Presented to The Shakespeare Memorial, Stratford-on-Avon, by Sir Henry IrvingBUST OF ELLEN TERRY, BY W. BRODIE, R.S.A.Presented to The Shakespeare Memorial, Stratford-on-Avon, by Sir Henry Irving.[To face page 88.
BUST OF ELLEN TERRY, BY W. BRODIE, R.S.A.Presented to The Shakespeare Memorial, Stratford-on-Avon, by Sir Henry Irving.[To face page 88.
BUST OF ELLEN TERRY, BY W. BRODIE, R.S.A.
Presented to The Shakespeare Memorial, Stratford-on-Avon, by Sir Henry Irving.
[To face page 88.
I wonder what she would have said if the recreant Sothern had thus committed himself! But in spite of occasional fits of joyousness this Haymarket engagement seems to have been a disappointment to her. She regarded it as one of her "lost opportunities,"—and in later days she would have given much to "find it again." By her own wish, however, it came to an early end. No doubt the ordeal was a severe one. She was exceedingly young, and she was called upon to vie with the picked comedians of her day. She acquitted herself not only bravely but with distinction, but no doubt her ever supersensitive nature (the inevitable if undesirable nature of the true artist) often whispered to her that she had blundered where she had really made a marked impression. Mrs. Siddons was wont to say that the player's nerves must be "made of cart ropes." Ellen Terry's highly-strung organisation seems to move on the slenderest of silken threads, and no doubt in those early days the strain of her public appearances were often a torment to her. In theJune of 1863 Edward Leman Blanchard records her appearance at the Princess's Theatre, and her performance of Desdemona to the Othello of Walter Montgomery. This was an interesting event, for it witnessed the return of the little Mamillius and Prince Arthur of former days to the scene of her early successes, and this in a Shakespearean part in which she subsequently won great renown at the Lyceum.
Not long after this, and to the intense regret of those who were carefully watching the rapid progress of her artistic career, she temporarily left the stage. Probably she found its duties too irksome to one of her restless, self-doubting nature. Men and women endowed with unusual talents are generally prone to have their own way, and it is perhaps well for the full fruition of those great gifts, that are to be a present boon and future memory to mankind, that they should follow it. Who would wantonly put Pegasus in the Pound?
Even in those (to her) unpromising "Georgina" days Ellen Terry had shown real genius. Genius, as William Winter has beautifully put it, is the petrel, and like the petrel it loves the freedom of the winds and the waves.
Just as the petrel of the ocean appears during its flight sometimes to touch the surface of the waves with its feet, so she had daintily fluttered across the boards which were for a time to lose her.
KATE TERRY
Now that Ellen Terry has for a time said good-bye to the stage that so sorely missed her, I may pause to glance at the brilliant career of her elder sister Kate, who had been, as we have seen, the constant comrade of her 'prentice days. Apart from her conspicuous successes in the youthful Shakespearean characters at the Princess's, she had, before her engagement at that house came to an end, made a profound impression by the purity and pathos of her acting as Cordelia (she was a very young Cordelia) to the King Lear of Charles Kean. This was in the April of 1858. Even at that early age she had, as the saying goes, "arrived," and would no doubt have been promptly secured by any of the then existing London managers. But, wise in his generation, and conscious of his daughter's conspicuous talents, her father decided that she must have more practice before taking that place on the boards to which she should become entitled.
It is interesting to show here one of the Charles Kean play-bills in which Kate Terry figured. To-day it reads curiously as the programme of a fashionable West End theatre.
PRINCESS'S THEATRE,OXFORD STREET.Under the Management ofMrCharles Kean,No. 3 Torrington Square.This Evening, Saturday, January 3rd, 1852,Will be presented Colman's play of theIRON CHESTSir Edward MortimerMr Charles KeanCaptain FitzhardingMr AddisonWilfordMr J. F. CathcartAdam WintertonMr MeadowsRawboldMr RyderSamsonMr HarleyOrsonMr C. FisherGregoryMr RollestonHelenMiss FranklandBlanchMiss MurrayBarbaraMiss Mary KeeleyAfter which (8th Time), a Grand Operatico, Tragico, Serio-Pastoralic,Nautico, Demoniaco, Cabalistico,ORIGINAL CHRISTMAS PANTOMIME, entitled,HARLEQUINBILLY TAYLORORTHE FLYING DUTCHMANAND THEKING OF RARITONGO"Billy Taylor was a gay young fellowFull of mirth and full of glee,And his mind he did diskiverTo a maiden fair and free."
