers, 

torn.] 

Rehearsal copy checked for Desdemona. Some stage business. 

v^67. Edwin Booth 1880's 

The Players 

[Booth-Winter edition, 1878, 4s/ 8 x 61/4; limp brown leather gilt; 
title gilt on spine.] 

Excellent transcription of Booth's promptbook made by J. R. 
Pitman as a souvenir for Russ Whytal, autographed by Booth. 
Very good groundplans, calls, stage business, maps, cues for 
effects. (See nos. 53, 55, 59, 65, 74, 76-78, 90.) 

68. [Booth] 
The Players 

[Booth-Winter edition, 4i/£ x 65/ 8 ; brown marbled boards and 

half maroon leather.] 

Roughly penciled but used promptbook. Maps, cues for effects. 

69. [Booth] Chicago, McVickers 
New York Public Library: *NCP.5954B 

[Booth-Winter edition, 1878, 4s/ 4 x 6i/£; black cloth boards; title 
gilt on spine.] 



OTHELLO 369 

Lightly marked promptbook. Some stage business, a few maps, 
cues for effects, timing (3:00). 

70. [Booth] 

Folger: Oth, 3 

[Booth- Winter edition, 4 \/± x li/ A ; tipped into brown leather 
notebook.] 

Preparation copy. Some cuts; 3 elaborate costume lists for Iago. 

71. Lawrence Barrett 1880's 
Harvard Theatre Collection: uncatalogued 

[Ten music score books, 9i/£ x 6l^; brown cloth boards and green 
cloth spine.] 

Complete scores for the band for 9 plays including Othello, en- 
dorsed by musicians in many cities. 

72. Frederick Paulding 1880's 
Rutgers University: PR.1243.SHA 

[Booth-Hinton edition, 1869, 5 x li/ 2 ; publisher's wrappers.] 
Liberally but randomly marked book, as if the actor were observ- 
ing and recording a performance. Stage business with especial 
attention to Iago, maps, cues for effects. 

73. Henry Irving London, Lyceum May 2, 1881 
Harvard Theatre Collection: uncatalogued 

[Clarendon Press edition, 4i/g x 614 ; interleaves; limp brown 
leather gilt; title gilt on cover.] 

Studybook for Iago and Othello, marked in red, blue, and lead 
pencil. Cuts on full text. Hundreds of jottings on the acting of 
the two roles. 

74. Edwin Booth Paris 1883 
The Players 

[Othello, Le More de Venise, Paris, 1882, 4% x 7i/£; brown 
marbled boards and half maroon leather.] 

"Arranged for my performance at the Odeon — Paris, which did 
not occur." (See nos. 53, 55, 59, 65, 67-70, 76-78, 90.) 

75. Thomas W. Keene Philadelphia, Arch Street February 15, 1883 
Harvard Theatre Collection: (Widener, 13486.78.5) 

[Keene edition (French), 5% x 9; pictorial paper wrapper under 
maroon cloth boards; title gilt up spine.] 



370 OTHELLO 

Probably a spectator's copy with copious notes in the last 3 acts 
on Keene's stage business. 

76. Edwin Booth April, 1885 
University of Pennsylvania, Furness Collection: C59.ShlOB 
[Booth-Winter edition, 1878, 4^£ x 63/£; gray publisher's wrappers 
under red leather gilt and silk-lined; "Prompt Book of Othello" 
gilt on spine.] 

"Some notes for ye Novice, H.H.F." More than 280 notes by 
Booth on the roles of Iago and Othello and on production of the 
play, done in April, 1885. Most but not all are printed in the 
Furness Variorum edition. (See nos. 53, 55, 59, 65, 67-70, 74, 90.) 

77. [Booth] New York, Academy of Music April 26, 1886 
The Players 

[Mixture of bilingual Booth-Salvini edition, 5 14 x Ss/ 8 , and 
French's Standard Drama.] 

Heavily marked promptbook of a 6-act version used for the occa- 
sions when Booth played Iago to Salvini's Italian Othello. Cuts, 
stage business, cues for effects. 

78. [Booth] 
The Players 

[Two books. Booth-Salvini edition in English, 5^ x S]/^; brown 
marbled boards and half maroon leather.] 

One of these lists performances in New York, Philadelphia, and 
Boston. Both have a few pencilings. 

79. Robert B. Mantell Reading February 18, 1888 
Folger: Oth, 25 

[French's Standard Drama, 4 14 x 63^; interleaves; limp maroon 
leather; title and Mantell's name gilt on cover.] 
Touring promptbook. At the front a dummy cast list and plot of 
scenes with grooves. Cuts and restorations, some stage business, 
maps, cues for effects. 

80. Tommaso Salvini New York, Palmer's October 16, 1889 
New York Public Library: *NCP.342932 

[Salvini's Farewell American Tour edition, 1889, 6i/£ x 9; black 

cloth boards.] 

George Becks's record of Salvini's performance: costume notes, 



OTHELLO 37 1 

maps, copious annotation of stage business and histrionic manner. 
(See nos. 60, 64.) 

81. [Salvini] 

New York Public Library: 8-*T-*NCVF.70727B 
[Manuscript, 77/ 8 x 93^; red cloth boards; title gilt up spine.] 
Manuscript of an Italian translation of E. T. Mason's book about 
Salvini's Othello (published in 1890). At the back about 20 cor- 
rections apparently by Salvini: "Tutto il resto e perfettamente 
esatto." Many good maps by Robert Blum. 

82. Robert S. Taber c.1890 
Library of Congress, Batchelder Collection: 415 
[Booth-Winter edition, 1878, 4i/ 2 x 6$/$; limp green cloth; title 
gilt on cover.] 

Randomly marked studybook, with stage directions lightly pen- 
ciled in third and fourth acts, literary and critical notes passim, 
Booth's autograph on a card. 

83. Frederick Warde America 1892 
University of California, Los Angeles: Special Collections 669, 
Box 1 

[French's Standard Drama, 4i/£ x 73/£; interleaves, 6 x 7i/£; brown 
leather; title gilt on spine.] 

Promptbook used between 1892 and 1895, when Warde was part- 
nered with Louis James, and probably before and after. Some 
stage business, cues for effects. Several playbills including one of 
Edwin Booth in Baltimore in 1876; several reviews of the 1880's 
and 1890's; many prints and photographs including several of 
James and Warde. 

84. Charles B. Hanford c.1895 
Folger: Oth, 9 

[Booth-Winter edition, 4i/£ x 61/4; gray cloth boards and half 

black leather, back missing; title and Hanford's name gilt on 

cover.] 

Studybook for Othello. Cuts, stage business for Othello, a few 

cues for effects. 

85. Henry Jewett New York, Broadway 1895-96 
Folger: Oth, Folio 1 

[Typescript, 8\/ 2 x 11; gray cardboard under gray canvas.] 



372 OTHELLO 

Promptbook of Jewett's arrangement as acted at the Broadway in 
1895-96, and produced some 30 years later for the Boston Reper- 
tory Theatre. Stage business is typed, with penciled additions. 
Maps, cues for effects. Two photographs of the library of the 
Boston Repertory. 

86. Ellen Terry London, Lyceum c.1898 
Smallhythe 

[Temple edition, 1897, 37/ 8 x 5; limp maroon leather; title gilt 
up spine.] 

Much used rehearsal copy, "No. 1/Ellen Terry/I lkley/ August/ 
Fulham." Cuts on full text, Bianca scene pinned shut. Initials of 
a cast. Copious notes on the acting of Desdemona and comments 
on Iago and Othello and the production. 

87. [Terry] 
Smallhythe 

[Same as preceding book.] 

Rehearsal copy checked for Desdemona, dated Fulham, August, 
1898. Cuts on full text, Bianca scene pinned shut. Costume notes. 
A few notes on the acting of Desdemona. 

88. [Terry] 
Smallhythe 

[Irving edition, 1899, 4 x 5%; green cloth boards gilt; title gilt 
up spine.] 

Rehearsal copy cut and checked for Desdemona. A few notes on 
the acting. 

89. F. R. Benson c.1900 
Shakespeare Centre Library: 72.925BEN 

[Heinemann edition pasted in a workbook, 6^£ x 9; red marbled 
boards and red cloth spine, much worn; title inked on spine label.] 
Preparation copy. Cuts, stage business, some groundplans, cues 
for effects, all roughly entered. 

90. J. R. Pitman Boston, Castle Square February 23, 1903 
University of Pennsylvania, Furness Collection: C59.ShlOP 
[Booth-Winter edition, 1878, 4s/ 4 x 6y 4 ; gray publisher's 
wrappers.] 

Carefully marked promptbook largely derived from Booth's (see 
no. 67). Scenes and grooves indicated on excellent groundplans. 



OTHELLO 373 

Calls, stage business, cues for effects. Playbill of Pitman's produc- 
tion. 

91. Lewis Waller London, Lyric May 17, 1906 
Folger: Oth, 35 

[Shakespeare edition pasted in a workbook, 93^ x 7^; limp 
brown leather.] 

Promptbook for only the second half (from middle of Act III) of 
Waller's production. Heavy cuts on full text, calls, much stage 
business, cues for effects. For Act V, property lists and 2 excel- 
lent groundplans. Notes on the text as used at the Lyric and 
"Variations done at Stratford-on-Avon." Waller played Othello 
at Stratford with the Benson company in 1907. 

92. Oscar Asche London, His Majesty's November 7, 1907 
Shakespeare Centre Library: 72.925ASC 

[Shakespeare edition pasted in a workbook, 6s/ s x 8; black oilcloth 
boards, front cover missing; tied in white cardboard wrapper.] 

Much used promptbook. Cast, groundplans, stage business, cues 
for effects. 

93. [Asche] 

Shakespeare Centre Library: 72.925ASC 

[Temple edition pasted in a workbook, 614 x 8; gray boards and 

half black leather, much worn; title gilt up spine.] 

Full and well-made promptbook much used at Kennington and 

on tour. Stage business, maps and groundplans, cues for effects. 

Names of actors. Many sketches of the principal characters. 

94. C. W. Buchanan January, 1912 
Folger: Oth, 4 

[Lacy edition, 4i/£ x 7y 8 ; stiff white paper.] 

The book first owned (1861) but not written in by Harry Cox, 
Theatre Royal, Sunderland. In 1912, Buchanan, a Londoner, 
filled it with strangely naive notes on acting and production. 

95. Herbert Beerbohm Tree 

London, His Majesty's April 9, 1912 

Enthoven Collection: Tree, 228 

[Two books. Favourite Classics edition, 1904, 3y£ x 53^; inter- 
leaves; blue cloth boards; title gilt on spine.] 
The first is a full and systematic promptbook done in pencil by 



374 OTHELLO 

Stanley Bell. At the front good groundplans. Cuts, much stage 
business, cues for effects. The second is an inked transcription 
completed through only 3 acts. 

96. [Tree] 

Enthoven Collection: Tree, 228 

[Temple edition pasted in a workbook, 614 x 7%; black oilcloth.] 
Preparation copy marked in red ink perhaps by Tree. Stage 
directions for Act III only. 

97. [Tree] 

Enthoven Collection: Tree, 228 

[Temple edition, 1899, 4 x 5]/ 8 ; maroon limp leather.] 

Tree's rehearsal and preparation book checked for Othello. Cuts, 

some stage business, provisional notes on effects. 

98. [Tree] 

Folger: Oth, 33 

[French issue of Lacy edition, 4i/ 8 x 7 14 •] 

Rehearsal copy. First scene of Act III penciled for Iago's stage 

business. 

99. [Tree] 

Enthoven Collection: Tree, 228 

[Six books. Temple edition (5), 1899; Favourite Classics edition 

(1), 1904.] 

Rehearsal copies for various roles. One unassigned book has cuts, 

stage business, cues for effects. 

100. [Tree] 

Enthoven Collection: Tree, 228 

[Papers.] 

Plots of costumes, properties, cast, supers' entrances, etc.; 2 

sketches of scenes, several sketches of properties. 

101. Hallam Bosworth c.1915 
New York Public Library: *NCP.52x296 

[Booth- Winter edition, 1911, 4 x 7i/£; interleaves, 6x8; black 
cloth boards; title gilt on spine.] 

Penciled transcription of traditional matter from several old 
promptbooks, especially Booth's. At the front, groundplans, plots 
of properties and lights. Copious stage business, cues for effects. 



OTHELLO 375 

102. Robert Atkins Egypt October, 1927 
Shakespeare Centre Library: 72.925ATK 

[Heinemann edition pasted in a workbook, 63^ x 9; green marbled 
boards and blue cloth spine; title inked on spine label.] 
Roughly made promptbook used by Atkins' company during tours 
to Egypt in 1927 and 1928. Stage business, cues for effects, timings. 

[Actor Lists for Following Books Are Given in This Order: 
Othello, Iago, Desdemona, Emilia.] 

103. W. Bridges-Adams Stratford-upon-Avon April 23, 1930 
Shakespeare Centre Library: 71.21/1930 O 

[Favourite Classics edition pasted in a workbook, 65/ 8 x 9; blue 
cloth boards and red cloth spine, much worn; title inked on cover 
label.] 

Cast includes Wilfrid Walter, George Hayes, Joyce Bland. Cos- 
tumes by Eric Maxon. Stage business, cues for effects roughly en- 
tered. The book had been used in 1924; was erased and rewritten. 

104. Maurice Browne London, Savoy May 19, 1930 
Folger: Oth, Folio 2 

[Shakespeare edition pasted in a workbook, 87/ 8 x 123^; heavy 
maroon binder; title gilt on spine.] 

Cast includes Paul Robeson, Maurice Browne, Peggy Ashcroft, 
Sybil Thorndike. Directed by Ellen van Volkenburg. Cuts on full 
text. Good groundplans, calls, stage business, maps, cues for 
effects, timings (3:05). Photographs of the 7 sets designed by 
James Pryde. At the back plots of properties, armour, electrics. 
Fourteen-page description of George Sheringham's costumes. 

105. [Browne] 

University of Michigan, Shakespeare Collection 

[Temple edition pasted in a workbook, 9$/s x 12; black cloth 

boards and red leather spine.] 

"Preliminary prompt-copy" of the Browne-Robeson production. 

Cuts on full text, scenic indications, calls, stage business, maps, 

cues for effects. 

106. Philip Merivale New York, Ethel Barrymore September 27, 1935 
New York Public Library: *NCP+.329226-7B 

[Two books. Carbon typescript, 734 x 11; black cloth boards; 
title gilt up spine.] 



376 OTHELLO 

Cast includes Philip Merivale, Kenneth MacKenna, Gladys 
Cooper, Alexandra Carlisle. Directed by Henry Herbert. De- 
signed by P. Dodd Ackerman. Produced by Crosby Gaige. First 
book much used in stage management: cues for effects. The second 
unused. 

107. [Merivale] 

Princeton University, Seymour Collection 

[Typescript, 8i/g x 11; blue paper wrapper; title on orange cover 

label.] 

Unused copy of preceding book identified as the production of 

Crosby Gaige. 

108. Margaret Webster New York, Shubert October 19, 1943 
New York Public Library: *NCP+.344134B 

[Carbon typescript, 8x11, and photostats of music score, 10 14 x 
133/£; blue cloth boards; title gilt up spine.] 
Cast includes Paul Robeson, Jose Ferrer, Uta Hagen, Margaret 
Webster. Music by Tom Bennett. Designed by Robert Edmond 
Jones. Unused copy of the version, arranged as prose, with basic 
stage business and effects. 

109. Robert Atkins Stratford-upon-Avon April 4, 1945 
Shakespeare Centre Library: 71.21/1945 O 

[Eversley edition pasted in a workbook, 7x9; blue cloth boards 
and half black leather; title on cover and spine labels.] 
Cast includes George Skillan, Antony Eustrel, Moira Lister, 
Viola Lyel. Designed by Martin Battersby. Stage business, cues 
for effects. The book had been used for Atkins' 1939 production. 

110. Godfrey Tearle Stratford-upon-Avon July 31, 1948 
Shakespeare Centre Library: O.S.71.21/1948 O 

[Temple edition pasted in a workbook, 8 x 12%; green boards 

and red cloth spine; title on cover and spine labels.] 

Cast includes Godfrey Tearle, Anthony Quayle, Diana Wynyard, 

Ena Burrill. Designed by Joseph Carl and Audrey Cruddas. 

Much stage business, cues for effects. Used again for the 1949 

revival. 

111. Anthony Quayle Australia 1953 
Shakespeare Centre Library: O.S.71.21/1953 

[New Temple edition pasted in a workbook, 8 x 13; black cloth 
board spring binder.] 



OTHELLO 377 

Cast includes Anthony Quayle, Leo McKern, Barbara Jefford. 
Designed by Tanya Moiseiwitsch. Very much stage business, maps, 
cues for effects. At the back a fight routine. 

112. [Quayle] Stratford-upon-Avon March 16, 1954 
Shakespeare Centre Library: O.S.71.21/1954 

[New Temple edition pasted in a workbook, 8 x 13; blue cloth 
board spring binder; title on spine label.] 
Cast includes Anthony Quayle, Raymond Westwell, Barbara 
Jefford, Joan MacArthur. Designed by Tanya Moiseiwitsch. Very 
much stage business, maps on mimeographed groundplans, cues 
for effects. This was a revival of the 1953 Australian production. 

113. Glen Byam Shaw Stratford-upon-Avon May 29, 1956 
Shakespeare Centre Library: O.S.71.21/1956 O 

[New Temple edition pasted in a workbook, 8 x 13; blue cloth 
board spring binder; title gilt on red cloth cover label, inked on 
spine label.] 

Cast includes Harry Andrews, Emlyn Williams, Margaret John- 
ston, Diana Churchill. Designed by Motley. Very full stage busi- 
ness, maps on mimeographed groundplans, cues for effects. Many 
production papers. 

114. John Houseman Stratford, Connecticut June 23, 1957 
University of California, Los Angeles: Houseman Box 13 
[Mimeograph, 8i/£ x 11; black cloth board spring binder.] 

Cast includes Earle Hyman, Alfred Drake, Jacqueline Brooks, 
Sada Thompson. Designed by Rouben Ter-Arutunian. Rough 
production book. Some stage business and other working notes. 

115. [Houseman] 

University of California, Los Angeles: Houseman Box 9 
[Mimeograph, S]/ 2 x 11; brown cloth board ring binder.] 
Final or souvenir promptbook. Stage business typed along 
margins. 

116. Tony Richardson Stratford-upon-Avon April 7, 1959 
Shakespeare Centre Library: O.S.71.21/1959 Oth 

[New Temple edition pasted in a workbook, 8 x 13; blue cloth 

board spring binder.] 

Cast includes Paul Robeson, Sam Wanamaker, Mary Ure, Angela 



378 OTHELLO 

Baddeley. Designed by Loudon Sainthill. Much stage business, 
maps, cues for effects. 

117. Jean Gascon and George McCowan 

Stratford, Ontario June 30, 1959 

Festival Theatre, Library 

[Two books. Penguin edition pasted in workbooks, 814 x 135/g; 
green cloth boards; title pasted on cover of first book.] 
Cast includes Douglas Campbell, Douglas Rain, Frances Hyland, 
Kate Reid. Designed by Robert Prevost. The first book has 
roughly entered stage business, maps, cues for effects. The second 
has calls, cues for effects. 

118. Franco Zeffirelli Stratford-upon-Avon October 10, 1961 
Shakespeare Centre Library: O.S.71.21/1961 O 

[Cambridge Pocket Shakespeare pasted in a workbook, 8 x 13; 
red cloth board spring binder; title on spine label.] 
Cast includes John Gielgud, Ian Bannen, Dorothy Tutin, Peggy 
Ashcroft. Costumes by Peter Hall. Very full stage business, cues 
for effects. 

119. Other books of Othello: 

Brown University: Eng.P.17, Asa Cushman, 1852, Providence 
casts with G. V. Brooke and J. B. Booth. 
Connecticut State Library: William Gillette. 
Essex Institute, Salem: 822.08/S24/no. 23, John B. Adams, 
Boston Museum, 1851. 

Folger: Oth, 1, 22, 42, anonymous; Oth, 23, F. G. Lowe (Eng- 
land), cast with Wallack and John Child; Oth, 29, L. D. Ross, 
1850, and George W. Furber; Oth, 36, Jefferson Winter; Oth, 39, 
M. C. Snowdon or Seaman; Oth, 43, Jean Aicard translation, 
addressed to Paul Mounet, cut and heavily marked promptbook. 

Harvard Theatre Collection: 13486.72.25, anonymous, eight- 
eenth century; uncatalogued, G. Reignolds. 
Missouri Historical Society: John W. Norton. 
Museum of the City of New York: 32.485.294A, C, one of J. H. 
Ring and one anonymous. 

New York Public Library: *NCP+.963717A, manuscript Italian 
version of Ermete Novelli, 1907. 
Princeton University, Seymour Collection: OTH, 7, William 



OTHELLO 379 

Cutter of the Broadway, James Seymour, William Seymour, play- 
bill of J. W. Lonergan. 

Shakespeare Centre Library: 50.14(1815), Fanny Kemble and 
Helen Faucit; 50.25(1856), F. A. Marshall. 
W. A. Clark Library, Los Angeles: Temple edition, anonymous. 



Pericles 

1. Samuel Phelps London, Sadler's Wells October 14, 1854 
Folger: Per, 1 

[Shakespeare edition pasted in 5 booklets, 4i/£ x 7\^; heavy 
brown paper.] 

Phelps's original promptbook probably in his own hand, with 
prompter's pencilings added. Text much cut, rearranged, and 
augmented. Scenic indications, grooves, calls, stage business, maps 
and sketches, cues for effects. Diorama show in the last act. 

2. [Phelps] 
Folger: Per, 2 

[Shakespeare edition pasted in a workbook, 43^ x 8; blue boards 
and canvas spine; title inked on cover.] 

Transcription and expansion of the preceding book, used. Scenery 
and stage business given more fully, cues for effects more regularly. 

3. [Phelps] 

Shakespeare Centre Library: 50.26(1805) 

[Pages 237-334 from volume VIII of Chalmers' Works, 1805, 

5i4 x 85/ 8 ; a few interleaves; tan marbled boards and half black 

leather; title gilt up spine.] 

Transcription of Phelps's promptbook made by William Creswick. 

In the front cover the Shakespeare Penny Memorial stamp of 

1864. 

[Actor Lists for Following Books Are Given in This Order: 
Pericles, Marina, Gower.] 

4. Nugent Monck Stratford-upon-Avon August 16, 1947 
Shakespeare Centre Library: O.S.71.21/1947 

[New Temple edition pasted in a workbook, 8 x 12^4; black 
boards and red cloth spine; title on cover and spine labels.] 
Cast includes Paul Scofield, Daphne Slater, Dudley Jones. De- 
signed by Barry Jackson. Much stage business, maps, cues for 
effects, timings. 

5. Tony Richardson Stratford-upon-Avon July 8, 1958 
Shakespeare Centre Library: O.S.71.21/1958P 

[New Temple edition pasted in a workbook, 8 x 13; red cloth 
board spring binder; title on spine label.] 



PERICLES 38 1 

Cast includes Richard Johnson, Geraldine McEwan, Edric Con- 
nor. Designed by Loudon Sainthill. Additions to text, very much 
stage business, maps on mimeographed groundplans, cues for ef- 
fects. 



Richard II 

1. Thomas Elrington Dublin, Smock Alley c.1720 
Folger: Rich II, 7 

[Theobald alteration, 1720, 4% x 7i/£.] 

Promptbook with cast inked in, most of whom are known to be 
Smock Alley actors of about 1720. Cuts and alterations, calls, en- 
trance signals (horizontal line with vertical slashes), cues for ef- 
fects. 

2. John Roberts London, Covent Garden March 6, 1738 
Folger: R II, Second Folio 

[Pages 23-46 from a Second Folio, 1632, $7/ 8 x \2% (ends folded), 
tipped between leaves of an album, 9^g x H%5 brown cloth 
boards and red leather spine; "Shakespeare's Original Edition 
1623" gilt up spine.] 

Preparation copy, "Correct cum Libr Theatr." Cuts and a few 
alterations. Excellent large maps of the combat scene and the 
Parliament scene. Decorated title page of album by T. Purland 
dated September 11, 1847. Playbill of Kean's Richard II for Octo- 
ber 23, 1815, tinted print of Kean as Richard, Shakespeareana, 
portion of original manuscript cover with Roberts' signature, 
etc. (See J. G. McManaway, Shakespeare Quarterly, XV, 2, 161- 
175.) 

3. Edmund Kean London, Drury Lane March 9, 1815 
Folger: Rich II, 3 

[Wroughton edition, 1815, 5i/g x 8i/ 2 ; interleaves watermarked 
1818; green marbled boards and half brown leather; title and 
"M r . Kean" gilt up spine.] 

Transcription from the 1815 promptbook by G. C. Carr, the 
Drury Lane prompter, probably for Kean's later use. Cuts, calls, 
little stage business, maps, cues for effects, timing (2:45). 

4. [Kean] Philadelphia January 22, 1819 
Harvard Theatre Collection: TS.2587.63 

[Wroughton edition, 1815, 5]/ 2 x 8 1/4; brown leather; in box of 
tan cloth boards and red leather spine; title gilt up spine.] 
Promptbook, "Marked from Mr. Kean's Book," which belonged 
to William B. Wood. Philadelphia cast with J. W. Wallack as the 
King. Cuts, scenic indications, calls, stage business, cues for ef- 
fects, timing. 



RICHARD II 383 

5. William Charles Macready 

London, Haymarket December 2, 1850 

Victoria and Albert, Forster Library, 7919: F.48.C.17 
[Acting edition, 1812, 3]/ 2 x 6; interleaves, S]/ 2 x 7; bound with 
other Macready promptbooks in green cloth boards and half tan 
leather; titles gilt on spine.] 

Promptbook marked by Macready in the margins, by a prompter 
on the interleaves. Cuts, some scenic indications, some stage busi- 
ness, maps, cues for effects. 

6. [Macready] 

Victoria and Albert, Forster Library, 7915: F.48.C. 1 5 

[Pages 3-112 from volume V of Pickering edition, 1825, 47/ 8 x 

7 14 ; interleaves; green cloth boards and half tan leather; title gilt 

on spine label.] 

Preparation copy. Cuts on full text. Some stage business. 

7. Charles Kean London, Princess's March 12, 1857 
Folger: Rich II, 2 

[Reprint from Steevens edition, 53^ x 9; gray interleaves, 7i/£ x 
8%; white cardboard and canvas spine.] 

Penciled workbook of George Ellis, the stage manager. Cuts on 
full text. List of supers and their wages. Copious stage business, 
maps, notes on effects. At the back a detailed description of the 
murder scene, (note: There is no proper "final" promptbook of 
Kean's production.) 

8. [Kean] 
Folger: T.a.75 
[Manuscript, 5]4 x 6^.] 

Cuebook for Richard II and The Tempest in the hand of George 
Ellis, the stage manager. Calls, maps and sketches, procession 
list for the "Historical Episode," cues for effects, special warnings 
on handling of scenery, sounds, etc. 

9. [Kean] 

Folger: Rich II, 8 

[Kean edition, 1857, 4s/ 4 x 7^; interleaves; brown marbled 

boards and half green leather; title gilt up spine.] 

Incomplete promptbook apparently used after 1859: complete 

Kean cast which is not that of the Princess's production. Few 

pencilings. 



384 RICHARD II 

10. [Kean] 

Folger: Rich II, 4 

[Kean edition, 1857, 5i4 x 8i/£; publisher's wrappers.] 
Workbook. Cuts, notes on doubling lesser characters. The name 
"Mills" inked on cover. 

11. [Kean] 

Enthoven Collection: Box DT.44 

[Watercolors mounted on large display boards.] 

Fine watercolor designs of 17 scenes; 16 watercolor plates of 

properties, banners, etc. 

12. [Kean] 

Folger: Kean Costume Book, 33, Prints and Engravings, 182 

[Scrapbook, 14% x 21 ]4', brown cloth boards and half brown 

leather; "Charles Kean's Scrap Book" gilt on spine and red 

leather cover label.] 

Contains 176 fine watercolor plates of costumes, properties, 

scenes. 

13. [Kean] 

Enthoven Collection: 94G26, plates 1735-38 

[Scrapbook, 15 14 x 21^; blue cloth boards and half blue cloth; 

"Kean Theatrical Scenery" gilt up spine.] 

Watercolor designs of 4 scenes, with figures. 

14. [Kean] 

Enthoven Collection: 94G27, plates 1764, 1767, 1792-1854 
[Scrapbook like the preceding book.] 

Plates 1764 and 1767 are watercolors of figures in the "Historical 
Episode." Plates 1792-99 are watercolor designs of 8 scenes of the 
play; these are in the style of those which usually appear in the 
Edmonds final or souvenir promptbooks at the Folger, but for 
this play there is no Edmonds book. Plates 1800-1802 are designs 
of properties. Plates 1816-37 are drawings for costumes. Plates 
1838-39 are newspaper engravings of scenes. Plates 1840-54 are 
oval engravings of all scenes of the play and a color print of the 
interior of the Princess's. 

15. [Kean] 

Enthoven Collection: Box DT.48a 

[Watercolors.] 

Preliminary watercolor designs by T. Grieve for 10 scenes. 



RICHARD II 385 

16. John Moore New York, Daly's Fifth Avenue November 8, 1875 
Folger: Rich II, 5 

[Pages 295-399 from volume IV of a Works, 5i/g x 8; interleaves; 
buff paper.] 

Thorough and carefully written promptbook for Booth's produc- 
tion mostly done in blue ink. Unlike most of Moore's books this 
one apparently was not taken from an English or earlier Amer- 
ican original. Cuts on full text. Scenic indications, grooves, calls, 
copious stage business, cues for effects. Numerous penciled refer- 
ences to the arrangements of Kean's production, presumably that 
at the Broadway Theatre on September 15, 1865. Enclosures: a 
list of doubling characters, a newspaper account of the first Amer- 
ican production in 1819, several reviews of Kean's London pro- 
duction in 1857, a review of Kean's New York production in 1865, 
announcements of Booth's 1875 production (for which this 
promptbook was made), a review of Booth's production in 1878. 

17. Edwin Booth New York, Daly's Fifth Avenue Nov. 8, 1875 
The Players 

[French issue of Cumberland edition, 3^g x 5y 8 ; brown marbled 
boards and half maroon leather; title gilt on spine.] 
Preparation copy with some cuts and notes, inscribed "Keep this 
as a Curiosity of the Palmy days!" The version was rejected be- 
cause of its corruption, which "beats Colly Cibber Sc Tate." 

18. [Booth] 
The Players 

[Dicks Standard Plays, 4s/ 4 x 73^; brown marbled boards and 
half maroon leather; title gilt on spine.] 
Preparation copy. A few notes. 

19. [Booth] 
The Players 

[Clarendon Press edition, 1874, 4s/ 8 x 65/£; limp brown cloth 
boards; in slip-box of red leather; title gilt on spine.] 
Preparation copy. Cuts, alterations, some grooves. 

20. [Booth] 
The Players 

[Shakespeare edition pasted in a workbook, 6% x 81^; bound 
with Richard III in orange marbled boards and black leather 
spine; in slip-box of red leather; title gilt on spine.] 
Preparation copy. Cuts, scenic indications with rough sketches. 



386 RICHARD II 

21. [Booth] 
The Players 

[Manuscript, 734 x lOi^; tan boards and brown cloth spine; title 
penciled on cover; in slip-box of red leather; title gilt on spine.] 
Manuscript promptbook, much used. At the front a cast, list of 
doubles, notes on music. Scenic indications, grooves, calls, stage 
business, maps, cues for effects. Program for the first performance. 

22. [Booth] New York, Lyceum December 4, 1876 
The Players 

[Typescript, 73^ x 934; gray marbled boards and half green 

leather; title on cover label; in slip-box of red leather; title gilt on 

spine.] 

Typescript promptbook, much used. At the front plots of scenes 

with grooves, properties, characters; 3 large penciled sketches of 

scenes. Scenic indications, calls, cues for effects. Timing for the 

Lyceum in 1876-77 (2:57). 

23. [Booth] 

The Players: MSS.23 

[Twenty-six booklets. Manuscript, 8 x 614 ; some in tan paper.] 
Partbooks. One set of 17 books, another of 9, all much used. 
Most of them bear names of actors. 

24. [Booth] 
The Players 

[Booth-Winter edition, 1878, 43^ x 7i/ 8 ; brown marbled boards 
and half maroon leather; title gilt on spine.] 
Book "Marked for corrections" by William Winter in prepara- 
tion for reprinting. Some stage business added. 

25. William Poel London, University of London Nov. 11, 1899 
Enthoven Collection 

[Shakespeare edition pasted in a workbook, 4 x 614; black imita- 
tion leather; title on cover label.] 

Partial promptbook. Cuts on full text. Notes on music and prop- 
erties. 

26. Herbert Beerbohm Tree 

London, His Majesty's September 10, 1903 

Enthoven Collection: Tree, 152 

[Temple edition pasted in a workbook, 67/g x 83^; black oilcloth.] 



RICHARD II 387 

Preparation copy marked by Tree. Cuts (22 of 62 pages), stage 
business, notes on scenery and effects. At the back numerous his- 
torical notes, plans for production, plans for an advertising bro- 
chure. 

27. [Tree] 

Enthoven Collection: Tree, 152 

[Temple edition pasted in a workbook, 7x9; red marbled 

boards and blue cloth spine.] 

Rehearsal promptbook. Much stage business roughly penciled. 

Partial cast. 

28. [Tree] 

Enthoven Collection: Tree, 152 

[Temple edition pasted in a workbook, 7x9; red marbled 
boards and purple spine; title on cover label.] 
Very full rehearsal promptbook. Much stage business, maps, cues 
for effects. Typewritten plots of scenes, cast, entrance of cham- 
pions, procession list, etc. 

29. [Tree] 

Enthoven Collection: Tree, 250 

[Shakespeare text pasted in a workbook, 7x9; red marbled 
boards and red cloth spine, much worn; title on cover label.] 
Fully developed promptbook. Copious stage business done in red 
ink, with additional business typewritten and pasted in. Maps 
and sketches. List of scenes. 

30. [Tree] 

Enthoven Collection: Tree, 152 

[Shakespeare text pasted in a workbook, 67/ 8 x 87/ 8 ; red marbled 
boards and green cloth spine, much worn; title on cover label.] 
Final promptbook signed by Edgar Ruthven in 1904. Cast and 
scenes from printed program pasted in. Fine sketches of 6 scenes 
washed with colored inks, excellent groundplans, copious stage 
directions partly typewritten and partly in red ink, typewritten 
light plots. 

31. [Tree] 

Enthoven Collection: Tree, 152 

[Temple edition, 4i/£ x 7; blue cloth boards; title stamped on 

cover and gilt up spine.] 



»»8 RICHARD II 

Stage manager's cuebook. Cuts partly inked, partly scissored, 
partly covered with blank paper. Some groundplans, some stage 
business, cues for effects. 

32. [Tree] 

Enthoven Collection: Tree, 152 

[Temple edition, 4 x 5i/ 8 ; red leather; title gilt up spine.] 

Cuebook. Cuts, some stage business, cues for effects. 

33. [Tree] 

Enthoven Collection: Tree, 152 

[Twelve books. Favourite Classics edition (11), 1904, 33^ x 6; 

green cloth boards. Temple edition (1), 4 x 5]/^; red cloth 

boards.] 

Rehearsal copies, all with cuts, a few with stage business. 

34. [Tree] 

Enthoven Collection: Tree, 151, 152 
[Papers.] 

Plots for calls, cast, supers, dressing rooms, properties, limes; 
" groundplans, score and words for a song, etc. 

[Actor Lists for Following Books Are Given in This Order: 
Richard, Bolingbroke.] 

35. W. Bridges-Adams Stratford-upon-Avon April 16, 1929 
Shakespeare Centre Library: 71.21/1929R 

[Favourite Classics edition pasted in a workbook, 6]/ 2 x 8%; Dme 
cloth boards and red cloth spine; title on cover and spine labels.] 
Cast includes George Hayes, Wilfrid Walter. Little stage business, 
maps, cues for effects. The book had been used for the 1924 pro- 
duction. 

36. [Bridges-Adams] ' July, 1930 
Shakespeare Centre Library: 71.21/1930R 

[Temple edition pasted in a workbook, 63^ x 9; blue cloth boards 

and half red leather; title on cover and spine label.] 

Cast includes George Hayes, Wilfrid Walter. Costumes by Eric 

Maxon. Some stage business, maps, cues for effects. A sheet of 

music. 

37. Tyrone Guthrie Stratford-upon-Avon April 21, 1933 
Shakespeare Centre Library: 71.21/1933RI 



RICHARD II 389 

[Temple edition pasted in a workbook, 7x9; purple cloth 
boards and half black leather; title on cover and spine labels.] 
Cast includes George Hayes, Anew McMaster. Unused copy. 
Some stage business, maps, cues for effects. 

38. Margaret Webster New York, St. James February 5, 1937 
New York Public Library: *NCP + .76440B 

[Dent edition pasted in a workbook, 814 x 11; blue cloth boards; 
title gilt on spine.] 

Cast includes Maurice Evans, Ian Keith. Promptbook of Edward 
P. Dimond, the stage manager, used through the first season. 
Cuts on full text. Cast, copious stage business, maps, cues for 
effects, timings, dates of the run (133 performances). 

39. [Webster] 

New York Public Library: *NCP 

[Photostat of Dent edition pasted in a workbook, S]/ 2 x 11; blue 

cloth boards; title gilt on spine.] 

Photographic copy of Dimond's final promptbook as used during 

the second season and on tour until June, 1940. Much detail of 

the preceding book has been eliminated. Notes on timing (2:24) 

and length of the run (458 performances). 

40. Robert Atkins Stratford-upon-Avon May 22, 1944 
Shakespeare Centre Library: 71.21/1944RI 

[Temple edition pasted in a workbook, 7i/g x 9; purple cloth 
boards and half black leather; title on spine label.] 
Cast includes George Hayes and Antony Eustrel. Designed by 
Herbert Norris. A groundplan, much stage business, maps, cues 
for effects. Yellow callbook enclosed. The book had been used in 
Guthrie's 1933 production; was erased and reused. 

41. Walter Hudd Stratford-upon-Avon June 14, 1947 
Shakespeare Centre Library: O.S.71.21/1947RI 

[Temple edition pasted in a workbook, 8 x 12^; maroon cloth 
boards and maroon leather spine; title on cover and spine label.] 
Cast includes Robert Harris and Michael Golden. Designed by 
Hal Burton. Much stage business, maps, cues for effects. Pro- 
duction papers including groundplan. Aumerle scenes in Act V 
are marked but sealed shut. 



390 RICHARD II 

42. Anthony Quayle Stratford-upon-Avon March 24, 1951 
Shakespeare Centre Library: O.S.71.21/1951R 

[New Temple edition pasted in a workbook, 8 x 1234; red cloth 
boards; title on cover label.] 

Cast includes Michael Redgrave, Harry Andrews. Designed by 
Tanya Moiseiwitsch. Very full stage business, maps, cues for ef- 
fects. Aumerle scenes in Act V are marked but sealed shut. 

43. Michael Benthall London, Old Vic January 17, 1955 
Old Vic, Publicity Department 

[Two books. Temple edition pasted in a workbook, 8 x 10i/£; 
black ring binder.] 

Cast includes John Neville, Eric Porter. Designed by Leslie 
Hurry. Stage business, maps, cues for effects. Production papers. 
Second copy, similar to first, used for revival on July 3, 1956, 
with Charles Gray replacing Eric Porter. 

44. Other books of Richard II: 

Folger: Rich II, 1, Eichhoff, ed. 1868, cuts; Rich II, 6, James 
B. Roberts; Rich II, 9, anonymous, ed. 1815, marked for stresses; 
Rich II, 10, anonymous. 



Richard III 

1. Thomas Blackburn Lowestoff July, 1785 
Harvard Theatre Collection: TS.2587.1 10.10 

[Bell(?) edition, 37/ 8 x 63/£; brown cardboard under green marbled 
boards; title inked up cover.] 

Preparation copy for a provincial, perhaps amateur, production 
in which Blackburn played Tressel. Cuts, 2 casts, some stage 
business, some cues for effects. Many notes on costume with 
especial attention to colors. 

2. Anonymous 1790's 
Folger: R III, 29 

[Barker edition, 1794, 4i/£ x 67/£; brown marbled boards and 
black leather spine.] 

Promptbook or rehearsal copy, the markings badly cropped. 
Some stage business, cues for effects. 

3. George Frederick Cooke 

London, Covent Garden October 31, 1800 

Folger: Rich III, 4 

[Lowndes edition, 1793, 4i/ 8 x 7; interleaves; red cloth boards 
and red leather spine; title gilt up spine.] 

Promptbook marked by Cooke apparently for the instruction of 
provincial managers, signed and dated 1808. At the front, cast 
lists for 1800 and 1807 and a 2-page properties list. Cuts and 
restorations, provisional scenic indications, calls, some stage busi- 
ness, cues for effects. In a note, all such technical symbols as 
"l.E," "LH," "X" are translated. Belonged after Cooke's death 
to James Brandon, whose daughter gave it to J. P. Hicks in 1879. 
At the front, a 4-page penciled account of Cooke's death written 
by an eyewitness. (See no. 5.) 

4. William B. Wood Philadelphia, Chestnut Street March 19, 1804 
New York Public Library: *NCP. 164553 

[Lowndes edition, 1793, 334 x 6i/£; brown cloth boards; title gilt 
up spine.] 

Lightly marked promptbook. Cuts, calls, some stage business, 
cues for effects. 

5. George Frederick Cooke 

London, Covent Garden January 8, 1810 

Harvard Theatre Collection: TS.2587.64 



392 RICHARD III 

[Roach edition, 1802, 3 14 x 5y 8 ; interleaves; green leather gilt; 
title gilt on red leather spine label.] 

Promptbook marked in Cooke's hand. Restorations, many bits of 
stage business keyed to the text with numerals, occasional cues 
for effects. Notes of performances on October 31, 1800; March 22, 
1805; January 8, 1810. Given to C. Smith by W. Clunes in 1842. 
(See no. 3.) 

6. John Philip Kemble London, Covent Garden April 1, 1811 
Folger: Rich III, 14 

[Kemble edition, 1810, 5 x 814; some interleaves; red marbled 
boards and half blue leather gilt; title gilt up spine.] 
Promptbook marked by Kemble. Some stage business, procession 
list for funeral, maps, cues for effects. 

7. [Kemble] 
Folger: T.a.13 

[Manuscript, 7 x 8%; brown leather gilt; title gilt up spine.] 
Kemble's 43-page partbook for Richard in his own hand. 

8. [Kemble] 

Folger: W.b.67(94-121) 

[Pamphlet mounted in a volume of Shakespeareana.] 

Remarks on the character of Richard the Third, as played by 

Cooke and Kemble, London, 1801. Annotated by Kemble. 

9. T.Russell 

Folger: Rich III, 35 

[Kemble edition, 1811, 5x8; brown leather; title gilt up red 

spine label.] 

Partial transcription from Kemble's book. A few restorations, 
some stage business. 

10. Junius Brutus Booth Ostend 1813 

Folger: Rich III, 3 

[Acting edition with frontispiece of Edmund Kean dated 1814, 
S5/ 8 x 51/2; tan paper.] 

Promptbook marked after 1814, but with inked cast for Ostend, 
1813. Cuts and restorations, some scenic indications, stage busi- 
ness and a few notes on interpretation, cues for effects. 



RICHARD III 393 

11. Anonymous c.1820 
New York Public Library: *NCP.342947 

[Oxberry edition, 1819, 4]/ 2 x 63^; interleaves; green cloth boards; 
title gilt up spine.] 

Lightly marked promptbook apparently of English origin. Some 
scenic indications, calls, procession list, maps, cues for effects. 

12. William Charles Macready 

London, Covent Garden after March 12, 1821 

Folger: Rich III, 15 

[Mixture of Oxberry edition, 1819, 4s/ 8 x 7s/ g , and Stodart edition, 
1821; interleaves, 4s/ 8 x 7y 4 ; greenish marbled boards and half 
brown leather; title gilt up red spine label.] 

Promptbook made up by Macready after the failure of the pro- 
duction with his restored Shakespeare text, combining some of 
his version (Stodart) with some of the traditional Cibber version 
(Oxberry). List of persons represented, grooves, calls, stage busi- 
ness, maps, cues for effects. Penciled marginalia, some in Latin 
and Greek. Belonged to E. Y. Lowne, Henry Irving. 

13. R. J. Collier(?) Bath, Theatre Royal(?) c.1823 
Shakespeare Centre Library: 50.28(181 1) 

[Kemble edition, 1811, 4^4 x 7 S A'> interleaves watermarked 1815; 
gray marbled boards and brown leather spine, much worn.] 
Promptbook similar in style to Collier's promptbook of King 
John (see KJ, 11). Some grooves, property lists, some stage busi- 
ness, maps, cues for effects, timings. Two leaves have been re- 
placed by leaves from a later acting edition. A later owner has 
added cuts, restorations, scenic indications, and other notes. 

14. Edmund Kean New York, Park November 14, 1825 
Enthoven Collection 

[Oxberry edition, Boston, 1822, 3^4 x §V%'' interleaves; tan 
leather; title inked on cover.] 

Promptbook of James H. Hackett in which he recorded all the 
readings and stage business of Edmund Kean, together with criti- 
cal notes and additional business of his own. Hackett first played 
Richard at the Park "in imitation of Kean" on December 12, 
1826. Gloster's lines marked for stresses. Calls, copious stage busi- 
ness, cues for effects. (See selective facsimile reproduction in Alan 
S. Downer, Oxberry's 1822 Edition of King Richard III.) 



394 RICHARD III 

15. John Gilbert 1828 
Harvard Theatre Collection: (Widener, 13486.91.20) 
[Oxberry edition, New York, 1828, 33^ x 6; gray paper with inked 
title and signature under brown cloth boards; title gilt up spine.] 
Promptbook dated 1828 and containing a clipping of a playbill 
for May 21, 1860, when Gilbert played Henry VI to Booth's 
Richard. Calls, cues for effects. 

16. Charles Kean New York, Park September 1, 1830 
Folger: Rich III, 12 

[Oxberry edition, 1819, 4 x 67/ 8 ; interleaves; green marbled boards 
and half brown leather, broken.] 

Kean's early promptbook, "correctly mark'd agreeably to M r . C. 
Kean's Business by John W. Wilton Promptor"; in March of 
1837, "Corrected for M r . Kean by S. C. Ferrers P r . T. R. Edin- 
burgh." Calls, stage business, procession list for the funeral, list 
of military entrances in Act IV, maps, cues for effects. Ferrers, in 
light blue ink, has corrected the calls, added maps, many cues for 
effects, timings. (See nos. 20-22, 29, 38-41, 47-48.) 

17. John B. Wright Boston, Tremont Street 1834-35 
Folger: Rich III, 32 

[Cumberland edition, 3s/ 4 x 5%; interleaves, 3% x 6i/£; gray 
paper; title inked on cover.] 

Promptbook used for several starring actors: four special key- 
marks denote text preferences and stage business of the elder 
Booth, Forrest, Cooper, Charles Kean; a few notes on Anderson, 
Wallack. Cuts, calls, some stage business, cues for effects. 

18. [Wright] 

New York Public Library: *NCP.343033 

[Modern Standard Drama, 4]/ 2 x 7s/ 8 ; interleaves; black cloth 
boards; title gilt up spine.] 

Roughly written promptbook. Restorations, some scenic indica- 
tions, grooves, some stage business, cues for effects. 

19. William Creswick May 8, 1837 

Shakespeare Centre Library: O.S.P.50.28(1829) 

[Cumberland edition, 33^ x 6; blue cardboard; title inked on 
cover.] 



RICHARD III 395 

Early Creswick studybook. At the front a costume list, at the back 
a fight routine. Many details of stage business for Gloster. (See 
no. 27.) 

20. Charles Kean London, Drury Lane February 5, 1838 

Folger: Rich III, 1 1 

[Kemble edition, 1811, 5 x 7%; interleaves; faded greenish mar- 
bled boards, much worn, and half brown leather; title and "M r 
C hs Kean" gilt on black spine labels.] 

Promptbook made for Kean in 1838 by Parsloe, the Drury Lane 
prompter, and used for many years. Penciled cast for 1838 nearly 
obliterated by thumbing. Restorations, scenic indications, 
grooves, stage business, maps, cues for effects. Fine brown ink- 
wash drawings of 14 scenes. Several notations in the hand of 
George Ellis, the stage manager at the Princess's in the 1850's. 
(See nos. 16, 29, 38-41, 47-48.) 

21. [Kean] 
Folger: W.a.10 

[Notebook made of sheets watermarked 1837, 4^£ x Ts/ 4 ; brown 
marbled boards and half brown leather gilt; "Theatrical Cos- 
tumes" inked on spine label.] 

Kean's touring wardrobe list is the twelfth of 16 such lists in this 
book. 

22. [Kean] 
Folger: T.b.15 

[Notebook, 7^£ x 12^; brown marbled boards and black leather 

spine.] 

Touring book of scene plots, property plots, etc., for Richard HI 

and 3 other plays. 

23. William Mitchell Scarborough c.1840 
Folger: Rich III, 17 

[Oxberry edition, 1818, 4 x 6^; interleaves; gray cardboard; title 
inked on cover.] 