PRINCESS'S THEATRE,OXFORD STREET.
Under the Management ofMrCharles Kean,No. 3 Torrington Square.
This Evening, Saturday, January 3rd, 1852,Will be presented Colman's play of the
IRON CHEST
Sir Edward MortimerMr Charles KeanCaptain FitzhardingMr AddisonWilfordMr J. F. CathcartAdam WintertonMr MeadowsRawboldMr RyderSamsonMr HarleyOrsonMr C. FisherGregoryMr RollestonHelenMiss FranklandBlanchMiss MurrayBarbaraMiss Mary Keeley
After which (8th Time), a Grand Operatico, Tragico, Serio-Pastoralic,Nautico, Demoniaco, Cabalistico,
ORIGINAL CHRISTMAS PANTOMIME, entitled,
HARLEQUINBILLY TAYLOR
OR
THE FLYING DUTCHMAN
AND THE
KING OF RARITONGO
"Billy Taylor was a gay young fellowFull of mirth and full of glee,And his mind he did diskiverTo a maiden fair and free."
"Billy Taylor was a gay young fellowFull of mirth and full of glee,And his mind he did diskiverTo a maiden fair and free."
"Billy Taylor was a gay young fellowFull of mirth and full of glee,And his mind he did diskiverTo a maiden fair and free."
"Billy Taylor was a gay young fellow
Full of mirth and full of glee,
And his mind he did diskiver
To a maiden fair and free."
Scenery by Messrs Gordon, F. Lloyds, Dayes, etc.Decorations & Properties by Mr Moon.Dances arranged by Mr Flexmore.Machinery by Mr G. Hodson.Costumes by Mr Sefton and Miss Hoggins.Overture & Music composed & arranged by Mr R. Hughes.The Pantomime by the brothers Sala and Mr George Ellis, by whomit has been produced.Billy Taylor(the "gay young fellow"—firstMr F. CookeSchneider of his day & Knightafterwardsof the Shears—frequently hotHarlequin,pressing, then pressed himself)Mr Cormack.Admiral Sir Lee(Field Marshal of the Horse-afterwardsScupper BlueMarines & Testamentary GuardianPantaloon,Blazesof the Buoy at the Nore,Mr Paulo.hoisting his flag on board theThundererbomb, 999 Guns)Calimancothe(King of Raritongo, the largestMr Rolleston.xxxiiirdof the Cannibal Islands—aslightly cracked sovereign, who,Mr Flexmore.wishing for change, is transformed intoClown.Vanderdecken(The Flying Dutchman, a decidedMr Collis.Voltigeur in pursuit of his prey)Quashyhubaboo(Prime Minister of Raritongo—Mr Edmonds.Original "Bones" but ratherfleshy in appearance)Master Reefer(Midshipman and Powder MonkeyMr Lloyd.Rattlinin Ordinary on board theThundererbomb)Baccychaw Pipes(Boatswain of the "gallantMr J. Collins.Thundererbomb," ever readywith a quid for a quo)Horrosambo(Aide-de-Camp & Black Stick inMr Stoakes.waiting to King of Raritongo)Signor(First Violin Extraordinary atMr F. Hartland.Sivorienstsaintonthe Nobility's Concerts)BotteseriniThe Princess(King of Raritongo's daughter,Mr Stacey.Saccasuttakonkablack, sweet and beautiful)Paulina Di Panto(popularly known as Pretty PollMr Daley.of Portsmouth Point, sojourningpro tem. in Tooley St.,—young,afterwardslovely, & attached to BillyMiss CarlottaTaylor—afterwards Columbine)Leclercq.Britannia(Tutelary Genius of "Old Albion"Miss Katecontinually ruling the waves)Terry.The Fairy(very well re(a)d in all branches,Miss Vivash.Coraliaparticularly in corollaries)The Fairy(kept very close but determinedMiss Desborough.Nautilato shell out & be a naughty-lassno more)
Scenery by Messrs Gordon, F. Lloyds, Dayes, etc.Decorations & Properties by Mr Moon.Dances arranged by Mr Flexmore.Machinery by Mr G. Hodson.Costumes by Mr Sefton and Miss Hoggins.Overture & Music composed & arranged by Mr R. Hughes.