Promptbook. The stage directions, said to be Mitchell's, appear 
often to be derived from Charles Kean's. Tinted designs of 6 
scenes, said to be by Bengough, much resemble the correspond- 
ing scenes in Kean's book. (See no. 20.) 

24. Samuel Phelps London, Sadler's Wells February 20, 1845 



396 RICHARD III 

Folger: T.a.83-92 

[Two books. Two manuscripts, each in 5 parts, c.7]/ 2 x 9; all 10 
parts in tan paper wrappers.] 

Preparation copies for Phelps's production of the restored Shake- 
speare text. Both these manuscripts are partially developed as 
promptbooks. Scenic indications, grooves, calls, stage business, 
cues for effects. (See nos. 33, 50.) 

25. [Phelps] 

Folger: Rich III, 24 

[Pages 7-159 from volume IX of a Works, 4i/£ x 6$/ s ; interleaves, 
4i/£ x iy 8 ; yellow and green marbled boards and half black 
leather, broken; title gilt on red spine label.] 
Fully developed promptbook done in a neat hand "under the 
direction of W. C. Williams," who was Phelps's prompter; cor- 
rections and additions made by Phelps and Williams. Cast for 
March, 1845, with later substitutions penciled. Some cuts on full 
text, but some compressed scenes are given in longhand. Copious 
scenic indications, grooves, property manuscripts list, calls, stage 
business, maps and sketches, cues for effects, timings (2:50). Fine 
brown ink-wash drawings of 1 1 scenes. Belonged to Harry Plow- 
man. 

26. [Phelps] 

New York Public Library: *NCP.164551 

[Pages 363-398 from a Works, 43^ x 71^; blue interleaves; black 
cloth boards; title gilt up spine.] 

Fine transcription of Phelps's promptbook done in ink and pen- 
cil in a small neat hand. Cuts on full text. Scenic indications, 
grooves, calls, stage business, good maps and sketches, cues for 
effects. 

27. [Phelps] 

Shakespeare Centre Library: 50.28(1806) 

[Pages 1-142 from volume IX of a Works, 5 14 x 8; gray inter- 
leaves; blue marbled boards and half brown leather; title gilt on 
spine.] 

Fine transcription of Phelps's promptbook done in a neat round 
hand, unused. Cuts on full text. Scenic indications, grooves, stage 
business, maps, cues for effects. Belonged to William Creswick. 
(See no. 19.) 

28. R. W. M. Klanert 

Harvard Theatre Collection: Phelps Collection 



RICHARD III 397 

[Oxberry edition, 1818, 4i/£ x 7]4> publisher's wrappers under 
gray paper; title inked on cover.] 

Promptbook kept among Phelps's papers, but probably not re- 
lated to Phelps's productions. Cuts, scenic indications, grooves, 
calls, some cues for effects. 

29. Charles Kean New York, Park January 7, 1846 
New York Public Library: *NCP.343045 

[Modern Standard Drama, 4i/£ x l\/±; interleaves, 5 x 7i/£; blue 

cloth boards; title gilt up spine.] 

Partial transcription as "Reproduced at Park, Jan 7, 1846," by 

George Becks. Also marked "Situations of J W Wallack but not 

his text." Few scenic indications, grooves, some stage business, 

maps and sketches, cues for effects. (See nos. 16, 20-22, 38-41, 47- 

48.) 

30. J. B. Roberts New York, Chatham February 21, 1847 
Folger: Rich III, 7 

[Cumberland edition, 3^£ x 6i/g; interleaves, %7/ 8 x 6]/ 2 > st iff 
brown paper.] 

Roberts' studybook for Gloster. Cuts, comments on the Cibber 
version, the Gloster lines marked for stresses, note on elocutionary 
techniques, description of Gloster's costume, grooves, much stage 
business. References to the acting of Anderson, Charles Kean, 
Lambert, Wallack. 

31. [Roberts] 

Folger: Rich III, 27 

[Oxberry edition, 1819, 4 14 x 7]/ 8 ; stiff brown paper.] 

Studybook. Gloster's lines marked for stresses. 

32. [Roberts] 

Folger: Rich III, 25 

[Modern Standard Drama pasted in a workbook, 7$/ 8 x 9^£; black 
cloth boards and red leather spine; title, Roberts' name, and in- 
junction to prompters inked on cover label.] 

Promptbook fully developed though not much used. Grooves, 
calls, stage business, cues for effects. 

33. Samuel Phelps London, Sadler's Wells March 21, 1849 
Folger: Rich III, 22 

[Pages 1-133 from volume VII of a Works, 4]/ 8 x 6i/£; interleaves, 



398 RICHARD III 

4^ x 7 1/8 ; brown marbled boards and half black leather; title gilt 
on red spine label.] 

Promptbook made up to replace Phelps's 1845 book (see no. 25). 
Contains all the essential matter except the 11 scene designs. At 
the back, penciled notes on the final battle and the working of 
profile figures. 

34. Robert Jones Boston, Howard Athenaeum 1852 
New York Public Library: *NCP.200785B 

[Modern Standard Drama, 4i/£ x 7]/ 2 ; blue interleaves, 6 x 7\/ 2 ; 
brown cloth boards; title gilt up spine.] 

Excellent promptbook, perhaps derived from Charles Kean's 
Park Theatre production of 1846 or Hamblin's revival of it in 
1848 (see no. 29). Careful scenic indications, grooves, calls, con- 
siderable stage business, procession lists, very good maps and 
sketches, cues for effects. Warning against beards and moustaches. 

35. Asa Cushman Providence 1852 
Brown University: Eng.P.17 

[Modern Standard Drama, 4i/£ x 1i/ 2 ; tan paper; title and "The 
Property of A. Cushman/No. 60" inked on cover.] 
Lightly marked promptbook. Cuts, cues for effects. Playbills for 
G. V. Brooke and J. B. Booth, with Cushman as Tyrrel. 

36. J. H. Ring Boston, Boston Museum 1853 
Folger: Rich III, 26 

[Modern Standard Drama, 4i/g x 6i/£; heavy tan paper; title and 
signature inked on cover.] 

Casual but much used promptbook. Cuts, cues for effects. Used 
to prompt J. H. Firm, Charles Couldock in 1857, James Wallack 
in 1858, John Wilkes Booth in 1861, Walter Montgomery in 1871. 

37. Anonymous Boston, Boston Museum 
Princeton University, Seymour Collection: R III, 5 

[French's Standard Drama, 4i/£ x 7i/ 2 ; interleaves; coarse cloth; 

"Boston Museum" inked on cover.] 

Crude but much used promptbook. Cuts, maps, cues for effects. 

38. Charles Kean London, Princess's February 20, 1854 
Folger: Rich III, 10 

[Lacy edition (Kean version), 1854, 4 x 7s/ 8 ; interleaves, 6% x 
85/£; tan boards and half brown leather, broken; title gilt up 



RICHARD III 399 

spine, "Mr. Charles Kean/Prompt Copy" gilt on blue leather 
cover label.] 

Final or souvenir promptbook made in 1859 by T. W. Edmonds, 
the prompter. Grooves, calls, some stage business, maps, cues for 
effects, timings (3:00). There were once watercolor designs of 13 
scenes, but these have been cut out. Opposite the stubs where the 
scenes once were are maps showing the disposition of characters. 
(note: The Lacy edition is used because it is the "official" Kean 
version; for this play Kean did not publish his own edition.) (See 
nos. 16, 20-22, 29, 47-48.) 

39. [Kean] 

Folger: Prints and Engravings, 52 

[Watercolors, 6x4, mounted in an album, 10 14 x 14i/£; gray cloth 

boards and half green leather gilt; "Charles Kean/Original Water 

Color Drawings" gilt on spine.] 

Fine watercolor designs of 13 scenes. 

40. [Kean] 

Enthoven Collection: Box DT.44 
[Watercolors mounted on large display boards.] 
Twenty watercolor scene designs. 

41. [Kean] 

Folger: Kean Costume Book, Prints and Engravings, 49 

[Scrapbook, 10^4 x 14i/£; green cloth boards and half green 

leather.] 

Contains 38 plates of watercolors and tracings for costumes for 

Richard III made for Kean by Charles Hamilton Smith and his 

daughter Emma. 

42. John Moore New York, Burton's c.1857 
Folger: Rich III, 20 

[Lacy edition (Kean version), 1854, 4i/£ x 7s/ 8 ; lavender inter- 
leaves; publisher's wrappers of a New York bookseller under tan 
paper; title inked on cover.] 

Promptbook made by Moore after 1854, transcribing from some 
original: the interleaves have key words to guide insertion. Pen- 
ciled additions indicate continued use. Grooves, calls, stage busi- 
ness, cues for effects, timings. Sketch and description of a paneled 
wall. Restoration of lines in the throne scene for Forrest. Pro- 
duction papers: properties list, funeral procession, map of last 



400 RICHARD III 

scene, fight routine. Other enclosures: introduction to Cumber- 
land edition; printed cast lists with Adams, Booth, Scott, Wallack; 
introduction to Modern Standard Drama and Kean's cast for the 
Park in 1846; part of a playbill for Hamblin's 1848 production; 
playbill with Moore as Henry VI; review of Count Joannes' per- 
formance on February 6, 1878; portrait of Richard; a cut-out 
model of Henry's bier. 

43. [Moore] 

Folger: Rich III, 18 

[Turner's Dramatic Library, Philadelphia, 3i/ 2 x S^; interleaves, 
3^4 x 6i/g; heavy brown paper; title inked on cover.] 
Promptbook probably made by an American prompter and ac- 
quired by Moore after he came to America in 1848 (see American 
imprint; see timing note for October 20, 1845). Some scenic indi- 
cations, grooves, calls, some stage business, cues for effects. 

44. [Moore] 

Folger: Rich III, 19 

[Modern Standard Drama, 4s/ 8 x 7s/ 8 ; heavy gray-brown paper.] 

Rehearsal copy checked for Stanley. 

45. [Moore] 
Folger: T.b.2 

[Notebook, 6]/ 8 x lOi^; blue boards and black cloth spine.] 
Cues for the band for 48 plays, including Richard HI: one set for 
Wallack, another for Forrest. 

46. George C. Boniface New York, Bowery- J une 24, 1859 
Folger: Rich III, 2 

[French's Standard Drama; interleaves, 5x8; tan boards and 
brown velvet spine.] 

Carefully marked promptbook probably used on tour. Calls, cues 
for effects. A leaflet of November, 1894, advertising Boniface's 
Shakespearean readings. 

47. Hermann Vezin London, Surrey J une 27, 1859 
Folger: Rich III, 31 

[Hinds English Stage, 1839, 4]/ 2 x 8; interleaves; red-brown boards 
and half black leather; title and "Hermann Vezin" gilt on black 
cover label.] 



RICHARD III 401 

Promptbook done in a neat round hand, apparently a transcrip- 
tion from Charles Kean's book (see no. 38). Belonged to Her- 
mann Vezin. Calls, procession lists, stage business, maps and 
sketches, cues for effects. 

48. [Vezin] 

University of Illinois: x792.9/Shl5ri/no.l 

[Hinds English Stage, 1839, 4s/ 4 x 8%; interleaves, 7]/ 2 x 9j4; 
blue marbled boards and half maroon leather; title gilt up spine, 
"Hermann Vezin" gilt on black leather cover label.] 
Excellent transcription of Kean's promptbook (see no. 38) made 
by George Ellis for Hermann Vezin. List of property manuscripts, 
grooves, calls, some stage business, good maps and sketches, cues 
for effects. 

49. J. C. Cowper Manchester, Theatre Royal c.1860 
Folger: Rich III, 5 

[Lacy edition (Kean version), 4]/ 8 x 7]/ 8 ; blue interleaves water- 
marked 1855; gray cloth boards and maroon leather spine.] 
Studybook for Richard. At the front, a 3-page description of Ed- 
mund Kean's Richard, a 4-page analysis of the character, a 4-page 
discussion of Lady Anne, a list of doubling parts. Notes on 
Charles Kean's Richard with special attention to his costume. 
Notes throughout on the stage business and histrionic manner 
of the part. At the back a fight routine as of 1860, and others as 
done by Lunt, Creswick, Brooke. 

50. Samuel Phelps London, Sadler's Wells November 23, 1861 
Folger: Rich III, 23 

[Lacy edition (Kean version), 4i/£ x 7; interleaves; blue marbled 
boards and green leather spine; title gilt up spine.] 
Phelps's promptbook after he abandoned his restored version and 
returned to a "Cibber" text. Cast, grooves, calls, some stage busi- 
ness, maps and sketches, cues for effects. (See nos. 24-27, 33.) 

51. John Wilkes Booth New York, Mary Provost's March 17, 1862 
Harvard Theatre Collection: uncatalogued 

[French's Standard Drama, 4s/ 8 x 6^; interleaves; brown marbled 
boards and half brown leather; title and "Wilkes Booth" gilt on 
leather cover label; in box of gray cloth boards and black leather 
spine; title gilt up spine.] 

Much used promptbook written in ink and pencil. Cuts, some 
stage business, maps, cues for effects. Signatures include "E. P. 



402 RICHARD III 

Wilks, Phila., Call Boy Arch St. Theatre" and "Tho 8 . W. Davey, 
St. Louis, Mo, Southern Confederacy." 

52. [Booth] 
University of Texas 

[French's Standard Drama, 4i/£ x l\/±, interleaves; green and 
black marbled boards and half brown leather; title and "Wilkes 
Booth" on cover.] 

Much used promptbook mainly in ink with penciled additions. 
Cuts, some scenic indications and grooves, some stage business, 
maps, cues for effects especially numerous and detailed in last act. 
Near the front a brief newspaper review of Booth's performance 
at the "Gayety," mentioning supporting cast for his forthcoming 
Hamlet. Booth's name occurs in one stage direction. 

53. Edwin Forrest New York, Niblo's Garden October 20, 1864 
New York Public Library: *NCP.342980 

[Forrest edition, 1860, 4i/£ x 67/ 8 ; interleaves; red cloth boards; 
title gilt up spine.] 

Carefully written promptbook by George Becks. Scenic indica- 
tions, grooves, calls, considerable stage business with references 
to Forrest, cues for effects. Contains a newspaper engraving of 
Charles Kean as Richard, playbill for Forrest in 1864 with Becks 
as Lord Mayor; prefatory matter of the Niblo's Garden edition 
of April, 1871, when Jarrett and Palmer revived the Shakespear- 
ean version of Charles Calvert. 

54. Edwin Adams Chicago, McVicker's February, 1866 
Harvard Theatre Collection: uncatalogued 

[French's Standard Drama, 4i/£ x 7?/ 8 ; interleaves; black cloth 
boards and half black leather; title and Adams' name gilt on 
cover.] 

Well-marked, much used promptbook made for Adams by Wil- 
liam H. Daly, the stage manager. Some scenic indications, grooves, 
calls, stage business, maps, cues for effects. 

55. F. Haywel January, 1867 
Shakespeare Centre Library: 50.28(1854) 

[Lacy edition, 4 14 x 7i/ 8 ; interleaves; tan cardboard and canvas 
spine; title inked on cover.] 

Preparation book. Calls and some cues for effects. Mainly a com- 
mentary on the non-Shakespearean elements in the acting edition. 



RICHARD III 403 

56. William Seymour New Orleans October 24, 1868 
Princeton University, Seymour Collection: R III, 3 
[Turner's Dramatic Library, S5/ 8 x 53^; torn covers.] 
Rehearsal copy signed by James Seymour, checked for several 
characters. Cast list includes William Seymour as Duke of York. 

57. Junius Brutus Booth, Jr. 1870's 
The Players 

[French's Standard Drama, 4]/ 2 x 7i/ 2 ; publisher's wrappers.] 
Crude book signed within by William H. Daly, the stage manager. 
Cuts, some scenic indications, cues for effects. 

58. Frank Roche St. John, Royal Lyceum 1870's 
Harvard Theatre Collection: 13486.93.5 

[Modern Standard Drama, 4i/£ x 7; interleaves; black cloth 
boards; title gilt on cover.] 

Promptbook neatly written and much used, inscribed "Royal 
Lyceum, St. John, N. B." Calls, maps, cues for effects. 

59. J. R. Pitman c.1870 
University of Pennsylvania, Furness Collection: C59.ShlR3P 
[Booth's Series of Acting Plays, no. 4, pasted in a workbook, 7s/ 8 x 
91^; paper wrappers; in red cloth board folder; title and Pitman's 
name gilt on cover.] 

Well-developed promptbook made by J. R. Pitman, using Edwin 
Booth's early (Cibber) version. At the front plots of properties, 
scenes, funeral procession. Scenic indications, grooves, calls, some 
stage business, excellent maps and groundplans, cues for effects. 

60. Marcus J. Moriarty Chicago 1874 
Folger: Rich III, 21 

[French's Standard Drama, 4y 8 x 7; black cloth boards; title and 
Moriarty's name gilt on cover.] 

Rehearsal copy and studybook, checked for Buckingham and var- 
ious lesser roles. Several notes on the stage business of Richard. 
Penciled cast for Booth at McVicker's in December, 1874. Clip- 
pings of playbills for Barry Sullivan on November 30, 1875; Ed- 
mund Collier on June 16, 1888. 

61. Lawrence Barrett New York, Booth's December 16, 1876 
Harvard Theatre Collection: TS.2587.110.5 

[French's Standard Drama with leaves from other texts for Act V, 



404 RICHARD III 

4i/ 2 x 7 14; interleaves; plum cloth boards and black leather spine; 

title and Barrett's name gilt on cover.] 

Much used promptbook marked in many inks at different times. 

Scenic indications, grooves, calls, stage business, maps, cues for 

effects. 

62. Edwin Booth New York, Lyceum December 25, 1876 
The Players 

[A double-column acting edition tipped to stubs between leaves 
of a workbook, l5/ 8 x 91/4; red marbled boards and half black 
leather; title on cover label; in slip-box of red leather; title gilt 
on spine.] 

Promptbook based on a Cibber text with timings for the Lyceum, 
1876. Calls, stage business, maps, cues for effects. (See nos. 59, 66- 
74, 79.) 

63. Henry Irving London, Lyceum January 29, 1877 
Harvard Theatre Collection: uncatalogued 

[Longmans edition, 1874, 41/4 x 6i/£; interleaves; gray cloth; title 
stamped on cover.] 

Studybook and preparation copy. Cuts on full text. Gloster's lines 
marked for stress, pause, stage business, and histrionic manner. 
Notes on scenery. Maps. At the back, some costume notes. (See 
no. 82.) 

64. [Irving] 

Folger: Rich III, 8 

[Lacy edition (Kean version) pasted in a workbook, 7 14 x & S A> 
brown marbled boards and half maroon leather.] 
Promptbook of some earlier actor(?) who marked it very carefully 
with calls, cues for effects, and timings, and pasted into it some 
very amusing cartoons (Bab Ballads?). Belonged to Irving, who 
used it as a preparation book, marking the margins in blue and 
red to distinguish the Cibber and Shakespeare elements, and 
entering restorations. 

65. [Irving] 

London Museum: 822.33 

[Irving edition, 1877, pasted in a workbook, 7^g x 9; red marbled 

boards and black imitation leather spine; title page pasted on 

cover.] 

Promptbook made by H. J. Loveday, the stage manager, to whom 



RICHARD III 405 

it is inscribed by Irving as of February 6, 1878. Several excellent 
ink drawings and sketch-maps of the scenes. Some grooves, some 
stage business, cues for effects, timings. 

66. Edwin Booth 1877 
The Players 

[Mixture of several editions pasted in a workbook, 63^ x 8i/£; 
bound with Richard II in brown marbled boards and black 
leather spine; in slip-box of red leather; title gilt on spine.] 
Preparation copy of Booth's Shakespeare version (completed by 
the fall of 1877). At the front a Dramatis Personae. Provisional 
text querying inclusion of Clarence. Scenic indications referring 
comparatively to scenes in Henry VIII (at Booth's January 12, 
1877). Some cues for effects. (See nos. 59, 62, 79.) 

67. [Booth] 
The Players 

[Shakespeare edition pasted in a workbook, 614 x 7^; black and 

rose marbled boards and half brown leather; in slip-box of red 

leather; title gilt on spine.] 

Preparation copy of the Shakespeare version. Cuts, some scenic 

indications, grooves. At the back, a Dramatis Personae and list of 

doubles. 

68. [Booth] 
The Players 

[Manuscript, 734 x 10i/g; brown marbled boards and half maroon 
leather.] 

Preparation copy or earliest promptbook of the Shakespeare ver- 
sion. Scenic indications, some stage business. Shows signs of stage 
use, but the text is still being mended. 

69. [Booth] New York, Booth's January 7, 1878 
The Players 

[Typescript, li/ 2 x 10; gray marbled boards and half black leather; 
title on cover label; in slip-box of red leather; title gilt on spine.] 
Completed and much used promptbook of the Shakespeare ver- 
sion. Calls, stage business, cues for effects. Printed cast of the 
company at Chicago. Timings for McVicker's on October 2, 1877, 
and for Buffalo, Baltimore, and New York. 

70. [Booth] 

The Players: MSS.24, 78 



406 RICHARD III 

[Twenty-seven booklets. Manuscript (5), 7x9; brown paper. Man- 
uscript (22), 8 x 614; heavy tan paper.] 

Two packs of partbooks. The larger group are for the Shake- 
speare version, including Clarence, Margaret, etc. Some have jot- 
tings of stage business. 

71. [Booth] 
The Players 

[Booth-Winter edition, 1878, 4^ x 6s/ 8 ; gray publisher's wrap- 
pers.] 
Rough but used promptbook. Calls, stage business, cues for effects. 

72. [Booth] 

Museum of the City of New York: 35.339.22 
[Booth- Winter edition, 1878, 4^£ x 65/ 8 ; gray publisher's wrap- 
pers.] 

Promptbook lightly marked by Booth's stage manager, W. Henry 
Flohr. Calls, cues for effects. 

73. [Booth] 
The Players 

[Booth-Winter edition, 1878, 4i/ 2 x 6^; brown marbled boards 

and half maroon leather; title gilt on spine.] 

"Marked for corrections" for future editions by William Winter. 

74. [Booth] 
The Players 

[Booth-Winter edition, 1878, 4]/ 2 x 61^; limp black leather gilt; 
title gilt on cover.] 

Fine transcription of Booth's perfected promptbook made by 
J. R. Pitman as a souvenir for Russ Whytal, autographed by 
Booth. Cuts, scenic indications, excellent groundplans, calls, stage 
business, maps, processions, cues for effects. 

75. Frederick Paulding 1880's 
Rutgers University: PR.1243.Sha 

[French's Standard Drama, 4i^ x 7\/ 2 ; publisher's wrappers.] 
Carelessly marked promptbook. Some stage business, maps, cues 
for effects. 

76. Lawrence Barrett 1880's 
Harvard Theatre Collection: uncatalogued 



RICHARD III 407 

[Ten music score books, 9i^ x 614; brown cloth boards and green 
cloth spine.] 

Complete scores for the band for 9 plays including Richard HI, 
endorsed by musicians in many cities. 

77. Frank Mayo New York, Olympic April 17, 1880 
Museum of the City of New York: 48.194.124 

[French's Standard Drama, 4s/ 8 x 67/£; blue interleaves; brown 
cloth boards and half black leather; title and Mayo's name gilt 
on cover.] 

Rather crude promptbook originally marked by Mayo, with addi- 
tional pencilings by prompters. Some scenic indications, calls, 
some stage business, cues for effects. At the back a fight routine. 

78. Thomas W. Keene New York, Niblo's Garden January 28, 1884 
Folger: Rich III, Folio 1 

[French's Standard Drama pasted in a workbook, 7$/ 8 x 12|4; 
gray canvas boards and half red leather.] 

Promptbook from the "Keene sale, 1904," carefully marked in 
colored inks and pencils but not much used. Arranged in 6 acts. 
Cues for effects only. 

79. Edwin Booth American Tour 1886-87 
The Players 

[French's Standard Drama, 4s/ 8 x 7]/ 2 ; leaves tipped to stubs be- 
tween leaves of a workbook, 6s/ 8 x 81^; red marbled boards and 
brown cloth spine; title on cover label.] 

Well-developed promptbook of the Cibber version used by Booth 
on tour in 1886-87, prepared by Oliver Doud. Arranged in 7 acts. 
Cast list. Scenic indications, grooves, calls, stage business, cues 
for effects. (See nos. 59, 62, 66-74.) 

80. Richard Mansfield London, Globe March 16, 1889 
New York Public Library: *NCP.342934 

[Mansfield edition, 6^4 x 93/ 8 ; interleaves; black cloth boards; 

title gilt on spine.] 

Promptbook record rather than a working promptbook, copiously 

annotated by George Becks. Cuts and alterations, considerable 

stage business, maps, sketches, notes on effects. Many reviews of 

Mansfield's production especially from New York and Boston 

papers. 



408 RICHARD III 

81. Louis James New York, Windsor September 26, 1889 
University of Pennsylvania, Furness Collection: C59.ShlR3J 
[French's Standard Drama pasted in a workbook, 5]/ 2 x 814; 
bound with Hamlet in gray marbled boards and blue cloth spine; 
title on cover label, cover endorsed and dated by James.] 
Good promptbook dated 1881, carefully and fully marked in red 
ink. At the front, a fight routine. Cuts, scenic indications, grooves, 
stage business, maps, cues for effects. 

82. Henry Irving London, Lyceum December 19, 1896 
Folger: Rich III, 9 

[Irving edition, 1896, 5 14 x 814; limp maroon leather; title gilt 
up spine.] 

Rehearsal copy. Cuts. Many marginal jottings in lead pencil and 
orange and blue crayons of significant words, stage business, his- 
trionic manner. (See nos. 63-65.) 

83. Robert B. Mantell South Bend October 12, 1901 
Folger: Rich III, 16 

[French's Standard Drama pasted in a workbook, 6i/g x 9\^; limp 
maroon leather; title and Mantell's name gilt on cover.] 
Fine promptbook prepared by C. W. Vance, New York, June 30, 
1901. For each act are detailed plots of scenery, properties, lights. 
Much stage business, maps, tableaux, cues for effects. 

84. Seymour Hicks London 1908 
Mander and Mitchenson 

[Edition pasted in a workbook, 6]/ 8 x 73^; limp blue leather.] 
Preparation book for a production at the Aldwych which did not 
materialize. Copious stage business, maps, sketches, cues for ef- 
fects. Watercolors of medieval scenes, photographs of the Tower, 
four pencil sketches of Irving's Richard, etc. 

85. [Hicks] 

Mander and Mitchenson 

[Mansfield edition, 63^ x 10^4 > brown cloth boards; title and 
Hicks's name gilt on cover.] 

Rehearsal promptbook. Cuts and restorations, copious stage busi- 
ness, maps, groundplans. Watercolor scene designs of the Tower, 
a battlefield. News clippings. 



RICHARD III 409 

[Actor Lists for Following Books Are Given in This Order: Rich- 
ard, Buckingham, Anne, Margaret.] 

86. W. Bridges-Adams Stratford-upon-Avon July 4, 1928 
Shakespeare Centre Library: 71.21/1928R, RI 

[Two books. Favourite Classics edition pasted in a workbook, 
6% x 9; red marbled boards and black cloth spine, much worn; 
title on cover and spine labels. Temple edition pasted in a work- 
book, 7^4 x 9i/2> Dme c l otn boards and half red leather; title on 
spine.] 

Cast includes George Hayes, Wilfrid Walter, Cecily Wilson, 
Georgina Wynter. Costumes by Tom Heslewood. The first book 
has calls, some stage business, cues for effects. The second book is 
marked on only 2 or 3 pages. 

87. [Bridges-Adams] American Tour 1928-29 
Shakespeare Centre Library: 71.21/1928-29 

[Temple edition pasted in a workbook, 8 x 10; blue cloth boards 
and half red leather; title on cover and spine labels.] 
Partial transcription of the preceding book: calls and cues but 
no stage business. 

88. B. Iden Payne Stratford-upon-Avon April 7, 1939 
Shakespeare Centre Library: 71.21/1939R 

[Eversley edition pasted in a workbook, 7x9; blue cloth boards 
and half black leather; title on cover and spine labels.] 
Cast includes John Laurie, James Dale, Joyce Bland, Dorothy 
Green. Designed by Don Finley and Herbert Norris. Calls, con- 
siderable stage business, maps, cues for effects. A fine map of the 
funeral procession in colored inks. 

89. Glen Byam Shaw Stratford-upon-Avon March 24, 1953 
Shakespeare Centre Library: O.S.71.21/1953R 

[New Temple edition pasted in a workbook, 8 x 13; black cloth 
board spring binder with black leather spine; title up spine.] 
Cast includes Marius Goring, Harry Andrews, Yvonne Mitchell, 
Joan Sanderson. Designed by Motley. Very full stage business, 
maps, cues for effects. A scaled groundplan. 

90. Tyrone Guthrie Stratford, Ontario July 13, 1953 
Festival Theatre, Library 

[Mimeographed text pasted in a workbook, 7^4 x 121^; maroon 
cloth boards and maroon spine.] 



410 RICHARD III 

Cast includes Alec Guinness, Robert Christie, Amelia Hall, Irene 
Worth. Designed by Tanya Moiseiwitsch. Calls, cues for effects. 

91. William Gaskill Stratford-upon-Avon May 24, 1961 
Shakespeare Centre Library: O.S.71.21/1961R 

[Cambridge Pocket Shakespeare pasted in a workbook, 8 x 13; 
red cloth board spring binder; title on spine label.] 
Cast includes Christopher Plummer, Eric Porter, Jill Dixon, 
Edith Evans. Designed by Jocelyn Herbert. Much stage business, 
cues for effects. Production papers include cast, groundplan, tim- 
ings. 

92. Other books of Richard III: 

Brown University: Eng.P.17a, Asa Cushman, with Keene as 
Richard. 

Connecticut State Library: William Gillette, 1876. 
Folgcr: Rich III, 1, George Becks, 1861; Rich III, 6, Henrietta 
Crosman; Rich III, 13, David C. Johnston; Rich III, 28, John 
Sefton; Rich III, 30, T. W. Tyrrell; Rich III, 33, 34, 37, 38, 
anonymous; Rich III, 36, Dan Haskins. 
Harvard Theatre Collection: 13486.91.10, William Wood. 
Historical and Philosophical Society of Ohio: 812.3/R283/168, 
Alvin Read. 

Princeton University, Seymour Collection: R III, 7, W. J. Le 
Moyne; R III, 19, James W. Bates, Cincinnati, 1848; R III, 21, 
Tell Taylor, Chicago, 1892. 

University of Minnesota: Z820.12/Z11, volume 12, W. S. For- 
rest. 

University of Pennsylvania: AC85.M9415.820p.56, James Mur- 
doch. 

W. A. Clark Library, Los Angeles: French's Standard Drama, 
anonymous. 



Romeo and Juliet 

1. Anonymous 1600's 
Yale University, Elizabethan Club 

[Cuthbert Burby Quarto, 1599, 4% x 65^; red leather gilt; "G.D." 
gilt on cover.] 

Lightly marked cuebook. Music at ends of acts. Signature of 
George Steevens on title page. 

2. Anonymous Douai 1694 
Bibliotheque de Douai: MS.7.87 

[Manuscript, folios 94-130 of a volume, 63/£ x 85/g; parchment.] 
Manuscript version used for amateur staging as Douai. Cuts and 
alterations, stage business. (See G. Blakemore Evans, Philological 
Quarterly, XLI, 158-172.) 

3. Anonymous England 1700's 
Folger: Rom, 39 

[Tonson edition, 1763, 4 x 6^; white paper and purple paper 

spine; title on spine label, inked on cover.] 

Rehearsal copy marked in a neat hand. Cuts and very little stage 

business. 

4. Anonymous London, Covent Garden c.1780 
New York Public Library: *NCP.709397 

[Bell edition, 1773, 4y 8 x 7z/ 8 ; brown cloth boards; title gilt up 

spine.] 

Well-marked promptbook done in ink in a perfect round hand. 

Scenic indications, grooves, calls, entrances, funeral procession, 

cues for effects. (Compare AW, 1; AYL, 4; MV, 3; TEM, 2.) 

5. William Warren York 1789 
Library Company of Philadelphia: Oe2.1 1604.D 

[Bell edition, 4 x 67/ 8 ; bound with Rule a Wife and Have a Wife 
in red and blue marbled boards and brown leather spine.] 
Lightly marked promptbook checked for Juliet. Cuts, little stage 
business. Cast for York, 1789. Warren given as Friar Lawrence at 
Philadelphia, 1822. 

6. James William Wallack 
Folger: Rom, 31 

[Harding edition (Steevens text), 1798, 334 x 614; blue marbled 
boards and brown cloth spine; Wallack's name on cover label.] 



412 ROMEO AND JULIET 

Preparation copy, uncompleted. Apparently an early attempt to 
restore the text. Cuts, little stage business. Inscribed within "Anne 
D. Wallack, London." 

7. William B. Wood Philadelphia, Chestnut Street Dec. 19, 1803 
Folger: Rom, 33 

[Lowndes edition, 1793, 4i/£ x 6^; tan and blue marbled boards 
and half brown leather.] 

Promptbook arranged in 6 acts, the funeral procession being an 
act. Cuts, few scenic indications, little stage business, cues for 
effects. Cast of 15 for Philadelphia in 1804, with Cooper as Romeo. 

* 8. John Philip Kemble London, Covent Garden c. 181 1 

New York Public Library: *NCP.709142 

[Kemble edition, 1811, 47/ 8 x 734; interleaves; brown cloth boards; 
title gilt up spine.] 

Promptbook sparsely marked in Kemble's hand. Calls, some stage 
business, cues for effects, timing (3:10). First interleaf misbound: 
belongs at page 45. 

9. [Kemble] 
Garrick Club 

[Kemble edition, 1811, 5i/g x 814 ; interleaves; blue cloth boards 
and brown leather spine; title gilt up spine.] 
Studybook for Capulet or Mercutio. Some of Juliet's lines pen- 
cil-marked for stresses. 

10. [Kemble] 

University of Nebraska: 822.33/W5g 

[Kemble edition, 1811, 47/ 8 x li/ 8 ; interleaves watermarked 1811; 

black cloth boards; title gilt down spine.] 

Promptbook very neatly and fully marked through 2 acts: cuts, 

grooves, calls, stage business, cues for effects. Later acts have only 

prompter's rough markings, including timings. 

11. Maria Foote London, Covent Garden c.1815 
Folger: Rom, 35 

[Kemble edition, 1811, b\/ 8 x S\/ 8 ; orange leather and half red 
leather; title gilt on black cover label.] 

Rehearsal copy marked for Juliet by John Philip Kemble, with a 
few pencilings by the actress. Associated with Miss Foote because 
of the distinctive binding (see MA, 5). Cuts, some scenic indica- 



ROMEO AND JULIET 413 

dons, some stage business for the Juliet scenes, cues for effects. 
adll. See Addenda, p. 507. 

12. T. O. Smith Liverpool 1815 
New York Public Library: *NCP.164549 

[Kemble edition, 1814, 4 14 x 6^£; brown cloth boards; title gilt 
up spine.] 

Much used promptbook worked over in ink and pencil by several 
hands. Many of the original markings are scratched out or pasted 
over with bits of paper. Scenic indications, grooves, calls, cues 
for effects, timings (3:08). Smith, the first owner, was a Liverpool 
prompter. Also dated 1818 and Manchester, 1843. Later owned 
by Edwin Booth, who noted various peculiarities of this "quaint 
old book." 

13. Chris John Smith November, 1827 
Folger: Rom, 28 

[Dolby's British Theatre, 1825, 3^ x 5^§; green paper; title inked 
on cover.] 

Promptbook of a much cut version arranged in 3 acts. Grooves, 
cues for effects, timing (2:14). 

14. Helen Faucit London, Covent Garden March 10, 1836 
Folger: Rom, 8 

[Cumberland edition, %7/ 8 x 6; tattered paper.] 
Rehearsal copy inscribed "Helen Faucit/lst Book," checked for 
Juliet. Penciled cuts and restorations. At the end of Act I it is 
dated January 17, 1845. (See no. 21.) 

15. B. K. Brown and Walter Leman 1838-86 
Folger: Rom, 15 

[Longworth edition, New York, 1817, 3]/ 2 x 53^; buff paper; title 
inked on cover.] 

Rehearsal copy, its history told in enclosed notes. Originally used 
by Brown at the National Theatre in Boston about 1838. Then 
used by Leman for nearly 50 years to play Mercutio and Friar 
Lawrence with many Juliets, the last being Adelaide Neilson. 
Cast for St. Louis, 1850. In October of 1886 Leman restored it to 
its original owner. 

16. Charles Kean London, Haymarket July 12, 1841 
Folger: Rom, 13 

[Kemble edition, 1811, 4% x 7%; interleaves watermarked 1836; 



414 ROMEO AND JULIET 

greenish marbled boards and half maroon leather; title gilt on 
spine.] 

Very full promptbook of Kean's Haymarket production with 
Ellen Tree. Cuts, scenic indications, grooves, calls, some stage 
business, maps showing disposition of vast numbers of supers, 
cues for effects, timings (2:45). Fine watercolor designs of 13 
scenes. In 1842, A. W. Nimmo of the Edinburgh Theatre Royal 
entered at the front a 2-page dance routine which he credits to 
Frederick Webster of the Haymarket, and added other notations. 

17. [Kean] 

Folger: Rom, 10 

[Cumberland edition, 37/ 8 x 6; interleaves; unsewn.] 

Fine transcription of the preceding promptbook, lacking only the 

watercolors. Belonged to W. M. Fleming. 

18. [Kean] 
Folger: W.a.10 

[Notebook made of leaves watermarked 1837, 4^4 x 7^4 ; brown 
marbled boards and half brown leather gilt; "Theatrical Cos- 
tumes" inked on spine label.] 

Kean's touring wardrobe list for Romeo is the ninth of 16 such 
lists in this book. 

19. William Charles Macready 1841 
University of Illinois 

[Watercolors, 4i/£ x S%.] 

Thirteen plates of watercolor costume designs (16 figures) made 
for Macready by Colonel Charles Hamilton Smith. The produc- 
tion, planned in November of 1841, did not materialize. 

20. Henry Betty Bath, Theatre Royal January 30, 1843 
Folger: Rom, 2 

[Cumberland edition, 35^ x 5%; interleaves; green boards and 
green cloth spine; title on cover label.] 

Promptbook not marked in great detail but considerably used. 
Cuts, some grooves, some stage business, cues for effects. 

21. Helen Faucit c.1845 
Folger: Rom, 9 

[Pages 119-220 from volume VII of Knight's Cabinet Edition, 
1843, 3^4 x 5^; green publisher's wrappers and cloth spine.] 



ROMEO AND JULIET 415 

Rehearsal copy probably used from about 1845 after Miss Faucit 
abandoned the Garrick version (see no. 14) for the Shakespearean. 
Cuts on full text, a few warnings. 

22. John Moore 1845-77 
Folger: Rom, 19 

[Cumberland edition, 33^ x 6i/£; interleaves; stiff red paper.] 
Promptbook of the Garrick version used in England to prompt 
Helen Faucit and later in America to prompt Mrs. Conway, Mrs. 
Butler, Miss Wallack, Adelaide Neilson. Cuts, grooves, calls, stage 
business and some notes on histrionic manner, cues for effiects. 

23. [Moore] 
Folger: Rom, 18 

[Pages 7-122 from volume IX of a Works, 5% x 8?/ 8 ; blue inter- 
leaves; stiff green paper; title inked on cover.] 
Promptbook of a Shakespeare version used for many years. Cuts 
on full text. At the front, a 2-page scene plot. Scenic indications, 
grooves, calls, copious stage business, maps, cues for effects. Con- 
tains playbills of Charles Kemble and Miss O'Neill at Covent 
Garden in 1818; Davenport and Mrs. Mowatt at the Marylebone; 
Fanny Vining as Romeo in 1849; Anna Hathaway as Romeo at 
Hartford; the Cushman sisters at Burton's on September 30, 1857; 
Mrs. Wallack as Romeo at Wallack's; Davenport and Avonia 
Jones at Wallack's on July 18, 1864; Mrs. Chanfrau as Juliet at 
the Broadway on September 7, 1867; Sheridan and Miss Proudfoot 
at the Broadway on September 28, 1867. Reviews of Avonia Jones, 
Amy Elliott, Mary Anderson, Mme. Modjeska, Margaret Mather, 
a German production in 1871. Various news clippings. 

24. [Moore] 
Folger: Rom, 20 

[French's Standard Drama, As/% x 71,4; publisher's wrappers.] 
Rehearsal copy checked for Balthazar. 

25. [Moore] 
Folger: T.b.2 

[Notebook, 614 x 10 14 ; blue boards and black cloth spine.] 
Cues for the band for 48 plays, including Romeo and Juliet. 

26. Samuel Phelps London, Sadler's Wells September 16, 1846 
Folger: Rom, 25 



416 ROMEO AND JULIET 

[Pages 9-114 from volume XII of Thomas Tegg's (Reed text) 

Works, 1815, 5i/g x 814; interleaves, 7 x S7/ 8 ; stiff buff paper, much 

worn; title, date, etc., inked on cover.] 

Promptbook of Phelps's Shakespeare version. Cuts on full text. 

One scenic indication, calls, some stage business, maps, cues for 

effects. 

27. [Phelps] 

Folger: Rom, 24 

[Pages 119-220 from volume VII of Knight's Cabinet Edition, 
1843, $5/ 8 x 5y 8 ; interleaves.] 

Promptbook marked partly by Phelps and partly by Williams, the 
prompter. Improved over the preceding book but not as fully de- 
veloped as most Phelps books. Cuts on full text, calls, some stage 
business, cues for effects. 

28. J. B. Robert New York, Chatham March 3, 1847 
Folger: Rom, 27 

[Dolby's British Theatre, 3 14 x 5\^; interleaves; stiff brown paper; 
title, date, etc., inked on cover.] 

Studybook checked for Romeo, the lines marked for stresses. Cuts, 
some calls, stage business, some cues for effects. 

29. [Roberts] 
Folger: Rom, 26 

[Pages 135-246 from a Works, 6$/ 8 x 9^£; black cloth boards and 

maroon leather spine.] 

No. 7 of Roberts' collection of plays cut and marked for public 

readings. 

30. James R. Anderson New York, Broadway May, 1848 
New York Public Library: *NCP.265 143B 

[Pages 1-60 from a double-column pictorial edition of Shakespeare, 
614 x lOi/g; interleaves; blue cloth boards; title gilt on spine.] 
Promptbook of a Shakespeare version signed "J.R. Anderson, 
New York, May 10th, 1848." This is doubtless the English actor 
Anderson, who had engagements at the Broadway in the spring 
of 1848 and produced a Shakespeare version of Romeo and 
Juliet there on May 22. A note entered in the book in 1902 iden- 
tifies it rather with James Anderson, the American stage manager 
who about the mid-century was at the Bowery, and says that 
Anderson made the book for Kean, but that it passed to Edward 



ROMEO AND JULIET 417 

Eddy and through various hands to the Actors' Fund in 1902. 
Whichever Anderson made it, he was endeavoring, as the notes 
"in Miss C," "out Miss C." show, to follow the restoration which 
Charlotte Cushman introduced at the Haymarket in 1845. Cuts 
on full text, some scenic indications, many cues for effects. Partial 
cast of a later performance with Miss Cushman as Romeo. 

31. Charlotte Cushman c.1852 
Harvard Theatre Collection: uncatalogued 

[Modern Standard Drama, 4s/ 8 x 7i/ 8 ; gray interleaves; tan card- 
board; title on cover label; in box of gray cloth boards and black 
leather spine; title gilt up spine.] 

Very full promptbook signed by Asa Cushman, the prompter at 
Providence. Cuts, grooves, calls, much stage business, maps, cues 
for effects. Part of a playbill for March 5, 1852, with Miss Cush- 
man as Romeo. 

32. John B. Adams Boston, Boston Museum 1854 
Essex Institute, Salem: 822.S52.34 

[Modern Standard Drama, 4i/£ x 7i/ 2 > black cloth boards; title on 
cover label.] 

Promptbook "Cut & Marked from Mrs. Farren's Book." Checked 
for Benvolio, Tybalt. Cuts, cues for effects. 

33. John B. Wright 1858 
New York Public Library: *NCP.342958 

[Lacy edition, 1855, 4 x 7i/ 2 ; interleaves, 7i4 x 9^£; blue cloth 
boards; title gilt up spine.] 

Promptbook not in Wright's hand but dated by him as of 1858. 
The acting edition, which prints Charlotte Cushman's Haymarket 
cast of 1855, is a Shakespeare version. Cuts, restorations, some 
scenic indications, grooves, calls, considerable stage business, maps 
and sketches, cues for effects. 

34. [Wright] 

New York Public Library: *NCP.347168 

[Modern Standard Drama, 4 \/ A x 7]/ 2 '> g ra Y interleaves; brown 

cloth boards; title gilt on spine.] 

Not a complete promptbook (lacks most cues for effects) but an 

interesting record of a production based on the Garrick version. 

Scenic indications, grooves, calls, considerable stage business, 

maps, notes on lights. 



418 ROMEO AND JULIET 

35. Edwin Booth c.1860 
Folger: Rom, 14 

[Modern Standard Drama, 4 14 x li/ 8 ; interleaves; brown cloth 
boards; title and Booth's name gilt on cover.] 
Clara Louisa Kellogg's copy marked for her by Edwin Booth. 
Cuts, some scenic indications, some grooves, some stage business, 
description of a quadrille, maps, cues for effects, note on music. 
Tom M. Davey of New Orleans signed it on January 20, 1860. 
(See nos. 37-39.) 

36. F. T. Doyle Manchester, Prince's October, 1864 
Mander and Mitchenson 

[French issue of Cumberland edition, 3^ x 5^£; interleaves, 
5 1/8 x 83/8 ; maroon leather; title gilt on cover.] 
Promptbook made by F. T. Doyle, the stage manager. Cuts, scenic 
indications, calls, little stage business, map of a minuet. 

37. Edwin Booth New York, Booth's February 3, 1869 
Harvard Theatre Collection: TS.2588.300 

[Booth-Hinton edition pasted in a workbook, 614 x 7^; tan paper 
under gray pamphlet binder and blue cloth spine.] 
Very full promptbook of the production which opened Booth's 
Theatre, marked by Henry L. Hinton. Calls, copious stage busi- 
ness especially for crowds and supers, cues for effects especially 
interesting for the scene changes. (See no. 35.) 

38. [Booth] 
The Players 

[Booth-Hinton edition, 1868, 5\/ 8 x 7^; brown leather; title and 
date of opening gilt on cover.] 

Booth's souvenir book of the production which opened his thea- 
tre. Cast. Cuts. 

39. [Booth] 
Folger: Rom, 3 

[Booth-Hinton edition, 1868, 534 x 8i/£; stiff tan paper; "Edwin 
Booth Prompt Book/1868" inked on cover.] 

Preparation copy marked for reprinting. Penciled notations refer- 
ring to the stage production and to the edition. Cuts, notes about 
supers, some grooves, some stage business, maps, cues for effects. 

40. Junius Brutus Booth, Jr. 1870's 
Folger: Rom, 4 



ROMEO AND JULIET 419 

[French's Standard Drama, 4]/ 2 x ^Vb'> some interleaves; stiff gray 
paper; title pasted on cover.] 

Crude promptbook. Cuts and restorations, little stage business, 
cues for effects. Signature of H. C. Ford of Ford's Theatre, Wash- 
ington, on the cover. Clippings of two playbills, one for Booth's 
Theatre on February 21, 1874, with Agnes Booth and Joseph 
Wheelock. 

41. George Becks c.1870 
New York Public Library: *NCP.342974 

[Booth-Hinton edition, 1868, 5 x 7%; interleaves; black cloth 
boards; title gilt on spine.] 

Well-developed promptbook. Grooves, calls, considerable stage 
business, maps and rough sketches, cues for effects. 

42. Adelaide Neilson New York, Daly's Fifth Avenue May 21, 1877 
Folger: Rom, 21 

[Lacy edition, 4 14 x 7^§; interleaves; blue publisher's wrappers 
under heavy tan paper; title inked on cover.] 
Rather crude promptbook of a 6-act arrangement marked in the 
hand of John Moore. Cuts and restorations, some grooves, some 
stage business, cues for effects. Collapsible paper model of the 
Capulet tomb, 5 x 4^ x 3. 

43. [Neilson] 
Folger: Rom, 22 

[Lacy edition, 4i4 x 7y 8 ; interleaves; heavy gray paper and pur- 
ple cloth spine; title stamped on cover label, "Miss Neilson 76" 
inked on cover.] 

Promptbook of a 6-act arrangement, dated 1876, much more care- 
fully developed than the preceding book. At the front, a list of 
supers for 1878 and a good drawing of a house fronting on a gar- 
den. Calls, some stage business, cues for effects. 

44. Henry Irving , London, Lyceum March 8, 1882 
Folger: Rom, 12 

[Pages 105-245 from volume VIII of a Works, 4 x 6s/ 8 ; interleaves; 
brown leather gilt; title gilt on spine and cover.] 
Preparation copy. Cuts on full text. (See no. 83.) 

45. [Irving] 

Princeton University, Seymour Collection: R&J 



420 ROMEO AND JULIET 

[Irving edition, 1882, 5i/£ x 8i/£; gray publisher's wrappers.] 
Spectator's comments on an Irving-Terry performance. 