Scenery by Messrs Gordon, F. Lloyds, Dayes, etc.Decorations & Properties by Mr Moon.Dances arranged by Mr Flexmore.Machinery by Mr G. Hodson.Costumes by Mr Sefton and Miss Hoggins.Overture & Music composed & arranged by Mr R. Hughes.
Scenery by Messrs Gordon, F. Lloyds, Dayes, etc.Decorations & Properties by Mr Moon.Dances arranged by Mr Flexmore.Machinery by Mr G. Hodson.Costumes by Mr Sefton and Miss Hoggins.Overture & Music composed & arranged by Mr R. Hughes.
The Pantomime by the brothers Sala and Mr George Ellis, by whomit has been produced.
Billy Taylor(the "gay young fellow"—firstMr F. CookeSchneider of his day & Knightafterwardsof the Shears—frequently hotHarlequin,pressing, then pressed himself)Mr Cormack.Admiral Sir Lee(Field Marshal of the Horse-afterwardsScupper BlueMarines & Testamentary GuardianPantaloon,Blazesof the Buoy at the Nore,Mr Paulo.hoisting his flag on board theThundererbomb, 999 Guns)Calimancothe(King of Raritongo, the largestMr Rolleston.xxxiiirdof the Cannibal Islands—aslightly cracked sovereign, who,Mr Flexmore.wishing for change, is transformed intoClown.Vanderdecken(The Flying Dutchman, a decidedMr Collis.Voltigeur in pursuit of his prey)Quashyhubaboo(Prime Minister of Raritongo—Mr Edmonds.Original "Bones" but ratherfleshy in appearance)Master Reefer(Midshipman and Powder MonkeyMr Lloyd.Rattlinin Ordinary on board theThundererbomb)Baccychaw Pipes(Boatswain of the "gallantMr J. Collins.Thundererbomb," ever readywith a quid for a quo)Horrosambo(Aide-de-Camp & Black Stick inMr Stoakes.waiting to King of Raritongo)Signor(First Violin Extraordinary atMr F. Hartland.Sivorienstsaintonthe Nobility's Concerts)BotteseriniThe Princess(King of Raritongo's daughter,Mr Stacey.Saccasuttakonkablack, sweet and beautiful)Paulina Di Panto(popularly known as Pretty PollMr Daley.of Portsmouth Point, sojourningpro tem. in Tooley St.,—young,afterwardslovely, & attached to BillyMiss CarlottaTaylor—afterwards Columbine)Leclercq.Britannia(Tutelary Genius of "Old Albion"Miss Katecontinually ruling the waves)Terry.The Fairy(very well re(a)d in all branches,Miss Vivash.Coraliaparticularly in corollaries)The Fairy(kept very close but determinedMiss Desborough.Nautilato shell out & be a naughty-lassno more)
date—once upon a time
scene—no where particular.
Coral Grottoes of the Genii of the Ocean.
Affectionate meeting of Coralia and Nautila—Various propositions for a "Fast" Fairy Spree, interrupted by the unexpected appearance of—Britannia enthroned on one of her "wooden walls."And attended by her trusty guard of Blue Jackets—Anger of Ocean Queen—Billy Taylor's destiny determined on, and hasty summons of dreaded Vanderdecken—Britannia issues her mandate, and Vanderdecken proceeds to seize the luckless Taylor of Tooley Street.
Affectionate meeting of Coralia and Nautila—Various propositions for a "Fast" Fairy Spree, interrupted by the unexpected appearance of—Britannia enthroned on one of her "wooden walls."And attended by her trusty guard of Blue Jackets—Anger of Ocean Queen—Billy Taylor's destiny determined on, and hasty summons of dreaded Vanderdecken—Britannia issues her mandate, and Vanderdecken proceeds to seize the luckless Taylor of Tooley Street.
Affectionate meeting of Coralia and Nautila—Various propositions for a "Fast" Fairy Spree, interrupted by the unexpected appearance of—
Britannia enthroned on one of her "wooden walls."
And attended by her trusty guard of Blue Jackets—Anger of Ocean Queen—Billy Taylor's destiny determined on, and hasty summons of dreaded Vanderdecken—Britannia issues her mandate, and Vanderdecken proceeds to seize the luckless Taylor of Tooley Street.
ROCKY PANORAMA OF INTERMINABLE GLOOM.
MONARCH MART OF FASHION
OtherwiseBilly Taylor's shop in Tooley Street.