46. [Irving] 

Folger: Rom, 23 

[Irving edition, 1882, 5]/ 2 x 8l/£; gray publisher's wrappers.] 
Analysis of Irving's cuts and alterations by Alan Park Paton, 
August, 1897. 

47. Ellen Terry London, Lyceum March 8, 1882 
Harvard Theatre Collection: TS.2588.305 

[Irving edition, 1882, 5y 2 x ^ l A'' interleaves; limp tan leather 
gilt; title gilt on cover.] 

Rehearsal copy. Dozens of vivid notes by Miss Terry on her stage 
business, moods, and histrionic manner in playing Juliet; several 
notes on Irving's Romeo. (See no. 88.) 

48. Adelaide Moore September, 1884 
Enthoven Collection 

[French issue of Lacy, 4 \/ A x 1\/ A ; publisher's wrappers under gray 
cardboard; title inked on cover.] 

Promptbook of a 6-act arrangement roughly marked by Henry 
Holmes for "Miss Adelaide Moore's Tour. Sep. 1st 1884." The 
opening fight deleted. Some stage business, maps, cues for effects. 

49. Mary Anderson London, Lyceum November 1, 1884 
New York Public Library: *NCP.181757B 

[Anderson edition, 1884, 55/g x 8^; interleaves; green cloth 
boards; title gilt up spine.] 

Studybook checked for Juliet, but not certainly Miss Anderson's. 
The many penciled notes about scenery, stage business, and pro- 
ductional effects may be a spectator's observations. 

50. [Anderson] 
Folger: Rom, 1 

[Anderson edition, 1884, 5^ x 8%; publisher's wrappers.] 
William Winter's copy. Two notes from Miss Anderson, one with 
pressed flowers from Stratford. Two bits of manuscript in Winter's 
hand, one on the play, one on the costumes. Winter's review from 
the Tribune of November 12, 1885. 

51. Margaret Mather New York, Union Square October 13, 1885 
New York Public Library: *NCP 



ROMEO AND JULIET 421 

[French's Standard Drama, 4i/ 2 x 71/2; interleaves, 5]/ 2 x 8^; 
green cardboard; title and Miss Mather's signature on cover.] 
Promptbook of the Garrick version arranged in 7 acts, the opening 
scene omitted. Cuts, some scenic indications, grooves, some stage 
business especially for tableaux at the curtains, cues for effects. 
Partial cast of Cymbeline. 

52. [Mather?] 

New York Public Library: *NCP.465040B 

[French's Standard Drama, A\/ 8 x 67/ 8 ; interleaves; black cloth 

boards; title gilt up spine.] 

Unidentified promptbook written in faint green ink with music 

cues in red, perhaps an improved version of the preceding book 

which in some details it resembles. Arranged in 6 acts, some of 

the Garrick matter suppressed. Some scenic indications, grooves, 

some stage business, maps, cues for effects. 

53. Robert B. Mantell Dayton October 1, 1887 
Folger: Rom, 17 

[French's Standard Drama, 4 14 x 6s/ 4 ; interleaves; limp brown 
leather; title and Mantell's name gilt on cover.] 
Promptbook efficiently marked for touring. At the front a dummy 
cast list and synopses of scenes. Scenic indications and grooves 
(purple), stage business for crowds, maps, cues for effects (lights 
in red, scene change in blue). The 21 scenes are reduced to 17. 

54. Julia Marlowe New York, Star December 12, 1887 
Museum of the City of New York: 43.430.664 

[Rolfe edition, 5 x 6y 8 , tipped between leaves of a workbook, 6 x 
85/ 8 ; black cloth boards.] 

Probably Miss Marlowe's early promptbook. Cuts on full text. The 
many stage directions are all entered on the interleaves in a 
single clear hand. (See nos. 65-78.) 

55. Albert Taverner Toronto 1890's 
Toronto Public Library: 822.33/S.13 

[American Book Exchange, 1880, 4 x 6i/ 8 ; blue paper; bound with 
7 other Shakespeare plays in green cloth boards.] 
Rehearsal copy checked for Romeo. Cuts, lines marked for stresses, 
notes on scenery, costumes, stage business. 

56. [Taverner] 

Toronto Public Library: Taverner Collection 



422 ROMEO AND JULIET 

[Music scores, IO1/2 x \S]/ 2 ; tan paper.] 

Orchestral parts (8 instruments) of music for Romeo and Juliet, 

dated 1891-2. 

57. Frederick Warde America 1890's 
University of California, Los Angeles: Special Collections 669, 
Box 1 

[Edition pasted in a workbook, 8i/ 2 x 71/^; brown leather; title 
gilt on cover.] 

Promptbook used over several decades. Some stage business, cues 
for effects. Playbill for Washington, D.C., in 1893; about 20 prints 
and photographs of Warde as Romeo, actors of his company, 
Adelaide Neilson, Mary Anderson, Elinor Aickin, Ella Sturgis, 
Sothern and Marlowe, and others. 

58. Augustin Daly New York, Daly's March 3, 1896 
Folger: Rom, 7 

[Thirteen books. DeWitt edition (Irving version), 4^4 x 71/2; 
publisher's wrappers.] 

Rehearsal copies probably for the production with Mrs. James 
Brown Potter and Kyrle Bellew. In some of the books cuts and 
bits of stage business. 

59. Blanche Bates c.1899 
Museum of the City of New York: 43.98.189 

[Rolfe edition, 4]/ 2 x 614, tipped between leaves of a workbook, 
714 x 9i4; limp brown leather; title and Miss Bates's name gilt 
on cover.] 

Excellent promptbook, "arranged and marked by Fred Williams, 
Stage Director, Lyceum Theatre, New York, 1899," apparently 
not used by Miss Bates. Cuts on full text. Full scenic indications, 
calls, copious stage business, maps, cues for effects. Action of the 
ball scene is given in a long appendix. 

60. Julia Arthur Chicago, Grand Opera House April 12, 1899 
Harvard Theatre Collection: TS.2588.310 

[Rolfe edition, 5 x 6s/ 8 ; interleaves; paper cover and title on 

leather cover label under gray pamphlet binder and blue cloth 

spine.] 

Well-marked and much used promptbook. Cuts on full text. Some 

scenic indications, grooves, stage business, maps, cues for effects, 



ROMEO AND JULIET 423 

timings, special warnings. Photographs, clippings, and playbills 
of Chicago, April 12, and Boston, May 15, 1899. 

61. Margaret Anglin c.1900 
New York Public Library: *NCP.54x218 

[Rolfe edition pasted in a workbook, 7y 8 x 91^; typewritten 
interleaves tipped in; red cloth boards; title gilt on spine.] 
Promptbook of an arrangement in which the opening fight is not 
shown but is expressed by noise and music. Cuts on full text. 
Much stage business with occasional notation, "Business from here 
on is purely personal business." Cues for effects. 

62. John Doud c.1900 
Folger: Rom, 41 

[French's Standard Drama pasted in a workbook, 7]/ 2 x Q l A> 
bound with other books in gray canvas boards and half red 
leather.] 

Promptbooks, etc., of John Doud inscribed to Curtis Cooksey by 
Harriette Weems (Mrs. Doud). The volume contains a prompt- 
book for Romeo and Juliet, one for The Bells, notes for an 
original play, a description of J. B. Booth's costumes for 7 Shake- 
spearean roles and his fight routine for Macbeth. The Romeo 
book shows cuts, some scenic indications, grooves, some stage 
business, cues for effects. 

63. F. Owen Chambers c.1900 
Shakespeare Centre Library: 72.929CHA 

[Cassell's National Library edition pasted in a workbook, 8 x 
10i/£; red cloth boards; title on cover and spine labels.] 
Perhaps a transcription of Forbes-Robertson's Lyceum production 
of 1895: contains illustrations from his acting edition. Carefully 
drawn groundplans with scenic units indicated, copious stage 
business, cues for effects. 

64. Winthrop Ames Boston, Castle Square March 20, 1904 
New York Public Library: *NCP.52443B 

[Nineteen books. Typescript, 8 x 6y 8 ; blue cloth boards; title 
gilt on spine.] 

Partbooks assigned to actors of two different companies, most of 
the books marked with notes on vocabulary and interpretation. 
The production revived April 16, 1906. 



424 ROMEO AND JULIET 

65. E. H. Sothern and Julia Marlowe 

Chicago, Illinois Theatre September 19, 1904 
New York Public Library: *NCP.280656B 

[Cut text pasted in a workbook, 7 14 x 9i/2; black cloth boards; 
title on cover and up spine.] 

Preparation copy. Text partly in print, partly in longhand. Scenic 
indications, grooves, much stage business. Several drawings of 
scenes. (See no. 54.) 

66. [Sothern and Marlowe] 

New York Public Library: NCOF.5 1x304 
[Carbon typescript, 8^£ x 11; brown paper; in manila folder.] 
Unmarked copy of the completed Sothern-Marlowe version. De- 
tailed production plans: plots of properties, scenery, music, 
supers, opening fight, etc. 

67. [Sothern and Marlowe] 
The Players: TS.113 

[Typescript, 8 x lOi^; acts bound separately in blue paper.] 
Copy of a 6-act version giving the text only, marked "Prompting." 

68. [Sothern and Marlowe] 
The Players: PB.100 

[Four booklets. Typescript, 8 x lOi/g; acts bound separately in 
blue paper.] 

Much used promptbook of the 6-act version, with copious stage 
business and detailed production plans: plots of properties, 
scenery, music, etc. Acts II and VI are missing. Penciled cast, 
inked maps. 

69. [Sothern and Marlowe] 
The Players: TS.117A, B 

[Two books. Typescript, 8 x IO1/2; limp brown leather.] 
Complete copies of the 6-act version, very similar to the pre- 
ceding book but in a different typing. Plots of properties, scenes, 
music, etc., and much stage business. 

70. [Sothern and Marlowe] 
Folger: Rom, Folio 5 
[Typescript, 8x11; gray cardboard.] 

Promptbook of the 6-act version used by Frederick Kaufman, the 
general stage manager. At the front, detailed production plans: 



ROMEO AND JULIET 425 

a 17-page plot of properties, a synopsis of the 16 scenes, a music 
plot, etc. Copious stage business, cues for effects. 

71. [Sothern and Marlowe] 
Folger: Rom, Folios 2, 3, 4 

[Three books. Typescript, 8]/ 2 x 11; gray cardboard.] 

Clean copies of the 6-act version. Folio 2 is a first copy, Folio 3 a 

carbon, Folio 4 a carbon with stage directions underscored in 

red. 

72. [Sothern and Marlowe] 

Museum of the City of New York: 43.430.665 

[Typescript, 8i/ 2 x 11; black cardboard.] 

Much used promptbook. Pencilings of additional stage business, 

maps, cues for effects, timings for several cities. 

73. [Sothern and Marlowe] 

Princeton University, Seymour Collection 
[Typescript in red and black, 8i/£ x 11; brown paper.] 
Excellent copy said to be a duplicate from the Museum of the 
City of New York. 

74. [Sothern and Marlowe] 

Princeton University, Seymour Collection 
[Carbon typescript, 8i/ 2 x H» red paper.] 
Stage manager's copy, much used. Belonged to V. H. Collins. 

75. [Sothern and Marlowe] 

Princeton University, Seymour Collection 

[Carbon typescript, 8i/ 2 x 11.] 

Stage manager's copy, much used, in a different typing from the 

preceding Princeton books. Belonged to W. Stiefel. 

76. [Sothern and Marlowe] 
Folger: T.a.81 

[Notebook, 6$/ 8 x 8i/ 8 ; brown and red marbled boards and black 
cloth spine.] 

"Sothern & Marlowe Co Elect Dept" by M. E. McGarry. Light 
plots for 5 Shakespeare productions, including 16 plots (sketches) 
for Romeo and Juliet: instruments, colors, maps, cues. 

77. [Sothern and Marlowe] 
Folger: Rom, 29 



426 ROMEO AND JULIET 

[Shakespeare edition pasted in a workbook, 61/2 x 8i/g; stiff brown 
paper; title pasted on cover.] 

Thorough promptbook record made by Lark Taylor, the actor, 
who played Balthazar, Capulet, Benvolio during several seasons 
beginning in January, 1906. Cuts on full text, properties list, 
music plot, copious stage business, cues for effects. Clipping of 
the 1906 program. 

78. [Sothern and Marlowe] 

Joint University Libraries, Nashville 

[Temple edition, 1904, 4 x 5i/g; red leather; title gilt on 
spine.] 

Promptbook record made by Lark Taylor in April, 1923, "as they 
played R & J in 1906-7-8-10-11-12." Cuts on full text, 10 ground- 
plans, some stage business, cues for effects. The book had been 
Taylor's original rehearsal copy, inscribed "John Taylor/Marlowe 

6 Sothern/New Orleans— March 14, 1906." 

79. F. R. Benson c.1905 
Shakespeare Centre Library: 72.929BEN(4172) 

[Collins edition, 1903, pasted in a workbook, 63/£ x 8; black oil- 
cloth boards; title on cover and spine labels.] 
Preparation copy. Stage business and cues for effects through the 
first act. 

80. [Benson] 

Shakespeare Centre Library: 72.929BEN(4296) 

[Pocket Falstaff edition pasted in a workbook, 7 14 x 9; red 

marbled boards and half black leather, much worn; title on 

cover and spine labels.] 

Much used promptbook. Much stage business roughly entered, 

groundplans, cues for effects. At the back cast lists and a partial 

scene plot. 

81. Priestley Morrison c.1905 
New York Public Library: 9*NCP + p.v.5.143137 and B 
[Two books. French's Standard Drama pasted in a workbook, 

7 x 9i4; French's Standard Drama pasted in a workbook, 7 x H1/2; 
bound together with an As You Like It (see AYL, 82) in black 
cloth boards; title gilt on spine.] 

The first, called "Farnum production," is the promptbook of a 
7-act version, heavily cut, with copious stage business, inserted 



ROMEO AND JULIET 427 

typed slips giving maps, dance routine, cues for effects. The 
second, heavily cut, is the promptbook of a 6-act version with 
synopsis of scenes and grooves, copious stage business. 

82. Anonymous c.1905 
New York Public Library: *NCP.283818B 

[Shakespeare edition pasted in a workbook, 7*4 x 10; red cloth 
boards; title gilt on spine.] 

Unidentified director's book. Cuts on full text. Copious stage 
business, maps and sketches, notes on effects. Critical notes from 
William Poel. 

83. Lewis Waller London, Imperial April 22, 1905 
Folger: Rom, 32 

[Irving edition, 5% x 71/2; interleaves; blue cloth boards and 
blue leather spine; title and Henry Irving's name gilt on cover.] 
Studybook marked in blue, red, and black crayon and lead pencil 
in a round strong hand said to be that of Lewis Waller. Random 
jottings of stage business, some sketches, cues for effects. (See 
nos. 44-46.) 

84. William Poel London, Royalty May 5, 1905 
Enthoven Collection 

[Cassell's National Library edition, 35/ 8 x 5y & ; tipped to stubs 
between leaves of a workbook, 7 14 x 85^; red marbled boards and 
half black leather.] 

Rough promptbook. Cuts on full text, some stage business, cues 
for effects. 

85. Herbert Beerbohm Tree 

London, His Majesty's June 30, 1913 

Enthoven Collection: Tree, 232 

[Six books. Favourite Classics edition, 3^£ x 6; green cloth boards; 
title gilt up spine.] 
Rehearsal copies. 

86. [Tree] 

Enthoven Collection: Tree, 232 

[Papers.] 

Cast lists, dressing room assignments. 

87. Henry Jewett Boston, Boston Opera House January 11, 1915 
Folger: Rom, Folio 1 



428 ROMEO AND JULIET 

[Typescript, S]/ 2 x 11; gray cardboard and green cloth spine.] 
Promptbook of Jewett's first production at Boston, reused later. 
Copious typewritten stage business with penciled augmentations. 
Cues for effects. Program for one company, and penciled cast of 
a different company. 

88. Ellen Terry London, Lyric April 12, 1919 
Smallhythe 

[Temple edition, 1919, 37/g x 5; limp maroon leather; title gilt 
up spine.] 

Studybook for the Nurse. Cuts and underscorings. (In the copy 
of the Globe Shakespeare beside Miss Terry's bed at Smallhythe 
are her comments on having played the Nurse.) (See no. 47.) 

89. Albert Lang c.1920 
Princeton University, Seymour Collection 

[Maude Adams edition, 1899, pasted in a workbook, 7^ x 10i/£; 

brown marbled boards and black cloth spine; title pasted on 

cover.] 

Very full promptbook of an itinerant producer. Cuts, much stage 

business, very careful maps, cues for effects, photographs from 

the Adams production, properties list, printed cast lists. 

[Actor Lists for Following Books Are Given in This Order: 
Romeo, Juliet, Mercutio, Nurse.] 

90. Nicholas Hannen London, Everyman November 18, 1920 
New York Public Library: *NCP.278922B 

[Shakespeare edition pasted in a workbook, 6s/ 8 x S7/ 8 ; red cloth 
boards; title gilt on spine.] 

Cast includes Nicholas Hannen, Muriel Pratt, Laurence Hanray, 
Agnes Thomas. Directed by Edith Craig. Promptbook of Audrey 
Cameron, the assistant stage manager. Cuts on full text, some stage 
business, maps and sketches. 

91. Jane Cowl New York, Henry Miller January 24, 1923 
Harvard Theatre Collection: TS.2588.315 

[Shakespeare edition pasted in a workbook, 7i/ 2 x ^Vs'' black 

cloth boards and half red leather; title on red leather cover 

label.] 

Cast includes Rollo Peters, Jane Cowl, Dennis King, Jessie Ralph. 

Promptbook made by Edward Broadley, the stage manager for 

J. Sayre Crawley, who assisted in the direction of this production 



ROMEO AND JULIET 429 

and played various roles. Copious stage business, maps, cues for 
effects. 

92. Eva LeGallienne New York, Civic Repertory April 21, 1930 
Yale University, Beinecke Rare Book Library 

[Aldus Shakespeare edition, 1909, pasted in a workbook, 5i/2 x 
8i/£; blue ring binder.] 

Cast includes Donald Cameron, Eva LeGallienne, Edward Brom- 
berg, Leona Roberts. Designed by Aline Bernstein. Promptbook 
of the stage manager. Cuts and rearrangements, little stage 
business, all cues for effects. Working papers include property 
list, synopsis of scenes, curtain calls. With it a Boston review of 
October, 1933, and about 4 dozen photographs. 

93. W. Bridges- Adams Stratford-upon-Avon June 20, 1933 
Shakespeare Centre Library: 71.21/1933RO 

[Temple edition pasted in a workbook, 7x9; purple cloth boards 
and half black leather; title on cover and spine labels.] 
Cast includes John Wyse, Rachel Kempson, George Hayes, Alice 
O'Day. Designed by Norman Wilkinson. Stage business, maps. 
This copy not used in performance. 

94. [Bridges- Adams] April 22, 1934 
Shakespeare Centre Library: 71.21/1934R 

[Temple edition pasted in a workbook, 63^ x 9; purple cloth 

boards and half black leather; title on spine label.] 

Cast includes John Wyse, Rachel Kempson, Baliol Holloway, 

Barbara Gott. Preparation copy, unused. Stage business entered 

roughly. 

95. Katharine Cornell New York, Martin Beck December 23, 1935 
New York Public Library: *NCP+ 

[Typescript, 814 x 11; gray boards and tan cloth spine; title 
typed up spine.] 

Cast of this second-season revival includes Maurice Evans, 
Katharine Cornell, Ralph Richardson, Florence Reed. Directed 
by Guthrie McClintic. This is not a promptbook, but a record 
of the production made by Fitzroy Davis during the Chicago 
run in November, 1935. Lines marked for stresses and intonation 
with a key to the symbols used. Stage business entered roughly 
but profusely. Sketches of some scenes. Notes on the use Davis 
made of the play in his novel Quicksilver. 



430 ROMEO AND JULIET 

96. B. Iden Payne Stratford-upon-Avon May 2, 1941 
Shakespeare Centre Library: 71.21/1941RO 

[Penguin edition pasted in a workbook, 7x9; purple cloth boards 
and half black leather; title on cover and spine labels.] 
Cast includes Godfrey Kenton, Margaretta Scott, George Hayes, 
Freda Jackson. Designed by Peggy Neale and Barbara Harris. 
Much stage business, maps, cues for effects. The book had been 
used for Payne's 1938 production. 

97. Robert Atkins Stratford-upon-Avon June 7, 1945 
Shakespeare Centre Library: 71.21/1945R 

[New Temple edition pasted in a workbook, 7i/g x 9; purple 

cloth boards and half black leather; title on cover and spine 

labels.] 

Cast includes David Peel, Moira Lister, Antony Eustrel, Viola 

Lyel. Little stage business, cues for effects. The book had been 

used for Payne's 1936 production; was erased and reused. 

98. Basil C. Langton Hammersmith, King's March 1, 1946 
Mander and Mitchenson 

[Shakespeare edition tipped into a workbook, 7x9; blue card- 
board and red cloth spine; title on cover label.] 
Good promptbook of the Touring Repertory Theatre production. 
Cuts, calls, much stage business, cues for effects. 

99. [Langton] 

Mander and Mitchenson 

[Shakespeare edition pasted in a workbook, 8 x 10; blue-gray 
marbled boards and blue cloth spine; title on cover label.] 
Stage manager's book of the Touring Repertory Theatre produc- 
tion. Much stage business, cues for effects. Contains a large 
character chart and properties list. 

100. Peter Brook Stratford-upon-Avon April 6, 1947 

Shakespeare Centre Library: O.S.71.21/1947RO 
[Temple edition pasted in a workbook, 8 x 13; red cloth boards; 
title on cover and spine labels.] 

Cast includes Laurence Payne, Daphne Slater, Paul Scofield, 
Beatrix Lehmann. Designed by Rolf Gerard. Calls, stage business, 
many maps, cues for effects. The production was moved to His 
Majesty's in London. 



ROMEO AND JULIET 431 

101. Glen Byam Shaw Stratford-upon-Avon April 27, 1954 
Shakespeare Centre Library: O.S.71.21/1954R 

[Penguin edition pasted in a workbook, 8x11; red cloth board 
spring binder; title on spine label.] 

Cast includes Laurence Harvey, Zena Walker, Tony Britton, Ros- 
alind Atkinson. Designed by Motley. Much stage business, maps, 
cues for effects. 

102. [Shaw] April 8, 1958 
Shakespeare Centre Library: O.S.71.21/1958R 

[Penguin edition pasted in a workbook, 8 x 13; red cloth board 
spring binder; title on spine label.] 

Cast includes Richard Johnson, Dorothy Tutin, Edward Wood- 
ward, Angela Baddeley. Designed by Motley. Much stage business, 
maps, cues for effects. The book also used for the Russian tour in 
December, 1958. 

103. Jack Landau Stratford, Connecticut June 12, 1959 
Festival Theatre, Production Department 

[Three books. Mimeograph, Si/ 2 x 11; black board ring binders.] 
Cast includes Richard Easton, Inga Swenson, William Smithers, 
Aline Macmahon. Designed by David Hays and Dorothy Jeakins. 
The first book has much stage business, maps (some on mimeo- 
graphed groundplans), company lists, rehearsal schedule. The sec- 
ond, signed by Bernard Gersten, has copious stage business, some 
cues roughly written, and production papers including plots of 
properties, wigs, and ad libs, a groundplan, company list, produc- 
tion schedule. The third has cues for effects. 

104. [Landau] 

University of California, Los Angeles: Houseman Box 1 1 

[Mimeograph, 81/4 x 11; yellow interleaves; brown cloth boards; 
title gilt on cover.] 

Final or souvenir promptbook of the Connecticut production pre- 
pared for John Houseman by the stage managers. Stage business 
typed on interleaves. Full set of production papers at the back. 

105. Michael Langham Stratford, Ontario June 29, 1960 
Festival Theatre, Library 

[Penguin edition pasted in a workbook, 73^ x 13i/£; blue cloth 

boards bordered in ink; title pasted on cover.] 

Cast includes Bruno Gerussi, Julie Harris, Christopher Plummer, 



432 ROMEO AND JULIET 

Kate Reid. Designed by Tanya Moiseiwitsch. Calls and cues for 
effects. 

106. Peter Hall Stratford-upon-Avon August 15, 1961 
Shakespeare Centre Library: O.S.71.21/1961R 

[Cambridge Pocket Shakespeare pasted in a workbook, 8 x 12i/g; 
blue cloth board ring binder; title on spine label.] 
Cast includes Brian Murray, Dorothy Tutin, Ian Bannen, Edith 
Evans. Designed by Sean Kenney. Much stage business, cues for 
effects. Production papers: cast, understudies, 8 maps on mimeo- 
graphed groundplans, fight routine. 

107. Other books of Romeo and Juliet: 

Brown University: Eng.P.17, Asa Cushman. 

Connecticut State Library: William Gillette. 

Edwin Forrest Home (on loan to the University of Pennsylvania, 

Rare Book Room): Edwin Forrest. 

Folger: Rom, 5, William E. Burton; Rom, 6, Coplestone; Rom, 

ll 1 , Mr. Solomon; Rom, ll 2 , E. G. Gladstone; Rom, 16, John T. 

Malone; Rom, 30, Forbes-Robertson; Rom, 34, A. M. Young; 

Rom, 36, 37, 38, anonymous; Rom, 40, Sullivan. 

Harvard Theatre Collection: uncatalogued, Annie M. Clarke. 

Historical and Philosophical Society of Ohio: 812.3/R283/175, 

Alvin Read. 

Mander and Mitchenson: Carlotta Addison, 1864. 

New York Public Library: *NCP, anonymous; *NCV.p.v.l5, 

A. B. Davis. 

Shakespeare Centre Libraiy: 82.5(1657), F. Haywel; O.S.P.50.29 
(1825), William Creswick. 



The Taming of the Shrew 

1. John Philip Kemble London, Drury Lane March 13, 1788 
University of Pennsylvania, Furness Collection: C59.ShlTaK 
[Garrick's Catherine and Petruchio, Bathurst, 1786, 4i^ x 6%; in- 
terleaves; all sheets tipped into binding of maroon and blue mar- 
bled boards and half red leather gilt; title gilt on spine.] 
Promptbook marked by Kemble: "The Acting Copy, with the 
MS. additions, of Mr. John Philip Kemble," given to H. H. Fur- 
ness by Mrs. F. A. Kemble in 1874. Cuts, some stage business, cues 
for effects. (See nos. 3-4.) 

2. Anonymous c.1792 
Folger: Shrew Ad, 12 

[Silvester Doig, Katharine and Petruchio, Edinburgh, 1792, $7/ 8 x 

67/ 8 ; red marbled boards and half green leather gilt; title gilt up 

spine.] 

Promptbook. Cuts, calls, cues for effects. 

3. John Philip Kemble London, Covent Garden c.1810 
Garrick Club 

[Kemble's Katherine and Petruchio, 1810, 5 x 8i/£; interleaves; 
blue cloth boards and brown leather spine.] 

Promptbook marked by Kemble. Some stage business, maps. (See 
no. 1.) 

4. [Kemble] 
Garrick Club 

[Kemble's Katherine and Petruchio, 1810, 5i/g x 81/2; interleaves; 
blue cloth boards and brown leather spine.] 

Promptbook checked for Petruchio. Not in Kemble's hand but 
contents similar to those of preceding book. Cuts. Additional bits 
of stage business. 

5. John Pritt Harley Canterbury J un e 6, 1812 
Folger: S.a.102 

[Manuscript, 63/£ x li/ 8 ; in box of brown cloth boards; title, etc., 
gilt on cover.] 

Partbooks in Harley 's hand for the Tailor and Grumio in Catha- 
rine and Petruchio, dated as above for "Mr. *k Mrs. Meggett's 
Night." 

6. Charles Kemble 
Folger: Shrew Ad, 13 



434 THE TAMING OF THE SHREW 

[Volume III of Farces, A\/% x 7; gray boards and half red leather; 

"Farces" gilt on spine.] 

Crude promptbook. Cast with Charles Kemble. Cuts, some stage 

business. 

7. J. W. Wallack c.1825 
Folger: Shrew Ad, 3 

[Kemble's Katherine and Petruchio, 1810, 5i/g x8i/(; interleaves 
watermarked 1825; green cloth boards; title gilt up spine and 
Wallack's name gilt on cover.] 

Promptbook endorsed "J W Wallack from J. P. Kemble" but not 
marked by Kemble. Cuts, calls, some stage business, cues for effects. 

8. John G. Gilbert 1832 
Boston Public Library: K.49.10 

[Cumberland edition, Katharine and Petruchio, 3^4 x ^> S A'> bound 
with 8 other plays in marbled boards and maroon leather spine; 
"Shakespeare" gilt on spine.] 
Promptbook. Cuts, calls, some stage business, cues for effects. 

9. Benjamin Webster London, Haymarket March 16, 1844 
Folger: Shrew, 2 

[Pages 263-328 from volume I of an illustrated Works, 6^ x 10; 
gray interleaves; buff paper; title inked on cover.] 
According to George Becks's note in the following book, this is 
"Phelps' promptbook as/marked by G. Hastings/copyist/34 New 
Hampstead Road/Kentish town/1856." It is not Phelps's book 
(for which, see no. 16). Internal evidence (use of placards, presence 
of Sly throughout the play, etc.) indicates Webster's production. 
Few cuts. Calls, considerable stage business, maps, cues for effects. 
Contains a transcription of Henry Morley's 1856 review of Phelps's 
production taken from The Journal of a London Playgoer. 

10. [Webster] 

New York Public Library: *NCP.285352 

[Shakespeare edition, 4 x 6^; interleaves, 4i/£ x 7i/£; black cloth 
boards; title gilt on spine.] 

Transcription of the preceding promptbook (Hastings' transcrip- 
tion of Webster's) made by George Becks. 

11. James E. Murdoch Philadelphia, Walnut Street August 31, 1848 
University of Pennsylvania: AC85.M9415.820p.57 



THE TAMING OF THE SHREW 435 

[Cumberland edition, Katharine and Petruchio, 37/g x ^A'> inter- 
leaves; brown marbled boards and red leather spine.] 
Much used promptbook, marked and dated by G. W. Lewis, the 
Philadelphia prompter. Cuts and additions, grooves, calls, consid- 
erable stage business, maps, cues for effects. 

12. John Moore 1850's 
Folger: Shrew Ad, 5 

[Thomas's Burlesque Drama, Katharine and Petruchio, London, 
1838, 4 x 6i/ 8 ; interleaves, 4% x 8; stiff brown paper; publisher's 
wrapper pasted on cover.] 

Fully developed promptbook. Cuts and additions, calls, some 
scenic indications, grooves, stage business, cues for effects. One 
gag attributed to Kemble. Playbills for R. Johnstone and Mrs. 
Abbott, 1856; C. Fisher and Mrs. A. Parker; C. Plukkett and Mrs. 
Frank Rea, Troy, 1859; Edwin Booth and Mrs. Davenport. 

13. James Stark 1850's 
New York Public Library: *NCP.164537 

[Modern Standard Drama, Katherine and Petruchio, 5 x 7i/g; in- 
terleaves; blue cloth boards; title gilt up spine.] 
Well-marked promptbook, aranged to be done in 1 act. Heavy 
cuts, calls, copious stage business, cues for effects. 

14. Samuel Phelps London, Sadler's Wells 1850 
Folger: Shrew Ad, 6 

[Kemble's Katherine and Petruchio, 1810, 4% x 8i/g; gray paper 
and red leather spine; "Prompt Book/1850" inked on cover.] 
Promptbook partly marked by earlier owners (Charles Elliston 
and Mr. Goodwin, whose names are scratched), partly by Phelps. 
Cuts, additions, calls, some stage business, a map, cues for effects. 
(See no. 16.) 

15. Hermann Vezin August 18, 1856 
Folger: Shrew, 9 

[Hinds English Stage, Katharine and Petruchio, 1839, 4^ x 77^; 
interleaves; blue-gray marbled boards and half green leather gilt, 
broken; title gilt up spine.] 

Promptbook in the hand of George Hastings, the copyist. Cuts and 
additions, grooves, calls, stage business, maps, cues for effects. 



436 THE TAMING OF THE SHREW 

16. Samuel Phelps London, Sadler's Wells November 15, 1856 
Folger: Shrew, 6 

[Pages 331-430 from volume III of Chalmers' Works, 5i/ 2 x & 3 A'> a 
few lavender interleaves; buff paper, torn; title, theatre, etc., inked 
on cover.] 

Promptbook of Phelps's restoration of the Shakespeare play, 
marked by Phelps and Williams, the prompter. Cuts on full text. 
Includes the Induction. Some scenic indications, grooves, calls, 
some stage business, cues for effects. (See no. 14.) 

17. J. B. Roberts 1860's 
Folger: Shrew Ad, 7 

[French's Standard Drama, Katharine and Petruchio pasted in a 

workbook, 7^4 x ^ 3 A> which a l so contains The Ragpicker of Paris; 

black cloth boards and red leather spine; title inked on cover 

label.] 

Promptbook. Cuts, some scenic indications, grooves, some stage 

business, cues for effects. 

18. Mercer Hampson Simpson Birmingham, Theatre Royal 1860's 
Birmingham, Shakespeare Memorial Library: C52/455742 
[Lacy edition, Katharine and Petruchio, 4 x 7^; gray cardboard; 
bound with other plays in green cloth boards; "Shakespeare's Sepa- 
rate Plays" gilt on spine.] 

Promptbook of Sara Lewis. Addition of traditional gags, calls, 
some stage business, cues for effects. 

19. Owen J. Fawcett 1864 
New York Public Library: *NCP. 164366 

[Music-Publishing Company, Katharine and Petruchio, 3]/ 2 x 5]/ 2 ' 
interleaves; black cloth boards; title gilt up spine.] 
Promptbook derived from James Stark's (see no. 13), divided into 
acts but provisionally cut to 1 act. Calls, copious stage business 
verbatim with Stark's, cues for effects. Fawcett gave it to George 
Becks in 1865. 

20. Barry Sullivan 
Folger: Shrew Ad, 1 

[Hinds English Stage, Katharine and Petruchio, 1839, 4$/ 8 x 7%; 
bound with Twelve Precisely! in purple cloth boards.] 
Association value only. A note by David Belasco explains that 



THE TAMING OF THE SHREW 437 

Barry Sullivan gave him these plays "when I was a lad"; Belasco 
sold them; Jean Davenport Lander got them; George Becks bought 
them in 1903; Belasco bought them from Becks: "And, goodbye, 
old friend — Where, I wonder, will you go now?" 

21. Adelaide Neilson 
Folger: Shrew, Folio 1 

[Shakespeare Press edition, 12i4 x 165^; green cloth boards and 

half brown leather; title gilt up spine and on red leather cover 

label.] 

Reading copy. Portions heavily cut and emended to conform to 

the Katherine and Petruchio version. 

22. J. R. Pitman 1880*s 
University of Pennsylvania, Furness Collection: C59.ShlMeP 
[Booth-Winter edition, Katharine and Petruchio, published with 
The Merchant of Venice, 1881, 4^ x 61/g; gray publisher's wrap- 
pers.] 

Promptbook lightly marked, perhaps unused. Scenic indications, 
grooves, cues for effects. 

23. William Seymour Boston, Boston Museum 1880's 
Princeton University, Seymour Collection: K and P, 6 
[Modern Standard Drama, Katharine and Petruchio, 4i/£ x 7^; 
interleaves, 47/g x 8; publisher's wrappers.] 

Promptbook fully marked and much used, checked for Petruchio. 
Cuts, grooves, calls, considerable stage business, maps, cues for 
effects. 

24. [Seymour] 

Princeton University, Seymour Collection: K and P, 1 

[Modern Standard Drama, Katharine and Petruchio, 4i/£ x li/^; 

interleaves; stiff canvas.] 

Lightly marked promptbook. Cuts, calls, cues for effects. 

25. [Seymour] 

Princeton University, Seymour Collection: K and P, 3 

[French's Standard Drama, Katharine and Petruchio, 4i/£ x 7^£; 

interleaves not sewn, 5 x 8; in a paper wrapper.] 

Uncompleted promptbook. Opening pages heavily marked for 

scenery and stage business; thereafter only cuts and some sheets 

of notes on business in the first act. 



438 THE TAMING OF THE SHREW 

26. Edwin Booth New York, Booth's October 19, 1881 
Folger: Shrew Ad, 2 

[Booth-Winter edition, Katharine and Petruchio, 1878, 45/g x 65/g; 
gray publisher's wrappers.] 

Promptbook roughly marked but much used. Partial cast includ- 
ing Mrs. Pateman. Scenic indications, properties list, calls, stage 
business, cues for effects, timings. 

27. [Booth] 

Folger: Shrew Ad, 9 

[Booth-Winter edition, Katharine and Petruchio, 4s/ 8 x 6s/ s ; ma- 
roon cloth boards; title gilt up spine.] 

William Winter's copy. Winter's manuscript description of Booth's 
Petruchio. Note from Booth about his failure in management. 

28. Augustin Daly New York, Daly's January 18, 1887 
Folger: Shrew, 3 

[Daly first edition, 1887, 6 x 9i/£; interleaves; publisher's wrappers, 
unsewn.] 

Very full promptbook in the hand of John Moore, the stage man- 
ager. Daly's version was "arranged to be played in four acts," but 
Moore corrects the title page to five acts. Contains a second title 
page for the "Centenary Edition" as printed for April 13, 1887. 
Calls, properties, copious stage business, maps and sketches, cues 
for effects. Playbill for November 27, 1891. 

29. [Daly] 

New York Public Library: 8-*NCP.686481, 3 
[Two books. Daly first edition, 1887, 5^£ x 9j4; publisher's wrap- 
per under green cloth boards; title gilt on spine.] 
Rehearsal copies. The first was used by Frederick Bond for Tranio 
and First Player; contains notes on pronunciation and some stage 
business. The second, checked for Petruchio and Lucentio, was 
perhaps John Drew's book; brief pencilings of stage business; some 
alterations of text which were later printed in the Centenary edi- 
tion. 

30. [Daly] 

New York Public Library: 8-*NCP.686482 

[Daly Centenary edition, 1887, 53^ x 9i4; publisher's wrapper un- 
der green cloth boards: title gilt on spine.] 
Rehearsal copy, checked for Petruchio; probably not John Drew's 



THE TAMING OF THE SHREW 439 

book but that of a later Petruchio. Marked for pauses, laughs, ex- 
clamations, stage business, manner, tone. 

31. [Daly] 

New York Public Library: 8-*NCP.686484 

[Fifteen booklets. Typescript, 814 x 6i/£; green cloth boards; title 

gilt on spine.] 

Partbooks, much marked and used, several of them bearing names 

of actors not in Daly's original company. 

32. [Daly] 

New York Public Library: *NCP.343000 

[Daly Centenary edition, 1887, 6 x 9i/£; interleaves; black cloth 
boards; title gilt on spine.] 

Heavily annotated by George Becks, perhaps in preparation for 
his projected The Actor's Shakespeare. Scenic indications, grooves, 
calls, copious stage business from the tradition including, for in- 
stance, all of James Stark's, maps and sketches, cues for effects. 
Program of Daly's hundredth performance, 4 illustrations of 
scenes from Daly's production, music score for "Should she Up- 
braid" as sung by Daly's chorus in the last act. 

33. [Daly] 

Folger: Prints and Engravings 

[Daly edition, 1887, mounted in pages of an album, 11% x 17%; 
red marbled boards and half brown leather; title gilt on spine.] 
Souvenir album with Daly's version, many old prints, many nine- 
teenth-century playbills, Daly's silk playbills, 57 photographs of 
actors, and 10 photographs of scenes in Daly's production. 

34. [Daly] 

Folger: Shrew, 1 

[Daly edition, 1887, 6 x 9i^; interleaves; gray cardboard and green 
cloth spine.] 

Promptbook based on Daly's 4-act version, which belonged to 
George Clarke, an actor in Daly's company (probably later be- 
longed to Henry Jewett). Lists of properties grouped by acts, calls, 
much stage business, maps and sketches, cues for effects, curtain 
calls. 

35. [Daly] 

Joint University Libraries, Nashville: S822.33/Q3/D1 



440 THE TAMING OF THE SHREW 

[Daly Centenary edition, 1887, 5^4 x 9i/£; interleaves; red cloth 
boards; title gilt on spine, Lark Taylor's name on cover.] 
Souvenir promptbook made by Lark Taylor, marked "Property of 
Jack Taylor" on the title page. Very full record, with descriptions 
of scenery, copious stage business, groundplans for each scene, cues 
for effects. Record of Taylor's several roles in the play with Daly, 
with Rehan, with Sothern and Marlowe. Photograph of Ada 
Rehan and lengthy note on her costume; photographs of John 
Drew and the banquet scene. (See no. 55.) 

36. Herbert Beerbohm Tree 

London, Her Majesty's November 1, 1897 

Enthoven Collection: Tree, 7 

[Two books. Typescript of Katherine and Petruchio, 8 x 10; the 
acts bound separately.] 

Rehearsal promptbooks. One marked in pencil, signed by A. Wig- 
ley: much stage business. One marked in red ink and blue and 
black pencil: much stage business, cues for effects. 

37. [Tree] 

Enthoven Collection: Tree, 7 

[Typescript, 8x10; gray cover.] 

Final promptbook marked in pencil and red ink. Groundplans, 

stage business, maps, cues for effects. 

38. [Tree] 

Enthoven Collection: Tree, 7 

[Seven books. French edition, Katherine and Petruchio, 4 x 7i/g; 

publisher's wrappers under brown paper.] 

Rehearsal copies. 

39. [Tree] 

Enthoven Collection: Tree, 7 

[Two booklets. Typescript, 81/2 x 7; brown paper.] 

Partbooks for Katherine and Petruchio. 

40. Charlotte Lambert 1898 
Museum of the City of New York: 32.109.13 

[French's Standard Drama, Katharine and Petruchio, A\/ 2 x 7^; 
interleaves, 514 x 8; paper wrapper; title pasted on cover.] 
Very fully developed promptbook prepared by William Seymour, 
July, 1898. At the front, a list of characters and doubles and an 



THE TAMING OF THE SHREW 441 

elaborate properties list. Detailed scenic indications, calls, very 
full stage business, good maps, cues for effects, timing (1:00). 

41. Charles B. Hanford c.1900 
Folger: Shrew, Folio 7 

[Carbon typescript, 8 x lOi/^; each of the 4 acts in a brown paper 

wrapper.] 

Promptbook of Hanford's touring company. Cuts (the Induction 

is omitted), typewritten stage business augmented in longhand, 

cues for effects. 

42. F. R. Benson c.1900 
Shakespeare Centre Library: 72.930BEN 

[Temple edition pasted in a workbook, 7x9; red marbled boards 
and green cloth spine; title on cover and spine labels.] 
Promptbook. Much stage business roughly entered, maps, cues for 
effects. At the front a cast list, a time chart. At the back, plots of 
properties, supers. 

43. Oscar Asche London, Adelphi November 29, 1904 
Shakespeare Centre Library: 72.930ASC 

[Temple edition pasted in a workbook, 7x9; red marbled boards 
and tan cloth spine, broken; title on cover and spine labels.] 
Much used promptbook. Much stage business, groundplans, cues 
for effects. 

44. E. H. Sothern and Julia Marlowe Cleveland September 18, 1905 
Museum of the City of New York: 43.430.667 
[Shakespeare edition pasted in a workbook, 5i/2 x S 1 /^ limp brown 
leather.] 

Preparation copy, pencil-marked for stresses, stage business, effects. 
The directions are numbered and entered on facing pages. 

45. [Sothern and Marlowe] 

New York Public Library: *NCP.276567B 

[Carbon typescript, 8 x 10i/£; red cloth boards; title gilt on spine.] 
Early version with the text of the Induction given but not marked 
for use. Groundplans, copious stage business, maps. 

46. [Sothern and Marlowe] 

New York Public Library: *NCP.51x304 

[Carbon typescript, 8i/ 2 x 11; brown cloth boards; title gilt up 

spine.] 



442 THE TAMING OF THE SHREW 

Later version without the Induction. Copious stage business. Plots 
of lights, properties, and music given for each act. 

47. [Sothern and Marlowe] 
Folger: Shrew, Folio 2 

[Shakespeare edition pasted in a workbook, 8 x lOi/^; ring binder 
of black cloth boards and half red leather.] 

Souvenir promptbook made by Francis S. T. Powell, the stage 
manager, assisted by Frederick Kaufman. Scenic indications, co- 
pious stage business, maps, cues for effects. Powell declares that 
all is "exactly as used in the presentation." It differs from arrange- 
ments in the following books. 

48. [Sothern and Marlowe] 

Folger: Shrew, Folios 3, 6 

[Two books. Original and carbon typescript, Si/ 2 x H» brown pa- 
per.] 

The production as arranged by Frederick Kaufman, the general 
stage manager. For each major scene, plots of lights, properties, 
music, and a carefully drawn red ink groundplan. Folio 6 has the 
program for Jolson's 59th Street Theatre, October 15, 1923. 

49. [Sothern and Marlowe] 
Folger: Shrew, Folios 4, 5 

[Two books. Original and carbon typescript, 814 x 11; brown pa- 
per.] 

Clean retyping of the preceding book. 

50. [Sothern and Marlowe] 

Museum of the City of New York: 43.430.668 

[Carbon typescript, 8i/£ x 11; blue ring binder.] 

Stage manager's copy for lighting. Red ink maps and sketches 

showing the placing and focus of lamps. 

51. [Sothern and Marlowe] 

Princeton University, Seymour Collection 

[Carbon typescript, 814 x 11; red paper.] 

Stage manager's copy, much used. Belonged to V. H. Collins of 

1119 Rosalind Avenue, Los Angeles. 

52. [Sothern and Marlowe] 

Princeton University, Seymour Collection 



THE TAMING OF THE SHREW 443 

[Typescript in black and red, Si/ 2 x 11; blue paper.] 
Stage manager's copy, much used. Belonged to W. Stiefel. 

53. [Sothern and Marlowe] 
Folger: T.a.81, 82 

[Notebook, 6s/ 8 x 8i/ 8 ; brown and red marbled boards and black 
cloth spine.] 

"Sothern & Marlowe Co Elect Dept" by M. E. McGarry. Light 
plots for 5 Shakespeare productions, including 8 plots (sketches) 
for the Shrew: instruments, colors, maps, cues. With it a typed 
light plot mounted on cardboard for use at the controls. 

54. [Sothern and Marlowe] 

W. A. Clark Library, Los Angeles 

[Shakespeare edition, 45/g x 7i/£; interleaves; brown cloth boards; 
title gilt on spine.] 

Composite promptbook made by Lark Taylor, combining ele- 
ments of the "Daly version as played by Rehan" (with whom 
Taylor worked in 1899/1900), and the Sothern and Marlowe pro- 
duction (in which Taylor worked for 8 seasons commencing in 
1906). Daly cast of 1887, Rehan's cast, a Sothern and Marlowe 
cast. Notes on the cuttings, groundplans, copious stage business, 
cues for effects, costume notes. 

55. [Sothern and Marlowe] 
Folger: Shrew, 7 

[Shakespeare edition pasted in a workbook, 63^ x 814; stiff brown 
paper.] 

Promptbook record of the production made by Lark Taylor "as 
done by Sothern and Marlowe — with most important points from 
Daly's book" (see no. 35). Taylor played the Page and a servant 
at Daly's in 1898, and Hortensio, Tranio, Gremio with Sothern 
and Marlowe. Copious stage business, maps and sketches, critical 
notes on both productions. 

56. [Sothern and Marlowe] 

Folger: Shrew, 8 

[Shakespeare edition pasted in a workbook, iy & x 9i/2; stiff brown 
paper.] 

Lark Taylor's transcription of all the matter in the preceding book 
except notes about himself, made in 1922 for Curtis Cooksey. 



444 THE TAMING OF THE SHREW 

57. Margaret Anglin Melbourne October 10, 1908 
New York Public Library: 8-*NCP.54x218 

[Rolfe edition pasted in a workbook, 7i/£ x 9i/£; black cloth boards; 

title inked on spine.] 

Promptbook or preparation copy. Copious stage business, maps. 

58. John Martin-Harvey London, Prince of Wales May 10, 1913 
London Museum 

[Shakespeare edition pasted in a workbook, §7/ & x 9; black imita- 
tion leather.] 

Preparation copy. Cuts on full text, additions from Taming of a 
Shrew and ad lib lines added for Sly. Much stage business, rough 
maps, notes on effects. Many notations are by William Poel, who 
advised on the production. 

59. Henry Jewett Boston, Boston Opera House February 22, 1915 
Folger: Shrew, Folio 9 

[Carbon typescript, 81/4 x 11; gray cardboard and green cloth 
spine.] 

Promptbook of the Jewett company in their first season. Type- 
written stage directions augmented with pencilings. Program. 

60. Mrs. C. H. Jones 
Folger: Shrew, Folio 8 
[Typescript, 8 x lOi/g.] 

The play "adapted . . . into tabloid form." Apparently a scenario 
for a silent movie. 

61. Maude Adams 

Museum of the City of New York: 48.367. 132A, B, C 

[Three books. Typescript, 8 x 10^; each of 3 acts bound in blue 

paper.] 

Much cut version arranged in 3 acts. 

[Actor Lists for Following Books Are Given in This Order: Pe- 
truchio, Katharine.] 

62. Barry Jackson London, Royal Court April 30, 1928 
British Drama League 

[Shakespeare edition pasted in a workbook, 7x9; blue cloth 

boards and black cloth spine.] 

Promptbook of Matthew Forsyth, the stage manager of Jackson's 



THE TAMING OF THE SHREW 445 

modern-dress production, which originated at the Birmingham 
Repertory Theatre and later played at the Royal Court in Lon- 
don. Cast includes Scott Sunderland, Eileen Beldon. Cuts, cast list, 
many notes on costume and properties, much stage business, maps. 
Bits of music score. Program for the Royal Court. 

63. W. Bridges- Adams Stratford-upon-Avon May 23, 1933 
Shakespeare Centre Library: 71.21/1933T(6058) 

[Temple edition pasted in a workbook, 7x9; purple cloth boards 
and half black leather; title on spine label.] 

Cast includes Anew McMaster, Madge Compton. Designed by 
Reginald Leefe. Much stage business, maps, cues for effects. 

64. [Bridges-Adams] 

Shakespeare Centre Library: 71.21/1933T(7930) 
[Same format as preceding book but blue cloth boards.] 
Preparation copy for the preceding book. Slightly different stage 
business roughly entered, few cues for effects. 

65. Alfred Lunt and Lynn Fontanne 

New York, Theatre Guild September 30, 1935 
New York Public Library: *NCP.57xl0 

[Two books. Typescript, 7y 2 x 103^; black cloth boards; title gilt 
on spine.] > 

Cast includes Alfred Lunt, Lynn Fontanne. Directed by Harry 
Wagstaff Gribble. Designed by Carolyn Hancock. The first book 
is the stage manager's, marked with additional stage business and 
cues for effects. The second, signed by Carolyn Simonson, is 
marked for curtain cues. 

66. B. Iden Payne Stratford-upon-Avon April 13, 1936 
Shakespeare Centre Library: 71.21/1936TA 

[New Temple edition pasted in a workbook, 7x9; purple cloth 
boards and half black leather; title on spine label.] 
Cast includes Peter Glenville, Barbara Couper. Costumes by Eric 
Maxon and Barbara Curtis. Text augmented with Sly passages 
from Taming of a Shrew. Much stage business, maps, cues for 
effects. The book had been used for Payne's 1935 production. 

67. F. Owen Chambers Leamington Spa, Loft May 14, 1936 
Shakespeare Centre Library: 72.930CHA, 1 and 2 

Cassell's National Library edition pasted in two workbooks, 7x9; 



446 THE TAMING OF THE SHREW 

part 1 bound in black oilcloth boards, part 2 in gray boards and 
black cloth spine; title on cover and spine labels.] 
Promptbook of amateur(?) production. Much stage business, maps, 
cues for effects. Plots of scenes and properties, a program. 

68. Columbia Broadcasting System August 2, 1937 
Folger: Shrew, Folio 10 

[Mimeograph, 8i/ 2 x 11; decorated green paper wrappers; title on 
cover.] 

Radio adaptation by Gilbert Seldes. Cast includes Edward G. Rob- 
inson, Frieda Inescort. 

69. Theodore Komisarjevsky Stratford-upon-Avon April 3, 1939 
Shakespeare Centre Library: 71.21/1939TA 

[Eversley edition pasted in a workbook, 7x9; blue cloth boards 
and half black leather; title on cover and spine labels.] 
Cast includes Alec Clunes, Vivienne Bennett. Some stage business, 
maps, cues for effects. 

70. Robert Atkins Stratford-upon-Avon April 11, 1944 
Shakespeare Centre Library: 71.21/1944TA 

[New Temple edition pasted in a workbook, 7x9; gray boards 
and blue cloth spine; title on cover and spine labels.] 
Cast includes Antony Eustrel, Patricia Jessel. Designed by Guy 
Sheppard. Stage business, maps, cues for effects. Formerly used at 
Open Air Theatre in 1941. 

71. Michael Benthall Stratford-upon-Avon May 7, 1948 
Shakespeare Centre Library: O.S.71.21/1948T 

[New Temple edition pasted in a workbook, 8 x 12^£; green cloth 
boards and red cloth spine; title on cover and spine labels.] 
Cast includes Anthony Quayle, Diana Wynyard. Designed by Rose- 
mary Vercoe. Much stage business, maps, cues for effects. Produc- 
tion papers include lights, cast, music, timings. 

72. George Devine Stratford-upon-Avon J un ^ 9, 1953 
Shakespeare Centre Library: O.S.71.21/1953T 

[Penguin edition pasted in a workbook, 8x13; blue cloth spring 
binder; title on spine label.] 

Cast includes Marius Goring, Yvonne Mitchell. Designed by Vivi- 
enne Kernot. Very much stage business, maps on blueprint 
groundplans, cues for effects. 






THE TAMING OF THE SHREW 447 

73. [Devine] June 1, 1954 
Shakespeare Centre Library: O.S.71.21/1954T 

[Same format as preceding book.] 

Cast includes Keith Michell, Barbara Jefford. Designed by Vivi- 
enne Kernot. Very much stage business, 15 maps on mimeographed 
groundplans, cues for effects. 

74. Tyrone Guthrie Stratford, Ontario June 29, 1954 
Festival Theatre, Library 

[Two books. New Temple edition pasted in workbooks, 814 x 
lS5/ 8 ; one in green cloth boards, one in black cloth boards and 
red cloth spine; second has title pasted on cover.] 
Cast includes William Needles, Barbara Chilcott. Designed by 
Tanya Moiseiwitsch. The first book has much stage business, many 
maps. The second has cues for effects. 

75. Denis Carey London, Old Vic November 30, 1954 
Old Vic, Publicity Department 

[Two books. New Temple edition pasted in a workbook, 8 x lOi/^; 
black ring binder. New Temple edition pasted in a workbook, 
814 x 13; blue ring binder.] 

Cast includes Paul Rogers, Ann Todd. Designed by Kenneth 
Rowell. The first book has cuts, stage business, mags, cues for 
effects, and production papers: calls, properties, flys, cast. The 
second, used for a 1955 revival, has cuts, much stage business care- 
fully entered, maps, cues for effects. 

76. Michael Benthall Old Vic, Australian Tour May, 1955 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 814 x 13; bound with 

The Merchant of Venice in blue ring binder.] 

Cast includes Robert Helpmann, Katharine Hepburn. Designed 

by Peter Rice. Markings originally penciled but erased and typed. 

Calls, stage business, cues for effects. Production papers: music, 

properties. 

77. Norman Lloyd Stratford, Connecticut August 5, 1956 
Festival Theatre, Production Department 

[Three books. Mimeograph, 81/2 x 11; interleaves in first and sec- 
ond; one in stiff black paper, one in stiff brown paper, one in 
black board spring binder.] 



448 THE TAMING OF THE SHREW 

Cast includes Pernell Roberts, Nina Foch. Designed by Rouben 
Ter-Arutunian, Jack Landau, Dorothy Jeakins. The first book has 
copious stage business, maps on mimeographed groundplans, cues 
for effects, properties plot. The second is a neat transcription of 
the first. The third, which served at the Phoenix, New York, and 
belonged to Paul Leaf, has much stage business, cues for effects, 
plots of properties, costumes, wigs and beards. 

78. [Lloyd] 

New York Public Library: *NCP 

[Mimeograph, 7\Z 2 X ^ 5 A> Drown cloth boards; title gilt up spine.] 

Unused copy of the preceding book. 

79. John Barton Stratford-upon-Avon J une 21, I960 
Shakespeare Centre Library: O.S.71.21/1960TA 

[New Temple edition pasted in a workbook, 8x13; green cloth 
board spring binder; title on spine label.] 

Cast includes Peter O'Toole, Peggy Ashcroft. Designed by Alix 
Stone. Very much stage business, cues for effects. Production pa- 
pers: cast, music cues. 

80. Other books of Katharine and Petruchio and The Taming of the 
Shrew: 

Boston Public Library: K.49.10, anonymous. 
Connecticut State Library: William Gillette. 
Folger: Shrew Ad, 4, Moffitt; Shrew Ad, 8, Ludlow and Smith, 
1842; Shrew Ad, 10, 11, anonymous; Shrew, 4, James Lewis; Shrew, 
5, anonymous. 

Princeton University, Seymour Collection: K and P, 4, E. L. 
Davenport. 

Shakespeare Centre Library: 50.30(1865), promptbook and 4 re- 
hearsal copies of an amateur production at the home of C. E. 
Flower. 
University of Minnesota: Z820.12/Z11, volume 12, W. S. Forrest. 



The Tempest 

1. David Garrick London, Drury Lane February 11, 1756 
Henry E. Huntington Library: Larpent 123 

[Manuscript, 6z/ 8 x 8s/ 8 ; gray paper under blue cardboard; title 
inked on cover.] 

Manuscript of Garrick's operatic version as he submitted it to the 
Lord Chamberlain's Office. Dialogue Prologue, songs. Garrick's 
note to the Examiner. 

2. Anonymous London, Covent Garden c.1780 
New York Public Library: *NCP.709081 

[Bell edition, 1774, 4i/ 2 x 734; brown cloth boards; title gilt up 
spine.] 

Promptbook marked in a perfect round hand. Cuts and altera- 
tions: the storm deleted, in Act II original dialogue inserted to 
explain the storm, a song added, a song cut. Scenic indications 
(including "Carvers Rock"), calls, stage business, cues for effects. 
(Compare AW, 1; AYL, 4; MV, 3; R&J, 4.) 

3. Elizabeth Farren London, Drury Lane October 13, 1789 
Folger: Temp, 9 

[Kemble edition, 1789, 5x8; some interleaves; bound with other 
plays in brown-green boards and half brown leather.] 
Rehearsal copy of an operatic version with Miss Farren's name on 
the title page; Michael Kelly entered for Ferdinand. Later (1811) 
belonged to William Foster of the York Theatre. The name of 
Mrs. Jarman written beside the Epilogue. Roles marked for 
lengths. Printed songs pasted on the interleaves. 

4. Charles Brood Dublin June 23, 1818 
Folger: Temp, 16 

[Kemble edition, 1806, 5]/^ x Ss/ S ; interleaves; gray-green marbled 
boards and half brown leather, broken.] 

Promptbook marked for Dublin by Brood in 1818; became 
promptbook no. 4 of the Theatre Royal of Manchester in 1843. 
Cuts, scenic indications, cues for effects. 

5. William Wood Philadelphia October 12, 1831 
New York Public Library: *NCP.342945 

[Kemble edition, 1815, 4 x 7; some interleaves; black cloth boards; 

title gilt up spine.] 

Promptbook. Cast including Maywood, Mrs. Rowbotham. Scenic 



450 THE TEMPEST 

indications, calls, some stage business, cues for elaborate scenic 
effects (especially for the storm, which is moved to the second 
act), timings. Belonged to William Burton, who perhaps did some 
of the marking. A note by George Becks that the markings follow 
those of the Oxberry edition of 1823, "the base of all productions 
in America until done in NY — Broadway by Barry & John 
Wright." (Becks is confused: he means Burton's production of 
1854 or Barry's production in Boston in 1855 — see nos. 15, 16.) 

6. Henry Betty c.1845 
Folger: Temp, 6 

[Pages 115-192 from volume IV of Knight's Cabinet Edition, 1843, 
3i4 x 5i/g; interleaves; gray boards and green cloth spine.] 
Promptbook of a restored version probably derived from Mac- 
ready's production of 1838 or from the edition of J. Pattie, 1839, 
which was printed from Macready's promptbook. Cuts on full text, 
scenic indications, grooves, calls, stage business, cues for effects. 

7. [Betty] 

Mander and Mitchenson 

[Knight's National Edition, 5y 8 x Si/ 2 > interleaves; green boards 

and green cloth spine; Betty's name on cover.] 

Carefully marked promptbook, probably taken from Macready's. 

Cuts on full text, scenic indications, stage business, cues for effects. 

8. Samuel Phelps London, Sadler's Wells April 7, 1847 
Folger: Temp, 13 

[Pages 5-107 from volume I of a Works, 5y s x 8y 4 ; interleaves; 

canvas boards; title inked on cover.] 

Promptbook of Phelps's restored version mainly marked by Phelps, 

with additions by Williams, the prompter. Cuts on full text, list 

of supers, detailed scenic indications, grooves, calls, copious stage 

business, maps and sketches, cues for elaborate effects, timings 

(2:45). 

9. [Phelps] 

Harvard Theatre Collection: Phelps Collection 
[Eight booklets. Some manuscript, some printed, various sizes.] 
Partbooks. One copy of the Pattie edition, 1839, is signed by H. 
Scharf. Caliban's part is printed and interleaved. Juno's part is 
2 sheets of manuscript. Trinculo's part (4 sheets of manuscript) 
was Lewis Hall's in 1849. Iris' part (1 sheet of manuscript) was 



THE TEMPEST 451 

Miss Huddart's in 1849. Stephano's part (5 sheets of manuscript 
and a music score) was Mr. Ray's in 1849, G. Fisher's in 1862. 
Antonio's part (3 leaves of manuscript) was Meagreson's and Per- 
fitt's. Alonzo's part (mixture of manuscript and print) was Mr. 
Marston's in 1860. 

10. [Phelps] 

Shakespeare Centre Library: 50.31(1709) 

[Pages 1-62 from volume I of Tonson edition, 1709, 5]/i x 8i/£; 
interleaves; blue marbled boards and half blue leather; title gilt 
on cover and red spine label.] 

Excellent transcription of Phelps's promptbook made for William 
Creswick. At the front a note on the storm scene probably in the 
hand of Williams, the prompter. Creswick has copiously aug- 
mented it with provisional notes on further stage business and 
elaborate scenic effects. (See no. 30.) 

11. [Phelps] 

Shakespeare Centre Library: 50.31 (1870) (1661) 

[French edition, 4i/£ x 7\/ 8 ; interleaves; pink publisher's wrapper 

pasted on boards and black cloth spine.] 

Transcription of the preceding promptbook (Phelps's with Cres- 

wick's additions) prepared for Charles E. Flower of Stratford. A 

note on the simplification of contemporary German productions. 

12. [Phelps] 

Shakespeare Centre Library: 50.31 (1870)(3047) 

[French edition, 4]/ 8 x 6i/£; interleaves; publisher's wrapper over 

cardboard.] 

Crude transcription of one of the preceding Phelps-Creswick 

promptbooks, "sent by Mr. Bernard"; made for Charles E. Flower. 

13. John Moore New York, Bowery March 7, 1853 
Folger: Temp, 7 

[Cumberland edition, 3i/£ x 6; interleaves; stiff brown paper; title 
inked on cover.] 

Promptbook of the unrestored (Kemble-Dryden) version probably 
as given at the Bowery in 1853. Grooves, calls, some stage business, 
maps, cues for effects. 

14. James R. Anderson London, Royal Standard March 29, 1853 
Folger: Temp, 1 



452 THE TEMPEST 

[Pattie edition, 1839, 3^ x 5y 8 ; interleaves; brown paper; title 
inked on cover.] 

Promptbook based on the Pattie edition, 1839, which was printed 
from Macready's promptbook. Sketches of 2 scenes, grooves, some 
stage business, tableaux, cues for effects. 

15. William Burton New York, Burton's April 11, 1854 
Folger: Temp, 12 

[Pages 1-77 of a Works, fo/ % x 10i/£; interleaves; stiff buff paper; 
title printed on cover label.] 

Very full promptbook by John Moore, "Cut and Marked as played 
at various Theatres in England and America — some of the Busi- 
ness and suggestions for Scenic effect original." The red ink cuts 
give Macready's version "as played at Covent Garden Theatre 
1839." The penciled cuts give William Burton's version of 1854. 
Detailed scenic indications, grooves, copious stage business, maps, 
cues for elaborate effects. A plot of properties divided by acts, a 
list of entr'acte music with timings, a plot of scenes as done at 
Burton's, 4 pages of Moore's own ideas for scenic effects, a de- 
scription of costumes for the masque, a dance of "Shapes" by Mr. 
Frederick, a dance of "Reapers and Nymphs." 

16. Thomas Barry Boston, Boston Theatre December 24, 1855 
New York Public Library: *NCP.164548 

[French's Standard Drama, 4 14 x 63^; interleaves; black cloth 
boards; title gilt up spine.] 

Reconstruction of the Thomas Barry-John Wright promptbook 
of the Boston Theatre production, made by George Becks. The 
edition here used was in fact printed from Wright's Boston 
promptbook. Becks has supplemented it with notes on spectacular 
scenic effects taken from John Wright's promptbook used for a 
New York revival on September 14, 1863, at the New Bowery 
(Becks confusedly refers to it as at the Broadway). Numerous de- 
tails of technical operations. 

17. [Barry] 

Harvard Theatre Collection: uncatalogued 

[Kemble edition, 1806, 5i4 x 8^; blue cloth boards and black 

cloth spine; title and "5" inked on cover label.] 

Lightly marked promptbook of the unrestored version, probably 

by Charles Melville, the English prompter, brought to Boston by 



THE TEMPEST 453 

Barry in 1854. Cuts, calls, cues for effects. Not used for the Boston 
Theatre production. 

18. [Barry] 

Harvard Theatre Collection: uncatalogued 

[Oxberry edition, 1823, 4\/ 8 x 7; bound with Henry VIII in 

brown boards and half red leather; title and "42-43" inked on 

cover label.] 

Promptbook similar to the preceding one. 

19. Charles Kean London, Princess's July 1, 1857 
Folger: Temp, 10 

[Kean edition, 1857, 5i/£ x 814; interleaves, 634 x 8^; tan cloth 
boards and half brown leather; title gilt up spine, "Mr. 
Charles Kean/Prompt Copy" gilt on blue cover label.] 
Final or souvenir promptbook made in 1859 by T. W. Edmonds, 
the prompter. Calls, stage business, maps, cues for elaborate ef- 
fects, timings (3:20). Fine watercolor designs of 14 scenes. 

20. [Kean] 

Folger: Temp, 18 

[Pages 138-216 of volume IV of an illustrated Works, 5% x 8%; 
brown boards.] 

Uncompleted transcription of the Kean promptbook. Many key- 
marks refer to interleaves, but the interleaves were never inserted. 
Pencilings in the hand of George Ellis, the stage manager. Cuts 
on full text. Brief scenic notations, grooves, cues for effects. 

21. [Kean] 

Folger: Temp, 11 

[Shakespeare edition (Steevens text), 5 14 x 7^§; lavender inter- 
leaves, 7x9; white cardboard; title and "G.E." inked on cover.] 
Rehearsal workbook of George Ellis, the stage manager. Cuts on 
full text, much stage business, maps and sketches, cues for effects, 
many carpenters' warnings. Production papers: cast list, call 
sheet, lists of supers, carpenters, dresses, salary list for supers, 
copious rehearsal notes. 

22. [Kean] 
Folger: T.a.75 
[Manuscript booklet, 5 14 x 65/ 8 .] 

Cuebook for Richard II and The Tempest in the hand of George 



454 THE TEMPEST 

Ellis, the stage manager. Cues for The Tempest go only to the 
middle of Act II. Excellent notes on spectacular effects. Drawing 
of the ship. 

23. [Kean] 

Enthoven Collection: 94G27, plates 1765-66 

[Scrapbook, 15^ x 21^; blue cloth boards and half blue cloth; 

"Kean Theatrical Scenery" gilt up spine.] 

Two watercolor costume plates (about a dozen figures). 

24. [Kean] 

Enthoven Collection: Box DT.44 

[Watercolors mounted on large display boards.] 

Fine watercolor designs for 13 scenes. See also in Box DT.43 the 

design for a diorama of Iris and Ceres and the Temple of Eleusis. 

25. [Kean] 

Folger: Kean Costume Book, Prints and Engravings, 56 
[Scrapbook, 103^ x 14 14; green cloth boards and half green 
leather gilt.] 

Contains 14 sheets of tracings for costumes, the ship, etc., and 
3 sheets of notes by the Hamilton Smiths in preparation for 
Kean's production. At the front a large watercolor cartoon based 
on III, 3, "Marvellous sweet music," showing a band of monster 
musicians, dated December 27, 1853. 

26. [Kean] 

Folger: Kean Costume Book, Prints and Engravings, 182 

[Scrapbook, 143/£ x 21 14 ; brown cloth boards and half brown 

leather; "Charles Kean's Scrap Book" gilt on spine and red 

leather cover label.] 

Contains 42 plates of watercolor designs of costumes for The 

Tempest. 

27. Anonymous Baltimore, Holliday Street 1858 
Folger: Temp, 2 

[Acting edition, 414 x 7; interleaves; black cloth boards and black 
leather spine.] 

Transcription of the Baltimore promptbook made by George 
Becks. Cuts and restorations, calls, some stage business, maps, 
cues for elaborate effects. At the front a long folded strip called 
"Baltimore Plot" which gives scenic indications and grooves. 



THE TEMPEST 455 

28. Anonymous Philadelphia 
Folger: Temp, 3 

[Shakespeare edition, 4x6; interleaves, 4% x 7%; black cloth 
boards and black leather spine.] 

Transcription of the Philadelphia promptbook made by George 
Becks. Cuts, scenic indications, calls, copious stage business, maps 
and sketches, cues for elaborate effects. Many details of this pro- 
duction come from the promptbook of Samuel Phelps. (See nos. 
8-12.) 

29. E. L. Davenport and Frank Mayo 

New York, Grand Opera House March 31, 1869 

Folger: Temp, 5 

[Shakespeare edition, 4]/ 8 x 67/ 8 ; interleaves, Al/ 8 x 7\^; black 
cloth boards and black leather spine.] 

Transcription of the Davenport-Mayo promptbook made by 
George Becks. Cuts, scenic indications, calls, some stage business, 
maps, cues for elaborate effects, timing (3:18). 

30. William Creswick London, Crystal Palace December 7, 1875 
Shakespeare Centre Library: O.S.P.50.31(1843) 

[Knight's Cabinet Edition, 1843, $i/ 2 x 5y 2 '> green publisher's 
wrappers under tan cardboard; title inked on cover.] 
Preparation copy. Provisional notes about stage business and 
effects. (For Creswick's major book, transcribed from Phelps's, see 
no. 10.) 

31. George Becks 1890's 
Folger: Temp, 4 

[Mixture of a Shakespeare edition, 4x7, and scraps of various 
acting editions; interleaves, 5i^ x 83^; black cloth boards and 
leather spine; title gilt on spine.] 

Said to be the Davenport-Mayo promptbook of 1869 (see no. 
29), but George Becks made it into a composite of all the 
American productions (New York, Boston, Philadelphia, Balti- 
more, Chicago) which he could find records of, plus Macready's 
Covent Garden production in 1839. Cuts, detailed scenic indica- 
tions, grooves, calls, much stage business, maps, cues for elaborate 
effects. Plots of scenes, properties, music. Two descriptions of 
the storm scene. A manuscript Preface, the Cumberland Preface, 
the Lacy Preface, several sheets of printed casts, printed costume 



456 THE TEMPEST 

notes, an 1871 review by Dutton Cook, a clipping of the Grand 
Opera House playbill. 

32. James Taylor 1890's 
Harvard Theatre Collection: uncatalogued 

[Davidson edition, 3i/2 x 55/ 8 ; interleaves; black cloth boards and 
black leather spine; title gilt on spine.] 

Excellent compilation of notes on productions at Covent Garden, 
in New York, Boston, Philadelphia, Chicago. Copious details of 
scenic arrangements, much stage business, many elaborate ef- 
fects. 

33. Augustin Daly New York, Daly's April 6, 1897 
New York Public Library: 8*T*NCP+ 

[Daly edition, 1897, mounted in an album, 12i4 x 16^£; bound 
with Much Ado in brown cloth boards; title gilt on spine.] 
Ada Rehan's souvenir album given her by Daly. Contains the 
Daly version, 5 photographs of Miss Rehan, and 1 old print. 

34. [Daly] 

Folger: Prints and Engravings 

[Daly edition, 1897, mounted in pages of an album, 12*4 x 
16%; green and gold marbled boards and half brown leather 
gilt; title gilt on spine.] 

Souvenir album with many old prints of scenes from the play and 
of historical persons associated with the play, many nineteenth- 
century playbills, magazine photographs of F. R. Benson's 1897 
company, 17 watercolor costume designs for Daly's production, 
reviews from the Tribune and Times, a few magazine photo- 
graphs of Daly's actors. 

35. [Daly] 

Folger: Temp, 8 

[Daly edition, 1897, 5% x 9]/ 8 ; gray publisher's wrapper.] 
Rehearsal copy for Iris played by Miss Hoswell; marked for re- 
visions of text. 

36. Herbert Beerbohm Tree 

London, His Majesty's September 14, 1904 

Enthoven Collection: Tree, 175 

[Memorial Theatre edition pasted in a workbook, 7x9; black 
oilcloth, worn.] 



THE TEMPEST 457 

Preparation copy done in pencil. Provisional cuts, some stage 
business, notes on effects. 

37. [Tree] 

Enthoven Collection: Tree, 175 

[Three books. Memorial Theatre edition pasted in workbooks, 

7x9; red marbled boards and green cloth spine; title on cover 

labels.] 

Rehearsal promptbooks. The first, roughly penciled and partly 

in red ink, has cuts, calls, stage business, maps, cues for effects, 

cast. The second, much worn, roughly penciled with music cues 

in red ink, has cuts, stage business, maps, cues for effects, a 

sketch of the cave. The third, much used, is heavily marked for 

the last act only. 

38. [Tree] 

Enthoven Collection: Tree, 175 

[Tree edition, 1904, pasted in a workbook, 734 x 934; gray card- 
board and black cloth spine, much worn.] 

Final or souvenir promptbook of Fred Grove neatly though il- 
literately written in black and red ink. Good groundplans, copious 
stage business, cues for elaborate effects. 

39. [Tree] 

Folger: Temp, 15 

[Same format as preceding book.] 

Final promptbook of Fred Grove, probably a transcription of the 

preceding book. Very full record of the production. 

40. [Tree] 

Enthoven Collection: Tree, 175 

[Ten books. Memorial Theatre edition (2), 4^ x?i/; Tree edi- 
tion (3), 5 x 7i/ 2 ; Temple edition (4), Favourite Classics edition 
(l),33/ 4 x6.] 
Rehearsal copies, most of them with cuts and bits of stage business. 

41. [Tree] 

Enthoven Collection: Tree, 175, 177 

[Papers.] 

Partbook for Adrian, lists of actors, dressing room assignments, 

cast for 1906, plots of lights, limes, properties, etc. 



458 THE TEMPEST 

42. E. H. Sothern and Julia Marlowe 

Museum of the City of New York: 43.430.675 
[Prospero scenes and Leontes scenes (Winter's Tale) from Temple 
edition pasted in a workbook, 4 x 6i/ 8 ; black oilcloth.] 
Intended as a partbook for Prospero but unmarked and unused. 

43. [Sothern and Marlowe] 

Museum of the City of New York: 43.430.669 

[Miranda scenes and Hermione-Perdita scenes (Winter's Tale) 

pasted in a workbook, 4 x 6]/ 8 ; black oilcloth.] 

Intended as a partbook for Miranda but unused. 

44. Lena Ashwell London 1919-29 
Birmingham, Shakespeare Memorial Library: 370/421204 
[Temple edition pasted in a workbook, 7x9; red marbled boards 
and black cloth spine; title gilt up spine.] 

Promptbook of the Lena Ashwell Players. Some stage business, 
cues for effects. 

45. Henry Jewett Boston, Boston Repertory November 19, 1928 
Folger: Temp, Folio 1 

[Typescript, 81/2 x 1 1; gray cardboard and green cloth spine.] 
Promptbook of Jewett's 4-act arrangement. Copious stage business, 
maps, cues for effects. Program. Souvenir postcard of the theatre. 

[Actor Lists for Following Books Are Given in This Order: 
Prospero, Miranda, Caliban, Ariel.] 

46. W. Bridges-Adams Stratford-upon-Avon July, 1930 
Shakespeare Centre Library: 71.21/1930TE 

[Favourite Classics edition pasted in a workbook, 6^£ x 9; blue 
cloth boards and red cloth spine, much worn; title on spine label.] 
Cast includes Wilfrid Walter, Joyce Bland, George Hayes, Miriam 
Adams. Costumes by Eric Maxon. Little stage business, cues for 
effects, crude sketches at back. The book had been used for the 
1926 production. 

47. [Bridges-Adams] April 16, 1934 
Shakespeare Centre Library: 71.21/1934TE 

[Temple edition pasted in a workbook, 67/ 8 x 9; purple cloth 

boards and half black leather; title on spine label.] 

Cast includes Neil Porter, Gwynne Whitby, Baliol Holloway, 



THE TEMPEST 459 

Rachel Kempson. Designed by Aubrey Hammond and Rex 
Whistler. Good groundplans, stage business, cues for effects. 

48. Randle Ayrton Stratford-upon-Avon April 26, 1935 
Shakespeare Centre Library: 71.21/1935TE 

[Temple edition pasted in a workbook, 7 x "9; purple cloth boards 
and half black leather; title on cover and spine labels.] 
Cast includes Neil Porter, Gwynne Whitby, Roy Emerton, Mar- 
garet Field-Hyde. Designed by Aubrey Hammond and Rex 
Whistler. Considerable stage business, cues for effects. 

49. B. Iden Payne Stratford-upon-Avon April 17, 1942 
Shakespeare Centre Library: 71.21/1942TE 

[Temple edition pasted in a workbook, 7x9; purple cloth boards 
and half black leather; title on spine label.] 

Cast includes George Hayes, Barbara White, Baliol Holloway, 
Sara Jackson. Designed by Peggy Neale and J. Gower Parks. Con- 
siderable stage business, cues for effects. The book had been used 
for productions of 1938 and 1941. 

50. Eric Crozier Stratford-upon-Avon April 20, 1946 
Shakespeare Centre Library: O.S.71.21/1946T 

[Temple edition pasted in a workbook, 7^g x 10; tan marbled 
boards and green cloth spine; title on cover and spine labels.] 
Cast includes Robert Harris, Joy Parker, Julian Somers, David 
O'Brien. Designed by Paul Shelving. Much stage business, cues 
for effects. Four sheets of music. 

51. Norman Wright Stratford-upon-Avon May 10, 1947 
Shakespeare Centre Library: O.S.71.21/1947TE 

[New Temple edition pasted in a workbook, 8 x 13; red cloth 
boards and red leather spine; title on cover and spine labels.] 
Cast includes Robert Harris, Daphne Slater, John Blatchley, Joy 
Parker. Designed by Paul Shelving. Stage business, cues for 
effects. Cast list and memo sheet. 

52. Michael Benthall Stratford-upon-Avon June 26, 1951 
Shakespeare Centre Library: O.S.71.21/1951T 

[New Temple edition pasted in a workbook, 8 x 125^; red boards 

and red cloth spine; title on cover and spine labels.] 

Cast includes Michael Redgrave, Hazel Penwarden, Hugh Griffith, 



460 THE TEMPEST 

Alan Badel. Directed by Anthony Quayle. Designed by Loudon 
Sainthill. Very much stage business, cues for effects. 

53. [Benthall] March 25, 1952 
Shakespeare Centre Library: O.S.71.21/1952T 

[New Temple edition pasted in a workbook, 8 x 13; black cloth 
board spring binder; title on spine label.] 

Cast includes Ralph Richardson, Zena Walker, Michael Hordern, 
Margaret Leighton. Designed by Loudon Sainthill. Very much 
stage business, cues for effects. 

54. Peter Brook Stratford-upon-Avon August 13, 1957 
Shakespeare Center Library: O.S.71.21/1957T 

[Two books. New Temple edition pasted in a workbook, 8 x 12-%; 
red cloth board spring binder; title on spine label.] 
Cast includes John Gielgud, Doreen Aris, Alec Clunes, Brian 
Bedford. The first book has much stage business for the early 
scenes, cues for effects. The second, used when the production 
was taken to Drury Lane, has much stage business but some 
scenes in the middle are not marked. 

55. Douglas Seale London, Old Vic J une 9, 1959 
Old Vic, Publicity Department 

[Mimeograph, 8i/ 2 x 11; green ring binder.] 

Revival of Dryden and Davenant's The Tempest, or, The En- 
chanted Island. Cast includes John Phillips, Natasha Parry, Joss 
Ackland, Jeanette Sterke, Juliet Cooke (Dorinda), Christine Finn 
(Hippolito). Designed by Finlay James. Stage business, maps, cues 
for effects. Production papers: Prologue, properties, cast, ground- 
plans, sound effects, flys, timings. 

56. William Ball Stratford, Connecticut June 19, 1960 
Festival Theatre, Production Department 

[Two books. Mimeograph, S]/ 2 x 11; interleaves; blue cloth board 
ring binders.] 

Cast includes Morris Carnovsky, Joyce Ebert, Earle Hyman, Clay- 
ton Corzatte. Designed by Robert Fletcher. The first book has 
copious stage business typed on the interleaves, cues for effects 
typed on text pages; production papers include music scores, 
curtain call, plots of properties, traps and machines, flys, banners 
and curtains, sound, light, costumes, wigs and beards. The second 
book has cues for effects, lists of properties, children, understudies. 



THE TEMPEST 461 

57. Other books of The Tempest: 

Boston Public Library: G.4013.41, J. Dobbs. 

Folger: Temp, 14, 19, anonymous; Temp, 17, William Winter. 

University of Minnesota: Z820.12/Z11, volume 12, W. S. Forrest. 



Timon of Athens 

1. Joseph Ashbury Dublin, Smock Alley 1670's 
Folger: Timon, Smock Alley 

[Pages 667-688 from a Third Folio, 1663, 8 x \2\{; maroon cloth 
boards and half brown leather gilt; title gilt up spine.] 
Unmarked copy, not used for production. On the last page is the 
cast list for Julius Caesar, the book of which is lost (see JC, 1). 

2. John Philip Kemble 
Folger: S.b.125 

[Manuscript, 8i/g x 10^; brown leather gilt, broken; title gilt 
on spine.] 

Manuscript adaptation of four acts only of the play, in Kemble's 
hand. Of Shakespeare's Dramatis Personae, Kemble kept 3 names, 
dropped 14, added 32. Not produced. 

3. Edmund Kean London, Drury Lane October 28, 1816 
University of Nebraska: 822.33/X7h 

[Bell edition, 1773, 4 x 63^; interleaves watermarked 1812, 5*4 x 
814; maroon cloth boards; title gilt down spine.] 
Preparation copy copiously marked with cuts, alterations, restora- 
tions, and provisional scenic arrangements, some stage business, 
and notes on effects. Complete Kean cast. Probably not used as 
a promptbook. The writing, nearly all in one hand, resembles 
Kean's but probably is not his. 

4. [Kean] 

New York Public Library: *NCP.7092 19 

[Chappell edition, 1816, 4^g x 73^; interleaves; orange and gray 
marbled boards and half brown leather; title gilt down spine.] 
Interleaved but unmarked book of the version Kean used, "al- 
tered and adapted ... by the Hon. George Lamb." 

5. Samuel Phelps London, Sadler's Wells September 15, 1851 
Folger: Timon, 2 

[Bell edition, 1785, 5i/g x 7%; interleaves watermarked 1849; 
brown marbled boards and brown cloth spine.] 
Promptbook marked by Phelps and Williams, the prompter, used 
by Phelps for several years. Casts for 1851 and 1856. List of supers 
for 1856. Cuts on full text. Scenic indications, grooves, calls, stage 
business, maps and sketches, cues for effects. 



TIMON OF ATHENS 463 

6. [Phelps] 

Shakespeare Centre Library: 50.32(1805) 

[Pages 1-99 from volume VII of Chalmers' Works, 1805, 5x8; 
interleaves; purple cloth boards; title gilt on maroon spine label.] 
Transcription of Phelps's promptbook in a round neat hand. 
Belonged to William Creswick. 

7. [Phelps] 

Shakespeare Centre Library: 50.32(1815) 

[Pages 129-218 from volume XI of the Tegg Works, 1812-15, 
4^4 x 7%; interleaves; blue marbled boards and half brown 
leather; title gilt up red leather spine label.] 
Another transcription of Phelps's promptbook which belonged to 
Creswick, occasionally differing from the preceding book in word- 
ing and productional details. 

8. [Phelps] 

Folger: Timon, 6 

[Pages 1283-1318 from a double-column Works cut and pasted in 
a workbook, 7i/ 2 x 9 3 A> Drow n paper; title inked on cover.] 
Version of Phelps's promptbook made by John Moore, who some- 
times transcribes and sometimes augments the original with ob- 
servations taken (by Moore?) at Sadler's Wells Theatre. Cuts are 
verbatim, as are many of the directions. 

9. [Phelps] 

Folger: Timon, 5 

[Pages 1283-1318 from a double-column Works, %\/ % x 11^; blue 

interleaves; heavy brown paper.] 

Approximate transcription of the preceding promptbook, not 

quite so complete, made by John Moore. (Note that the same text 

is used but the construction of the book is different.) Inscribed 

"To John McCullough with best wishes of Edwin Booth 1878." 

10. [Phelps] 

New York Public Library: *NCP.342924 

[Cumberland edition, 3i/2 x 5%; blue interleaves of American 
manufacture, 5^ x 814; black cloth boards; title gilt on spine.] 
Very full promptbook derived from Phelps's production perhaps 
by way of John Moore's book. Belonged to John B. Wright and 
dated September, 1852. 



464 TIMON OF ATHENS 

11. [Phelps] 

Folger: Timon, 4 

[Pages 97-168 from a Works, A.\/ 8 x 7i/ 8 ; interleaves, 4% x 8; black 
cloth boards and black leather spine; title gilt up spine.] 
Promptbook derived from Phelps's production, often verbatim 
with Phelps's promptbook. An explanatory note on one of the 
cuts; numerous literary or critical notes on the play. Perhaps be- 
longed to George Becks, though not in his hand. 

12. "George Frederick Cooke" c.1854 

Folger: Timon, 1 

[Bell edition, 1785, 5 x l5/ 8 ; two lavender leaves at the end water- 
marked 1854; red marbled boards and half brown leather; title 
and "G. F. Cooke" gilt on spine.] 

Fully developed but unused promptbook which is not derived 
from the Phelps production. Cuts, stage business, cues for effects. 
The last 1 1 lines in longhand. At the end a detailed plot" of 
scenes with grooves. Given to Thomas Jefferson McKee by G. W. 
Frederickson in 1886; described in the sales catalogue (item 1454) 
of the McKee library, 1902. The Cooke in question may be the 
actor who first appeared at the Park Theatre in the spring of 
1839; or the book may have been fabricated as a joke. (A tran- 
scription of this book, which belonged to George Becks, is listed 
at the New York Public Library but cannot be found.) 

13. Frederick Warde Lancaster, Fulton Opera House Oct. 3, 1910 

Folger: Timon, 3 

[Shakespeare edition pasted in a workbook, 7^ x 97/g; limp red 
leather.] 

Promptbook of a version "abridged, transposed, and with inter- 
polations of dialogue, incidents Sc business." Much stage business, 
maps, cues for effects. Typed program note, list of doubles, plot 
of scenes, typed transcript of Sadler's Wells playbill of 1851, re- 
view of Charleston, S.C., performance in October, 1911. 

[Actor Lists for Following Books Are Given in This Order: 
Timon, Apemantus.] 

14. W. Bridges-Adams Stratford-upon-Avon April 23, 1928 
Shakespeare Centre Library: 71.21/1928T, TI 

[Two books. Favourite Classics edition pasted in a workbook, 



TIMON OF ATHENS 465 

67/g x 8%; blue marbled boards and half red cloth; title on cover 
and spine labels. Temple edition pasted in a workbook, 7x9; 
blue cloth boards and half black leather; title on spine label.] 
Cast includes Wilfrid Walter, George Hayes. Cues for effects. The 
second book is a copy of the first. 

15. Michael Benthall London, Old Vic September 5, 1956 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x 10i/£; black ring 

binder.] 

Cast includes Ralph Richardson, Dudley Jones. Designed by 

Leslie Hurry. Cuts, much stage business, maps, cues for effects. 

Production papers: cast lists, properties plot, time sheets. 

16. Other books of Timon of Athens: 

Library Company of Philadelphia: Oe2 + .11605.D, William 
Warren. 

Shakespeare Centre Library: O.S.P.50.32(1803), F. Haywel, re- 
hearsal book. 



Titus Andronicus 

[Actor Lists for Following Books Are Given in This Order: 
Titus, Aaron, Tamora.] 

1. Peter Brook Stratford-upon-Avon August 16, 1955 
Shakespeare Centre Library: O.S.71.21/1955TI, 1957 Tour 
[Two books. New Temple edition pasted in a workbook, 8 x 13; 
green cloth board spring binder; title inked on spine.] 

Cast includes Laurence Olivier, Anthony Quayle, Maxine Audley. 
Copious stage business, maps, cues for effects. Second book, fully 
developed, used for Continental tour in 1957. 

2. Walter Hudd London, Old Vic April 23, 1957 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x lOi/^, with Com- 
edy of Errors; black ring binder; title on cover and spine labels.] 
Cast includes Derek Godfrey, Keith Michell, Barbara Jefford. 
Designed by Paul Mayo. Much cut version. Stage business, cues 
for effects. Many production papers including properties and 
groundplans. 



Troilus and Cressida 

1. John Philip Kemble 
Folger: Troil, 1 

[Shakespeare edition, 5i/£ x 8]/ 2 ; brown leather gilt, broken; title 
and "Revised by Kemble" gilt on spine.] 

Preparation copy marked by Kemble but not produced. Penciled 
cast. Heavy cuts and alterations. Some scenic indications. 

2. R.J. 1810 
Folger: S.a.81 

[Manuscript, 7i/£ x 9; red and blue marbled boards and brown 
leather spine.] 

Manuscript version "altered from Shakespeare and Dryden," 
dated December 5, 1810. Not used. 

3. William Poel 

London, King's Hall, Covent Garden December 10, 1912 
Enthoven Collection (Poel Collection) 

[Two books. Cassell edition, 1889, 3\/ 2 x $Vz'> D ^ ue cloth boards; 
title gilt up spine.] 

Lightly marked promptbooks. Cuts on full text. Names of some of 
the actors. Little stage business, few cues for effects. 

4. The Players New York, Moss's Broadway June 6, 1932 
The Players: PB.39A 

[Three books. Typescript, 8i/g x 11; green paper.] 

Promptbook of The Players' Eleventh Annual Classical Revival. 

Stage business, cues for effects. 

5. [The Players] 

The Players: PB.39B 

[Forty-five booklets. Typescript, 81/4 x 7i4; green paper.] 

Partbooks for 24 characters, mostly in duplicate. 

[Actor Lists for Following Books Are Given in This Order: Pan- 
darus, Troilus, Cressida.] 

6. B. Iden Payne Stratford-upon-Avon April 24, 1936 
Shakespeare Centre Library: 71.21/1936TR 

[New Temple edition pasted in a workbook, 7}4 x 9; purple cloth 
boards and half black leather; title on cover and spine labels.] 
Cast includes Randle Ayrton, Donald Eccles, Pamela Brown. 



468 TROILUS AND CRESSIDA 

Designed by Barbara Heseltine. Much stage business, maps, cues 
for effects. 

7. Anthony Quayle Stratford-upon-Avon July 2, 1948 
Shakespeare Centre Library: O.S.71.21/1948T 

[New Temple edition pasted in a workbook, 8 x 11%; green 
boards and red cloth spine; title on spine label.] 
Cast includes Noel Willman, Paul Scofield, Heather Stannard. 
Designed by Motley. Much stage business, maps, cues for effects. 

8. Glen Byam Shaw Stratford-upon-Avon July 13, 1954 
Shakespeare Centre Library: O.S.71.21/1954T 

[New Temple edition pasted in a workbook, 8 x 13; blue cloth 
board spring binder; title on spine label.] 

Cast includes Anthony Quayle, Laurence Harvey, Muriel Pavlow. 
Designed by Malcolm Pride. Stage business, maps, cues for ef- 
fects. Production papers: scene plots, 19 maps on mimeographed 
groundplans. 

9. Tyrone Guthrie London, Old Vic April 3, 1956 

Old Vic, Publicity Department 

[Temple edition pasted in a workbook, 8 x lOi/^; black ring 
binder.] 

Cast includes Paul Rogers, John Neville, Rosemary Harris. De- 
signed by Frederick Crooke. Calls, some stage business, maps, 
cues for effects. Production papers: properties, flys, etc. 

10. Jack Landau Stratford, Connecticut July 23, 1961 

Festival Theatre, Production Department 
[Mimeograph, 8% x 11; black board ring binder.] 
Cast includes Hiram Sherman, Ted van Griethuysen, Carrie Nye. 
Designed by Robert O'Hearn and Motley. This book, signed by 
J. Bronson, is not marked. 



Twelfth Night 

1. Anonymous 1600's 
Folger: TN, Second Folio 

[Pages 255-275 from a Second Folio, 1632, 85^ x 12^; reddish 
marbled boards and half red leather gilt.] 

Seventeenth-century promptbook of unknown provenience. Cuts, 
calls, entrance symbols (horizontal line with vertical slashes), cues 
for effects. 

2. Joseph Ashbury Dublin, Smock Alley 1670's 
Folger: TN, Smock Alley 

[Pages 255-275 from a Third Folio, 1663, 8 x 12i4; red marbled 
boards and half brown leather gilt; title gilt up spine.] 
Promptbook. Cuts, scenic indications, calls, cues for effects. (See 
G. Blakemore Evans, Shakespearean Prompt-Books.) 

3. Anonymous Douai 1694 
Bibliotheque de Douai: MS.7.87 

[Manuscript, folios 1-31 of a volume, 6^4 x 8^§; parchment.] 
Manuscript version used for amateur staging at Douai. Cuts and 
alterations, some stage business, cues for music. Dated June 13, 
1694. (See G. Blakemore Evans, Philological Quarterly, XLI, 
158-172.) 

4. Anonymous c.1790 
Library Company of Philadelphia: OEngShak.Log2063.0.2 

[}. Rivington edition, 1771(?), 3% x 6i/£.] 

Promptbook of the late eighteenth century, the marginal notes 

badly cropped. Cuts, calls, some properties, cues for effects. 

5. John Philip Kemble London, Covent Garden January 5, 1811 
Garrick Club 

[Kemble edition, 1810, 5 x 814; interleaves; blue cloth boards and 
brown leather spine; title gilt up spine.] 

Promptbook marked by Kemble. List of "Persons represented" 
(but not the cast), property lists, stage business, maps. 

6. [Kemble] January 7, 1818 
Folger: TN, 16 

[Kemble edition, 1810, 5 x 814; interleaves; brown leather; title 
gilt on red leather spine label, "TR/CG/P.B./T./12" stamped 
on spine.] 



470 TWELFTH NIGHT 

Promptbook originally marked by Kemble with additions by 
later hands. Characters listed with lengths for some of them (and 
someone has added the actors for 1818), calls, some properties, 
stage business, names of supers, maps, cues for effects, timings 
(2:45). Later belonged to Walter Lacy, "Professor of Elocution," 
with dates and addresses for 1877, 1881, 1884; and to Henry 
Irving. 

7. Charles Kemble London, Covent Garden November 8, 1820 
Folger: TN, 17 

[Kemble edition, 1811, 5 x 8]/£; interleaves watermarked 1818; 
brown marbled boards and brown leather spine; title and "TR/ 
CG/MB/T/12" gilt on spine.] 

Promptbook of Frederic Reynolds' operatic version. Much of 
the dialogue rewritten, a masque of Juno and Ceres and 8 songs 
inserted. Partial cast, some roles marked for lengths. Some grooves, 
calls, little stage business. Belonged to G. Martin. 

8. William Farren London, Covent Garden November 8, 1820 
Folger: S.a.27 

[Manuscript watermarked 1818, 6i/ 8 x Jy^' re d marbled boards 

and half blue leather gilt; title gilt up spine.] 

Farren's 16-page partbook for Malvolio. Some stage business. 

9. Jane Shirreff London, Covent Garden October 10, 1833 
Enthoven Collection 

[Acting edition, 4i/£ x 63^; interleaves; white cardboard; title 
inked on cover.] 

Rehearsal copy of the operatic version checked for Viola. Cuts. 
Several songs added. 

10. Elizabeth Vestris London, Covent Garden May 8, 1840 

Harvard Theatre Collection: TS.2678.50 

[Acting edition, 3^4 x 6, with Introduction from another acting 
edition; interleaves, 41/g x 7i4; tan paper under gray pamphlet 
boards and blue cloth spine.] 

Promptbook signed and dated by John Moore in 1840. Covent 
Garden cast. Traditional drinking songs given in full. Scenic in- 
dications, grooves, calls, much stage business, maps and sketches, 
cues for effects, timings. Much augmented with stage business, 
etc., from William Burton's production of March 29, 1852 (see 



TWELFTH NIGHT 471 

no. 17). Sketches of the garden scene are related to photographs of 
the Daly production of 1893. (See nos. 34-42.) 

11. Samuel Phelps London, Sadler's Wells January 26, 1848 
Folger: TN, 20 

[Oxberry edition, 1821, 4i4 x 7; interleaves watermarked 1847; 
heavy brown paper and brown leather spine, unsewn; title inked 
on cover.] 

Promptbook marked by Phelps and Williams, the prompter. 
Many restorations; order of the opening scenes (reversed by 
Kemble) corrected. Scenic indications, grooves for first act, calls, 
some stage business, maps, cues for effects. Signature of Charles K. 
Elliston. 