"Four and twenty tailors all of a row" (vide Old Song).Entrance of the fascinating Paulina di Panto Portsmoutho."The course of true love never did run smooth." Preparations for the Nuptials, interrupted by press-ure from without.
"Four and twenty tailors all of a row" (vide Old Song).Entrance of the fascinating Paulina di Panto Portsmoutho."The course of true love never did run smooth." Preparations for the Nuptials, interrupted by press-ure from without.
"Four and twenty tailors all of a row" (vide Old Song).
Entrance of the fascinating Paulina di Panto Portsmoutho.
"The course of true love never did run smooth." Preparations for the Nuptials, interrupted by press-ure from without.
"Four and twenty stout young fellows,Clad they were in blue array,Came and pressed poor Billy Taylor,And straightway took him off to sea."
"Four and twenty stout young fellows,Clad they were in blue array,Came and pressed poor Billy Taylor,And straightway took him off to sea."
"Four and twenty stout young fellows,Clad they were in blue array,Came and pressed poor Billy Taylor,And straightway took him off to sea."
"Four and twenty stout young fellows,
Clad they were in blue array,
Came and pressed poor Billy Taylor,
And straightway took him off to sea."
TERRIFIC AND SANGUINARYCOMBAT
Between Billy Taylor and the Bold British Boatswain. Billy hors-de-combat.
"Soon his true love followed arter,Under the name of Richard Carr;And her lily-white hands were daubed all over,With the nasty pitch and tar."
"Soon his true love followed arter,Under the name of Richard Carr;And her lily-white hands were daubed all over,With the nasty pitch and tar."
"Soon his true love followed arter,Under the name of Richard Carr;And her lily-white hands were daubed all over,With the nasty pitch and tar."
"Soon his true love followed arter,
Under the name of Richard Carr;
And her lily-white hands were daubed all over,
With the nasty pitch and tar."
QUARTER-DECK OF THE "GALLANT THUNDERERBOMB."
Quarter-deck festivities, of which Paulina (disguised as Richard Carr) partakes.
Quarter-deck festivities, of which Paulina (disguised as Richard Carr) partakes.
Quarter-deck festivities, of which Paulina (disguised as Richard Carr) partakes.
GRAND NAUTICAL DOUBLE SHUFFLE GROG & BACCYHORNPIPE BY ALL THE CHARACTERS.
"TheFlying Dutchmanon the weather-bow"—Decks cleared for action—Bombarding, Boarding and General Blow-up!—and "Off we go to Turkey."
"TheFlying Dutchmanon the weather-bow"—Decks cleared for action—Bombarding, Boarding and General Blow-up!—and "Off we go to Turkey."
"TheFlying Dutchmanon the weather-bow"—Decks cleared for action—Bombarding, Boarding and General Blow-up!—and "Off we go to Turkey."
OEIL DE BOEUF IN KING CALIMANCO'S PALACE
A Black King in a bad way—Glorious news—The White Man's come—Lombardy and Raritongo united.
A Black King in a bad way—Glorious news—The White Man's come—Lombardy and Raritongo united.
A Black King in a bad way—Glorious news—The White Man's come—Lombardy and Raritongo united.
JAMSETTJEEJEESETYERJIBBAHOY. THE MARINERESIDENCE of his MAJESTY OF RARITONGO.
Sea Coast in the Distance.
Billy cast ashore on the Island—Proposition for the hand of Princess—A crown of independence or a hard crust—and Portsmouth hard; the Crown wins—A Revolving Denouement:
Billy cast ashore on the Island—Proposition for the hand of Princess—A crown of independence or a hard crust—and Portsmouth hard; the Crown wins—A Revolving Denouement:
Billy cast ashore on the Island—Proposition for the hand of Princess—A crown of independence or a hard crust—and Portsmouth hard; the Crown wins—A Revolving Denouement:
"When the Captain come for to hear on it,He werry much applauded what she'd done;And he quickly made her first lieutenantOf the gallantThundererbomb."
"When the Captain come for to hear on it,He werry much applauded what she'd done;And he quickly made her first lieutenantOf the gallantThundererbomb."
"When the Captain come for to hear on it,He werry much applauded what she'd done;And he quickly made her first lieutenantOf the gallantThundererbomb."
"When the Captain come for to hear on it,
He werry much applauded what she'd done;
And he quickly made her first lieutenant
Of the gallantThundererbomb."
REGAL AND FLORAL OVATION TO BRITANNIA.
MAGICAL METAMORPHOSIS.