12. Anonymous 1850's 
New York Public Library: *NCP.342987 

[Modern Standard Drama, 4 14 x 7]/ 2 ; blue interleaves; green and 
black marbled boards and black cloth spine; title inked on spine.] 
Lightly marked promptbook. Calls, cues for effects, timings (2:30). 

13. Eliza M. A. Hamblin c.1850 
Harvard Theatre Collection: uncatalogued 

[Cumberland edition, 3i/ 2 x 5^£; interleaves, 4 x 614 ; green cloth 
boards; title gilt up spine.] 

Promptbook checked for Olivia, marked by J. B. Addis, the 
prompter. Grooves, calls, considerable stage business, maps, 
sketches, cues for effects. 

14. Charles Kean London, Princess's September 28, 1850 
Folger: TN, 14 

[Kemble edition, 1811, 5 14 x S]/ 2 ; interleaves, 63^ x 8i/£; tan cloth 
boards and half brown leather; title gilt up spine, "Mr. Charles 
Kean/Prompt Copy" gilt on blue leather cover label.] 
Final or souvenir promptbook made in 1859 by T. W. Edmonds, 
the prompter. At the front a list of property manuscripts and 
chart of timings (2:20). Grooves, calls, some stage business, maps, 
cues for effects. 

15. [Kean] 

Folger: TN, 25 

[Allison edition, New York, 1883, 4 14 x 6; green publisher's 
wrappers.] 



472 TWELFTH NIGHT 

"C Kean's bus." Promptbook record in the hand of Edwin Booth, 
who transcribed the cuts and markings he found in a promptbook 
"Cut & marked (in Cumberland) for Mr. Chas Kean by T. W. 
Edmonds, Prompter Royal Princess' Theatre 1857." The nota- 
tions differ somewhat from those in the preceding book. Cuts on 
full text, grooves, calls, cues for effects, timings. 

16. John B. Wright Boston 1851 
New York Public Library: *NCP.342953 

[Modern Standard Drama, 4i/ 2 x 7s/ 8 ; gray interleaves; black and 
green marbled boards and black cloth spine.] 
Roughly written promptbook. Some restorations, addition of 
traditional drinking songs. Rough sketch of garden scene. Some 
grooves, calls, stage business, cues for effects. 

17. William E. Burton New York, Burton's March 29, 1852 
Folger: TN, 5 

[Modern Standard Drama, 4i/£ x 7^4* interleaves; heavy brown 
paper and purple paper spine; title on cover and on spine label.] 
Promptbook in the hand of John Moore. Traditional drinking 
songs inserted. At the front a list of property manuscripts and 
costume note for Viola-Sebastian. Grooves, calls, stage business, 
maps, cues for effects. (See no. 10.) 

18. [Burton] 
Folger: TN, 19 

[Pages 249-328 from volume I of a Works, 6^ x lOi^, with frag- 
ments of other editions inserted; interleaves, 67/g x 10%; heavy 
tan paper; title inked on cover.] 

Very full promptbook written by John Moore, based mainly on 
the Burton production, with penciled cuts and additions from 
Adelaide Neilson's in 1878 (see no. 26). Order of opening scenes 
much altered. Texts of three drinking songs. Costume note. At 
the front plots of scenes with grooves, properties, Miss Neilson's 
order of scenes. Calls, copious stage business, maps, cues for ef- 
fects. Enclosures: partbooks for Sir Andrew, "Roberto," Friar; 
property manuscript of Sir Andrew's challenge; fight routine; play- 
bills for Covent Garden in 1840, Burton's in 1857, 1858, 1859; 
reviews of Robson and Crane in 1881, of Modjeska in 1882. 

19. Thomas Barry Boston, Boston Theatre c.1854 
Harvard Theatre Collection: uncatalogued 






TWELFTH NIGHT 473 

[Oxberry edition, 1821, 4]/ 8 x 6%; bound with Measure for Meas- 
ure in brown boards and half brown leather; titles and "37-38" 
inked on cover labels.] 

Promptbook marked by Charles Melville, the English prompter, 
and brought to Boston by Thomas Barry in 1854. Grooves, calls, 
cues for effects. 

20. J. B. Buckstone London, Haymarket July 2, 1856 
Folger: TN, 4 

[Kemble edition, 1815, 4i/£ x 6%; interleaves; brown paper; title 
inked on cover.] 

Promptbook made by George Hastings, the copyist. Cast for above 
date. Cuts, list of property manuscripts, grooves, calls, stage busi- 
ness, maps and sketches, cues for effects, timings (2:16). (See no. 
24.) 

21. [Buckstone] 
Folger: TN, 6 

[Kemble edition, 1815, 4i/£ x 63^.] 

W. H. Chippendale's rehearsal copy for Malvolio. 

22. W. H. Sedley Smith Boston 1859 
Princeton University, Seymour Collection: TN, 2 

[Oxberry edition, 1823, 3^ x 5%; stiff cloth; title inked on cover.] 
Rough but systematic promptbook. Cast for 1859 with Mrs. Bar- 
row as Viola. Scenic indications, grooves, some stage business, 
maps, cues for effects, timings (2:15). 

23. Mr. and Mrs. F. B. Conway 

Brooklyn, Academy of Music April 23, 1864 

New York Public Library: *NCP.285350 

[Music-Publishing Company issue of Cumberland edition, $i/ 2 x 
5i/2; interleaves; red cloth boards; title gilt on spine.] 
Promptbook of George Becks dated 1864. Some scenic indications, 
grooves, copious stage business especially for Malvolio and the 
comics, maps, cues for effects. 

24. J. B. Buckstone London, Haymarket 1867 
Folger: TN, 3 

[Lacy edition, 4 x 6%; interleaves; limp blue cloth boards; title 

gilt on cover.] 

Neatly written promptbook often verbatim from Buckstone's 



474 TWELFTH NIGHT 

1856 book, notations underlined in red ink. Slight cuts and resto- 
rations. Grooves, calls, stage business, maps, cues for effects. Cue 
for "Song introduced by Miss Robertson." (See no. 20.) 

25. Augustin Daly New York, Fifth Avenue October 4, 1869 
Folger: TN, 9 

[French's Standard Drama, 4 x 7i/ 2 ; interleaves, 5% x 75/g; heavy 
buff paper; title and Daly's name inked on cover.] 
Promptbook of an early Daly production, much used (probably 
also used as a preparation book for later productions), marked 
by John Moore and others. Scenes reordered to accommodate 
scenery. Restorations, some scenic indications, some stage busi- 
ness, maps, cues for effects. At the front call-lists. (See nos. 10, 
34-42.) 

26. Adelaide Neilson London, Haymarket February 2, 1878 
Folger: TN, 18 

[French issue of Lacy edition, 4i/£ x 7i/&; interleaves; stiff gray 
paper and blue cloth spine; title printed on cover label.] 
Promptbook as "arranged by Miss Neilson 2/78." At the front a 
plot of scenes with grooves, 2 good groundplans, 2 ink-wash 
drawings of "Garden Set" and "Staircase Set," list of supers. Play 
begins with "Wreck Tableau," and scenes are reordered to accom- 
modate scenery. Cuts and alterations, addition of traditional 
drinking songs, calls, much stage business, maps, cues for effects, 
timings. 

27. William Seymour 1880 
Princeton University, Seymour Collection: TN, 5 

[Modern Standard Drama, 4s/ 8 x 7i/ 2 ; interleaves, 5x8; paper 

wrapper; title pasted on cover.] 

Carefully written promptbook signed by James Seymour and 

William Seymour. The additional drinking songs added. Scenic 

indications, grooves, considerable stage business, maps, cues for 

effects. 

28. Henry Irving London, Lyceum July 8, 1884 
Folger: TN, 13 

[Pages 351-450 from volume III of a Works, 4 x 6y 8 ; interleaves; 
limp brown leather gilt; title gilt on spine and cover.] 
Rehearsal copy. Cuts on full text. Partial cast, costume notes. 
Malvolio lines marked for stresses, pauses, key words. Many de- 
tails of stage business. Pencil sketch of garden scene. 



TWELFTH NIGHT 475 

29. [Irving] 
Folger: TN, 15 

[Irving edition, 1884, 5 14 x $i/±; red leather gilt; title gilt up 

spine.] 

Preparation copy. Cuts, revision of scenery list, notes on music, 

some pencilings around Malvolio passages. 

30. Julia Marlowe New York, Star December 17, 1887 
Museum of the City of New York: 43.430.670 

[Rolfe edition, 5 x 6%, tipped between leaves of a workbook, 
6 x 85/ 8 ; black cloth boards.] 

Preparation copy made by Miss Marlowe probably before her 
association with Sothern. Stage business keyed to the text with 
numerals entered on interleaves. Opening scenes in Shakespear- 
ean order. (See nos. 58-70.) 

31. George Becks 1890's 
New York Public Library: *NCP.343034 

[Music-Publishing Company issue of Cumberland edition, Si/ 2 x 
5i/£; interleaves; blue cloth boards; title gilt on spine.] 
Promptbook record compiled by George Becks: "This is general 
version & as followed by Neilson — who ended it with a 'Measure' 
— followed by steps of the dance." Much stage business verbatim 
with Becks's Conway book of 1864 (see no. 23). At the back Miss 
Neilson's dance routine. (See no. 26.) 

32. [Becks] 

New York Public Library: *NCP.342990 

[French's Standard Drama, 41/4 x 71/4; interleaves, 5x8; black 
and green boards and black cloth spine.] 

Very full promptbook record compiled by George Becks, mostly 
drawn from tradition but partly original and provisional. Resto- 
rations, reordering of scenes to accommodate scenery, scenic indi- 
cations, grooves, copious stage business especially for the low 
comics, maps and sketches, cues for effects. (See nos. 37, 38.) 

33. [Becks] 

New York Public Library: *NCP. 172942 

[Alden edition, 4x7; black and white boards.] 

Rough preparation copy. Cuts on full text. Random notes on 

stage business, etc. 



476 TWELFTH NIGHT 

34. Augustin Daly New York, Daly's February 21, 1893 
Folger: TN, 29 

[Daly edition, 1893, 6% x 11; interleaves; red cloth boards and 
half red leather gilt; title gilt on spine, Daly's name gilt on red 
leather cover label.] 

Handsomely developed promptbook given to Ada Rehan by Wil- 
liam Winter in 1903. According to a printed notation, it con- 
tains the text and stage business as arranged by Daly and John 
Moore. Many songs added, including the traditional drinking 
songs. Prison scene penciled out. Stage business, very carefully 
drawn maps, curtain calls, final dance, etc. Note from Ada Rehan 
to William Winter. Note of David Belasco commenting on the 
arrangement. (See nos. 10, 18, 25.) 

35. [Daly] 

Folger: TN, 10 

[Daly edition, 1893, by 8 x 9i/£; interleaves; blue cloth boards.] 
William Winter's copy in which he penciled most of the essential 
matter from the preceding book. Comments on omission of prison 
scene. Note from Daly to Winter about Shakespeare repertory. 

36. [Daly] 

Folger: TN, 11 

[Daly edition, 1893, 5s/ 8 x 83^; interleaves; blue cloth boards; 

title gilt on cover.] 

Rehearsal copy checked for Fabian. Belonged to William Winter. 

A London review of April 19, 1894, celebrating Daly's hundredth 

performance. Notes on Daly and Rehan. Letter from Daly to 

Winter in 1892 paying for prefaces, praising Rehan, etc. 

37. [Daly] 

New York Public Library: *NCP.342955 

[French issue of Lacy edition, 4 x Ti/ 2 ; interleaves, 4% x Ti/ & ; 

black and green boards and black cloth spine.] 

George Becks's book, said on the flyleaf to be a record of Daly's 

production but if so a very incomplete one. Some stage business, 

etc. 

38. [Daly] 

New York Public Library: *NCP.346534 

[Alden edition, 4x7; interleaves, 8 x 10; black and green boards.] 

George Becks's book, in the main a record of Daly's production 



TWELFTH NIGHT 477 

but with notes on others. Cuts on full text. Scenic indications, 
grooves, copious stage business, maps, cues for effects. Notes on 
opening scene at the sea; on omission of the mad scene; on Mo- 
djeska's practice of showing Malvolio imprisoned under the porch 
of the house; of Owen's, Compton's, Irving's way with Malvolio in 
prison. Publicity notices of Buckstone, Marie Wainwright. List 
of music from a Marlowe bill of 1887. 

39. [Daly] 

New York Public Library: 8-*NCP.42217B 

[Various editions cut and rearranged and pasted in a workbook, 

61/2 x 8; red cloth boards; title gilt on spine.] 

Fine souvenir promptbook of Daly's production made by William 

H. Young. At the front the cast for 1895-96; at the back a synopsis 

of scenes. Scenic indications, excellent sketches, stage business 

given briefly. 

40. [Daly] 

Folger: TN, 21 

[French's Standard Drama pasted in a workbook, 5% x 81^; black 
cloth boards and half black leather gilt; title gilt on cover.] 
Ada Rehan's touring promptbook, made by William H. Young. 
Text much rearranged, scenic indications, stage business, maps, 
sketches (good drawing of the garden scene), cues for effects. Clip- 
ping of playbill of March 17, 1896. 

41. [Daly] 

New York Public Library: 8*T-*NCP+. 686473 
[Daly edition, 1893, mounted in an album, 12^4 x 16%; green, 
red, and blue marbled boards and half black leather gilt; title 
gilt on spine.] 

Ada Rehan's souvenir album given her by Daly. The acting ver- 
sion, many old prints, some contemporary prints, playbills, 2 
watercolor costume designs, reviews, a great many photographs 
of Miss Rehan and of the production. 

42. [Daly] 

Folger: Prints and Engravings 

[Daly edition, 1893, mounted in albums (2 volumes), 12i/£ x 16%; 
green and gold marbled boards and half brown leather gilt; old- 
spelling title gilt on spines.] 

Souvenir album in 2 volumes containing the acting version. The 
first volume contains colored portraits of Ada Rehan, many old 



478 TWELFTH NIGHT 

prints of past actors, scenes from the play, prints of old theatres, 
a Daly bill for 1893, 29 photographs of actors and 7 photographs 
of scenes from Daly's production, 13 plates (30 figures) of water- 
color costume designs. The second volume contains many old 
prints and bills, photographs of many modern actors associated 
with the play, several reviews of Daly's production, 11 photo- 
graphs and 17 watercolors of Daly's production. 

43. William Poel London, Middle Temple February 12, 1897 
Enthoven Collection (Poel Collection) 

[Cassell's National Library edition, 3^4 x 5^; tipped to stubs 
between leaves of a workbook, 5y 2 x 8 y 2 '> Dme c l° tn boards and 
half brown leather; title on cover label.] 

Rough promptbook. Cuts on full text. Cast, calls, little stage 
business, maps. 

44. F. R. Benson London, Lyceum March 22, 1900 
Shakespeare Centre Library: 72.935BEN 

[Favourite Classics edition pasted in a workbook, 8 x 10; blue 
boards; title on spine label.] 

Rough promptbook, much used. Plots of properties, cast, supers. 
Stage business, cues for effects. 

45. John T. Laphore 1901 
New York Public Library: *NCP.47xl 1 17 

[French's Standard Drama, 4i/£ x 67/ 8 ; interleaves; black cloth 
boards; title gilt up spine.] 

Promptbook inscribed "Lelia Whiteside, which it is her book. . . . 
Through the Kindness of her friend John T. Laphore who has 
staged the play many hundreds of times." At the front plots of 
scenes and grooves, properties. Printed stage business underlined. 
Random notes, maps, cues for effects. 

46. Herbert Beerbohm Tree London, Her Majesty's Feb. 5, 1901 
Enthoven Collection: Tree, 138 

[Temple edition pasted in a workbook, 7x9; red marbled boards 

and green cloth spine.] 

Preparation book. Cuts through 4 acts (some suggested by Mr. 

Taber) but not the fifth. Much stage business as far as the letter 

scene. 

47. [Tree] 

Enthoven Collection: Tree, 138 



TWELFTH NIGHT 479 

[Temple edition pasted in a workbook, 6i/£ x S]/ 8 ; red marbled 
boards and black cloth spine; title on cover label.] 
Completed promptbook, done in red ink and pencil. Cast pen- 
ciled in. New final song for Feste. Copious stage business (some 
of it typewritten and pasted in), maps, cues for effects. 

48. [Tree] 

Enthoven Collection: Tree, 138 

[Temple edition pasted in a workbook, 614 x 7^£; white boards 

and green cloth spine; title on cover label.] 

Completed and much used promptbook, signed by H. W. Varna, 

February, 1901, done in red ink with penciled additions. New 

final song for Feste. Printed cast. Copious stage business, maps, 

sketches, cues for effects. 

49. [Tree] 

Enthoven Collection: Tree, 138 

[Two books. Favourite Classics edition, 1904, $5/ 8 x 6; green cloth 

boards; title gilt up spine.] 

Rehearsal copies for Sir Andrew and Orsino. 

50. [Tree] 

Folger: TN, 24 

[Cassell's National Library edition, 1902, 5% x 5i/ 2 -] 

Rehearsal copy for Maria. Cuts, several bits of stage business. 

51. [Tree] 

Enthoven Collection: Tree, 136, 138 

[Papers.] 

Printed plots for properties, electrics, limes. Partbooks for Sir 

Toby and Valentine. Copies of new song for the last act, cast lists, 

dressing room assignments, etc. 

52. [Tree] 

Enthoven Collection: Tree, 144 
[Notebook, 4^ x 7; black leather.] 
Call-lists, etc., for American tour. 

53. Fred Grove London 
Folger: TN, 12 

[Shakespeare edition, 3^4 x by±; interleaves; green cloth boards; 
title gilt on red spine label.] 



480 TWELFTH NIGHT 

Rich accumulation of stage business especially for Sir Toby 
and the low comics. 

54. Viola Allen New York, Knickerbocker February 8, 1904 
Folger: TN, 1 

[Shakespeare edition, 4i/g x 6; paper.] 
Preparation copy. Cuts. 

55. [Allen] 

Harvard Theatre Collection: uncatalogued 
[Shakespeare edition pasted in a workbook, 7$/ 8 x 9i/£; black cloth 
boards and half red leather; in box of gray cloth boards and 
black leather spine; title gilt up spine.] 

Fine promptbook made by Frank Andrews, the stage manager. 
In an enclosed note he explains that Miss Allen studied prompt- 
books of Irving, Tree, and Daly, and mainly followed Irving in 
making up her version. He claims credit for arranging one of 
the street scenes. At the front a list of songs, a photograph of 
Miss Allen and James Young as the twins, notes on doubling, 
elaborate plots of scenes, properties, lights, music. Much stage 
business, maps, cues for effects, final pantomime. Penciled nota- 
tions of later vintage. 

56. [Allen] 
Folger: TN, 28 

[Typescript, 8 x 10i/£; black cloth boards and half red leather 

gilt-] 

Promptbook. Scenes reordered to accommodate scenery. Detailed 

scenic indications, excellent groundplans, much stage business, 

maps, cues for effects. 

57. [Allen] 

New York Public Library: *NCP.349744B 

[Carbon typescript, 8 x 10i/£; brown cloth boards; title gilt on 

spine.] 

Unused copy of the acting version. Stage directions underlined 

in red. At the back a property plot nearly 5 feet long. 

58. E. H. Sothern and Julia Marlowe 

New York, Knickerbocker November 13, 1905 

Folger: TN, 36 

[Shakespeare edition pasted in a workbook, 8 x lOi/^; black cloth 
board and half red leather ring binder.] 
t 



TWELFTH NIGHT 481 

Promptbook made up by Francis T. S. Powell, the stage manager, 
with the assistance of Frederick Kaufman. Lines marked for 
stresses by Miss Marlowe. At the front, 25 pages of plots of lights, 
properties. Very detailed stage business, maps and groundplans. 
"The text, arrangement of scenes, business of the actors and music 
cues are exactly as used in the presentation of the play." (See no. 
30.) 

59. [Sothern and Marlowe] 
Folger: TN, 31,32 

[Two books. Typescript, 814 x 10^; black cloth boards and half 
black leather.] 

Promptbooks developed under the stage managership of Frederick 
Kaufman. At the front, plots of lights, properties, music. Ground- 
plans very carefully drawn. Copious stage business, maps. 

60. [Sothern and Marlowe] 
Folger: TN, 33, 34 

[Two books. Original and carbon typescript, 8i/ 2 x Hj brown 

paper.] 

Fresh typing of the preceding book. 

61. [Sothern and Marlowe] 
The Players: TS.115 

[Carbon typescript, 81/2 x 11; brown paper.] 
Probably a copy of the preceding book. 

62. [Sothern and Marlowe] 

New York Public Library: *NCP.51x304 

[Carbon typescript, 81/4 x 11; brown cloth boards; title gilt up 

spine.] 

Probably a copy of the preceding book. 

63. [Sothern and Marlowe] 

New York Public Library: *NCP.276556B 

[Carbon typescript, 814 x 11; red cloth boards; title gilt on 

spine.] 

Another typing of the preceding book, much used in stage 

management by V. H. Collins. Many crudely penciled maps, notes 

on properties, etc. 

64. [Sothern and Marlowe] 

Museum of the City of New York: 43.430.671 



482 TWELFTH NIGHT 

[Carbon typescript, 814 x 10^; black cloth boards and half black 
leather.] 

Promptbook of Mr. Tilden, used in stage management. Ground- 
plans and sketches showing position and focus of lighting instru- 
ments. Much stage business, maps, cues for effects, timings for 
several cities. Two "written letters." 

65. [Sothern and Marlowe] 

Princeton University, Seymour Collection 

[Typescript in black and red, Si/ 2 x 11; brown paper.] 

Unused copy said to be a duplicate from the Museum of the 

City of New York. 

66. [Sothern and Marlowe] 
Folger: T.a.81, 82 

[Notebook, 6^§ x 8i/£; brown and red marbled boards and black 
cloth spine.] 

"Sothern & Marlowe Co Elect Dept" by M. E. McGarry. Light 
plots for 5 Shakespeare productions, including 8 plots (sketches) 
for Twelfth Night: instruments, colors, maps, cues. With it a 
typed light plot mounted on cardboard for use at the controls. 

67. [Sothern and Marlowe] 

Joint University Libraries, Nashville 

[Temple edition, 1904, 4 x 5i/£; red leather, worn; title gilt on 
spine.] 

Promptbook record of the production made by Lark Taylor, the 
actor, on his own rehearsal copy. Cuts and rearrangements on full 
text, 5 groundplans, scenic indications, some stage business, cues 
for effects. Notes on the roles he played (Fabian, Toby, under- 
study Malvolio), a note on Kate Phillips, who played Maria in 
London, some rough costume sketches, autographs of the players. 

68. [Sothern and Marlowe] 
Folger: TN, 23 

[Shakespeare edition pasted in a workbook, 63^ x 8i/£; green 
and white boards and cloth spine; title on cover label.] 
Promptbook record of the production made by Lark Taylor. Cuts 
and additions (traditional drinking songs). Copious stage business, 
maps. Critical notes. 

69. [Sothern and Marlowe] 

W. A. Clark Library, Los Angeles 



TWELFTH NIGHT 483 

[Acting edition, 43/£ x 7%; interleaves; brown cloth boards; title 
gilt on spine.] 

Souvenir promptbook made by Lark Taylor. Cast of 1906. 
Copious stage business, groundplans, cues for effects underlined 
as printed. 

70. [Sothern and Marlowe] 

Joint University Libraries, Nashville 

[Sheets from a Shakespeare text pasted in a workbook, 4 x 61/2; 
black imitation leather; circular insignia "JLT" pasted on cover; 
inscribed at the back "Mary Lee Taylor — Pat Mills — St. Louis — 
Cook Book."] 

Arrangement of the play made by Lark Taylor for public read- 
ing. Some account of the Sothern and Marlowe production, some 
scenic indications, bridge passages. 

71. Winthrop Ames Boston, Castle Square January 7, 1907 
New York Public Library: 8*NCP+.42216B 

[Temple edition cut and pasted in a workbook, 83^ x 13; red 
cloth boards; title gilt up spine.] 

Preparation copy. Cuts marked from French edition in brown, 
from Daly in blue, from Marlowe in red. Scenic notes, stage 
business, many maps. (See no. 78.) 

72. [Ames] 

New York Public Library: *NCP+.42214B 
[Typescript, 73^ x 133^; green cloth boards; title inked on spine.] 
Heavily marked and much used production book. Cast, lists of 
extras, synopsis of scenes, copious stage business, cues for effects. 
At the back, plots of lights, music, properties, costumes. Notes on 
text and interpretation taken from standard critics. Production 
notes derived especially from Irving and Sothern. 

73. [Ames] 

New York Public Library: *NCP+.42218B 
[Typescripts, 734 x 61/4; blue cloth boards; title gilt on spine.] 
Eighteen partbooks and plots for lights, properties, costumes. 
Two different casts have used these. 

74. Ernest B. Lawford 

Cambridge, Harvard University J une 3, 1908 

Library of Congress, Batchelder Collection: 425 
[French's Standard Drama, 43^ x 1\/ A ; lavender and green paper.] 



484 TWELFTH NIGHT 

Some notes made by Lawford in 1929 of his Malvolio business 
when playing with Maude Adams. 

75. Margaret Anglin Melbourne October 28, 1908 
New York Public Library: 8-*NCP.54x218 

[Partial edition pasted in a workbook, 57/ 8 x 9y 8 ; black cloth 
boards; title gilt up spine.] 

Preparation copy. At the front, plots for properties, lights, music. 
Detailed stage business for 5 scattered scenes. At the back, 7 
groundplans for As You Like It. 

76. [Anglin] 

New York Public Library: 8-*NCP.54x218 

[Shakespeare edition cut and pasted in a workbook, 7i/£ x 91/4; 

black cloth boards; title gilt on spine.] 

Preparation copy. Copious stage business, rough maps, cues for 

effects. At the front a plot of properties 3 feet long. 

77. [Anglin] 

New York Public Library: 8-*NCP.54x2 1 8 

[Rolfe edition pasted in a workbook, 7 1/£ x 9i/£; black cloth 

boards; title gilt on spine.] 

Fully developed promptbook. Cuts on full text. Contents much 

the same as in the preceding book but carefully organized and 

entered. 

78. Winthrop Ames New York, New Theatre January 26, 1910 
New York Public Library: *NCP+.42215B 

[Typescript, 8]/ 2 x 13; green cloth boards; title inked on spine.] 
Unused first copy of the final version of Ames's New York produc- 
tion. (Seenos. 71-73.) 

79. Miss A. E. F. Horniman Manchester, Gaiety December 23, 1911 

British Drama League 

[Temple edition, 1894, 4i/£ x 7; blue cloth boards; title gilt up 
spine.] 

Rehearsal copy for Viola. Cuts on full text, names of actors, 
random stage business. 

80. Harley Granville-Barker London, Savoy November 15, 1912 
University of Michigan, Shakespeare Collection 

[Favourite Classics edition, 1904, tipped between sheets of a 
workbook, 9% x 12; red cloth boards; title gilt up spine.] 



TWELFTH NIGHT 485 

Full production book. Copious stage business, excellent maps and 
groundplans, cues for effects. At the front a program, plots of 
scenes, cloths, full sets, electrics, properties, and 10 large photo- 
graphs of the sets. At the back the vocal music as published by 
French, and scores for incidental music. (This book or any part 
of it cannot be copied without the written permission of Mr. C. B. 
Purdom, 39 Woodland Rise, Welwyn Garden City, Hertfordshire, 
England.) 

81. Henry Jewett Boston, Boston Opera House March 10, 1915 
Folger: TN, 30 

[Typescript, 8 x lOi/^; gray cardboard and green cloth spine.] 
Much used promptbook. Scenes reordered to accommodate scen- 
ery. Scenic indications, much stage business, cues for effects. 

82. Albert Lang c.1920 
Princeton University, Seymour Collection 

[Acting edition pasted in a workbook, l3/ 8 x 93/£; red marbled 
boards and half black cloth; title pasted on cover.] 
Excellent promptbook of an itinerant producer from 651 Sixth 
Avenue, New York. Groundplans, much stage business, many 
maps, cues for effects. Plots of properties, lights, and curtains, 
and music scores for several songs including "Under the Green- 
wood Tree" and "Full Fathom Five." 

83. Lena Ash well Bath 1922 
Birmingham, Shakespeare Memorial Library: 370/421205 
[Cassell's National Library edition pasted in a workbook, 7x9; 
green marbled boards and black cloth spine; title gilt up spine.] 
Promptbook of the Lena Ashwell Players. Cues for effects. At the 
back, a groundplan and 6 penciled sketches. 

[Actor Lists for Following Books Are Given in This Order: Viola, 
Malvolio, Sir Toby.] 

84. Isabel Jeans London, Everyman December 23, 1922 
New York Public Library: *NCP.283817B 

[Shakespeare edition pasted in a workbook, 8 x IO14; black cloth 
boards; title gilt up spine.] 

Cast includes Mary Barton, Herbert Waring, Frank Cellier. Miss 
Jeans played Olivia. Cuts on full text. Cast list. Copious stage 
business, maps and sketches, cues for effects. 



486 TWELFTH NIGHT 

85. Eva LeGallienne New York, Civic Repertory Dec. 21, 1926 
Museum of the City of New York: 39.500.763 

[Temple edition pasted in a workbook, 8i/ 2 x 11; black cloth 
board ring binder.] 

Cast includes Eva LeGallienne, Sayre Crawley, Egon Brecher. 
Calls, little stage business, cues for effects. 

86. Jane Cowl New York, Maxine Elliott October 15, 1930 
New York Public Library: *NCP + . 53x146 

[Typescript, 8x11; brown cloth boards; title gilt up spine.] 
Cast includes Jane Cowl, Leon Quartermaine, Walter Kingsford. 
Directed by Andrew Leigh. Designed by Raymond Sovey. The 
version said to be that of Granville-Barker, 1912 (see no. 80). 
Stage business, maps, cues for effects. Belonged to John Sola. 

87. W. Bridges-Adams Stratford-upon-Avon April 25, 1932 
Shakespeare Centre Library: 71.21/1932 

[Temple edition pasted in a workbook, 8 x 10; blue cloth boards 
gilt; title on cover label.] 

Cast includes Fabia Drake, Randle Ayrton, Roy Byford. Designed 
by George Sheringham. Traditional drinking songs. Stage busi- 
ness, cues for effects. The book had been used in 1929, 1930, and 
for American tours. 

88. [Bridges-Adams] April 17, 1934 
Shakespeare Centre Library: 71.21/1934TW 

[Temple edition pasted in a workbook, 7i/g x 9; purple cloth 
boards and half black leather; title on cover and spine labels.] 
Cast includes Dorothy Black, Baliol Holloway, Roy Byford. De- 
signed by George Sheringham. Traditional drinking song. Much 
stage business, cues for effects. 

89. Maude Adams Ogunquit July 16, 1934 
Museum of the City of New York: 48.367.135 

[Typescript, 8i/£ x 11; orange paper.] 

Cast includes Marie Adels, Frederick Roland, C. Norman Ham- 
mond. Miss Adams played Maria. Rough and incomplete copy 
of a much altered version. Scores for songs. 

90. F. Owen Chambers Leamington Spa 1937 
Shakespeare Centre Library: 72.935CHA 



TWELFTH NIGHT 487 

[Temple edition pasted in a workbook, 7i/£ x 9i/4; black cloth 
boards and half red cloth; title on cover and spine labels.] 
Carefully made promptbook. Much stage business, good ground- 
plans. 

91. Columbia Broadcasting System August 30, 1937 
Folger: TN, Folio 1 

[Mimeograph, Si/ 2 x H» decorated green paper folder; title on 

cover.] 

Radio adaptation by Brewster Morgan. Cast includes Tallulah 

Bankhead, Cedric Hardwicke, Mark Smith. Unmarked. 

92. Irene Hentschel Stratford-upon-Avon April 13, 1939 
Shakespeare Centre Library: 71.21/1939TW 

[New Temple edition pasted in a workbook, 7x9; purple cloth 
boards and half black leather; title on cover and spine labels.] 
Cast includes Joyce Bland, John Laurie, Jay Laurier. Designed 
by Motley. Traditional drinking song. Much stage business, 
groundplan. Letter from Alec Clunes explaining the fight routine. 

93. Milton Rosmer Stratford-upon-Avon April 17, 1943 
Shakespeare Centre Library : 7 1 .2 1 / 1 943T 

[Temple edition pasted in a workbook, 614 x 73^; green boards 
and red leather spine; title on cover and spine labels.] 
Cast includes Patricia Jessel, Abraham Sofaer, Geoffrey Wincott. 
Much stage business, some cues for effects. 

94. Robert Atkins Stratford-upon-Avon April 6, 1945 
Shakespeare Centre Library: 71.21/1945T 

[New Temple edition pasted in a workbook, 7i/ 8 x 9; purple cloth 
boards and half black leather; title on cover and spine labels.] 
Cast includes Claire Luce, David Read, Robert Atkins. Designed 
by Danae Gaylen. Much stage business, cues for effects. The book 
had been used for B. Iden Payne's 1938 production, was erased 
and reused. Traditional drinking song included, probably for 
the earlier production. 

95. Walter Hudd Stratford-upon-Avon April 23, 1947 
Shakespeare Centre Library: O.S.71.21/1947TW 

[King's Treasuries of Literature edition pasted in a workbook, 

8 x 12%; red cloth boards; title inked on spine.] 

Cast includes Beatrix Lehman, Walter Hudd, John Blatchley. 



488 TWELFTH NIGHT 

Designed by Riette Sturge Moore. Begins with "Shadow Play." 
Much stage business, good groundplans, cues for effects. 

96. John Gielgud Stratford-upon-Avon April 12, 1955 
Shakespeare Centre Library: O.S.71.21/1955TW 

[New Temple edition pasted in a workbook, 8 x 13; red cloth 
boards; title inked up spine.] 

Cast includes Vivien Leigh, Laurence Olivier, Alan Webb. De- 
signed by Malcolm Pride. Very much stage business, cues for 
effects. 

97. Tyrone Guthrie Stratford, Ontario July 2, 1957 
Festival Theatre, Library 

[Two books. New Stratford Shakespeare pasted in workbooks, 
8 x 123^; black cloth boards and red cloth spine; title pasted on 
cover.] 

Cast includes Siobhan McKenna, Douglas Rain, Douglas Camp- 
bell. Designed by Tanya Moiseiwitsch. The first book has much 
stage business, maps, cues for effects, timings, list of singers. The 
second has calls, cues for effects. 

98. Peter Hall Stratford-upon-Avon April 22, 1958 
Shakespeare Centre Library: O.S.71.21/1958T 

[New Temple edition pasted in a workbook, 8 x 13; blue cloth 
board spring binder; title on spine label.] 

Cast includes Dorothy Tutin, Mark Dignam, Patrick Wymark. 
Designed by Lila de Nobili. Very much stage business, 18 maps on 
mimeographed groundplans, cues for effects. Production papers. 
Book also used for Russian tour in 1958-59. 

99. [Hall] May 17, 1960 
Shakespeare Centre Library: O.S. 71.21/1960THE 
[Cambridge Pocket Shakespeare pasted in a workbook, 8 x 13; 
blue cloth board spring binder; title inked on spine.] 

Revival of the 1958 production. Cast includes Dorothy Tutin, 
Eric Porter, Patrick Wymark. Designed by Lila de Nobili. Very 
much stage business newly recorded, cues for effects. 

100. Jack Landau Stratford, Connecticut J un e 8, 1960 

Festival Theatre, Production Department 

[Two books. Mimeograph, 8i/£ x 11; interleaves; blue cloth board 
ring binders.] 



TWELFTH NIGHT 489 

Cast includes Katharine Hepburn, Richard Waring, Loring 
Smith. Designed by Rouben Ter-Arutunian. Both books have 
copious stage business typed on interleaves, maps, cues typed on 
text pages. Production papers include calls, mimeographed 
groundplans, understudy list, plots of properties, costumes, wigs. 

101. Peter Hall London, Aldwych December 19, 1960 
Shakespeare Centre Library: O.S.71.21/1960-61 Aldwych 
[Same format as preceding Hall book but red binder.] 

Revival of the preceding Hall production with some cast changes. 
Cues for effects. Production papers. 

102. Other books of Twelfth Night: 

Folger: TN, 2, W. L. Ayling; TN, 7, Ernest Clarke; TN, 8, 
Henrietta Crosman; TN, 22, Ogden Stevens; TN, 26, 27, 35, 
anonymous. 

Historical and Philosophical Society of Ohio: 812.3/R283/203, 
Alvin Read. 

Museum of the City of New York: 32.485.397A, J. H. Ring, 
Tremont, 1838. 

New York Public Library: *NCP+.172667B, anonymous type- 
script. 
Shakespeare Centre Library: 50.35(1879), C. E. Flower. 



The Two Gentlemen of Verona 

1. William Charles Macready 

London, Drury Lane December 29, 1841 

Folger: Two Gent, 11 

[Pages 179-259 from volume I of an eighteenth-century Works, 
A$/ 8 x 75/ 8 ; interleaves; gray marbled boards and half brown 
leather; title stamped on spine.] 

Final or souvenir promptbook made for Macready by George Ellis, 
the prompter. Cuts on full text. Printed description of Drury 
Lane scenery. Grooves, calls, some stage business, maps, cues for 
effects, timings (2:06). At the front a note about the command 
performance for the King of Prussia on January 31, 1842. 

2. [Macready] 

Folger: Two Gent, 12 

[Pages 1-80 (incomplete) from volume III of a Works (Steevens 
text), b$/ 8 x 8s/ 8 ; gray interleaves, 7 14 x 9i/£; gray wrapper, un- 
sewn.] 

Incomplete penciled copy of the preceding book. The stage busi- 
ness, though developed for Act I only, is given in greater detail, 
apparently in preparation for the following book. 

3. Charles Kean New York, Park October 6, 1846 
Folger: Two Gent, 10 

[Pages 89-171 from volume I of a Works, 4^4 x 1^>/ 8 , interleaves, 
614 x 81/2; red, yellow, and blue marbled boards and half black 
leather gilt; title gilt on spine, "Charles Kean" gilt on black 
cover label.] 

Promptbook made for Charles Kean by George Ellis from 
Macready's book and dated December 31, 1845. Through Act I 
verbatim with the preceding book. Cuts, scenic indications, 
grooves, calls, stage business, maps, cues for effects. At the front 
8 brown ink-wash drawings (6^4 x 5) of the scenes. 

4. Henry Betty c.1857 
Folger: Two Gent, 4 

[Pages 11-79 from volume I of Knight's Cabinet Edition, 3^ x 
5i/g; interleaves; gray boards and green cloth spine; title penciled 
on cover.] 

Lightly marked promptbook. Cuts, some grooves, calls, some stage 
business, cues for effects. 



THE TWO GENTLEMEN OF VERONA 491 

5. Samuel Phelps London, Sadler's Wells February 18, 1857 
Folger: Two Gent, 13 

[Pages 87-161 from volume I of a Works, 4s/ 8 x 1s/ 8 ; few inter- 
leaves; tan paper; title, etc., inked on cover.] 

Lightly marked promptbook mainly in Phelps's hand. Cast, cuts, 
some grooves, calls, some stage business, cues for effects. 

6. Owen Stanley Fawcett 1864-91 
Folger: Two Gent, 6, 7, 8, 9 

[Four books. Modern Standard Drama, 4i/ 2 x 7s/ 8 ; Cumberland, 
3i/ 2 x 5y 4 ; Modern Standard Drama, 4s/ 8 x 7; Oxberry, 4l/ 8 x 8]/ 2 .] 
The first is a rehearsal copy for Speed: cuts, addition of a passage 
for Launce, a plot of scenes, casts for Baltimore, April 23, 1864, 
and Washington, June, 1864. The second is dated October 13 
and 14, 1879, from Ypsilanti and St. Louis; the third June 12, 
1864, from Baltimore; the fourth December 5, 1891, from Oswes- 
try. 

7. George Becks 1890"s 
Folger: Two Gent, 1 

[Modern Standard Drama, 4s/ 8 x 7^4; interleaves; black cloth 
boards and black leather spine; title gilt up spine.] 
An old promptbook augmented by Becks. Addition of the 
traditional (Kemble) scene for Launce, grooves, calls, some stage 
business, maps, cues for effects, score for a song called "Light o' 
Love" "recovered from a MS. by Sir John Hawkins." Becks's 
notes criticize the Kean (MSD) version, refer to Kemble's, and are 
generally provisional in tone. 

8. [Becks] 

Folger: Two Gent, 2 

[Shakespeare edition pasted in a workbook, 5i/ 2 x & S A> black cloth 

boards and black leather spine; title gilt up spine.] 

Promptbook record or preparation copy more fully developed 

than the preceding book. Many references to the Kean and 

Kemble versions. Considerable stage business, cues for effects. 

9. [Becks] 

Folger: Two Gent, 3 

[Cumberland edition, Si/ 2 x 5s/ 8 ; interleaves; brown cloth boards 

and black leather spine; title gilt up spine.] 

Promptbook. "This book was probably Peter RichingsV Calls, 



492 THE TWO GENTLEMEN OF VERONA 

cues for effects. Numerous textual notes probably entered by 
Becks. 

10. James Taylor 

Harvard Theatre Collection: uncatalogued 

[Pages 3-72 from volume I of Comedies, 6^ x 91/4; bound with 

Timon of Athens in marbled boards and black leather spine; title 

gilt on spine.] 

Partial transcription of an old promptbook, completed only into 

the third act. Cuts on full text, some scenic indications, grooves, 

stage business, cues for effects. 

11. Augustin Daly New York, Daly's February 25, 1895 
Folger: Two Gent, 5 

[Double-column Shakespeare edition cut and pasted in a work- 
book, 71/4 x 12y 8 ; red cloth boards and half red leather gilt; title 
gilt on spine, Daly's name gilt on cover label.] 
Uncompleted preparation copy. Cuts. Cast. 

12. [Daly] 

New York Public Library: 8*T-*NCP+.686474 

[Daly edition, 1895, 5i/ 2 x $5/ 8 , mounted in an album, 12i4 x 16^; 

blue, red, and green marbled boards and half red leather gilt; 

title gilt on spine.] 

Ada Rehan's souvenir album with the acting version, 2 large 

photographs of Miss Rehan, and 41 other photographs of actors 

in the play. 

13. [Daly] 

Folger: Prints and Engravings 

[Daly edition mounted in an album, 121/ x 163^; red and green 
marbled boards and half brown leather gilt; title gilt on spine.] 
Souvenir album with the acting version, a large photograph of 
Ada Rehan, many old prints of actors, several old playbills, re- 
views of Daly's production, 46 photographs of the actors in the 
play. 

14. William Poel London, Merchant Taylor's Hall Nov. 28, 1896 
Enthoven Collection (Poel Collection) 

[Cassell's National Library edition, 3^ x 5s/ 8 , tipped to stubs 
between the leaves of a workbook, 43/ 8 x 7; black imitation 
leather.] 



THE TWO GENTLEMEN OF VERONA 493 

Promptbook. Cuts on full text. Cast, some properties, maps, dress- 
ing room assignments. 

[Actor Lists for Following Books Are Given in This Order: 
Valentine, Proteus, Julia, Sylvia, Launce.] 

15. W. Bridges-Adams Stratford-upon-Avon April 15, 1925 
Shakespeare Centre Library: 71.21/1925T 

[Favourite Classics edition pasted in a workbook, 63^ x 8%; blue 

marbled boards and blue cloth spine; title on cover and spine 

labels.] 

Cast includes James Dale, Maurice Colbourne, Florence Saunders, 

Ruth Taylor, Randle Ayrton. Designed by Tom Heslewood. 

Little stage business, cues for effects. 

16. B. Iden Payne Stratford-upon-Avon April 19, 1938 
Shakespeare Centre Library: 71.21/1938TW 

[Two books. Eversley edition pasted in a workbook, 7x9; purple 
cloth boards and black leather spine; title on cover and spine 
labels.] 

Cast includes Gyles Isham, Francis James, Valerie Tudor, Peggy 
Livesay, Jay Laurier. Designed by J. Gower Parks. Some stage 
business, cues for effects. The second book is an unused transcrip- 
tion of the first. 

17. Michael Langham London, Old Vic January 22, 1957 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x lOi/g; black ring 
binder; title on cover and spine labels.] 

Cast includes Richard Gale, Keith Michell, Barbara Jefford, 
Robert Helpmann. Designed by Tanya Moiseiwitsch. Cuts, calls, 
stage business, maps, cues for effects. Production papers: ground- 
plans, properties, flys, time sheets, cast, etc. 

18. [Langham] London, Ontario February 14, 1958 
Festival Theatre, Library 

[Two books. Penguin edition pasted in workbooks, 8 x 12^; black 
cloth boards and half red cloth; title pasted on cover.] 
Cast includes Eric House, Lloyd Bochner, Ann Morrish, Diana 
Maddox, Bruno Gerussi. Designed by Tanya Moiseiwitsch. The 
first book has copious stage business, cues for effects. The second 
has cues for effects and inserted cue sheets. 



494 THE TWO GENTLEMEN OF VERONA 

19. Peter Hall Stratford-upon-Avon April 5, 1960 
Shakespeare Centre Library: O.S.71.21/1960TWO 
[Cambridge Pocket Shakespeare pasted in a workbook, 8 x 13; 
red cloth board spring binder; title on spine label.] 

Cast includes Denholm Elliott, Derek Godfrey, Frances Cuka, 
Susan Maryott, Patrick Wymark. Designed by Renzo Mongiardino 
and Lila de Nobili. Much stage business, cues for effects. Produc- 
tion papers: cast, understudies, music cues. At the end an Eliza- 
bethan jig, "Singing Simpkin," which was not produced. 

20. Other books of The Two Gentlemen of Verona: 
Brown University: Eng. P. 17a, Asa Cushman. 

Essex Institute, Salem: 822.08/S24/29, John B. Adams, Boston 

Museum. 

Folger: Two Gent, 14, anonymous. 

Shakespeare Centre Library: 50.36(188-), Charles E. Flower. 



The Winter's Tale 

1. Anonymous c.1640 
Biblioteca Universitaria, Padova 

[Pages 277-303 in art unbroken First Folio, 8i/ 2 x 12%; brown 
leather, newly bound.] 

Promptbook. Cuts, calls, one act warning, one music cue. (See 
G. Blakemore Evans, Shakespearean Prompt-Books.) 

2. Joseph Ashbury Dublin, Smock Alley 1670's 
Folger: Wint T, Smock Alley 

[Pages 277-303 from a Third Folio, 1663, 8 x 12i/£; maroon cloth 
boards and half brown leather gilt; title gilt up spine.] 
Preparation copy. Cuts in 3 acts and part of the fourth. 

3. John Philip Kemble London, Covent Garden Nov. 11, 1807 
Garrick Club 

[Kemble edition, 1802, 4i/£ x 7^; interleaves; blue cloth boards 

and brown leather spine; title gilt up spine.] 

Promptbook marked by Kemble, checked for Leontes. Grooves, 

calls, some stage business, maps, cues for effects. A few later 

pencilings. 

4. [Kemble] November 28, 1811 
Garrick Club 

[Kemble edition, 1811, 5% x % l A'> interleaves; blue cloth boards 
and brown leather spine; title gilt up spine.] 
Promptbook marked by Kemble, considerably more developed 
than the preceding book. List of supers including 84 figures. Some 
scenic indications. Grooves and sometimes the "cuts" in the 
grooves: "1 G. 2C." Calls, some stage business, careful maps, prop- 
erty lists, cues for effects. 

5. [Kemble] 1811-37 
Shakespeare Centre Library: 50.37(1811) 

[Kemble edition, 1811, 5 x 814; interleaves; brown leather; title 
gilt on red leather spine label, "TR/CG/PB/W/14" stamped on 
spine.] 

Promptbook originally marked by Kemble with the matter of 
the preceding book (second Garrick Club book) plus timings 
(3:45). Later markings in pencil include cuts, a cast of December, 
1827, timings of January 3, 1828 (2:40), May 22, 1837 (3:04), 
May 29, 1837 (3:02), etc. The 1837 markings appear to be by 



496 the winter's tale 

John Willmott, the prompter, and mention Macready and some 
of his supporting actors. Belonged to William Creswick. 

6. William Warren Philadelphia 
Library Company of Philadelphia: Oe2-f .11606. D 
[Inchbald edition, 4 x 6]/ 2 ; marbled boards and brown leather 
spine.] 

Partbook for Antigonus. Cuts. 

7. William B. Wood Philadelphia 1813 
Folger: Wint T, 22 

[Barber edition, 1794, 4 x 6s/ 8 ; green and gray marbled boards 

and brown leather spine.] 

Preparation copy. A few entrance marks and a cut. 

8. James R. Anderson London, Covent Garden Sept. 30, 1837 
Folger: Wint T, 2 

[Inchbald edition, 3% x 6i/£; brown paper.] 

Anderson's partbook for Florizel and (understudy) Leontes, dated 

October 2, 1837. Some grooves, some stage business, rough maps. 

9. William Charles Macready 

London, Covent Garden September 30, 1837 

Toronto Public Library: Taverner Collection 
[Small cards and scraps of paper in a manila envelope.] 
Spectator's notes on Macready 's acting of Leontes, by J. W. 
Taverner, the elocutionist. 

10. Samuel Phelps London, Sadler's Wells November 19, 1845 
Folger: Wint T, 14 

[Cumberland edition, Sy 4 x 6; interleaves, 3% x 6s/ 8 ; heavy gray 

paper.] 

Promptbook dated for 12 seasons between 1845 and 1862, marked 

by Phelps and by Williams, the prompter. At the front 2 lists of 

supers (20 to 22 figures) and a list of property manuscripts; at the 

back a dance for 8 couples. Calls, grooves, some stage business, 

maps and sketches, cues for effects, timing (3:00). 

11. Barry Sullivan c.1852 
Shakespeare Centre Library: 50.37(1797) 

[Pages 459-565 from volume II of the Robinson Works, 1797, 
6^ x 9i/£; interleaves; brown marbled boards and half brown 



THE winter's tale 497 

leather; title gilt on black leather spine label, Sullivan's name as 

of the Haymarket gilt on cover label.] 

Promptbook derived from the Oxberry acting edition, apparently 

marked by George Hastings. Probably not used. Cuts on full 

text. Calls, stage business, maps and sketches, cues for effects. 

Part of a set gathered by Sullivan when at the Haymarket in 

1852. 

12. John B. Wright 1852 
Folger: WintT, 19 

[Pages 263-358 from a Works, 4i/ 4 x 7.] 

Lightly marked preparation copy, dated September, 1852. Cuts, 

some scenic indications and grooves, some stage business, cues for 

effects. 

13. [Wright] 

Folger: Wint T, 17 

[Cumberland edition, 3^£ x ^V%\ interleaves; purple cloth boards 
and half red leather; title gilt up spine.] 

Promptbook which Wright got "from Mrs. Archbold, Boston, 
1853." George Becks notes in it that its stage directions are in- 
corporated in the version Wright prepared for Spencer's Boston 
Theatre. Cuts and restorations, scenic indications, grooves, calls, 
stage business, maps and sketches, cues for effects. 

14. John Moore New York, Burton's February 13, 1856 
Folger: WintT, 13 

[Inchbald edition, 33^ x 6i/£; interleaves; green marbled boards 
and half brown leather; "C/137" gilt on spine.] 
Promptbook neatly marked by an earlier owner, with many ad- 
ditions by Moore. At the front a list of property manuscripts. 
Cuts and restorations, scenic indications, some grooves, calls, 
stage business, maps and sketches, cues for effects. Playbills for 
the above date. 

15. [Moore] 

Folger: WintT, 11 

[Pages 7-108 from volume III of a Works, 6t/i x 1034; interleaves; 

brown paper; playbill clipping pasted on cover.] 

Very full, much used promptbook done in various inks and pencil. 

Contains all the matter of the preceding book. Cast lists for 

Covent Garden in 1839, Marylebone in 1847, Chambers Street in 



498 THE winter's tale 

1851 and 1856. Cuts on full text. Scenic indications, grooves, 
calls, much stage business, maps, cues for effects. Extra matter 
includes a partbook for Old Shepherd; 2 systems of scenes and 
grooves; 5 sheets of calls and maps; an "Allegory of Four Seasons" 
for the Act IV chorus; a news account of Mary Anderson's open- 
ing at the Lyceum in 1887; a playbill for Burton's; a plan for a 
descent of Jupiter on a Republican eagle with an American flag 
in his hand and reference to "manifest destiny." 

16. [Moore] 

Folger: WintT, 12 

[Workbook, 63^ x 10i/£; brown paper.] 

Stage manager's working papers, etc., to accompany the preceding 
book. Very detailed lists of properties, scenery, costumes. A play- 
bill, an advertising leaflet, and about 20 reviews of Burton's 
production. Reviews of Kean's London production; of Lawrence 
Barrett's 1871 production. A non-Shakespearean partbook. 

17. [Moore] 
Folger: T.b.2 

[Notebook, 614 x IO14; blue boards and black cloth spine.] 
Cues for the band for 48 plays including Winter's Tale. 

18. Charles Kean London, Princess's April 28, 1856 
Folger: Wint T, 7 

[Pages 333-393 from volume II of a double-column illustrated 
Works, 634 x 97/ 8 ; brown paper.] 

Preparation copy on which George Ellis, the stage manager, 
noted that the cuts were made by J. W. Cole and the production 
notes by himself. Cole's marks include comments on earlier 
versions, especially Kemble's. Ellis corrected the cuts and restora- 
tions, and entered groove numbers and notes on effects. 

19. [Kean] 

Folger: Wint T, 10 

[Shakespeare edition (Steevens text), 6 x 9i4; lavender interleaves 
watermarked 1855, 7% x 95^; white cardboard.] 
Workbook of George Ellis, the stage manager, done in pencil. 
Cuts on full text. List of 112 supers. Scenic indications, very 
much stage business, maps, notes on effects. 

20. [Kean] 
Enthoven Collection 



THE winter's tale 499 

[Bulmer Shakespeare Press edition, 8s^ x 12i/£; gray interleaves; 
gray cardboard spine, covers lost.] 

Original promptbook marked in pencil but mostly redone in ink 
in the hand of T. W. Edmonds, the prompter; a few pencilings 
by George Ellis. Cuts on full text, copious stage business, maps, 
cues for effects, timings (3:12 to 3:30). Belonged to Mary Ander- 
son, Sir Barry Jackson. 

21. [Kean] 

Folger: Wint T, 8 

[Kean edition, 1856, 5% x 8]/ 8 ; interleaves, 6^4 x 9; tan cloth 

boards and half brown leather; title gilt on spine, "Mr. Charles 

Kean/Prompt Copy" gilt on blue cover label.] 

Final or souvenir promptbook made by T. W. Edmonds in 1859. 

Calls, much stage business, cues for effects, timings (3:30). Fine 

watercolor designs of 16 scenes. 

22. [Kean] 

Folger: Kean Costume Book, Prints and Engravings, 182 
[Scrapbook, 143^ x 21 1/£; brown cloth boards and half brown 
leather; "Charles Kean's Scrap Book" gilt on spine and red 
leather cover label.] 

Contains color prints of 6 scenes of the play, with figures, pub- 
lished by Joseph, Myers & Co. 

23. [Kean] 

Enthoven Collection: 94G27, plate 1768 

[Scrapbook, 15 \/ A x 21 y 8 ; blue cloth boards and half dark blue 

cloth; "Kean Theatrical Scenery" gilt up spine.] 

Watercolor of the cave scene. 

24. [Kean] 

Enthoven Collection: Box DT.43 

[Watercolors mounted on large display boards.] 

Fine watercolor designs of 19 scenes and 11 plates of properties. 

25. Anonymous Boston, Boston Museum 1858 
Princeton University, Seymour Collection: WT, 2 
[Spencer's Boston Theatre, 4i/ 2 x 7i/£; interleaves; coarse cloth; 
title, date, and "Boston Museum" inked on cover.] 

Lightly marked promptbook. Cuts, some stage business, maps, 
cues for effects. 



500 the winter's tale 

26. Henry Jarrett 1875 
Princeton University, Seymour Collection: WT, 3 
[Spencer's Boston Theatre, 4i/£ x 7i/ 2 ; interleaves, 6 x 7^£; paper 
wrappers.] 

Promptbook. Scenic indications, grooves, calls, stage business, 
good maps and groundplans, cues for effects. 

27. Charles Dillon London, Drury Lane September 28, 1878 
Folger: Wint T, 24 

[Kean edition, 1856, 5i/g x 8i/£; publisher's wrappers.] 
Spectator's notes on the Dillon production. Playbill. 

28. Mary Anderson London, Lyceum September 10, 1887 
Folger: Wint T, 3 

[Anderson edition, 1887, 5i/£ x 8i/£; interleaves; red marbled 
boards and half maroon leather; title gilt up spine.] 
Final or souvenir promptbook made by Napier Lothian, the stage 
manager. Cuts, copious stage business, maps, some cues for effects. 
Lists of supers, groundplan for opening, sketches of wreath de- 
signs, Shepherds' dance, stage dimensions of Lyceum, dimensions 
of scenic pieces, timings (2:08). 

29. George Becks 1890's 
Folger: Wint T, 4 

[Spencer's Boston Theatre, 4y 8 x 7; interleaves; black and white 
boards and black leather spine; title gilt up spine.] 
Compilation of traditional stage business and effects by George 
Becks, using the edition prepared by John B. Wright (see no. 13). 
Becks augmented it "with additions from Wallack and Macready 
in red." Restorations, calls, much stage business, maps and 
sketches, cues for effects. 

30. Charles B. Hanford c.1900 
Folger: Wint T, 6, 5 

[Two books. Pocket Shakespeare edition pasted in a workbook, 
7 1/2 x 9]/ 2 ; gray cloth boards and red cloth corners.] 
Promptbooks of a version in 6 acts. Detailed scenic indications, 
grooves, copious stage business, cues for spectacular effects, tim- 
ings (2:15). Book no. 5, nearly identical to no. 6 but un- 
used, contains pictures of Hanford and Marie Drofnah as Leontes 
and Hermione, and an envelope of fabric samples. 



THE WINTER'S TALE 501 

31. Frederick Warde New York, Broadway 1904 
Folger: Wint T, 22 

[French's Standard Drama, 4s/ 8 x 7i/ 2 ; brown paper.] 
Rehearsal copy for Leontes used by Warde in the touring pro- 
duction of Wagenhals and Kemper. Cuts and alterations, some 
stage business for Leontes. At the front the cast and synopsis of 
scenes clipped from a playbill. 

32. Viola Allen New York, Knickerbocker December 26, 1904 
New York Public Library: 8-*NCP.330694B 

[Allen edition, 1905, 5 x 8y 8 ; interleaves; red cloth boards; title 
gilt on spine.] 

Fine promptbook marked in the same hand as Miss Allen's Cym- 
beline (see CYM, 28). At the front plots of properties, hand prop- 
erties, lights, music. Careful groundplans of all scenes, copious 
stage business, cues for effects, timings (2:50). At the back a de- 
tailed dance routine. 

33. [Allen] 

Folger: Wint T, 1 

[Allen edition, 1905, bi/ z x 8%; brown publisher's wrappers; title 
printed in white ink on cover.] 

The acting version much cut and rearranged. Contains 4 photo- 
graphs of Miss Allen as Hermione and Perdita. Program for June 
3, 1905. 

34. Herbert Beerbohm Tree 

London, His Majesty's September 1, 1906 

Enthoven Collection: Tree, 187 

[Two books. Favourite Classics edition pasted in a workbook, 
7x9; red marbled boards and red cloth spine; title on cover label. 
Second copy has purple cloth spine.] 

Rehearsal promptbooks initialed by Cecil King. The first book 
has some stage business, cues for effects, timings. The second has 
few markings. 

35. [Tree] 

Enthoven Collection: Tree, 187 

[Favourite Classics edition pasted in a workbook, 7x9; red mar- 
bled boards and purple cloth spine.] 

Final promptbook carefully done in black and red inks. Excellent 
groundplans for all scenes with names of scenic artists, other notes. 



502 the winter's tale 

Copious stage business, cues for effects, timings. Cast and plots for 
electrics, limes, props are all at the front. 

36. [Tree] 

Enthoven Collection: Tree, 187 

[Sixteen books and 15 booklets. Favourite Classics edition (13), 

green cloth boards; Stage Shakespeare (1), red cloth boards; Cas- 

sell's National Library (2), red cloth boards; typescripts, 8x7, 

in black paper covers.] 

Rehearsal copies variously cut and marked with stage business. 

Fifteen typed partbooks. 

37. [Tree] 

Enthoven Collection: Tree, 192 

[Photographs.] 

Large photographs of the 10 sets. 

38. [Tree] 

Enthoven Collection: Tree, 187, 188 

[Papers.] 

Production papers: lists of characters, understudies, dressing room 

assignments; plots for limes, electrics, properties; Shepherds' 

dance; program. 

39. Ellen Terry London, His Majesty's September 1, 1906 
Smallhythe 

[Temple edition, 1894, 57/ 8 x 5; maroon limp leather; title gilt 
up spine.] 

Rehearsal copy, cut and checked for Hermione. Little stage busi- 
ness. 

40. E. H. Sothern and Julia Marlowe 

Museum of the City of New York: 43.430.675 
[Leontes scenes from Temple edition pasted in a workbook with 
Prospero scenes, 4 x 6i/£; black oilcloth.] 

Partbook for Leontes, penciled for stresses and some stage busi- 
ness. 

41. [Sothern and Marlowe] 

Museum of the City of New York: 43.430.669 
[Hermione and Perdita scenes from Temple edition pasted with 
Miranda scenes in a workbook, 4 x 6i/ 8 ; black oilcloth.] 
Partbook for Hermione and Perdita. Few markings. 



the winter's tale 503 

42. Winthrop Ames New York, New Theatre March 28, 1910 
New York Public Library: *NCP + .42607B 

[Temple edition pasted in a workbook, 814 x 1 1; red cloth boards; 
title gilt on spine.] 

Preparation of the acting version by John Corbin. Comments by 
Ames. Typescript Introduction explains production style. 

43. [Ames] 

New York Public Library: *NCP+.42605B 
[Carbon typescript, 8 x 13; blue cloth boards; title gilt on spine.] 
Production book. Cuts on the typed text. Critical and inter- 
pretive notes from standard authorities. Dramatis Personae, time 
analysis of the action, character distribution chart, notes on 
sources, timing estimates, critical notes on various acting versions, 
productions, actors of the past. 

44. [Ames] 

New York Public Library: *NCP+.42606B 

[Three books. Typescript and 2 carbons, li/ 2 x 11; bound together 

in blue cloth boards; title gilt up spine.] 

Lightly marked copies of the acting version. Some stage business. 

45. Lena Ashwell London 1919-29 
Birmingham, Shakespeare Memorial Library: 370/421206 
[Temple edition pasted in a workbook, 7x9; tan marbled boards 
and black cloth spine; title gilt up spine.] 

Promptbook of the Lena Ashwell Players. Groundplans, cues for 
effects. 

46. Henry Jewett Boston, Boston Repertory 1929 
Folger: Wint T, 9 

[Typescript, 81/2 x 11; gray cardboard and green cloth spine.] 
Much used promptbook. One typed and 2 penciled casts, costume 
plot, essay on the play. Calls, much stage business typed in red 
with additions typed and penciled, maps, cues for effects. 

[Actor Lists for Following Books Are Given in This Order: 
Leontes, Hermione, Perdita.] 

47. Frank Woolfe Stratford-upon-Avon July 11, 1932 
Shakespeare Centre Library: 71.21/1932W 

[Temple edition pasted in a workbook, 7y 8 x 9i4; black oilcloth; 
title on cover and spine labels.] 



504 the winter's tale 

Cast includes Wilfrid Walter, Dorothy Massingham, Hilda Cox- 
head. Costumes designed by Eric Maxon. Stage business, maps, 
cues for effects. Formerly used for 1931 production. 

48. B. Iden Payne Stratford-upon-Avon April 23, 1937 
Shakespeare Centre Library: 71.21/1937W 

[Eversley edition pasted in a workbook, 7x9; purple cloth boards 
and half black leather; title on cover and spine labels.] 
Cast includes Baliol Holloway, Joyce Bland, Valerie Tudor. De- 
signed by Molly McArthur. Stage business, maps, cues for effects. 

49. Dorothy Green Stratford-upon-Avon May 4, 1943 
Shakespeare Centre Library: 71.21/1943W 

[Eversley edition pasted in a workbook, 614 x 8; red boards and 
red cloth spine; title on cover and spine labels.] 
Cast includes Abraham Sofaer, Anna Konstam, Christine Adrian. 
Designed by Charles Reading and Barbara Curtis. Some stage 
business, maps, cues for effects. 

50. B. Iden Payne New York, Cort January 15, 1946 
New York Public Library: *NCP.347022B, 57x10 

[Two books. Typescript, 734 x 11; one in red cloth boards, one 
in black; titles gilt up spine.] 

The version produced by Theatre Guild, Inc. Cast includes 
Henry Daniell, Jessie Royce Landis, Geraldine Strook. Designed 
by Stewart Chaney. At the front a synopsis of scenes and note on 
music; at the back a light plot and inventory of electrical equip- 
ment. Some stage business, cues for effects. 

51. Anthony Quayle Stratford-upon-Avon J un e 4, 1948 
Shakespeare Centre Library: O.S.71.21/1948W 
[Shakespeare edition pasted in a workbook, 8 x 11^; green boards 
and red cloth spine; title on spine label.] 

Cast includes Esmond Knight, Diana Wynyard, Claire Bloom. De- 
signed by Motley. Some stage business, maps, cues for effects. Pro- 
duction papers: cast, music score and cues, light plot, timings, 
etc. 

52. Michael Benthall London, Old Vic November 1, 1955 
Old Vic, Publicity Department 

[New Temple edition pasted in a workbook, 8 x 10i/£; black ring 
binder; title on spine label.] 



the winter's tale 505 

Cast includes Paul Rogers, Wendy Hiller, Zena Walker. Designed 
by Peter Rice. Stage business, maps, cues for effects. Production 
papers: cast, understudies, songs, properties, flys, etc. 

53. John Houseman and Jack Landau 

Stratford, Connecticut July 20, 1958 

Festival Theatre, Production Department 

[Three books. Mimeograph, Si/ 2 x 11; one in stiff green paper, 
one in yellow cloth board ring binder, one in black board ring 
binder.] 

Cast includes John Colicos, Nancy Wickwire, Inga Swenson. De- 
signed by David Hays and Dorothy Jeakins. The first book, 
called "Original Blocking," has much stage business, maps. The 
second has stage business typed on facing pages, cues typed on 
text pages; production papers include 25 pages of ad libs for 
walk-ons, plots for machines and traps, flys, colonnades, scenery, 
wigs and beards, properties, sound. The third, called "Operating 
Script" has cues for effects. 

54. [Houseman] 

University of California, Los Angeles: Houseman Box 10 
[Mimeograph, 81/2 x 11; black cloth board ring binder.] 
Rough production book. Cuts, some stage business, other working 
notes. 

55. Douglas Campbell Stratford, Ontario July 21, 1958 
Festival Theatre, Library 

[Two books. Penguin edition pasted in workbooks, 73^ x lSi/ 8 ; 
blue cloth boards bordered in red; title pasted on cover.] 
Cast includes Christopher Plummer, Charmian King, Frances 
Hyland. Designed by Tanya Moiseiwitsch. The first book has 
copious stage business, maps on mimeographed groundplans, cues 
for effects. The second has calls. 

56. Jack Landau Stratford, Connecticut April 25, 1960 
Festival Theatre, Production Department 

[Three books. Mimeograph, 81/4 x 11; interleaves in first; one in 
black board ring binder, one in black leather ring book, one in 
blue cloth board ring binder.] 

Cast includes Douglas Watson, Diana Douglas, Harriette Hartley. 
Designed by David Hays and Dorothy Jeakins. Revival of the 
1958 production for the School Season, 1960, and for touring the 



506 the winter's tale 

following winter. The first book has copious stage business 
penciled on interleaves, cues for effects; production papers in- 
clude plots of scenery and machines and company lists. The 
second, called "Operating," for the tour, has cues for effects. The 
third, called "Operating," has copious stage business penciled 
on facing pages, cues for effects on text pages, and many produc- 
tion papers. 

57. Peter Wood Stratford-upon-Avon August 30, 1960 
Shakespeare Centre Library: O.S.71.21/1960W 
[Cambridge Pocket Shakespeare pasted in a workbook, S]/ 2 x 13; 
blue cloth board ring binder; title on spine label.] 

Cast includes Eric Porter, Elizabeth Sellars, Susan Maryott. De- 
signed by Jaques Noel. Very much stage business, cues for 
effects. Production papers: cast, 25 maps on mimeographed 
groundplans. 

58. Other books of The Winter's Tale: 

Boston Public Library: K. 34.21, John Gilbert and Thomas 

Barry, cast for Philadelphia. 

Folger: Wint T, 15, Thomas H. Lacy; Wint T, 18, 20, 21, 23, 

anonymous. 

Mander and Mitchenson: J. G. Ward. 

Museum of the City of New York: 32.485.442, J. H. Ring. 



Addenda 

JULIUS CAESAR 

ad7. Anonymous England c.1815 

Shakespeare Centre Library: 50.15(1812) 

[Roach edition, c.1812, 3^4 x 6; two interleaves; marbled boards 
and half red leather gilt; title on spine.] 

Promptbook. Cuts, some stage business, procession list, map for 
scene in Capitol, some cues for effects. Presented to the Birth- 
place Trust by J. O. Halliwell, 1864. 

KING LEAR 

adl8. Anonymous England 1830's(?) 

University of Illinois: x792.9/Shl5ki/no.5 

[Kemble edition, 1815, 4|4 x 67/ 8 ; red cloth boards; title gilt up 
spine.] 

Crudely marked but much used promptbook, checked for Corn- 
wall. Cuts, cues for effects. For the final scene "Cumberland's 
Edition is played instead of this" — i.e., the tragic ending. Partial 
manuscript cast includes Ryder as Burgundy, Barry as Albany, 
Bunn as Old Man. 

THE MERCHANT OF VENICE 

adl. James Whitely England 1750's(?) 

Shakespeare Centre Library: 50.21(1701) 

[Lintott edition of The Jew of Venice, 1701, 5i/£ x 7^£; blue 
cloth boards and half brown leather gilt; title gilt up spine.] 
Used promptbook. Cuts, cues for effects. Manuscript cast list 
includes Mr. and Mrs. Whitely, Mr. and Mrs. Miller, Mr. and 
Mrs. Albany, etc. Presented to the Birthplace Trust by J. O. 
Halliwell, 1864. 

ROMEO AND JULIET 

adll. Henry C. M. Dyer England 1815 

Shakespeare Centre Library: 50.29(1784) 

[Lowndes edition (Garrick version), 1784, 4 14 x 7; 4 inter- 
leaves; marbled boards and half black leather gilt; title on red 
spine label.] 



508 ADDENDA 



Much used promptbook. Cuts, calls, some stage business, cues 
for effects, funeral procession list. Dyer was a prompter. 
J. Booth's name appears at head of first scene. Wrongly noted 
on flyleaf as "D. Garrick's own copy." 



Index 



Abbey, E. (1852-1911), Am.-Eng. art- 
ist: 
MV, 64 
Abbott, Mrs., Am. actress, mid- 19th c: 

TS, 12 
Abingdon, William (1888-1959), Eng. 
actor: 
HVIII, 63 
Ackerman, P. Dodd, Am. designer, 
20th c: 
MAC, 138; OTH, 106 
Ackland, Joss, Eng. actor, 20th c: 

HV, 39; MWW, 88; TEM, 55 
Adams, Edwin (1834-77), Am. actor: 
HAM, 85; JC, 92; OTH, 54; RIII, 
42, 54 
Adams, John B., Am. actor at Boston 
Museum, mid-19th c: 
MA, 102; OTH, 119; R&J, 32; TG, 
20 
Adams, John Quincy (1767-1848), 
President of U.S.A.: 
HAM, 26 
Adams, Miriam (b. 1907), Eng. ac- 
tress: 
AYL, 92; MV, 119, 132; R&J, 89; 
TS, 61; TN, 74, 89 
Adams, Miram (b. 1907), Eng. ac- 
tress: 
TEM, 46 
Addams, A. A. (d. 1851), Am. actor: 

HAM, 24 
Addis, J. B., Am. prompter, mid-19th 
c: 

HAM, 24; MA, 10; TN, 13 
Addison, Carlotta (1849-1912), Eng. 
actress: 
R&J, 107 
Adels, Marie, Am. actress, 20th c: 

TN, 89 
Adolphus, John (1768-1845), Eng. 
writer: 
KL, 4 
Adrian, Christine, Eng. actress, 20th 
c: 
WT, 49 
Adrian, Max (b. 1903), Eng. actor: 
AYL, 109 



Aicard, Jean (1848-1921), Fr. play- 
wright: 
OTH, 119 
Aickin, Eleanor (1834-1914), actress: 

R&J, 57 
Aickin, J. (c.1739-1803), Eng. actor: 

COR, 1 
Albany, Mr. and Mrs., Eng. actors, 
18th c: 
MV, adl 
Alexander, George (1858-1918), Eng. 
actor and manager: 
AYL, 79 
Alger, William R. (1822-1905), Am. 
writer: 
KL, 72 
Allen, Charles Leslie (1830-1917), Am. 
actor: 

HAM, 179; MAC, 84 
Allen, J. H., Eng. prompter with 
Irving at the Lyceum: 
HAM, 90, 93 
Allen, Mark: 

MV, 11 
Allen, Patrick, Eng. actor, 20th c: 

MV, 130 
Allen, Viola (1869-1948), Am. actress: 
AYL, 74, 85; CYM, 28-31; MAC, 
84; TN, 54-57; WT, 32, 33 
Allestree, Mary (d. 1912), Eng. actress: 

HAM, 149 
Alleyn, Miss, Eng. actress at Stratford 
in 1880's: 
CYM, 21; LLL, 5; MM, 35 
Alswang, Ralph (b. 1916), Am. de- 
signer: 
KL, 110 
Ambrose, John Thomas: 

HAM, 179 
Ames, Winthrop (1871-1937), Am. di- 
rector: 
A&C, 36, 37; AYL, 79-81; JC, 67-71; 
MV, 56, 101, 102, 117, 118; MWW, 
65, 66; MA, 74-76; R&J, 64; TN, 
71-73, 78; WT, 42-44 
Anderson, J. L., Eng. prompter, early 
19th c: 
JC, 7, 8 



510 INDEX 



Anderson, James, Am. manager, mid- 
19th c: 
CE, 12; MV, 81; R&J, 30 
Anderson, James R. (1811-95), Eng. 
actor and manager: 
HAM, 37, 38; OTH, 32, 35; RIII, 
17, 30; R&J, 30; TEM, 14; WT, 8 
Anderson, Judith (b. 1898), Aust.- 
Am. actress: 
HAM, 165 
Anderson, Mary (1859-1940), Am. ac- 
tress: 
AYL, 60, 110; R&J, 23, 49, 50, 57; 
WT, 15, 20, 28 
Anderton, W. E., Am. stage manager, 
mid-19th c: 
MV, 12; OTH, 28 
Andreu, Mariano, Eng. designer, 
20th c: 
AW, 16; MA, 92-94 
Andrews, Frank, Am. stage manager 
with Viola Allen: 
AYL, 74, 110; TN, 55 
Andrews, Harry (b. 1911), Eng. actor: 
A&C, 43; COR, 36; HAM, 172; 
HIVi, 53; HIV 2, 14; HVIII, 70, 
73; JC, 86; LLL, 14; MAC, 144; 
MM, 25; MV, 124; OTH, 113; RII, 
42; RIII, 89 
Anglin, Margaret (1876-1958), Am. 
actress: 
AYL, 93; MAC, 133; R&J, 61; TS, 
57; TN, 75-77 
Archbold, Mrs.: 

WT, 13 
Aris, Doreen, Eng. actress, 20th c: 

TEM, 54 
Arliss, George (1868-1946), Eng. actor: 

MV, 117 
Armstrong, Warwick, Eng. designer, 
20th c: 
JC, 86 
Armstrong, Will Steven, Am. de- 
signer, 20th c: 
AW, 18; MWW, 86 
Arnold, S. J. (1774-1852), Eng. man- 
ager: 
MWW, 6, 10 
Aronson, Boris (b. 1900), Am. de- 
signer: 
COR, 36 



Arthur, Julia (1869-1950), Am. ac- 
tress: 
AYL, 72, 75; R&J, 60 
Asche, Oscar (1871-1936), Eng. actor 
and manager: 
A&C, 38; AYL, 86; JC, 73, 74; 
MM, 15, 16; MV, 111, 112; OTH, 
92, 93; TS, 43 
Ashbury, Joseph (1638-1720), Irish 
actor and manager: 
CE, 1; HAM, 1; HIV i, 2; HVIII, 
1; JC, 1; KL, 1; MAC, 2; MWW, 
2, 3; MND, 1; OTH, 2; TIM, 1; 
TN, 2; WT, 2 
Ashcroft, Peggy (b. 1907), Eng. ac- 
tress: 
A&C, 43; AYL, 105; CYM, 43; KL, 
109, 114; MV, 124; MA, 94; OTH, 
104, 118; TS, 79 
Ashwell, Lena (1872-1957), Eng. ac- 
tress and director: 
AYL, 96; HAM, 153; HIV \ 42; 
JC, 76; MAC, 128; MWW, 69; 
TEM, 44; TN, 83; WT, 45 
Atkins, Robert (b. 1886), Eng. actor 
and director: 
A&C, 42; AYL, 100; HAM, 159, 168; 
HV, 29, 30; HVIII, 69; MAC, 143; 
MV, 122; MWW, 81; MND, 40, 
41; MA, 91; OTH, 102, 109; RII, 
40; R&J, 97; TS, 70; TN, 94 
Atkinson, Rosalind (b. 1900), Eng. 
actress: 
AW, 16; R&J, 101 
Atwater, Edith (b. 1911), Am. actress: 

KL, 110 
Audley, Maxine (b. 1923), Eng. ac- 
tress: 
KJ, 64; KL, 109; TA, 1 
Ayliff, H. K. (c.1872-1949), Eng. actor: 

MWW, 79 
Ayling, W. L.: 

TN, 102 
Ayrton, F. R., Eng. stage manager 
with Benson: 
HVI, 3; MND, 27 
Ayrton, Randle (1869-1940), Eng. ac- 
tor: 
A&C, 39, 40; HAM, 164; HIV \ 50; 
HIV 2, 13; JC, 79; KJ, 57; KL, 104- 



INDEX 511 



106; MM, 22; MV, 120; MWW, 77; 
TEM, 48; T&C, 6; TN, 87; TG, 15 

Bach, Reginald (1886-1941), Eng. ac- 
tor and director: 

A&C, 41 
Baddeley, Angela (b. 1904), Eng. ac- 
tress: 

KL, 116; MWW, 83; OTH, 116; 

R&J, 102 
Badel, Alan (b. 1923), Eng. actor: 

HAM, 172; HIV 2, 14; KL, 109; 

LLL, 14; TEM, 52 
Bailey, James (b. 1922), Eng. designer: 

HAM, 170; LLL, 14; MND, 42 
Baird, Dorothea (1875-1933), Eng. ac- 
tress: 

AYL, 72 
Baker, George, Eng. actor, 20th c: 

MV, 131 
Baker, Word, Am. director, 20th c: 

AYL, 108 
Ball, William, Am. director, 20th c: 

TEM, 56 
Bamburgh, Charles: 

MV, 59 
Banbury, Frith (b. 1912), Eng. actor 
and director: 

LLL, 13 
Bangs, F. C. (1834-1908), Am. actor: 

JC, 38, 39, 41 
Bankhead, Tallulah (b. 1903), Am. 
actress: 

A&C, 41; TN, 91 
Bannen, Ian (b. 1928), Eng. actor: 

AYL, 109; HAM, 178; OTH, 118; 

R&J, 106 
Barnay, Ludwig (1842-1924), Germ, 
actor: 

JC, 51 
Barnes, J. H. (1850-1925), Eng. actor: 

MAC, 87 
Barnes, Mrs. John, Am. actress, early 
19th c: 

HIV i, 1 1 
Barnett: 

AYL, 3 
Barrett, Lawrence (1838-91), Am. ac- 
tor and manager: 

HAM, 77, 81-83, 108; JC, 18, 33-44, 

46-49, 51; KJ, 46; KL, 88, 89; MAC, 



85; MV, 80, 81; OTH, 55, 71; RIII, 

61, 76; WT, 16 
Barrett, Wilson (1847-1904), Eng. ac- 
tor and manager: 

HAM, 61, 99 
Barrie, Barbara, Am. actress, 20th c: 

MND, 44 
Barron, Charles (b. 1840), Am. actor: 

JC, 36 
Barrow, Mrs. Julia, Am. actress, mid- 
19th c: 

MA, 21; TN, 22 
Barry, Eleanor, Am. actress, late 19th 
c: 

AYL, 69 
Barry, Thomas (1798-1876), Eng.-Am. 
actor and manager: 

AYL, 35; COR, 19; HIV 1 , 11, 30, 

31; HVIII, 19, 34; JC, 22-24, 92 

KJ, 15, 30, 31; KL, adl8; MM, 11 

MND, 10, 12-14; OTH, 38, 39 

TEM, 5, 16-18; TN, 19; WT, 58 
Barrymore, John (1882-1942), Am. ac- 
tor: 

HAM, 154-158 
Barrymore, William (c. 1758-1 830), 
Eng. actor: 

AW, 4, 21 
Bartley, George (1782-1858), Eng. ac- 
tor and stage manager: 

HIVi, 8; MWW, 31, 32; OTH, 9 
Barton, Mr., Eng.-Am. actor, early 
19th c: 

KL, 23 
Barton, Fred P., Am. stage manager 
with Lawrence Barrett: 

JC, 33, 34 
Barton, George Washington, Am. ac- 
tor, 19th c: 

OTH, 20 
Barton, John, Eng. director, 20th c: 

TS, 79 
Barton, Mary, Eng. actress, 20th c: 

TN, 84 
Bass, Charles (1803-63), Am. actor: 

HAM, 24; MWW, 26 
Bassett, Russell: 

HVIII, 75 
Batchelder, J. D., Am. collector: 

HAM, 146; KL, 87 



512 INDEX 



Bateman, Miss (1853-1940), Am.-Eng. 
actress, md. Edward Compton: 
CE, 23 
Bates, Blanche (1872-1941), Am. ac- 
tress: 
AYL, 71; RfcJ, 59 
Bates, James (d. 1784), Eng. actor: 

CYM, 2 
Bates, James W., Am. actor, mid-19th 
c: 

RIII, 92 
Bates, Michael, Eng. actor, 20th c: 

AYL, 102 
Battersby, Martin, Eng. designer, 
20th c: 
MWW, 81; OTH, 109 
Beaton, Cecil (b. 1904), Eng. de- 
signer: 
LLL, 13 
Beatt, David, Edinburgh manager, 
mid-1 8th c: 
HVIII, 3; MAC, 7 
Beckley, E. M.: 

MAC, 134 
Becks, George (1835-1904), Am. actor 
and theatrical collector: 
AW, 7; A&C, 7, 13, 14; AYL, 24, 
36, 56; CE, 20; COR, 23; CYM, 
22; HAM, 50, 67, 68, 112; HIV*, 

39, 40; HV, 12, 25; HVIII 27, 33, 
50, 51, 57, 58; JC, 11, 17, 39, 

40, 42; KL, 21, 46, 51, 52, 71, 91; 
MAC, 12, 70, 106, 108; MM, 12, 13; 
MV, 29, 30, 83, 132; MWW, 12, 26, 
32; MND, 13, 26, 49; MA, 20, 38, 
39, 47; OTH, 19, 33, 37, 48, 80; 
RIII, 29, 53, 80, 92; R&J, 41; TS, 
9, 10, 19, 20, 32; TEM, 5, 16, 27- 
29, 31; TIM, 11, 12; TN, 23, 31-33, 
37; TG, 7-9; WT, 13, 29 

Bedford, Brian, Eng. actor, 20th c: 

TEM, 54 
Belasco, David (1853-1931), Am. play- 
wright and manager: 

MV, 115, 116; TS, 20; TN, 34 
Beldon, Eileen (b. 1901), Eng. actress: 

TS, 62 
Bel Geddes, Norman (1893-1958), 
Am. designer and director: 

HAM, 161, 179 



Bell, George Joseph (1770-1843), Scot, 
lawyer: 

HAM, 16; HVIII, 9; MAC, 13; MV, 

9 
Bell, Gorman T.: 

MAC, 150 
Bell, James E.: 

MND, 11 
Bell, Stanley (1881-1952), Eng. direc- 
tor: 

OTH, 95 
Bellew, Kyrle (1885-1911), Eng.-Am. 
actor: 

A&C, 16; MV, 108; R&J, 58 
Belmore, Guy, Eng. actor, 20th c: 

MAC, 141 
Belton, F. (1815-89), Eng. actor: 

CYM, 15; HAM, 61; MA, 21 
Bendtsen, France, Am. actor, 20th c: 

CYM, 33 
Bengough: 

RIII, 23 
Benn, Walter, Am. actor, mid-19th c: 

HAM, 56 
Bennett, Charles: 

AW, 21 
Bennett, George (1800-1879), Eng. ac- 
tor: 

JC, 11; KJ, 65 
Bennett, James (d. 1885), Am. actor: 

KJ, 30, 32 
Bennett, Julia (c. 1824-1 903), Am. ac- 
tress: 

AYL, 110 
Bennett, Tom, Am. musician, 20th c: 

OTH, 108 
Bennett, Vivienne (b. 1905), Eng. ac- 
tress: 

TS, 69 
Benson, F. R. (1858-1939), Eng. actor 
and manager: 

AW, 11; AYL, 76-78; HAM, 152; 

HVI, 3; JC, 77; MAC, 126, 127; 

MV, 88; MND, 27; OTH, 89, 91; 

R&J, 79, 80; TS, 42; TEM, 34; TN, 

44 
Benson, Lady (1860-1946), Eng. ac- 
tress: 

HAM, 152 



INDEX 513 



Bent, Buena (d. 1957), Eng. actress: 

KL, 105 
Benthall, Michael (b. 1919), Eng. di- 
rector: 

AW, 15; COR, 35; CYM, 41, 42; 

HAM, 170; HV, 36, 38; HVIII, 73; 

JC, 89; KJ, 59; MM, 28, 29; MV, 

123, 125; MND, 42; RII, 43; TS, 

71, 76; TEM, 52, 53; TIM, 15; 

WT, 52 
Bernard, Charles, Eng. actor at Strat- 
ford in 1880's: 

LLL, 5; TEM, 12 
Bernstein, Aline (1882-1955), Am. de- 
signer: 

R8cJ, 92 
Berrell, George B., Am. stage man- 
ager, 19th c: 

AYL, 110; COR, 38; HIV 1 , 57; KJ, 

47; MWW, 46; MA, 43 
Besn, Louis: 

HVIII, 55 
Betterton, Thomas (1635-1710), Eng. 
actor and manager: 

MM, 2 
Betty, Henry (1819-97), Eng. actor 
and stage manager: 

AYL, 29; COR, 16; HAM, 31, 32; 

HIV*, 20; JC, 10; KL, 43; MAC, 

31; MM, 10; MV, 23; R&J, 20; 

TEM, 6, 7; TG, 4 
Betty, William Henry West (1791- 
1874), Eng. actor: 

HAM, 31 
Bidmead, Stephanie, Eng. actress, 
20th c: 

KL, 116 
Bignall, John: 

KJ, 65 
Bingham, Mrs.: 

HAM, 179 
Bishop, G. Sheldon, Eng. actor, 20th 
c: 

CE, 26 
Bishop, P., Eng. designer, 1850's: 

MAC, 54 
Bispham, William: 

HAM, 10 
Black, Dorothy (b. 1899), Eng. actress: 



LLL, 10; MND, 39; MA, 88; TN, 

88 
Blackburn, Thomas, Eng. actor, 18th 
c: 

RIII, 1 
Blake, O. W.: 

MV, 75 
Blake, W. R. (1805-63), Am. actor: 

HIVi, 57; KJ, 65 
Blakely, Colin, Eng. actor, 20th c: 

AYL, 109 
Blanch, Mrs. Lesley (b. 1907), Eng. 
designer and writer: 

MV, 120; MA, 87 
Bland, Mrs., Eng. actress, n£e Faucit, 
early 19th c: 

HAM, 24 
Bland, John (d. 1788), Eng. play- 
wright: 

MAC, 5 
Bland, Joyce (b. 1906), Eng. actress: 

AYL, 101; CYM, 39; KL, 106; 

MWW, 79; OTH, 103; RIII, 88; 

TEM, 46; TN, 92; WT, 48 
Blatchley, John, Eng. actor, 20th c: 

TEM, 51; TN, 95 
Blick, Newton, Eng. actor, 20th c: 

MA, 101 
Bloom, Claire (b. 1931), Eng. actress: 

AW, 15; HAM, 170; WT, 51 
Blum, Robert: 

OTH, 81 
Bochner, Lloyd, Can. actor, 20th c: 

JC, 88; MM, 27; TG, 18 
Bond, Frederick (1861-1914), Am. ac- 
tor: 

TS, 29 
Boniface, George C. (1833-1912), Am. 
actor: 

HAM, 78; RIII, 46 
Boniface, Stella (d. 1883), Am. actress: 

OTH, 66 
Booth, Agnes (1847-1910), Am. ac- 
tress: 

KJ, 35; KL, 117; MA, 42, 43; RfcJ, 

40 
Booth, Edwin (1833-93), Am. actor: 

HAM, 10, 44, 75, 76, 81, 86, 87, 101- 

104, 106-113, 116; HIV 2 , 7; HVIII, 

8; JC, 32, 46-51, 72; KL, 80-87; 



514 INDEX 



MAC, 29, 42, 64, 65, 102-106, 108; 

MM, 6; MV, 24, 33, 46, 48, 53, 70, 

71, 79, 80, 102, 103; MA, 40, 41, 

74; OTH, 32, 51, 53, 55, 59, 61, 

65, 67-70, 74, 76-78, 82, 83, 90, 101; 

RII, 16-24; RIII, 59, 60, 62, 66-74, 

79; R&J, 12, 35, 37-39; TS, 12, 26- 

27; TIM, 9; TN, 15 
Booth, J. B. (1796-1852), Eng.-Am. 
actor: 

HAM, 24, 35, 37, 179; KL, 44; 

MAC, 47; MV, 26, 45; OTH, 19, 

35, 37, 119; RIII, 10, 15, 17, 35, 

42; R&J, ad 11 
Booth, J. B., Jr. (1821-83), Am. actor: 

AYL, 110; JC, 92; KJ, 34, 35; MV, 

50; MA, 42; RIII, 57; R&J, 40, 62 
Booth, John Wilkes (1839-65), Am. 
actor: 

RIII, 36, 51, 52 
Bosworth, Hallam (1875-1924), Am. 
actor: 

AYL, 63; HAM, 112; JC, 42; MAC, 

108; MV, 113; MA, 52; OTH, 101 
Boulter, Rosalyn (b. 1916), Eng. ac- 
tress: 

MND, 40 
Boyle, E. W.: 

MAC, 150 
Bozenta, Count, husband of Mo- 
djeska: 

AYL, 54 
Bradley, Albert: 

AYL, 110; MWW, 89; MA, 102 
Brandon, James: 

RIII, 3 
Brayton, Lily (1876-1953), Eng. ac- 
tress, md. Oscar Asche: 

A&C, 38; AYL, 86; MV, 111, 112 
Brecher, Egon (1880-1946), Germ.- 
Am. actor: 

TN, 85 
Breen, Robert, Am. director, 20th c: 

HAM, 169, 171 
Brent, Romney (b. 1902), Am. actor 
and director: 

MWW, 82 
Bridges-Adams, W. (b. 1889), Eng. di- 
rector and writer: 

AW, 12; A&C, 39, 40; AYL, 97; 



COR, 29, 30; CYM, 32; HAM, 163, 

164; HIVi, 50; HIV2, 13; JC, 79, 

80; KJ, 57; KL, 104; LLL, 10; 

MAC, 143; MM, 22; MWW, 76, 77; 

MND, 38, 39; MA, 86-88; OTH, 

103; RII, 35, 36; RIII, 86, 87; R&J, 

93, 94; TS, 63, 64; TEM, 46, 47; 

TIM, 14; TN, 87, 88; TG, 15 
Britton, Hutin (b. 1876), Eng. actress: 

HAM, 149 
Britton, Tony, Eng. actor, 20th c: 

HIVi, 56; R&J, 101 
Broadley, Edward, Eng. stage man- 
ager, 20th c: 

A&C, 23, 28; R&J, 91 
Bromberg, Edward (1904-51), Am. ac- 
tor: 

R&J, 92 
Bronsori, J.: 

T&C, 10 
Brood, Charles, Irish prompter, early 
19th c: 

TEM, 4 
Brook, Peter (b. 1925), Eng. director: 

LLL, 11, 12; MM, 25, 26; R&J, 100; 

TEM, 54; TA, 1 
Brooke, G. V. (1818-66), Eng. actor: 

MAC, 66; OTH, 19, 37, 119; RIII, 

35, 49 
Brooks, Jacqueline, Am. actress, 20th 
c: 

OTH, 114 
Brougham, John (1810-80), Irish-Eng.- 
Am. actor and playwright: 

KJ, 33 
Brown, B. K., Am. actor, 19th c: 

AW, 21; R&J, 15 
Brown, Frederick, Am. actor, early 
19th c: 

KL, 15 
Brown, George: 

MWW, 89 
Brown, Pamela (b. 1917), Eng. ac- 
tress: 

T&C, 6 
Brown, Sedley: 

CE, 28; MAC, 150 
Brown-Potter, Mrs. James (1859-1936), 

Am. actress: 

R&J, 58 



INDEX 515 



Browne, Coral (b. 1913), Eng. actress: 

KL, 115 
Browne, George: 

AYL, 110 
Browne, J. H., Am. prompter at Bos- 
ton, mid- 19th c.: 
KL, 70 
Browne, Laidman (b. 1896), Eng. ac- 
tor: 
AYL, 97; COR, 29; MV, 120 
Browne, Maurice (1881-1955), Eng. 
actor and director: 
OTH, 104, 105 
Buchanan, C. W.: 

OTH, 94 
Buckland, John W.: 

MV, 72 
Bucklaw, Alfred: 

MV, 132 
Buckstone, John Baldwin (1802-79), 
Eng. actor and manager: 
AYL, 42; TN, 20, 21, 24, 38 
Bundy, Murray (b. 1891), Am. 
scholar: 
HAM, 86 
Bunn, Alfred (1796-1860), Eng. actor 
and manager: 
KL, ad 18 
Burchall, James: 

OTH, 10 
Burden, Anna, Eng. actress, 20th c: 

HAM, 168; MND, 41 
Burdett-Coutts, Baroness (1814-1906), 
Eng. philanthropist: 
OTH, 11 
Burger, Alexander: 

HAM, 54; MAC, 61; OTH, 41 
Burnim, Kalman (b. 1928), Am. thea- 
tre historian: 
HAM, 5; KL, 3; MAC, 8 
Burns, Helen, Eng. actress, 20th c: 

LLL, 12; MWW, 85; MND, 47 
Burrill, Ena (b. 1908), Eng. actress: 

KJ, 59; OTH, 110 
Burton, Hal, Eng. designer, 20th c: 

RII, 41 
Burton, Richard (b. 1925), Eng. actor: 
COR, 35; HIV 1 , 53; HIV 2 , 14; 
HV, 35, 36; KJ, 60 



Burton, William E. (1804-60), Am. 
actor and manager: 

AYL, 30, 110; HAM, 50; HVIII, 

35; JC, 92; MWW, 30, 41; MND, 

10, 11, 13, 14; MA, 21; R&J, 107; 

TEM, 5, 15; TN, 10, 17, 18; WT, 

16 
Bury, John and Margaret, Eng. de- 
signers, 20th c: 

HV, 39 
Butcher, C: 

MAC, 26 
Butler, Mrs. (see Kemble, Fanny) 
Butler, Edward: 

HVIII, 75 
Byford, Roy (1873-1943), Eng. actor: 

HIV 1 , 50, 52; HIV 2 , 13; MWW, 76- 

78; MND, 38, 39; MA, 86, 88, 89; 

TN, 87, 88 
Byrne, Muriel St. C. (b. 1895), Eng. 
theatre historian: 

HAM, 7 
Byron, Arthur (1872-1943), Am. actor: 

HAM, 165 
Byron, John (b. 1912), Eng. actor: 

AYL, 100; HAM, 168 

Cairn, Mrs.: 

CYM, 44 
Caldwell, James, Am. manager, early 
19th c: 
MAC, 19 
Caldwell, Zoe, Eng. actress, 20th c: 

AW, 17; KL, 116; LLL, 15 
Calhern, Louis (1895-1956), Am. ac- 
tor: 
KL, 110 
Calvert, Charles A. (1828-79), Eng. 
actor and manager: 
A&C, 7; CE, 23; HV, 19-27; HVIII, 
58; MV, 75; MND, 20; RIII, 53 
Calvert, Mrs. Charles (1837-1921), 
Eng. actress: 
HIV 1 , 41 
Calvert, Louis (1859-1923), Eng. ac- 
tor: 
HIV 1 , 41 
Cambridge, W. M.: 
MA, 102 



516 INDEX 



Cameron, Audrey, Eng. stage man- 
ager, 20th c: 
R&J, 90 
Cameron, Donald (d. 1955), Am. ac- 
tor: 
R&J, 92 
Campbell, Douglas (b. 1922), Eng.- 
Can. actor and director: 
AW, 14; AYL, 106; COR, 37; 
HAM, 173; HIVi, 55, 56; HV, 37; 
HVIII, 74; MWW, 85; MND, 47, 
48; OTH, 117; TN, 97; WT, 55 
Campbell, Mrs. Patrick (1865-1940), 
Eng. actress: 
MAC, 129 
Capell, Edward (1713-81), Eng. Shake- 
speare scholar: 
A&C, 1; MND, 4 
Carey, Denis (b. 1909), Eng. actor and 
director: 
MV, 124; MA, 95; TS, 75 
Carey, Sidney: 

JC, 92 
Carhart, James L.: 
AYL, 53; MV, 72 
Carl, Joseph, Eng. designer, 20th c: 

OTH, 110 
Carle, Walter: 

HIVi, 35 
Carlisle, Alexandra (1886-1936), Eng.- 
Am. actress: 
MAC, 139; OTH, 106 
Carnovsky, Morris (b. 1898), Am. ac- 
tor: 
HAM, 175; MV, 128; TEM, 56 
Carr, G. C, Eng. prompter at Drury 
Lane, early 19th c: 
HVI, 1; KL, 17; OTH, 11; RII, 3 
Carrick, Edward (b. 1905), Eng. de- 
signer: 
MAC, 144 
Carrington, Ethel (b. 1889), Eng. ac- 
tress: 
CYM, 32 
Carrington, Margaret: 
HAM, 158 

Carson, W. G. B. (b. 1891), Am. thea- 
tre historian: 
AYL, 110 



Carter, Jack, Am. actor, 20th c: 

MAC, 140 
Carver, Robert, Eng. scene-painter, 
18th c: 
AYL, 4; TEM, 2 
Casartelli, Gabrielle (b. 1910), Eng. 
actress: 
HAM, 160 
Casson, Ann (b. 1915), Eng. actress: 

KJ, 63 
Casson, Lewis (b. 1875), Eng. actor 
and director: 
KL, 107 
Cathcart, James (c. 1828-1 902), Eng. 
actor and stage manager: 
HV, 12 
Cellier, Frank (1884-1948), Eng. ac- 
tor: 
TN, 84 
Chalmers, Thomas, Am. actor, 20th 
c: 
A&C, 41 
Chambers, F. Owen, Eng. actor and 
director, late 19th c: 
A&C, 17; HAM, 129; MWW, 80; 
MND, 37; R&J, 63; TS, 67; TN, 90 
Chaney, Stewart, Am. designer, 20th 
c: 

HAM, 166; WT, 50 
Chanfrau, Mrs. F. S. (1837-1909), Am. 
actress: 
R&J, 23 
Chappel, Charles: 

HAM, 126 
Charnock, H. C, Am. actor and 
prompter, early 19th c: 
KL, 23; MAC, 17 
Cherrell, Gwen (b. 1926), Eng. ac- 
tress: 
LLL, 13 
Cherry, Helen (b. 1915), Eng. actress: 

AYL, 100; KL, 114; MV, 122 
Chilcott, Barbara, Can. actress, 20th 
c: 
TS, 74 
Child, John: 
OTH, 119 
Chippendale, F., Am. actor, mid-19th 
c: 
HIVi, 34; HV, 40; KL, 117 



INDEX 517 



Chippendale, W. H. (1801-88), Eng. 
actor: 
TN, 21 
Chorley, Miss, Eng. actress, early 19th 
c: 
AYL, 14 
Christians, Mady (1900-1951), Am. ac- 
tress: 
HAM, 167 
Christie, Robert, Can. actor, 20th c: 

JC, 88; RIII, 90 
Church, E. D.: 

HIV2, 1 
Church, Esme (b. 1893), Eng. actress: 

HAM, 163 
Churchill, Diana (b. 1913), Eng. ac- 
tress: 
HAM, 172; OTH, 113 
Cibber, Colley (1671-1757), Eng. ac- 
tor, manager, and playwright: 
RII, 17; RIII, 12, 30, 50, 59, 62, 
64, 79 
Clarke, Annie M. (1846-1902), Am. 
actress: 
MAC, 76; R&J, 107 
Clarke, Cecil, Can. director, 20th c: 

MM, 27 
Clarke, Charles W. (1848-1940), Am. 
commentator on Booth: 
HAM, 86 
Clarke, Ernest: 

TN, 102 
Clarke, George (1844-1906), Am. ac- 
tor: 
TS, 34 
Clarke, George H, Am. stage man- 
ager with Forrest: 
MAC, 69; OTH, 52 
Clarke, George W.: 

MWW, 89 
Clarke, J. S. (1833-99), Am.-Eng. actor 
and manager: 
CE, 17, 20 
Clarke, N. B., Am. prompter, mid- 
19th c: 
JC, 20, 21; KL, 48 
Clifford, Henry Marsh: 

AYL, 28 
Clifford, John W., Am. stage man- 
ager, mid-1 9th c: 



MWW, 19 

Clunes, Alec (b. 1912), Eng. actor and 
director: 

COR, 32; JC, 90; KJ, 62; TS, 69; 

TEM, 54; TN, 92 
Clunes, W.: 

RIII, 5 
Coe, Arthur, Eng. stage manager with 
Tree: 

JC, 56, 58, 60; KJ, 51 
Colbourne, Maurice (b. 1894), Eng. 
actor and director: 

AW, 12; TG, 15 
Cole, J. W. (d. 1870), Eng. manager 
and writer, ne* Calcraft: 

WT, 18 
Colicos, John, Can. actor, 20th c: 

COR, 37; LLL, 15; WT, 53 
Collier, Edmund, Am. actor, late 19th 
c: 

RIII, 60 
Collier, R. J., Eng. prompter, early 
19th c: 

HIV2, 5; KJ, 9, 11; MAC, 15, 20; 

RIII, 13 
Collins, V. H.: 

CYM, 38; HAM, 139, 140; MV, 95; 

R&J, 74; TS, 51; TN, 63 
Colman, George (1732-94), Eng. play- 
wright and manager: 

KL, 4-6; MWW, 5; MND, 3-7 
Colquhoun, Robert, Eng. designer, 
20th c: 

KL, 113 
Colt, Alvin (b. 1916), Am. designer: 

COR, 34; HAM, 175 
Colter, Frank, Am. actor, 19th c: 

JC, 36 
Compton, Edward (1854-1918), Eng. 

actor and manager: 

CE, 23; TN, 38 
Compton, Fay (b. 1894), Eng. actress: 

AW, 15; COR, 35; KJ, 60; KL, 107 
Compton, Madge, Eng. actress, 20th 

c: 

TS, 63 
Conkling, Miss F. G.: 

HAM, 179 
Conner, E. S., Am. actor, mid-19th c: 

MM, 6 



518 INDEX 



Conner, Mrs. E. S., Am. actress, ne'e 
Barnes, mid-19th c: 

HAM, 41 
Connor, Edric, Eng. actor, 20th c: 

PER, 5 
Connor, Thomas L.: 

AYL, 110 
Conway, Mr. and Mrs. F. B. (1819-74, 
1834-75), Am. actors: 

R&J, 22; TN, 23 
Conway, William A. (1789-1828), 
Eng. -Am. actor: 

COR, 8; HAM, 40; OTH, 37 
Cook, Dutton (1829-83), Eng. thea- 
tre critic and historian: 

TEM, 31 
Cooke, Frank: 

OTH, 9 
Cooke, George Frederick (1756-1812), 
Eng. actor: 

CYM, 6, 7; HAM, 7; HVIII, 8, 10, 

11, 24; KL, 10, 14; MAC, 12; MV, 

8, 45; MWW, 7; OTH, 6; RIII, 3, 

5, 8 
"Cooke, George Frederick," (?)Am. 
actor, mid-19th c: 

TIM, 12 
Cooke, Juliet, Eng. actress, 20th c: 

TEM, 55 
Cooksey, Curtis, Am. actor, early 20th 
c: 

R&J, 62; TS, 56 
Cooper, Gladys (b. 1888), Eng. ac- 
tress: 

MAC, 138; OTH, 106 
Cooper, Thomas Abthorpe (1776- 
1849), Am. actor: 

HAM, 11, 12, 35; HVIII, 10; MV, 

26; OTH, 6, 13; RIII, 17; R&J, 7 
Cooper, William: 

HVIII, 75 
Coplestone: 

R&J, 107 
Corbin, John: 

WT, 42 
Cornell, Katharine (b. 1898), Am. ac- 
tress: 

R&J, 95 
Corzatte, Clayton, Am. actor, 20th c: 

TEM, 56 
Couldock, C. W. (1815-98), Am. actor: 



HAM, 52; KL, 39; OTH, 40; RIII, 

36 
Coulouris, George (b. 1903), Eng.-Am. 
actor: 

JC, 82 
Couper, Barbara (b. 1903), Eng. ac- 
tress: 

HAM, 164; KL, 105; MA, 89; TS, 

66 
Courtenay, Tom, Eng. actor, 20th c: 

MND, 48 
Courtleigh, William (1869-1930), Am. 
actor: 

JC, 78 
Cowell, Joseph (1792-1863), Eng.-Am. 
actor: 

CE, 28 
Cowl, Jane (1890-1950), Am. actress: 

R&J, 91; TN, 86 
Cowper, J. C. (c. 1828-85), Eng. actor: 

MAC, 66; OTH, 45; RIII, 49 
Cox, Alderman: 

OTH, 12 
Cox, Harry (1842-82), Eng. actor: 

OTH, 94 
Cox, James, Eng. designer, 20th c: 

JC,'81 
Coxhead, Hilda, Eng. actress, 20th c: 

KL, 104; MM, 22; MND, 38; WT, 

47 
Craig, Edith (1869-1947), Eng. ac- 
tress and director: 

MAC, 101; MV, 132; MWW, 89; 

R&J, 90 
Craig, Edward Gordon (b. 1872), Eng. 
designer and writer: 

CYM, 27; HAM, 95; MAC, 133; 

MA, 50 
Crane, W. H. (1845-1928), Am. actor: 

CE, 22; TN, 18 
Cranston, Ellen: 

HVI, 2 
Crawley, J. Sayre (d. 1948), Am. ac- 
tor: 

R&J, 91; TN, 85 
Creswell, Peter, Eng. director, 20th c: 

KL, 108 
Creswick, William (1813-88), Eng. ac- 
tor, manager, and collector: 

CE, 4; COR, 2; CYM, 8; HAM, 89; 

HIV*, 35, 36; HIV2, 5; HVIII, 50; 



INDEX 519 



JC, 8; KJ, 29; KL, 79, 92, 94; LLL, 

4; MAC, 15, 68; MM, 9; MV, 54; 

MA, 44; OTH, 49, 50; PER, 3; 

RIII, 19, 27, 49; R&J, 107; TEM, 

10, 11, 30; TIM, 6, 7; WT, 5 
Crews, Laura Hope (1880-1942), Am. 
actress: 

MA, 79 
Crisp, Harry (1844-1882), Am. actor: 

MA, 102 
Crocker, F. G.: 

MWW, 20 
Crompton, W. H.: 

A&C, 12 
Crooke, Frederick, Eng. designer, 
20th c: 

T&C, 9 
Crosman, Henrietta (1865-1944), Am. 
actress: 

AYL, 75; RIII, 92; TN, 102 
Cross, Gerald, Eng. actor, 20th c: 

JC, 89 
Croxon, G. H., Eng. prompter, early 
20th c: 

JC, 61 
Crozier, Eric, Eng. director, 20th c: 

TEM, 50 
Cruddas, Audrey, Eng. designer, 20th 
c: 

COR, 35; CYM, 42; HIV2, 16; HV, 

36, 38; JC, 89; KJ, 59, 62, 64; 

OTH, 110 
Cruickshank, Andrew (b. 1907), Eng. 
actor: 

HVIII, 71; JC, 86 
Cruikshank, George (1792-1878), Eng. 
artist: 

MWW, 50 
Cuka, Frances (b. 1936), Eng. actress: 

TG, 19 
Culliford, James, Eng. actor, 20th c: 

CE, 27 
Curie, W., Aust. prompter, 19th c: 

OTH, 50 
Curtis, Barbara, Eng. designer, 20th 
c: 

HAM, 168; JC, 81, 84; KJ, 58; KL, 

108; TS, 66; WT, 49 
Cushman, Asa, Am. stage manager at 
Providence, mid-19th c: 



AYL, 110; HAM, 41; KL, 117; 

MAC, 41, 150; MV, 132; MWW, 

89; MA, 101; OTH, 119; RIII, 35, 

92; R&J, 31, 107; TG, 20 
Cushman, Charlotte (1816-76), Am. 
actress: 

AYL, 13, 37, 40; HAM, 39, 48; 

HVIII, 25, 29-31, 33, 58; MAC, 37, 

38, 42, 45, 46, 79, 105, 106, 108; 

R&J, 23, 30, 31, 33 
Cushman, Susan (1822-59), Am. ac- 
tress: 

AYL, 13; R&J, 23 
Cutter, William: 

OTH, 119 

Dale, James (b. 1886), Eng. actor: 

CE, 26; COR, 32; HVIII, 68; JC, 

81; KJ, 57; MAC, 141; MA, 89; 

RIII, 88; TG, 15 
Dall, Nicholas, Eng. scene-painter, 
18th c: 

AW, 1; MM, 3 
Daly, Arnold (1875-1927), Am. actor 
and director: 

CYM, 44 
Daly, Augustin (1839-99), Am. man- 
ager: 

AW, 9, 10; AYL, 37, 44, 58-63, 73, 

79; LLL, 6-9; MV, 53, 78, 84, 85; 

MWW, 30, 40, 44, 45, 48-50; MND, 

10, 14, 23-25, 49; MA, 51-55; R&J, 

58; TS, 28-35, 54, 55; TEM, 33-35; 

TN, 10, 25, 34-42, 55, 71; TG, 11- 

13 
Daly, Richard (d. 1813), Irish man- 
ager: 

HAM, 8 
Daly, William H. (d. 1895), Am. stage 
manager: 

RIII, 54, 57 
Daneman, Paul (b. 1925), Eng. actor: 

COR, 35; HIV2, 16; HVI, 4; KJ, 

64; KL, 115 
Danforth, E. W.: 

MWW, 34 
Daniell, Henry (b. 1894), Eng.-Am. 
actor: 

WT, 50 



520 INDEX 



Davenport, E. L. (1815-77), Am. ac- 
tor: 
AYL, 25; HAM, 44, 52; HVIII, 75; 
JC, 18, 38-43; KJ, 33, 65; KL, 28, 
49, 117; MAC, 43; MV, 51, 52; 
MWW, 21; MA, 36, 37; R&J, 23; 
TS, 80; TEM, 29, 31 
Davenport, Mrs. E. L. (Fanny Vining) 
(c. 1829-91), Eng.-Am. actress: 
KL, 49; R&J, 23; TS, 12 
Davenport, Fanny (1850-98), Am. ac- 
tress: 
AYL, 44, 45, 51, 57, 60; KJ, 65; 
MAC, 71; MWW, 21; MA, 36 
Davenport, May (1856-1927), Am. ac- 
tress: 
AYL, 25, 51 
Davey, Thomas: 

RIII, 51; R&J, 35 
Davidge, William (1814-88), Am. ac- 
tor: 
MV, 15; MWW, 40 
Davis, A. B.: 

R&J, 107 
Davis, C. M.: 

MAC, 42 
Davis, Chauncey: 

AYL, 110 
Davis, Donald, Am. actor, 20th c: 

A&C, 47; AYL, 108; JC, 88; MM, 27 
Davis, F. E.: 

KL, 48 
Davis, Fitzroy, Am. stage manager 
and novelist, 20th c: 
R&J, 95 
Davis, H. C: 

KL, 75 
Dawison, Bogumil (1818-72), Germ, 
actor: 
OTH, 59 
Day, Marie, Can. designer, 20th c: 

HIV*, 55 
de Bonay, John: 

HVIII, 75 
De Gray, Miss: 

AYL, 110 
Dench, Judi, Eng. actress, 20th c: 

HV, 38, 39; MND, 48 
Dengel, Jake, Can. actor, 20th c: 
MND, 47 



Denham, Maurice, Eng. actor, 20th 

Kj', 64 
Denis, John, Eng. actor, 20th c: 

MND, 39 
Denison, Michael (b. 1915), Eng. ac- 
tor: 

AW, 16 
de Nobili, Lila, Eng. designer, 20th 

c: 

CYM, 43; MND, 46; TN, 98, 99; 

TG, 19 
Dering, Sir Edward (1598-1644), pa- 
tron: 

HIV 1 , 1 
de Souza, Edward, Eng. actor, 20th c: 

AW, 17 
Deuel, James P., Am. actor, 19th c: 

HAM, 179 
Devine, George (b. 1910), Eng. actor 
and director: 

KJ, 60; KL, 113, 114; MND, 43; 

MA, 94; TS, 72, 73 
Dibdin, T. (1771-1841), Eng. play- 
wright: 

HIVi, 8 
Dick, T. L.: 

MAC, 6 
Digges, West (1720-86), Eng. actor: 

MAC, 5, 6 
Dignam, Mark (b. 1909), Eng. actor: 

HAM, 174; TN, 98 
Dillon, Charles (1819-81), Eng. actor: 

COR, 21; WT, 27 
Dimond, Edward P., Am. stage man- 
ager, 20th c: 

RII, 38, 39 
Dixon, Jill, Eng. actress, 20th c: 

RIII, 91 
Dobbs, J.: 

TEM, 57 
Dodimead, David, Eng. actor, 20th c: 

MV, 125 
Dornton, Charles (d. 1900), Eng. man- 
ager: 

AYL, 43; HVIII, 49 
Douboujinsky, Eng. designer, 20th c: 

CYM, 43 
Doud, John: 

R&J, 62 



INDEX 521 



Doud, Oliver, Am. stage manager 
with Booth: 
MV, 80; RIII, 79 
Douglas, Diana, Am. actress, 20th c: 

WT, 56 
Dow, T. Agnew, Am. prompter, mid- 
19th c.: 
KJ, 32; MA, 25 
Dowden, Edward (1842-1913), Eng. 
Shakespeare scholar: 
AYL, 60 
Downer, Alan S. (b. 1912), Am. thea- 
tre historian: 
MAC, 43; RIII, 14 
Downes, John (1662-1710), Eng. 
prompter with Betterton: 
MM, 2 
Downey, Joe J., Aust. prompter, 19th 
c: 
AW, 6 
Dowton, William (1764-1851), Eng. 
actor: 
COR, 6; HIVi, 3, 14; HIV2, 3; 
MV, 2 
Doyle, F. T., Eng. stage manager, 
19th c: 
R&J, 36 
Drake, Alfred (b. 1914), Am. actor: 

MA, 96; OTH, 114 
Drake, Fabia (b. 1904), Eng. actress: 
AYL, 97; MAC, 137; MV, 120; 
MND, 38; MA, 87; TN, 87 
Drew, John (1853-1927), Am. actor: 

MA,' 79; TS, 29, 30, 35 
Drew, Mrs. John (1820-97), Am. ac- 
tress and manager: 
MWW, 56 
Drofnah, Marie, Am. actress, wife of 
Charles Hanford: 
A&C, 19; CYM, 31; MA, 56; WT, 
30 
Druce, Herbert (1870-1931), Eng.-Am. 
actor: 
MA, 79 
Duff, John (1787-1831), Irish-Am. ac- 
tor: 
KL, 10 
Dunnock, Mildred, Am. actress, 20th 

KJ, 61 



Dunphie, Charles: 

HAM, 102 
Dwyer, John, Am. actor, early 19th c: 

MWW, 27 
Dyas, E. (c.1815-1877), Eng. actor: 

HIV2, 17; HV, 40; HVIII, 32 
Dyer, Henry C. M., Eng. prompter, 
early 19th c: 

R&J, ad 11 

Eason, Myles (b. 1915), Aust.-Eng. ac- 
tor: 

AYL, 101; CYM, 40 
Easton, Richard, Am. actor, 20th c: 

MND, 44; R&J, 103 
Ebert, Joyce, Am. actress, 20th c: 

TEM, 56 
Ebsworth, Joseph (1788-1868), Eng. 
musician and prompter: 

COR, 5 
Eccles, Donald (b. 1908), Eng. actor: 

JC, 81; T&C, 6 
Eddy, Edward (1822-75), Am. actor: 

HAM, 44; KL, 42; MAC, 38; MV, 

24; OTH, 32; R&J, 30 
Edmonds, E., Eng. prompter, 19th c: 

A&C, 9; HVIII, 54 
Edmonds, T. W., Eng. prompter with 
C. Kean: 

AYL, 31; CYM, 15; HAM, 58 

HIV 1 , 27, 28; HV, 10; HVIII, 37 

38; KJ, 37, 39; KL, 55, 56, 90 

MAC, 48-50, 52; MV, 30, 35 

MWW, 36; MA, 26, 27; RII, 14 

RIII, 38; TEM, 19; TN, 14, 15 

WT, 20, 21 
Edwards, Harry (1824-91), Eng.-Aust.- 
Am. actor and entomologist: 

AW, 6, 7; KL, 90, 91 
Edwards, Henry (1883-1952), Am. ac- 
tor: 

HAM, 167 
Edwards, J. C: 

HIVi, 57 
Edwards, James: 

HVIII, 47 
Eichhoff, Th.: 

CE, 28; RII, 44 
Eldridge, Lillie: 

HAM, 179 



522 INDEX 



Eldridge, Louisa (c.1829-1905), Am. 
actress: 
AYL, 62 

Elliott, Amy: 
R&J, 23 

Elliott, Denholm (b. 1922), Eng. ac- 
tor: 
TG, 19 

Elliott, Michael, Eng. director, 20th 
c: 
AYL, 109 

Elliott, P. E.: 
MWW, 89 

Ellis, George (1809-75), Eng. prompt- 
er and stage manager: 
AYL, 18, 20-22; CE, 19; CYM, 10- 
13, 15; HAM, 28-30; HIV 1 , 26; HV, 
11; HVIII, 24, 36; JC, 13-15; KJ, 
20, 26, 27, 29, 37, 42; KL, 54, 57; 
MAC, 20, 25, 27, 48, 57; MV, 16-20, 
34; MWW, 8, 35, 38; MND, 15; 
MA, 10, 15, 16, 18, 19, 26; OTH, 
12, 24-27, 29, 44; RII, 7, 8; RIII, 
20, 48; TEM, 20-22; TG, 1-3; WT, 
18-20 

Ellis, Mary (b. 1900), Am.-Eng. ac- 
tress: 
COR, 33 

Ellis, Maurice, Am. actor, 20th c: 
MAC, 140 

Ellis, William: 

KJ,65 
Elliston, Charles: 

TS, 14; TN, 11 

Ellsler, John A. (1821-1903), Am. ac- 
tor and manager: 
AYL, 32 
Elrington, Thomas (1688-1732), Eng. 
actor and manager: 
RII, 1 

Elton, William (1794-1843), Eng. ac- 
tor: 

KL, 24 
Elworthy, W. T.: 

HIVi, 41 

Emerton, Roy (1892-1944), Eng. ac- 
tor: 
AW, 13; A&C, 40; MWW, 78; 
TEM, 48 



Emery, Conrad, Am. actor, 20th c: 

A&C, 41 
Emery, John, Am. actor, 20th c: 

COR, 34; KJ, 61 
Erlanger Productions: 

MV, 119 
Eustrel, Antony (b. 1904), Eng. ac- 
tor: 

A&C, 42; HVIII, 69; MAC, 143; 

MV, 122; MWW, 81; MA, 91; 

OTH, 109; RII, 40; R&J, 97; TS, 

70 
Evans, Edith (b. 1888), Eng. actress: 

AW, 17; COR, 36; HVIII, 73; RIII, 

91; R&J, 106 
Evans, G. Blakemore (b. 1912), Am. 
Shakespeare scholar: 

AYL, 1; CE, 2, 3; HAM, 1; HIV*, 1, 

2; HVIII, 1; JC, 2, 3; KL, 1; MAC, 

1-3; MM, 1; MWW, 2; MND, 1, 2; 

MA, 1; OTH, 2; R&J, 2; TN, 2, 3; 

WT, 1 
Evans, Maurice (b. 1901), Eng.-Am. 
actor and producer: 

HAM, 167; RII, 38; R&J, 95 
Evans, T. H.: 

MAC, 150 
Everett: 

HAM, 179 

Falls, Charles, Am. designer, 20th c: 

MAC, 138 
Farley, Charles (1771-1859), Eng. ac- 
tor and playwright: 
HIV2, 5 
Farnum, William (1876-1953), Am. ac- 
tor: 
HAM, 84; KL, 76; MAC, 74, 133; 
MV, 49; R&J, 81 
Farren, Elizabeth (1759-1829), Eng. 
actress: 
TEM, 3 
Farren, George, Am. actor, early 20th 
c: 
AYL, 82 
Farren, Mrs. (c. 1789-1857), Eng. ac- 
tress: 
OTH, 19; R&J, 32 
Farren, Henry (c. 1826-60), Eng.-Am. 
actor and manager: 
AYL, 13; HAM, 43; MWW, 34 



INDEX 523 



Farren, William (1786-1861), Eng. 
actor: 
TN, 8 
Faucit, Helen (1817-98), Eng. actress: 
AYL, 15, 37; CYM, 8, 14; HVIII, 
16; KJ, 12, 22; MAC, 28, 38, 100; 
MV, 7, 24; MA, 21; OTH, 119; 
R&J, 14, 21, 22 
Fawcett, John (1768-1837), Eng. actor 
and stage manager: 
AW, 5; MV, 7 
Fawcett, Owen (c.1839-1904), Eng.- 
Am. actor: 

AYL, 110; CE, 20, 22; JC, 49; KL, 
67; TS, 19; TG, 6 
Fechter, Charles (1824-79), Eng.-Fr. 
actor: 
HAM, 72-74, 76; OTH, 45 
Fedorovitch, Sophie, Eng. designer, 
20th c: 
MV, 123 
Fennell, James (1766-1816), Eng. -Am. 
actor: 
KJ,4 
Fenno, George M.: 

COR, 38; HAM, 19 
Fernandez, James (1835-1915), Eng. 
actor: 
MWW, 53 
Ferrer, Jose (b. 1912), Am. actor: 

OTH, 108 
Ferrers, Stanley Charles, Eng.-Am. 
prompter and stage manager, ear- 
ly 19th c: 
AYL, 110; HI Vi, 14, 32; HIV2, 6; 
KL, 17; MAC, 24; MWW, 16, 27; 
OTH, 19, 20, 37; RIII, 16 
Fest, John: 
COR, 12 
Ffrangcon-Davies, Gwen (b. 1896), 
Eng. actress: 
HVIII, 71, 72; KL, 109 
Field-Hyde, Margaret, Eng. actress, 
20th c: 
TEM, 48 
Finley, Don, Eng. designer, 20th c: 

RIII, 88 
Finn, Christine, Eng. actress, 20th c: 
TEM, 55 



Firm, J. H.: 

RIII, 36 
Fisher, Charles (1816-91), Am. actor: 

MAC, 38; OTH, 32; TS, 12 
Fisher, Clara (1811-98), Eng.-Am. ac- 
tress: 

HAM, 37 
Fisher, G., Eng. actor, mid- 19th c: 

TEM, 9 
Fiske, Harrison Grey (1861-1942), 
Am. producer: 

MWW, 71, 74; MA, 83 
Fiske, Minnie Maddern (1865-1932), 
Am. actress: 

MAC, 109; MWW, 70-74; MA, 83- 

85 
Fitzgerald, George, Eng. actor, early 
20th c: 

HAM, 149 
Fitzgerald, Geraldine, Am. actress, 
20th c: 

HAM, 175 
Fitzgerald, Percy (1834-1925), Eng. 
theatre critic and historian: 

HAM, 5; MAC, 90 
Fitzgerald, R. H.: 

MV, 132 
Fitzgerald, Randle: 

MWW, 38 
Fitzhugh, Mrs. C: 

OTH, 8 
Fleming, W. M.: 

R&J, 17 
Fletcher, Robert, Am. designer, 20th 
c: 

TEM, 56 
Flohr, W. H. (1836-1901), Am. actor 
and stage manager with E. Booth: 

MAC, 65; MA, 40; RIII, 72 
Flower, Charles E. (1830-92), builder 
of theatre at Stratford: 

JC, 53; LLL, 5; MM, 35; TS, 80; 

TEM, 11, 12; TN, 102; TG, 20 
Flower, Mrs. C. E.: 

AW, 11 
Foch, Nina (b. 1924), Am. actress: 

KL, 110; MM, 30; TS, 77 
Folsom, C. W.: 

HAM, 179 



524 INDEX 



Fontanne, Lynn (b. 1887), Am. ac- 
tress: 

MA, 82; TS, 65 
Foote, Maria (c.1797-1867), Eng. ac- 
tress: 

MA, 5; R&J, 11 
Forbes, W. C: 

MWW, 89 
Forbes-Robertson, Johnston (1853- 
1937), Eng. actor: 

HAM, 126; MV, 102; R&J, 63, 107 
Ford, H. C: 

R&J, 40 
Fordham, Hallam: 

KL, 107 
Forrest, Edwin (1806-72), Am. actor: 

COR, 17, 22, 23, 38; CYM, 19; 

HAM, 17, 18, 35, 37, 52, 63-68, 76, 

112, 179; KL, 10, 20, 26, 28, 32, 35, 

41, 42, 44-49, 66, 68-72; MAC, 38, 

45, 47, 69, 70, 78, 106, 108; OTH, 

12, 13, 19, 32, 33, 37, 47, 48, 52, 56; 

RIII, 17, 42, 45, 53; R&J, 107 
Forrest, W. S., Am. actor, 19th c: 

AYL, 110; HAM, 179; HIV 1 , 57; 

JC, 92; KL, 117; MA, 102; RIII, 

92; TS, 80; TEM, 57 
Fortescue, Vernon, Eng. actor, 20th 
c: 

HV, 34 
Forsyth, Matthew (1896-1954), Eng. 
actor and director: 

MAC, 132; TS, 62 
Foster, William: 

TEM, 3 
Fox, Lee, Eng. actor, 20th c: 

AYL, 99 
Frampton, G. Johnson: 

KL, 78 
Francis, Charles, Am. actor, 20th c: 

MAC, 138 
Francis, Dorothy, Eng. actress, 20th 
c: 

KL, 104; MWW, 77 
Fraser, Moyra (b. 1923), Eng. actress: 

MWW, 88 
Freal, Margaret: 

HIVi, 57 

Frederick, Mr.: 

TEM, 15 



Frederickson, G. W.: 

TIM, 12 
French, Leslie (b. 1904), Eng. actor: 

MND, 40 
Frohman, Charles (1860-1915), Am. 
producer: 

AYL, 92; MA, 79 
Fuller, Rosalind (b. 1901), Eng. ac- 
tress: 

HAM, 154 
Furber, George W.: 

OTH, 119 
Furness, Horace Howard (1833-1912), 
Am. Shakespeare scholar: 

KJ, 22; MAC, 81; MV, 79; OTH, 

76; TS, 1 
Furse, Roger (b. 1903), Eng. designer: 

MAC, 147 

Gabel, Martin (b. 1912), Am. actor: 

JC, 82 
Gaige, Crosby (c.1883-1949), Am. pro- 
ducer: 

OTH, 106, 107 
Gale, Richard, Eng. actor, 20th c: 

TG, 17 
Gallagher, James: 

MAC, 24 
Gamble, Theodore, Am. actor, early 
20th c: 

AYL, 82 
Garrick, David (1717-79), Eng. actor 
and manager: 

A&C, 1; CYM, 16; HAM, 5, 6; 

HIV*, 3; HIV2, 2; KJ, 2; KL, 3; 

LLL, 1; MAC, 8, 38, 90; MND, 3-5, 

7; R&J, adll, 21, 22, 34, 51; TEM, 

1 
Garrick, George (d. 1779), assistant to 
David Garrick: 

JC,4 
Gascon, Jean (b. 1921), Can. actor 
and director: 

OTH, 117 
Gaskill, William, Eng. director, 20th 
c: 

RIII, 91 
Gates, G. H.: 

KL, 74 



INDEX 525 



Gates, Larry, Am. actor, 20th c: 

MWW, 86; MA, 96 
Gaylen, Danae, Eng. designer, 20th c: 

TN, 94 
George, Harry: 

MV, 132 
Gerard, Rolf (b. 1909), Eng. designer: 

R&J, 100 
Gerome, Jean Leon (1824-1904), Fr. 
painter: 

JC.41 
Gersten, Bernard: 

R&J, 103 
Gerussi, Bruno, Can. actor, 20th c: 

R&J, 105; TG, 18 
Gielgud, John (b. 1904), Eng. actor 
and director: 

HAM, 165; HVIII, 73; JC, 86; KL, 

107, 109, 114; MAC, 146; MM, 25; 

MA, 92-94; OTH, 118; TEM, 54; 

TN, 96 
Giffen, Ronald, Eng. director, 20th c: 

MM, 24 
Gilbert, John (1810-89), Am. actor: 

CE, 10; COR, 38; JC, 12, 92; KL, 

26; MAC, 45; MWW, 39, 40, 42; 

OTH, 32; RIII, 15; TS, 8; WT, 58 
Gilbert, Mrs. John (1821-1904), Am. 
actress: 

MA, 102 
Gildon, Charles (1665-1724), Eng. 
playwright: 

MM, 2 
Gile, George W.: 

CYM, 19 
Gill, Basil (1877-1955), Eng. actor: 

MAC, 133 
Gillette, William (1855-1937), Am. ac- 
tor: 

AYL, 110; HAM, 179; HVIII, 75; 

JC, 92; MAC, 150; MV, 69; MWW, 

89; OTH, 60, 63, 119; RIII, 92; 

R&J, 107; TS, 80 
Gish, Lillian (b. 1896), Am. actress: 

HAM, 165 
Gladstone, E. G.: 

R&J, 107 
Glenn, S. W. (1828-1903), Am. actor: 

HIV 1 , 57 



Glenville, Peter (b. 1913), Eng. actor 
and director: 
JC, 81; TS, 66 
Gluckman, Leon, Eng. actor, 20th c: 

A&C, 46; CYM, 42 
Glyn, Isabella (1825-89), Eng. actress: 

A&C, 6; MAC, 106 
Gnoli, Domenico, Eng. designer, 20th 
c: 
AYL, 104 
Godfrey, Derek, Eng. actor, 20th c: 
A&C, 46; CYM, 42; HAM, 160; TA, 
2; TG, 19 
Godfrey, Walter, Eng. architect, 20th 
c: 
AYL, 100 
Godwin, E. W. (1833-86), Eng. archi- 
tect: 
HAM, 95 
Golden, Michael (b. 1913), Eng. ac- 
tor: 
MM, 24; RII, 41 
Goodier, Robert, Can. actor, 20th c: 

MV, 126 
Goodwin, Mr.: 

TS, 14 
Gordon, Philip, Eng. stage manager, 
late 19th c: 
HVI, 2 
Goring, Marius (b. 1912), Eng. actor: 
A&C, 43; KL, 113; RIII, 89; TS, 72 
Gott, Barbara, Eng. actress, 20th c: 

R&J, 94 
Graham, George (c. 1875- 1939), Am. 
actor: 
HAM, 167 
Graham, Richard (d. 1852), Am. ac- 
tor: 
OTH, 32 
Granville-Barker, Harley (1877-1946), 
Eng. actor, director, and writer: 
JC, 64; KL, 107; MAC, 112; MND, 
35; TN, 80, 86 
Gray, Charles, Eng. actor, 20th c: 

RII, 43 
Green, Dorothy (b. 1886), Eng. ac- 
tress and director: 
AW, 12; COR, 32; HV, 34; RIII, 
88; WT, 49 



526 INDEX 



Greene, Lome, Can. actor, 20th c: 

JC, 88 
Gribble, Harry Wagstaff (b. 1896), 
Am. actor and playwright: 

TS, 65 
Grice, James: 

MAC, 14 
Grieve, Thomas (1799-1882), Eng. 
scene-painter: 

HV, 13; HVIII, 42; RII, 15 
Griffith, Hugh (b. 1912), Eng. actor: 

AYL, 101; TEM, 52 
Grove, Fred (1851-1927), Eng. actor: 

MND, 31; MA, 73; TEM, 38, 39; 

TN, 53 
Guard, Philip, Eng. actor, 20th c: 

MND, 42 
Guinness, Alec (b. 1914), Eng. actor: 

RIII, 90 
Guthrie, Tyrone (b. 1900), Eng. di- 
rector: 

AW, 14, 17; HVIII, 70-72; MV, 

126; RII, 37, 40; RIII, 90; TS, 74; 

TfcC, 9; TN, 97 
Gwillim, Jack, Eng. actor, 20th c: 

HIVi, 54; MAC, 146 
Gwynne, Miss: 

MWW, 89 

Hackett, James H. (1800-1871), Am. 
actor: 

HAM, 25-27, 36-37; HIV 1 , 8, 11-14, 

16-19, 22, 32, 37, 38; HIV 2 , 6, 7; 

KL, 31, 32, 38; MAC, 38, 80; MV, 

47; MWW, 16-26, 30; OTH, 14; 

RIII, 14 
Hackett, Mrs. James H. (c. 1835-1 909), 
Am. actress: 

KL, 31; MAC, 80 
Hackett, James K. (1869-1926), Am. 
actor: 

MAC, 129, 130, 134; MWW, 68 
Hagen, Uta (b. 1919), Am. actress: 

OTH, 108 
Haggard, Stephen (1911-43), Eng. ac- 
tor: 

KL, 107 
Hale, John, Eng. director, 20th c: 

MWW, 88 
Hall, Amelia, Can. actress, 20th a: 

RIII, 90 



Hall, Lewis, Eng. actor, mid-19th c. 

TEM, 9 
Hall, Peter (b. 1930), Eng. director 

COR, 36; CYM, 43; LLL, 14 

MND, 46; OTH, 118; R&J, 106 

TN, 98, 99, 101; TG, 19 
Halliwell, J. O. (1820-89), Eng. Shake- 
speare scholar: 

HIV 2 , 1; JC, ad7; MV, adl 
Hamblin, Eliza (see also Shaw, Eliza- 
beth) (c. 18 17-73), Am. actress: 

OTH, 32; TN, 13 
Hamblin, T. S. (1801-53), Am. actor 
and manager: 

COR, 8, 10, 17; HAM, 11, 24; KJ, 

47; MAC, 38, 47, 106; OTH, 19, 

32, 37; RIII, 34, 42 
Hamilton, Robert: 

KJ, 16 
Hamlett, Dilys, Eng. actress, 20th c: 

HAM, 172 
Hammond, Aubrey (1893-1940), Eng. 
designer: 

AW, 13; A&C, 40; AYL, 98; HIV*, 

52; HV, 29, 31; JC, 79, 80; LLL, 

10; MA, 89; TEM, 47, 48 
Hammond, C. Norman, Am. actor, 
20th c: 

TN, 89 
Hammond, Joyce, Eng. designer, 20th 
c: 

AYL, 101 
Hancock, Carolyn: 

TS, 65 
Hanford, Charles B. (1859-1926), Am. 
actor and manager: 

A&C, 18-20; CYM, 31; JC, 48; MV, 

82; MA, 56; OTH, 84; TS, 41; WT, 

30 
Hannen, Nicholas (b. 1881), Eng. ac- 
tor: 

R&J, 90 
Hanray, Laurence (1874-1947), Eng. 
actor: 

R&J, 90 
Harding, Lyn (1867-1952), Eng. actor: 

MAC, 133 
Hardwicke, Cedric (1893-1964), Eng. 
actor and director: 

TN, 91 



INDEX 527 



Hardy, Robert, Eng. actor, 20th c: 

HIV2, 16 
Hare, Ernest (b. 1900), Eng. actor: 

AYL, 98; HIV*, 52 
Harley, John Pritt (1786-1858), Eng. 
actor: 

HAM, 13; OTH, 8; TS, 5 
Harrington, F., Am. prompter at Chi- 
cago, mid- 19th c: 
AYL, 40 
Harris, Augustus (1851-96), Eng. man- 
ager: 
HIV 1 , 8 
Harris, Barbara, Eng. designer, 20th 
c: 
MWW, 79; R&J, 96 
Harris, Clare (c.1890-1949), Eng. ac- 
tress: 
KL, 106 
Harris, Julie (b. 1925), Am. actress: 

R&J, 105 
Harris, Robert (b. 1900), Eng. actor: 
AYL, 105; HIV*, 56; KJ, 62; MM, 
23, 24; MV, 131; RII, 41; TEM, 50, 
51 
Harris, Rosemary (b. 1930), Eng. ac- 
tress: 
T&C, 9 
Harris, William (c. 1833-1 9 16), Am. ac- 
tor: 
KL, 99; MAC, 107 
Harron, Donald, Eng. actor, 20th c: 

AW, 14; AYL, 108; MAC, 149 
Hartley, Harriette, Am. actress, 20th 
c: 
WT, 56 
Harvey, James: 

KL, 13 
Harvey, Laurence (b. 1928), Eng. ac- 
tor: 
AYL, 102; COR, 33; HV, 38; R&J, 
101; T&C, 8 
Haskins, Dan: 

RIII, 92 
Hastings, Edward, Eng. prompter, 
late 19th c: 
MWW, 31, 32 
Hastings, F. C: 

COR, 21 
Hastings, George, Eng. copyist, mid- 
19th c: 



HIV2, 11; HV, 8; HVIII, 22; KJ, 

45; MAC, 43, 44; MV, 42; MA, 24; 

TS, 9, 10, 15; TN, 20; WT, 11 
Hathaway, Anna, Am. actress, mid- 
19th c: 

R&J, 23 
Hawkins, Sir John (1719-89), Eng. 
music historian: 

TG, 7 
Hawley, F. {see Haywel, F.) 
Hayes, George (b. 1888), Eng. actor: 

AYL, 100; JC, 84; MAC, 137, 142, 

143; MV, 120, 122; MA, 87; OTH, 

103; RII, 35-37, 40; RIII, 86; R&J, 

93, 96; TEM, 46, 49; TIM, 14 
Hayne, Julia Dean (1830-66), Am. ac- 
tress: 

KJ,34 
Hays, David, Am. designer, 20th c: 

HAM, 175; MND, 44; R&J, 103; 

WT, 56 
Haywel, F. (F. Hawley) (c.1827-1889), 
Eng. actor and Stratford librarian: 

AYL, 10, 41; HAM, 53; HVI, 5; 

HVIII, 75; KL, 53; MAC, 56; MA, 

102; RIII, 55; R&J, 107; TIM, 16 
Heath: 

MV, 7 
Heeley, Desmond, Can. designer, 
20th c: 

AYL, 106; HAM, 172, 173; MAC, 

148; MV, 130; MA, 99, 101 
Heller, Franklin: HIV*, 51 
Helpmann, Max, Can. actor, 20th c: 

HIVi, 55 
Helpmann, Robert (b. 1909), Eng. ac- 
tor and director: 

A&C, 46; AYL, 104; HAM, 170; 

KJ, 59; MM, 28; MV, 125; TS, 76; 

TG, 17 
Hemingway, S. B. (b. 1883), Am. 
Shakespeare scholar: 

HIV 1 , 1 
Hentschel, Irene (b. 1891), Eng. di- 
rector: 

TN, 92 
Hepburn, Katharine (b. 1909), Am. 
actress: 

A&C, 47; MM, 28; MV, 125, 128; 

MA, 96; TS, 76; TN, 100 



528 INDEX 



Herbert, Henry (c. 1879- 1947), Am. ac- 
tor and director: 

MAC, 138; OTH, 106 
Herbert, Jocelyn, Eng. designer, 20th 
c: 

RIII, 91 
Herlie, Eileen (b. 1920), Eng. actress: 

MA, 99 
Heseltine, Barbara, Eng. designer, 
20th c: 

AYL, 101; T&C, 6 
Heslewood, Tom (1868-1959), Eng. 
actor and designer: 

KJ, 57; RIII, 86; TG, 15 
Hicks, J. P.: 

RIII, 3 
Hicks, Seymour (1871-1949), Eng. ac- 
tor and manager: 

RIII, 84, 85 
Hildebrand, William: 

MA, 102 
Hill, Barton (1830-1911), Am. actor: 

HIV*, 38; MAC, 24, 78; OTH, 57 
Hill, C: 

MAC, 15 
Hill, Charles: 

JC, 92 
Hiller, Wendy (b. 1912), Eng. actress: 

MWW, 84; WT, 52 
Hindley, Samuel: 

MAC, 5 
Hingle, Pat, Am. actor, 20th c: 

MAC, 149 
Hinton, Henry L.: 

R&J, 37 
Hitchcock: 

HAM, 8; MWW, 5 
Hogan, Charles B. (b. 1906), Am. 
theatre historian: 

HVIII, 4; JC, 4 
Holder, Mary, Eng. actress, 20th c: 

MWW, 76 
Holland, George (1791-1870), Eng.- 
Am. actor: 

MA, 102 
Holland, Joseph, Am. actor, 20th c: 

JC, 82 
Holloway, Baliol (b. 1883), Eng. ac- 
tor: 

AW, 12; AYL, 99, 101; CYM, 32, 

39; HV, 29, 31, 32; JC, 80, 84; KJ, 



58; LLL, 10; MV, 121; MWW, 79; 
MND, 40; MA, 88; R&J, 94; TEM, 
47, 49; TN, 88; WT, 48 
Holm, Ian, Eng. actor, 20th c: 

KL, 116; MND, 46 
Holman, Joseph (1764-1817), Eng. ac- 
tor: 
HAM, 8 
Holmes, Henry, Eng. actor, late 19th 
c: 

HAM, 69; MAC, 82; MA, 49; R&J, 
48 
Holmes, Martin, Eng. theatre his- 
torian, 20th c: 
HV, 28 
Hoist, Gustav (1874-1934), Eng. mu- 
sician: 
HAM, 162 
Honer, Mary (b. 1914), Eng. actress 
and dancer: 
MND, 41 
Hopkins, Arthur (1878-1950), Am. di- 
rector: 
HAM, 154 
Hopkins, William, Eng. prompter at 
Drury Lane, 18th c: 
HIV*, 8; MAC, 8 
Hordern, Michael (b. 1911), Eng. ac- 
tor: 
AW, 15; AYL, 102; COR, 33; JC, 
91; KJ, 60; MAC, 148; TEM, 53 
Home, David, Am. actor, 20th c: 

HAM, 161 
Home, Richard H. (1803-84), Eng. 
writer: 
CE, 21 
Horniman, A. E. F. (1860-1937), Eng. 
manager: 

CE, 25; MM, 17, 18; MA, 77, 78; 
TN, 79 
Hoswell, Miss: 

TEM, 35 
House, Eric, Can. actor, 20th c: 

TG, 18 
Houseman, John (b. 1902), Am. di- 
rector: 
AW, 18-20; COR, 34; HAM, 175- 
177; KJ, 61; KL, 110-112; MM, 
30-32; MV, 128, 129; MWW, 86, 
87; MND, 45; MA, 96-98; OTH, 
114, 115; R&J, 104; WT, 53, 54 



INDEX 529 



Houston, Donald (b. 1923), Eng. ac- 
tor: 

AYL, 107; HV, 39 
Howard, Leslie (1893-1943), Eng. ac- 
tor: 

HAM, 166; MA, 90 
Howe, George, Eng. actor, 20th c: 

HAM, 172 
Howlett, Stanley, Eng. actor, 20th c: 

AYL, 97; HAM, 163 
Hubbell, Walter, Am. actor, late 19th 
c: 

AYL, 110; COR, 38; HAM, 88, 

116; HIVi, 57; KJ, 65; MA, 102 
Hudd, Walter (b. 1898), Eng. actor: 

CE, 27; MV, 123; RII, 41; TA, 2; 

TN, 95 
Huddart, Fanny (d. 1880), Eng. ac- 
tress: 

TEM, 9 
Hudson, Harry, Am. actor, 19th c: 

JC, 30 
Hull, Thomas (1728-1808), Eng. ac- 
tor and playwright: 

CYM, 1; HAM, 9 
Humphrey, John, Eng. actor, 20th c: 

CE, 27; CYM, 42 
Hunter, Kim (b. 1922), Am. actress: 

AYL, 108 
Hurry, Leslie (b. 1909), Eng. de- 
signer: 

CYM, 41; HAM, 178; HVI, 4; KL, 

109, 115; MM, 28; RII, 43; TIM, 

15 
Hutt, William (b. 1920), Can. actor: 

AYL, 106; HAM, 173; MWW, 85 
Hyland, Frances (b. 1927), Can. ac- 
tress: 

MM, 27; HAM, 173; MV, 126; 

OTH, 117; WT, 55 
Hyman, Earle, Am. actor, 20th c: 

OTH, 114; TEM, 56 

Iden, Rosalind (b. 1911), Eng. actress: 

KL, 105, 106 
Ince, Lionel: 

MWW, 82 
Inescort, Frieda, Am. actress, 20th c: 

TS, 68 



Irving, H. B. (1870-1919), Eng. actor: 
HAM, 148; KJ, 48 

Irving, Henry (1838-1905), Eng. actor 
and manager: 
COR, 2, 15, 24, 25; CYM, 24; 
HAM, 14, 72, 90-96, 99, 179; HVIII, 
37, 57-59; JC, 7; KL, 46, 95-97; 
MAC, 8, 60, 81, 90-98, 106; MV, 
29, 45, 55-59, 62, 66, 83, 102; MA, 
15, 32, 45-47, 55, 74; OTH, 11, 29, 
73; RIII, 12, 63-65, 82, 84; R&J, 44- 
47, 83; TN, 6, 28, 29, 38, 55, 72 

Isham, Gyles (b. 1903), Eng. actor: 
A&C, 39; HIV 4 , 50; HIV2, 13; 
HVIII, 68; JC, 79; MAC, 141; MM, 
22; TG, 16 

Jack, John, Am. actor, 19th c: 

HIV*, 22, 57 
Jackson, Barry (1879-1961), Eng. pro- 
ducer: 

MAC, 132; PER, 4; TS, 62; WT, 20 
Jackson, Brian, Can. designer, 20th 
c: 

MND, 47 
Jackson, Freda (b. 1909), Eng. ac- 
tress: 

R&J, 96 
Jackson, Sara, Eng. actress, 20th c: 

TEM, 49 
James, Finlay, Eng. designer, 20th c: 

TEM, 55 
James, Francis (b. 1907), Eng. actor: 

TG, 16 
James, Louis (1842-1910), Am. actor: 

HAM, 105; MV, 78; OTH, 83; 

RIII, 81 
Jameson, Pauline (b. 1920), Eng. ac- 
tress: 

MWW, 85 
Jamieson, Mr.: 

HAM, 52 
Janausckek, Fanny (1830-1904), 
Czech.-Am. actress: 

HVIII, 55 
Janney, Ben: 

KJ, 61 
Jarman, Mrs.: 

TEM, 3 



530 INDEX 



Jarrett and Palmer: 

HV, 27; HVIII, 54; RIII, 53; WT, 

26 
Jeakins, Dorothy, Am. designer, 20th 
c: 

AW, 18; KL, 110; R&J, 103; TS, 

77; WT, 56 
Jeans, Isabel (b. 1891), Eng. actress: 

TN, 84 
Jefford, Barbara (b. 1930), Eng. ac- 
tress: 

AYL, 103, 107; CYM, 42; HVI, 4 

KL, 115; MM, 25, 34; MND, 43 

MA, 95; OTH, 111, 112; TS, 73 

TA, 2; TG, 17 
Jessel, Patricia (b. 1920), Eng. actress: 

KL, 108; MAC, 143; TS, 70; TN, 

93 
Jewett, Frances: 

MAC, 131 
Jewett, Henry (1862-1930), Aust.-Am. 
actor and producer-director in 
Boston: 

AYL, 94, 95; HAM, 150, 151; JC, 

54, 75; MAC, 131; MM, 20, 21; 

MV, 114; MWW, 67; MND, 36; 

MA, 81; OTH, 85; R&J, 87; TS, 

34, 59; TEM, 45; TN, 81; WT, 46 
Joannes, Count (George Jones) (1810- 
79), Am. actor: 

RIII, 42 
Johnson, Celia (b. 1908), Eng. actress: 

HAM, 161 
Johnson, F.: 

HIVi, 11 
Johnson, Richard (b. 1927), Eng. ac- 
tor: 

AYL, 105; CYM, 43; JC, 90; PER, 

5; R&J, 102 
Johnston, David C: 

RIII, 92 
Johnston, Margaret (b. 1918), Eng. ac- 
tress: 

MM, 33; MV, 127; OTH, 113 
Johnstone, R., Am. actor, mid-19th a: 

TS, 12 
Jones, Avonia (1836-67), Am. actress: 

AYL, 37; R&J, 23 
Jones, Mrs. C. H.: 

TS, 60 



Jones, Dudley, Eng. actor, 20th c: 

CE, 27; MA, 95; PER, 4; TIM, 15 
Jones, J.: 

CYM, 2; OTH, 17 
Jones, Melinda (d. 1875), Am. actress: 

AYL, 34, 44 
Jones, Richard (1779-1851), Eng. 
actor: 

CE, 5; JC, 8 
Jones, Robert, Am. prompter at Bos- 
ton, mid-19th c: 

AYL, 33, 40; HAM, 49; MAC, 37, 

46; RIII, 34 
Jones, Robert Edmond (1887-1954), 
Am. designer: 

HAM, 154; MA, 82; OTH, 108 
Jones, T. V.: 

MWW, 20 
Jones, Thomas: 

KL, 12 
Jordan, George (1830-73), Eng. actor: 

HAM, 44 
Joseph, Myers & Co.: 

HVIII, 43, 46; WT, 22 
Justin, John (b. 1917), Eng. actor: 

AYL, 107 

Kainz, Joseph (1858-1910), Germ, ac- 
tor: 
HAM, 179 

Kane, Whitford (1881-1956), Eng.- 
Am. actor: 
HAM, 162 

Karson, Nat, Am. designer, 20th c: 
MAC, 140 

Kaufman, Frederick, Am. stage man- 
ager with Sothern and Marlowe 
AYL, 87; HAM, 138; MAC, 115 
MV, 91-93; MA, 58, 59; R&J, 70 
TS, 47, 48; TN, 58, 59 

Kay, Barry, Eng. designer, 20th c: 
MM, 34 

Kean, Charles (1811-68), Eng. actor 
and manager: 
AYL, 16, 21, 31; CE, 16; CYM, 
11-13, 15; HAM, 11, 16, 20-24, 37, 
38, 58-61; HIV i, 26-29, 33; HV, 
10-18; HVIII, 24, 36-46, 58; JC, 
14; KJ, 14, 20, 27, 28, 30, 37-44, 
65; KL, 54-65, 90, 91; MAC, 15, 



INDEX 531 



20-23, 27, 48-54, 57, 66, 90, 106; 
MV, 12, 13, 17, 19, 20, 25, 30, 34- 

41, 53; MWW, 35-38; MND, 9, 15- 
17; MA, 10, 11, 18, 26-32; OTH, 
12, 15, 21-23, 25-27, 35; RII, 7-16; 
RIII, 16, 17, 20-23, 29, 30, 34, 38- 

42, 47-49, 53; R&J, 16-18, 30; TEM, 
19-26; TN, 14, 15; TG, 3, 7, 8; 
WT, 16, 18-24 

Kean, Edmund (1787-1833), Eng. ac- 
tor: 

HAM, 16; HVI, 1; HVIII, 12, 21, 

58; KJ, 10; KL, 16-19, 44; MAC, 

15, 90, 98; MV, 7, 9, 27, 45; MND, 

9; OTH, 11, 12, 16, 19, 32, 43; 

RII, 2-4; RIII, 14, 49; TIM, 3, 4 
Kean, Ellen (1806-80), Eng. actress: 

AYL, 37; MV, 12; MA, 21; R&J, 16 
Keate, George (1729-97), Eng. writer: 

CYM, 3 
Keen, Geoffrey (b. 1918), Eng. actor: 

CYM, 43; JC, 90 
Keen, Malcolm (b. 1887), Eng. actor: 

HAM, 165 
Keene, Laura (1826-73), Eng.-Am. ac- 
tress and manager: 

MND, 18 
Keene, Thomas (1840-98), Am. actor: 

OTH, 75; RIII, 78, 92 
Keith, Ian (1899-1960), Am. actor: 

RII, 38 
Kellogg, Clara Louisa (1842-1916), 
Am. singer: 

R&J, 35 
Kellogg, S. W.: 

KL, 19 
Kelly, Felix (b. 1916), Eng. designer: 

MV, 131 
Kelly, Michael (1764-1826), Eng. actor 
and singer: 

TEM, 3 
Kemble, Charles (1775-1854), Eng. ac- 
tor and manager: 

AYL, 9; HAM, 11, 13, 35, 37 

HI Vi, 14; HIV2, 5; HVIII, 15, 16 

JC, 6; KJ, 12, 15; KL, 18; MV, 7 

MA, 6, 7, 20, 21, 38; R&J, 23; TS, 

6; TN, 7 
Kemble, Fanny (Mrs. Butler) (1809- 
93), Eng. actress: 



HVIII, 16; KJ, 12, 15; MAC, 28; 

OTH, 8, 119; R&J, 22; TS, 1 
Kemble, John Philip (1757-1823), 
Eng. actor and manager: 

AW, 1, 3-5; A&C, 2, 3; AYL, 7, 8; 

CE, 4-6; COR, 2-5, 8; CYM, 6, 8, 

9, 14; HAM, 11, 12; HIV*, 6; 

HIV2, 4; HV, 1-4, 8; HVIII, 8, 13, 

24, 36, 47, 50, 53, 58, 75; JC, 5-8, 

18, 22; KJ, 6-11, 14; KL, 7, 8, 10, 

11, 13, 16, 18; MAC, 10, 11, 13, 15, 

106; MM, 4-6; MV, 4-7; MWW, 8, 

9; MND, 7, 8; MA, 2, 5, 6, 9, 10, 

32; OTH, 1, 9, 10, 12; RIII, 6-9; 

R&J, 8-11; TS, 1, 3, 4, 7; TIM, 2; 

T&C, 1; TN, 5, 6; TG, 7, 8; WT, 

3-5, 18 
Kemper, Collin (1870-1955), Am. 
manager: 

WT, 31 
Kempson, Rachel (b. 1910), Eng. ac- 
tress: 

HAM, 163; KL, 113; LLL, 10; 

R&J, 93, 94; TEM, 47 
Kennedy, Charles Rann (1871-1950), 
Am. playwright: 

MAC, 81 
Kenney, Charles Lamb (1821-81), 
Eng. writer: 

HAM, 92 
Kenney, Sean, Eng. designer, 20th c: 

R&J, 106 
Kenny, N. F.: 

HAM, 19 
Kenton, Godfrey (b. 1902), Eng. ac- 
tor: 

AYL, 101; CYM, 39; JC, 84; R&J, 

96 
Kernot, Vivienne, Eng. designer, 20th 
c: 

TS, 72, 73 
Kidd, John, Eng. director, 20th c: 

HAM, 170; HIV 1 , 53 
Kiefer, A. F.: 

HAM, 56 
King, Cecil (c.1875-1958), Eng. actor 
and stage manager: 

A&C, 24; HVIII, 64; KJ, 52; MAC, 

122; MV, 105; WT, 34 



532 INDEX 



King, Charmian, Can. actress, 20th c: 

WT, 55 
King, Dennis (b. 1897), Eng.-Am. ac- 
tor: 

R&J, 91 
King, Edward Henry: 

HIV 1 , 5 
King, T. C. (c. 1825-93), Eng. actor: 

MAC, 66 
King, Thomas (1730-1805), Eng. ac- 
tor: 

HIVi, 3; HIV2, 3 
Kingsford, Walter, Am. actor, 20th c: 

TN, 86 
King-Wood, David, Eng. actor, 20th 
c: 

CYM, 40; LLL, II; MM, 23 
Kirby, Joseph: 

MV, 132 
Kirkland, John: 

HIVi, 57 
Kirkwood, James E., Am. prompter 
in Rochester, late 19th c: 

HAM, 84, 85; JC, 31; KL, 76; 

MAC, 73, 74; MV, 49 
Kirley, John: 

KJ, 16 
Klanert, R. W. M.: 

RIII, 28 
Knight, Edward: 

HVIII, 11 
Knight, Esmond (b. 1906), Eng. ac- 
tor: 

WT, 51 
Knox, Alexander (b. 1907), Am. ac- 
tor: 

HVIII, 72 
Komisarjevsky, Theodore (1882-1954), 
Rus.-Eng. director: 

CE, 26; KL, 105, 106; MAC, 137; 

MV, 120; MWW, 78; TS, 69 
Konstam, Anna (b. 1914), Eng. ac- 
tress: 

HV, 32; KL, 108; WT, 49 

Lacey, Catherine (b. 1904), Eng. ac- 
tress: 
AW, 13; A&C, 40; MWW, 78 
Lackaye, Wilton (1862-1932), Am. ac- 
tor: 
AYL, 45 



Lacy, Thomas H. (1809-73), Eng. ac- 
tor and publisher: 

WT, 58 
Lacy, Walter (1809-98), Eng. actor: 

MA, 7, 32; TN, 6 
Lafleur, Joy, Can. actress, 20th c: 

HAM, 173 
Lamb, George (1784-1834), Eng. 
writer: 

A&C, 3; TIM, 4 
Lambert, Mr.: 

RIII, 30 

Lambert, Charlotte: 

TS, 40 
Lancaster, Osbert (b. 1908), Eng. de- 
signer: 

AW, 15 
Landau, Jack, Am. director, 20th c: 

A&C, 47; KJ, 61; MAC, 149; MM, 

30-32; MV, 128, 129; MWW, 86; 

MND, 44, 45; MA, 96; R&J, 103, 

104; TS, 77; T&C, 10; TN, 100; 

WT, 53, 56 

Lander, Jean Davenport (1829-1903), 
Eng.-Am. actress: 
A&C, 7, 11-15; HV, 12; HVIII, 50- 
53, 58; MAC, 106; TS, 20 
Landis, Jessie Royce, Am. actress, 
20th c: 
WT, 50 
Lane, R. J. (1800-1872), Eng. artist: 

OTH.8 
La Nera: 

HAM, 115 
Lang, Albert, Am. director, early 
20th c: 
MA, 80; R&J, 89; TN, 82 
Lang, Matheson (1879-1948), Eng. ac- 
tor and manager: 
HAM, 149 
Langdon, Terence, Eng. actor, 20th 
c: 
HIVi, 54 
Langham, Michael (b. 1919), Eng.- 
Can. director: 
COR, 37; HAM, 172, 173; HIVi, 
55; HV, 37; JC, 86, 88; LLL, 15; 
MV, 130; MWW, 85; MND, 48; 
MA, 99, 101; R&J, 105; TG, 17, 18 



INDEX 533 



Langton, Basil C. (b. 1912), Eng. ac- 
tor and director: 
R&J, 98, 99 
Langtry, Lily (1852-1929), Eng. ac- 
tress: 
AYL, 39, 52, 53, 60 
Laphore, John T.: 

JC, 44; TN, 45 
Lask, George E.: 

MWW, 75; MA, 64 
Lathbury, Stanley (b. 1873), Eng. ac- 
tor: 

COR, 29; CYM, 32; HAM, 163; 

MA, 87 
Laughton, Charles (1899-1963), Eng.- 

Am. actor: 

KL, 116; MND, 46 
Laurie, John (b. 1897), Eng. actor: 

HAM, 160; RIII, 88; TN, 92 
Laurier, Jay (b. 1879), Eng. actor: 

AYL, 99; TN, 92; TG, 16 
Lawford, Ernest (c.1870-1940), Eng.- 
Am. actor: 

TN, 74 
Leaf, Paul: 

TS, 77 
Leaf, Robert: 

MM, 30 
Learned, Michael, Can. actor, 20th c: 

LLL, 15 
Lee, Canada (1907-52), Am. actor: 

MAC, 140 
Lee, J. (d. 1781), Eng. actor and 
manager: 

MAC, 5 
Lee, R. Eric, Eng. actor, 20th c: 

MAC, 137 
Leefe, Reginald, Eng. designer, 20th 
c: 

HV, 34; LLL, 11; TS, 63 
LeGallienne, Eva (b. 1899), Am. ac- 
tress, manager, and director: 

R&J, 92; TN, 85 
Lehmann, Beatrix (b. 1903), Eng. ac- 
tress: 

MAC, 148; MM, 24; MV, 123; R&J, 

100; TN, 95 

Leigh, Andrew (1887-1957), Eng. ac- 
tor: 
CE, 26; COR, 32; JC, 84; KL, 106; 
TN, 86 



Leigh, Conrad, Eng. designer, 20th 

c: 
MA, 86 
Leigh, Vivien (b. 1913), Eng. actress: 

MAC, 147; TN, 96 
Leigh-Hunt, Barbara, Eng. actress, 

20th c: 

MV, 131; MND, 48 
Leighton, Margaret (b. 1922), Eng. 
actress: 

AYL, 102; MAC, 146; TEM, 53 
Leman, Walter (1810-90), Am. actor: 

R&J, 15 
Le Moyne, William J. (c.1831-1905), 

Am. actor: 

HVIII, 48; JC, 17; RIII, 92 
Letondal, Ginette, Can. actress, 20th 
c: 

HV, 37 
Leve, Samuel, Am. designer, 20th c: 

JC82 
Lewes, Miriam, Eng. actress, 20th c: 

HAM, 160 
Lewis, Augustus C, Am. prompter, 
mid-19th c: 

MWW, 17 
Lewis, Erskine, Eng. actor, late 19th 
c: 

HVI, 2 
Lewis, Fred (1873-1946), Am. actor: 

CYM, 33 
Lewis, George W., Am. prompter, 
mid-19th c: 

COR, 10; CYM, 22; HVIII, 27, 28, 

33; KL, 44; MAC, 46, 47, 108; 

OTH, 30, 37; TS, 11 
Lewis, James (1838-96), Am. actor: 

AYL, 62; HAM, 179; MAC, 150; 

MA, 102; TS, 80 
Lewis, M. R.: 

CYM, 19 
Lewis, Sara: 

TS, 18 
Lincoln, Abraham (1809-65), Presi- 
dent of U.S.A.: 

MAC, 38 
Lindsley, A. B.: 

KJ,65 
Lister, Moira (b. 1923), Eng. actress: 

KL, 114; OTH, 109; R&J, 97 



534 INDEX 



Little, Frank, Am. stage manager, 
late 19th c: 
HVIII, 54 
Litton, Marie (1847-84), Eng. actress 
and manager: 
AYL, 49, 56, 60 
Livesay, Peggy, Eng. actress, 20th c: 

TG, 16 
Llewellyn, W. H., Am. stage man- 
ager, mid- 19th c: 
OTH, 51 
Lloyd, Norman, Am. actor, 20th c: 

KL, 110; TS, 77, 78 
Lloyds, F., Eng. scene-painter: 

HAM, 61 
Locke, Katherine (b. 1910), Am. ac- 
tress: 
HAM, 167 
Locker, Frederick (1821-95), Eng. writ- 
er: 
HIV2, 1 
Lodge, Frank, Am. actor, late 19th 
c: 

HAM, 114; MAC, 83; MA, 102 
Lodge, Ruth (b. 1914), Eng. actress: 
AYL, 101; HV, 34; LLL, 11; MM, 
23 
Loftus, Cissie (1876-1943), Eng.-Am. 
actress: 
HAM, 145 
Logan, Celia, Am. actress, mid- 19th 
c: 
LLL, 16; MM, 35 
Logan, Eliza (1829-72), Am. actress: 

MA, 37 
Lonergan, J. W.: 

OTH, 119 
Longmore, Irish actor, late 17th c: 

HIV 1 , 2 
Loraine, Henry (1819-99), Eng. ac- 
tor: 
OTH, 32 
Lothian, Napier, Eng. stage manager, 
late 19th c: 
WT, 28 
Love, James (1722-74), Eng. actor 
and manager: 
HVIII, 3; MAC, 7 
Loveday, H. J., Eng. stage manager 
with Irving, late 19th c: 



RIII, 65 
Lovell, H. V.: 

JC92 
Lovett, C. D., Am. prompter, mid- 
19th c: 

MAC, 50; MV, 12 
Lowe, F. G.: 

OTH, 119 
Lowne, E. Y.: 

RIII, 12 
Luce, Claire, Am. actress, 20th c: 

A&C, 42; MWW, 81; MA, 91; TN, 

94 
Luckham, Cyril (b. 1907), Eng. actor: 

AW, 17; HAM, 174; JC, 90 
Ludlow, Noah M. (1795-1886), Am. 
manager: 

CE, 12; COR, 11; HIV*, 57; KJ, 

13; MAC, 19; MWW, 89; TS, 80 
Lunt: 

RIII, 49 
Lunt, Alfred (b. 1893), Am. actor: 

MA, 82; TS, 65 
Lyel, Viola (b. 1900), Eng. actress: 

HAM, 168; HVIII, 69; MWW, 81; 

MND, 41; OTH, 109; R&J, 97 

MacArthur, Joan, Eng. actress, 20th 
c: 
OTH, 112 
McArthur, Molly (b. 1900), Eng. de- 
signer: 
WT, 48 
McCallin, Clement (b. 1913), Eng. 
actor: 
CYM, 41; HV, 31 
McClintic, Guthrie (b. 1893), Am. 
director: 
HAM, 165; R&J, 95 
McCowan, George, Can. director, 
20th c: 
HIV 1 , 55; HVIII, 74; OTH, 117 
McCowen, Alec (b. 1925), Eng. actor: 

AYL, 107; MWW, 88 
McCrum, J. W., Am. prompter, 19th 
c: 
HIV 1 , 17 
McCullough, John (1832-85), Am. 
actor: 
KJ, 34; KL, 51, 89-91; MAC, 78; 



INDEX 535 



MV, 27, 76; OTH, 48, 57, 58; 
TIM, 9 
Macdona, Charles (c. 1860- 1946), Eng. 
manager: 
HAM, 160 
Macdonald, Laurence: 

MV, 10 
MacDowell, Melbourne (c. 1857- 1941), 
Eng. actor: 
AYL, 110 
McEwan, Geraldine (b. 1932), Eng. 
actress: 
HAM, 178; MA, 101; PER, 5 
McGarry, M. E., Am. electrician, ear- 
ly 20th c: 
HAM, 136; MV, 98; R&J, 76; TS, 
53; TN, 66 
Mclntyre, W., Eng. actor, mid-19th 
c: 
HAM, 72 
Mackaye, Percy (1875-1956), Am. play- 
wright: 
JC, 78 
McKee, Thomas Jefferson (1840-99), 
Am. lawyer and collector: 
HAM, 51; TIM, 12 
MacKenna, Kenneth (b. 1899), Am. 
actor: 

MAC, 138; OTH, 106 
McKenna, Siobhan (b. 1923), Irish- 
Eng. actress: 
TN, 97 
McKenna, Virginia (b. 1931), Eng. 
actress: 
AYL, 104; LLL, 13 
MacKenzie, Alex, Am. prompter, mid- 
19th c: 
KL, 31 
McKern, Leo (b. 1920), Aust.-Eng. 
actor: 
AYL, 103; OTH, 111 
McKinney, D. D.: 

OTH, 20 
Macklin, Charles (1700-1797), Irish- 
Eng. actor: 
AYL, 2 
MacLaren, Ian, Am. actor, early 20th 
c: 
MV, 115 
Macmahon, Aline (b. 1899), Am. ac- 
tress: 



AW, 18; R&J, 103 
McManaway, J. G. (b. 1889), Am. 
Shakespeare scholar: 

HAM, 3, 4; RII, 2 
McMaster, Anew (b. 1894), Eng. ac- 
tor: 

COR, 29; HAM, 163; MAC, 137; 

RII, 37; TS, 63 
McMullan, Frank, Am. director: 

MM, 23, 24 
Macpherson, Jeanne: 

KJ, 65 
Macready, William (c. 1775- 1829), Eng. 
actor and manager: 

KL, 5 
Macready, William Charles (1793- 
1873), Eng. actor and manager: 

A&C, 4; AYL, 10, 15, 17-24, 29; 

COR, 7, 22; CYM, 10-13, 15, 22; 

HAM, 11, 14, 15, 28-30, 37, 40, 44, 

56; HIV2, 8-11; HV, 5-7; HVIII, 

12, 13, 21-23, 33; JC, 8, 13-15; KJ, 

14, 17-21, 24, 26, 27, 29, 30, 37, 42; 

KL, 25, 27-29, 34, 38, 41, 42, 49, 

63, 71; MAC, 15-17, 25, 27, 38, 43, 

44, 47, 57, 59, 66, 90, 106; MV, 

16-21, 42; MA, 15-20, 32, 38; OTH, 

12, 13, 18, 24-29, 32, 35, 44; RII, 

5, 6; RIII, 12; R&J, 19; TEM, 6, 

7, 15, 31; TG, 1-3; WT, 5, 9, 29 
Maddox, Diana, Can. actress, 20th 
c: 

TG, 18 
Maddox, J. M. (1789-1861), Eng. man- 
ager: 

KL, 22 
Magonigle, J. H.: 

MA, 41 
Makeah, M. E. J. N. (May Vanden- 
hoff), Am. actress, 19th c: 

MV, 32 
Malone, John T.: 

R&J, 107 
Malyon, Eily: 

HAM, 179 
Manisoff, M.: 

COR, 31 
Mankiewicz, Joseph L. (b. 1909), Am. 
film director: 

JC87 



536 INDEX 



Mansfield, Richard (1857-1907), Am. 
actor: 
MV, 45; RIII, 80 
Mantell, Robert B. (1854-1928), Am. 
actor: 
AYL, 70; HAM, 117; JC, 72; KJ, 
19, 56; KL, 40, 101; MAC, 111; 
MV, 103; OTH, 79; RIII, 83; 
R&J, 53 
Marchand, Nancy, Am. actress, 20th 
c: 
MWW, 86 
Marlowe, Julia (see also Sothern and 
Marlowe) (1866-1950), Am. actress: 
AYL, 47, 64-67; CYM, 30; HIV*, 
42; KL, 100; R&J, 54; TN, 30, 38, 
71 
Marshall, Charles (1806-90), Eng. 
scene-painter: 
MV, 19 
Marshall, F. A.: 

HAM, 80; OTH, 119 
Marston, Henry (1804-83), Eng. actor: 

MAC, 68; TEM, 9 
Marston, Jenny: 

AYL, 28 
Martin, C: 

TN, 7 
Martin, Theodore (1816-1909), Eng. 
writer, hsuband of Helen Faucit: 
KJ, 22 
Martin-Harvey, John (1863-1944), 
Eng. actor and manager: 
HV, 28; TS, 58 
Martin-Harvey, Michael, Eng. actor, 
20th c: 
AYL, 100; HAM, 168 
Maryott, Susan, Eng. actress, 20th c: 

TG, 19; WT, 57 
Mason, Charles Kemble (d. 1875), 
Eng. actor: 
MAC, 15 
Mason, Edward Tuckerman (1847- 
1911), Am. critic: 
HAM, 101, 106, 110, 111; JC, 39, 
43; MAC, 103; OTH, 81 
Massey, Raymond (b. 1896), Can.- 
Eng. actor: 
HAM, 161 
Massingham, Dorothy (1889-1933), 
Eng. actress: 



A&C, 39; KL, 104; MWW, 76, 77; 
MA, 86; WT, 47 
Masson, W. C: 

MWW, 65 
Mather, Aubrey (1885-1958), Eng. ac- 
tor: 
HAM, 166 
Mather, Margaret (1859-98), Am. ac- 
tress: 
R&J, 23, 51,52 
Maturin, Eric (1883-1957), Eng. actor 
and designer: 
MAC, 132 
Maxon, Eric, Eng. actor and designer, 
20th c: 
A&C, 39, 40; HAM, 164; HIV2, 13; 
JC, 79, 80; MM, 22; MWW, 77; 
MA, 86; OTH, 103; RII, 36; TS, 
66; TEM, 46; WT, 47 
May, Jack, Eng. actor, 20th c: 

JC, 91; MAC, 148 
Mayne, Eric (c. 1866-1947), Eng. actor: 

HAM, 149 
Mayo, Frank (1839-96), Am. actor: 
KL, 51, 73; MAC, 67; RIII, 77; 
TEM, 29, 31 
Mayo, Paul, Eng. designer, 20th c: 

CE, 27 
Maywood, R. C, Am. actor, early 
19th c: 
TEM, 5 
Meadows, Drinkwater (1795-1869), 
Eng. actor: 
MAC, 15 
Meads: 

MAC, 66 
Meagreson: 

TEM, 9 
Mearchael, William: 

MAC, 37 
Meggett, C: 

MA, 102 
Meggett, J.: 

CYM, 5 
Meggett, Mr. and Mrs.: 

TS, 5 
Mellish, Fuller (1865-1936), Eng. ac- 
tor: 
MV, 56 
Melville, Charles (d. 1862), Eng. 
prompter and actor: 



INDEX 537 



AYL, 35; COR, 19; HIVi, 30, 31 

HVIII, 34; JC, 22-25; KJ, 30, 31 

MM, 11; OTH, 38, 39; TEM, 17 

TN, 19 
Melville, Emilie (c.1850-1932), Eng. 
actress: 

HAM, 179; MND, 49 
Melville, Frederick (1876-1938), Eng. 
manager: 

HAM, 149 
Merivale: 

HVI, 1 
Merivale, Philip (1886-1946), Eng.- 
Am. actor: 

MAC, 138, 139; OTH, 106, 107 
Merall, Mary (b. 1890), Eng. actress: 

MAC, 132 
Merrett, Chr. E.: 

MWW, 4 
Mestayer, Lewis, Am. actor, mid-1 9th 
c: 

AW, 1 
Michael, Kathleen (b. 1917), Eng. ac- 
tress: 

CYM, 41 
Michael, Ralph (b. 1907), Eng. actor: 

MAC, 147 
Michell, Keith (b. 1928), Eng. actor: 

AW, 16; A&C, 46; AYL, 103; CE, 

27; HIV*, 54; MAC, 147; MWW, 

83; MA, 95; TS, 73; TA, 2; TG, 17 
Mielziner, Jo (b. 1901), Am. designer: 

A&C, 41; HAM, 165 
Miles, Sophia, Am. actress, late 19th 
c: 

HAM, 85 
Miller, Mr. and Mrs., Eng. actors, 
18th c: 

MV, adl 
Miller, Henry (1860-1926), Am. actor 
and manager: 

MAC, 81 
Miller, Joan (b. 1910), Eng. actress: 

KJ,62 
Miller, Noah, Am. actor, early 19th 
c: 

CE, 12 
Mills: 

RII, 10 
Miln, George C, Am. actor, late 19th 
c: 



MAC, 88 
Minards, William A.: 

JC, 92; MAC, 89 
Mitchell, William (c. 1798-1 856), Eng. 
actor and manager: 
RIII, 23 
Mitchell, Yvonne (b. 1925), Eng. ac- 
tress: 
KL, 113; RIII, 89; TS, 72 
Modjeska, Helena (1840-1909), Pol.- 
Am. actress: 
AYL, 54-56, 69, 110; CYM, 22; 
HAM, 106; HVIII, 58; MAC, 29, 
103, 106; MA, 39, 41; R&J, 23; TN, 
18,38 
Moffitt: 

TS, 80 
Moiseiwitsch, Tanya (b. 1914), Eng. 
designer: 
AW, 14, 17; COR, 37; HIV*, 53, 
55; HIV 2 , 14; HV, 35, 37; HVIII, 
70, 72, 74; JC, 88; KJ, 63; LLL, 
15; MM, 27, 33; MV, 126; MWW, 
85; MA, 100; OTH, 111, 112; RII, 
42; RIII, 90; R&J, 105; TS, 74; 
TN, 97; TG, 17, 18; WT, 55 
Mollison, William (c.1861-1911), Eng. 
actor: 
HIVi, 41 
Monck, Nugent (1877-1958), Eng. ac- 
tor and director: 
CYM, 40; PER, 4 
Mongiardino, Renzo, Eng. designer, 
20th c: 
TG, 19 
Monier, M.: 
HIVi, 11 
Montague, Miss, Eng. actress, mid- 
19th c: 
MAC, 38; OTH, 32 
Montgomery, Walter (1827-71), Eng. 
actor: 
RIII, 36 
Moore, Mrs.: 

KL, 73 
Moore, Adelaide, Eng. actress, late 
19th c: 
R&J, 48 
Moore, John (1814-93), Eng.-Am. ac- 
tor and stage manager: 
AYL, 23, 24, 37, 38, 58, 59, 110; 



538 INDEX 



CE, 15; COR, 17, 18; CYM, 16, 17, 

20; HAM, 44-46; HIV*, 22, 23; 

HIV2, 9; HVIII, 25, 26; JC, 18, 19; 

KJ, 24, 25; KL, 29, 41, 42; LLL, 

6; MAC, 38-40; MV, 24, 25, 51; 

MWW, 30, 45; MND, 10, 11, 13, 

14, 24; MA, 21, 22; OTH, 32; RII, 

16; RIII, 42-45; R&J, 22-25, 42; TS, 

12, 28; TEM, 13, 15; TIM, 8-10; 

TN, 10, 17, 18, 25, 34; WT, 14-17 
Moore, Riette Sturge, Eng. designer, 
20th c: 

COR, 36; TN, 95 
Morgan, Brewster: 

MA, 90 
Morgan, Lydia Eliza: 

AYL, 110 
Morgan, Priscilla, Eng. actress, 20th 
c: 

MND, 46 
Moriarty, Marcus, Am. actor, late 
19th c: 

COR, 38; HIV 1 , 57; HVIII, 75; JC, 

92; KL, 117; MAC, 79; MV, 132; 

MWW, 89; MA, 102; OTH, 61; 

RIII, 60 
Morlev, Henry (1822-94), Eng. writer: 

TS,'9 
Morris, Thomas: 

HAM, 52 
Morrish, Anna, Can. actress, 20th c.: 

TG, 18 
Morrison, Priestly (c.1872-1938), Am. 
actor and director: 

AYL, 82; R&J, 81 
Moss, Arnold (b. 1910), Am. actor: 

MM, 30 
Motley, Eng. designers (a firm), 20th 
c: 

A&C, 43; AYL, 102, 108; COR, 33; 

HAM, 174; JC, 90; KJ, 60; KL, 

116; MAC, 149; MWW, 83, 86; 

MND, 43; MA, 100; OTH, 113; 

RIII, 89; R&J, 101, 102; T&C, 7, 

10; TN, 92; WT, 51 
Mounet, Paul (1847-1922), Fr. actor: 

OTH, 119 
Mowatt, Anna Cora (1819-70), Am. 
actress: 

MA, 102; OTH, 43; R&J, 23 



Moynihan, Peter, Eng. actor, 20th 

JC* 91 
Mozart, W. A. (1756-91), Aust. com- 
poser: 

HAM, 162 
Mude: 

HVIII, 75 
Muir, George W.: 

MV, 31 
Muler and Everett: 

HAM, 179; MV, 132 
Mulford, B.: 

KL, 35 
Munday, Penelope, Eng. actress, 20th 
c: 

MND, 42 
Murdoch, James E. (1811-93), Am. 
actor: 

HAM, 19, 33, 34, 52; HIV*, 57; 

HIV2, 17; HVIII, 19, 34; JC, 92; 

KJ, 65; MAC, 32-34, 106; MA, 13, 

14, 21, 102; OTH, 30, 31; RIII, 

92; TS, 11 
Murphy, John Daly, Am. actor, 20th 
c: 

HAM, 161 
Murray, A. S. H.: 

AYL, 110; CE, 28; COR, 38; JC, 

92; KJ, 65; MWW, 89; MND, 49 
Murray, Brian, Eng. actor, 20th c: 

R&J, 106 
Murray, W. H. (1790-1852), Eng. ac- 
tor and manager: 

HIVi, 14; JC, 18 
Murray, William: 

AYL, 32 
Musgrove, John: 

MV, 76 

Nantz, Fred Coleman: 

HAM, 23 
Napier, Alan (b. 1903), Eng. actor: 

COR, 34 
Natwick, Mildred (b. 1908), Am. ac- 
tress: 

COR, 34 
Naylor, S. T.: 

MWW, 25 
Neale, Peggy, Eng. designer, 20th c: 

MV, 121; R&J, 96; TEM, 49 



INDEX 539 



Neals: 

AYL, 3 
Needles, William, Can. actor, 20th 
c: 

TS, 74 
Negri, Richard, Eng. designer, 20th 
c: 

AYL, 109 
Neilson, Adelaide (1846-80), Eng. ac- 
tress: 

AYL, 72, 110; CYM, 20; MV, 132; 

MA, 21; R&J, 22, 42, 43, 57; TS, 

21; TN, 18,26,31 
Neilson-Terry, Phyllis (b. 1892), Eng. 
actress: 

HVIII, 68; MAC, 141 
Nesbitt, Cathleen (b. 1889), Eng. ac- 
tress: 

KL, 107 
Ness, Annie: 

KL, 28 
Neu, Thea, Can. designer, 20th c: 

MND, 44 
Neuffer, D.: 

JC92 
Neville, J.: 

KJ, 65 
Neville, John (b. 1925), Eng. actor: 

AW, 15; AYL, 104; HIV2, 16; HV, 

39; JC, 89; LLL, 13; MM, 34; RII, 

43; T&C, 9 
Newton, Miss: 

CE, 28 
Nicholls, Anthony, Eng. actor, 20th 
c: 

COR, 36; MM, 33, 34; MV, 127 
Nicholson, L. D.: 

MV, 66 

Nicolai, Otto (1810-49), Germ, com- 
poser: 
MWW, 89 
Nimmo, A. W., Eng. prompter at 
Edinburgh, early 19th c: 
HAM, 20; R&J, 16 

Nisbett, Louisa (c.1812-58), Eng. ac- 
tress: 
AYL, 37; MA, 21 
Noel, Jacques, Eng. designer, 20th 
c: 
WT, 57 



Noguchi, Isamu (b. 1904), Am. artist 
and designer: 
KL, 114 
Norris, Herbert, Eng. designer, 20th 
c: 
HV, 31, 32, 34; HVIII, 68, 69; RII, 
40; RIII, 88 
Northen, Michael, Eng. designer, 20th 
c: 

HAM, 172; MAC, 146; MM, 25 
Norton, John W., Am. actor, 19th c: 
MWW, 89; MA, 43, 102; OTH, 
119 
Novelli, Ermete (1851-1919), Ital. ac- 
tor: 
MV, 102; OTH, 119 
Nye, Carrie, Can. actress, 20th c: 
T&C, 10 

Ober, George A.: 

HAM, 79 
O'Brien, David (b. 1930), Eng. actor: 

KL, 114; MND, 43; TEM, 50 
O'Brien, John S., Am. actor, early 
20th c: 

HAM, 154 
O'Brien, Timothy, Eng. designer, 
20th c: 

HIVi, 56 
O'Day, Alice (d. 1937), Eng. actress: 

COR, 29; R&J, 93 
Oenslager, Donald (b. 1902), Am. de- 
signer: 

COR, 34 
O'Hearn, Robert, Am. designer, 20th 
c: 

AYL, 108; MAC, 149; T&C, 10 
Olivier, Laurence (b. 1907), Eng. ac- 
tor and director: 

COR, 36; HV, 33; MAC, 147; TA, 

1; TN, 96 
O'Neill, Eliza (1792-1872), Eng. ac- 
tress: 

R&J, 23 
O'Toole, Peter, Eng. actor, 20th c: 

MV, 130; TS, 79 
Owen, W. F. (1844-1906), Eng. actor: 

HIVi, 18, 42; MWW, 31, 32; TN, 

38 
Oxley, John H.: 

HAM, 19 



540 INDEX 



Padcock, W.: 

COR, 9 
Palmer, D. J.: 

MWW.89 
Palmer, John (1742-98), Eng. actor: 

MAC, 11; OTH, 3 
Parker, Mrs. A.: 

TS, 12 
Parker, Joy (b. 1924), Eng. actress: 

TEM, 50, 51 
Parks, J. Gower, Eng. designer, 20th 
c: 

A&C, 42; COR, 32; CYM, 39, 40; 

MA, 91; TEM, 49; TG, 16 
Parry, Natasha, Eng. actress, 20th c: 

TEM, 55 
Parsloe, James (c. 1799-1 847), Eng. 
prompter: 

HAM, 20; MAC, 21; MV, 12; 

OTH, 21; RIII, 20 
Partridge, John Bernard (1861-1945), 
Eng. artist: 

MAC, 98 
Pateman, Bella (c.1844-1908), Eng. 
actress: 

TS, 26 
Paton, Miss: 

MV, 7 
Paton, Alan Park: 

R&J, 46 
Paul, Frank: 

OTH, 29 
Paulding, Frederick (c.l 859-1937), Am. 
actor: 

CE, 24; HAM, 179; JC, 45; MV, 

77; MWW, 47; OTH, 72; RIII, 75 
Pavlow, Muriel (b. 1921), Eng. ac- 
tress: 

T&C, 8 
Payne, B. Iden (b. 1881), Eng.-Am. 
director: 

AW, 13; A&C, 40, 42; AYL, 98 

101; COR, 32; CYM, 39; HAM 

164, 168; HIV*, 51, 52; HV, 31 

HVIII, 68; KJ, 58; MAC, 141, 142 

MM, 24; MV, 121; MA, 89, 91 

RIII, 88; R&J, 96, 97; TS, 66 

TEM, 49; T&C, 6; TN, 94; TG, 

16; WT, 48, 50 
Payne, John Howard (1791-1852), 
Am. actor and playwright: 



OTH, 7 

Payne, Laurence (b. 1919), Eng. ac- 
tor: 
LLL, 12; R&J, 100 

Peel, David (b. 1920), Eng. actor: 
R&J, 97 

Pelby, William: 
MAC, 19 

Pelham, Miss: 
KL, 24 

Penwarden, Hazel, Eng. actress, 20th 
c: 
HV, 35; TEM, 52 

Percy, Esme (1887-1957), Eng. actor 
and director: 
HAM, 160 

Percy, F. W.: 
MWW, 89 

Perfitt: 
TEM, 9 

Peters, Rollo (b. 1892), Eng. actor and 
designer: 
R&J, 91 

Phelps, Samuel (1804-78), Eng. actor 
and manager: 
A&C, 5, 10; AYL, 26-29, 36; CE, 17 
COR, 13-15; CYM, 18; HAM, 53 
HIVi, 21, 35; HIV2, 12; HV, 9 
HVIII, 20, 50; JC, 8, 16, 17; KJ, 26 
45; KL, 36, 37, 53, 74; LLL, 3-5 
MAC, 29, 35, 36, 38, 56, 57, 63, 68 
106, 109; MM, 8, 9; MND, 19, 20 
OTH, 29; PER, 1-3; RIII, 24-28 
33, 50; R&J, 26, 27; TS, 9, 14, 16 
TEM, 8-12, 28; TIM, 5-12; TN, 
11; TG, 5; WT, 10 

Phillips, Edna, Am. actress, early 20th 
c: 
AYL, 82 

Phillips, Henry B., Am. prompter, 
mid-19th c: 
HAM, 40, 48, 55; KL, 38; MWW, 
18,19 

Phillips, John, Eng. actor, 20th c: 
JC, 91; MAC, 148; TEM, 55 

Phillips, Kate (c.1849-1931), Eng. ac- 
tress: 
TN, 67 

Phillips, Redmond, Eng. actor, 20th 
c: 
HAM, 178 



INDEX 541 



Pickard, Alison, Eng. actress, 20th c: 

KL, 108 
Pitman, J. R. (1843-1914), Am. stage 
manager and manager: 
HAM, 103, 104; JC, 36, 47; KL, 
85, 86; MAC, 75-77, 102; MV, 70, 
71, 87; OTH, 67, 90; RIII, 59, 74; 
TS, 22 
Pitt, Harry M. (d. 1898), Eng. actor: 

AYL, 50 
Placide, Henry (and Thomas) (1799- 
1870), Am. actor: 
CE, 15; COR, 38; HVIII, 75 
Plowman, Harry: 

COR, 14, 15; CYM, 18; HV, 9; JC, 
16; MND, 19, 20; RIII, 25 
Plukkett, C: 

TS, 12 
Plummer, Christopher (b. 1929), Can. 
actor: 
HAM, 173; HV, 37; KJ, 63; MA, 
99, 101; RIII, 91; R&J, 105; WT, 
55 
Poel, William (1852-1934), Eng. actor 
and director: 
COR, 28; HAM, 127, 128, 160; 
MM, 17, 18; MV, 86; MA, 57; RII, 
25; R&J, 82, 84; TS, 58; T&C, 3; 
TN, 43; TG, 14 
Pollett, Raymond, Eng. actor, 20th c: 

HAM, 168; MAC, 143 
Ponisi, Mme. (1819-99), Am. actress: 

MAC, 70, 106; OTH, 19, 37 
Porter, Eric (b. 1928), Eng. actor: 
AYL, 104; HIV2, 16; RII, 43; RIII, 
91; TN, 99; WT, 57 
Porter, Neil (1895-1944), Eng. actor: 
AYL, 98; HIV*, 52; JC, 80; LLL, 
10; TEM, 47, 48 
Post, E. M.: 

KJ,65 
Potter, Mr.: 

AYL, 43 
Potter, Peter, Eng. director, 20th c: 

KJ, 64; MV, 131 
Pounds, Courtice (1862-1927), Eng. 
actor: 
MV, 107 
Powell, Francis S. T., Am. stage man- 
ager, early 20th c: 
MV, 91; TS, 47; TN, 58 



Powell, John, Eng. actor, 18th c: 

KJ,3 
Powell, Julia: 

MV, 132 
Powell, Snelling (1758-1821), Am. 
manager: 

HVIII, 7; MWW, 6 
Powell, Sparks (d. 1798), Eng. actor: 

MWW, 6 
Powell, William (1735-69), Eng. actor: 

KJ,3 
Power, Richard: 

OTH, 4 
Power, Tyrone (1869-1931), Eng.-Am. 
actor: 
HAM, 154; JC, 78; MAC, 112 
Powrie, Thomas: 

OTH, 9 
Pratt, Muriel (c.1891-1945), Eng. ac- 
tress: 
R&J, 90 
Prentice, Herbert M. (b. 1890), Eng. 
director and designer: 
AYL, 101 
Preston, Robert J., Am. prompter, 
19th c: 
HIVi, 38; KJ, 46; KL, 89 
Prevost, Robert, Can. designer, 20th 
c: 
OTH, 117 
Price, Cromwell: 

KJ,65 
Price, Thomas: 

HIVi, 5 
Pride, Malcolm, Eng. designer, 20th 
c: 
AYL, 107; T&C, 8; TN, 96 
Proctor, John, Am. actor, 19th c: 
CE, 13; HIVi, i4 ; HVIII, 28; MV, 
22 
Proctor, Joseph (c. 1816-97), Eng. ac- 
tor: 
MAC, 66 
Proudfoot, Miss: 

R&J, 23 
Pryde, James, Eng. designer, 20th c: 

OTH, 104 
Purdom, C. B. (b. 1883), Eng. writer: 

MND, 35; TN, 80 
Purland, T. (1805-81), Eng. collector: 
RII, 2 



542 INDEX 



Quartermaine, Leon (b. 1876), Eng. 
actor: 

MAC, 144; TN, 86 
Quayle, Anthony (b. 1913), Eng. ac- 
tor and director: 

AYL, 103; COR, 33; HAM, 170; 

HIVi, 53, 54; HIV2, 14; HV, 35; 

HVIII, 70, 71; JC, 86; KJ, 59; KL, 

109; MAC, 144, 145; MM, 33; 

MWW, 83; MND, 42, 43; MA, 92, 

93; OTH, 110-112; RII, 42; TS, 

71; TEM, 52; TA, 1; T&C, 7, 8; 

WT, 51 
Quick, George: 

HAM, 171 
Quin, James (1693-1766), Eng. actor: 

HIVi, 3; HVIII, 2 

Ragin, John, Am. actor, 20th c: 

AW, 18; A&C, 47 
Raikes, Raymond, Eng. actor, 20th 
c: 

AW, 13; AYL, 98 
Rain, Douglas, Can. actor, 20th c: 

HIVi, 55; HVIII, 74; KJ, 63; 

OTH, 117; TN, 97 
Rainbow, C, caretaker of theatre at 
Stratford, late 19th c: 

JC, 53 
Rains, Claude (b. 1889), Eng. actor: 

HVIII, 62; MV, 107 
Ralph, Jessie (c. 1865-1 944), Am. ac- 
tress: 

R&J, 91 
Rathbone, Basil (b. 1892), Eng. actor: 

JC78 
Rawlings, Margaret (b. 1906), Eng. 
actress: 

MWW, 84 
Rawson, Tristan (b. 1888), Eng. actor: 

A&C, 42 
Ray, Mr.: 

TEM, 9 
Rea, Mrs. Frank, Am. actress, mid- 
19th c: 

TS, 12 
Read, Alvin, Am. actor, 19th c: 

AYL, 110; HAM, 179; HIVi, 57 ; 

HVIII, 75; JC, 92; KJ, 65; KL, 

117; MAC, 150; MWW, 89; MND, 

49; R&J, 107; TN, 102 



Read, David, Eng. actor, 20th c: 

A&C, 42; TN, 94 
Reading, Charles, Eng. designer, 20th 
c: 

HV, 32; KL, 108; WT, 49 
Redgrave, Michael (b. 1908), Eng. 
actor: 

A&C, 43; HAM, 174; HIVi, 53; 

HIV2, 14, 15; KL, 113; MV, 124; 

MA, 100; RII, 42; TEM, 52 
Redgrave, Vanessa (b. 1937), Eng. ac- 
tress: 

AYL, 109; MND, 46 
Redman, Joyce (b. 1918), Eng. ac- 
tress: 

AW, 16; MWW, 83 
Redmond, William, Am. actor, late 
19th c: 

AYL, 73 
Reed, Florence (b. 1883), Am. actress: 

MAC, 133; R&J, 95 
Reed, Julian: 

HAM, 98 
Rees, James (1802-85), Am. writer: 

KL, 72 
Rehan, Ada (1860-1916), Am. actress: 

AYL, 61, 84; LLL, 8; MV, 85; 

MND, 25; MA, 51, 54, 55; TS, 35, 

54; TEM, 33; TN, 34, 36, 40-42; 

TG, 12, 13 
Reid, Kate, Can. actress, 20th c: 

HVIII, 74; MND, 47; OTH, 117; 

R&J, 105 
Reignolds, Emma: 

MA, 102 
Reignolds, George: 

OTH, 119 
Reignolds, Kate (c.1836-1911), Am. ac- 
tress: 

AYL, 39 
Reinagle, Alexander (1756-1809), Am. 
manager: 

CYM, 2 
Rennie, James (b. 1890), Am. actor: 

JC, 78 
Revill, Clive (b. 1930), Eng. actor: 

CYM, 43 
Reynolds, Frederic (1764-1841), Eng. 
playwright: 

AYL, 9; CE, 8, 9; MWW, 13-15, 30; 

MND, 7; TN, 7 



INDEX 543 



Rice, Peter, Eng. designer, 20th c: 

MA, 95; TS, 7