Harlequin, Mr Cormack.Pantaloon, Mr Paulo.Clown, Mr Flexmore.Columbine, Miss C. Leclerq.
EXTERIOR OF THE PUNCH OFFICE AND PICTURE FRAME MAKER'S SHOP.
How to take a portrait—Drawing taught in one Lesson.
Light weightsv.heavy weights—What d'ye take?—Port or sherry?—"A Blot in the Scutcheon"—A "Punch" for Two—Polkamania Extraordinary, and off we go to
Light weightsv.heavy weights—What d'ye take?—Port or sherry?—"A Blot in the Scutcheon"—A "Punch" for Two—Polkamania Extraordinary, and off we go to
Light weightsv.heavy weights—What d'ye take?—Port or sherry?—"A Blot in the Scutcheon"—A "Punch" for Two—Polkamania Extraordinary, and off we go to
A MODEL FARM YARD.
How should you like some apples?—The real unmistakable Cat's-head Codlin—Here's the Farmer—"An old man found a rude boy in one of his trees stealing apples" (vide Dr Dilworth) etc. etc. A headless tale—Eggs, and Young ones—Mr Cantelo outdone—Fowl robberies and foul blows—When is a horse not a horse?—When it's a Mare—That Mare's a hunter—No, that hunter's aMayor—The Clown's introduction to the City Dignitaries—Stocks is down.
How should you like some apples?—The real unmistakable Cat's-head Codlin—Here's the Farmer—"An old man found a rude boy in one of his trees stealing apples" (vide Dr Dilworth) etc. etc. A headless tale—Eggs, and Young ones—Mr Cantelo outdone—Fowl robberies and foul blows—When is a horse not a horse?—When it's a Mare—That Mare's a hunter—No, that hunter's aMayor—The Clown's introduction to the City Dignitaries—Stocks is down.
How should you like some apples?—The real unmistakable Cat's-head Codlin—Here's the Farmer—"An old man found a rude boy in one of his trees stealing apples" (vide Dr Dilworth) etc. etc. A headless tale—Eggs, and Young ones—Mr Cantelo outdone—Fowl robberies and foul blows—When is a horse not a horse?—When it's a Mare—That Mare's a hunter—No, that hunter's aMayor—The Clown's introduction to the City Dignitaries—Stocks is down.
BRAHAM'S LOCK MANUFACTORYAND GENERAL OUTFITTER'S WAREHOUSEMYRIOTERPSICHOREORAMA.
The meaning of which Mr Flexmore will take steps to explain.Tables and stools in any given quantity—Prize dahlias & new blooms.
The meaning of which Mr Flexmore will take steps to explain.Tables and stools in any given quantity—Prize dahlias & new blooms.
The meaning of which Mr Flexmore will take steps to explain.
Tables and stools in any given quantity—Prize dahlias & new blooms.
EXTERIOR OF THE COMFORTABLE CATCH'EM & KEEP'EM HOTEL
Here's the Policeman—"Hullo! what are you doing here?"
Love in the KitchenversusCupboard Love.
PAS DE PARAPLUIE, by Mr Flexmore.
BIRD'S-EYE VIEW OFLONDON BY MOONLIGHT
We haven't "got home" till morning; Don't, please don't—I'm so sleepy—Why, the sheets are damp—Never mind, the warming-pan's hot—"Music hath charms to soothe the savage breast." Yes, but not after two in the morning when you want to go to sleep, and have the tic-toorallo—"The Light of other days is Faded"—A Squall from Don Pasquale—Come gentil, anything but genteel—Mol-row! Mol-row! Puss! Puss! Puss!—Bang! Fire!—Affairs take a rapid turn—Hush! Let's go to bed! What a smell of fire! Smoke! fire! blazes! firemen! policemen! old men! young men! boys! kids! row! rattles! riot! rumpus & revolution.
We haven't "got home" till morning; Don't, please don't—I'm so sleepy—Why, the sheets are damp—Never mind, the warming-pan's hot—"Music hath charms to soothe the savage breast." Yes, but not after two in the morning when you want to go to sleep, and have the tic-toorallo—"The Light of other days is Faded"—A Squall from Don Pasquale—Come gentil, anything but genteel—Mol-row! Mol-row! Puss! Puss! Puss!—Bang! Fire!—Affairs take a rapid turn—Hush! Let's go to bed! What a smell of fire! Smoke! fire! blazes! firemen! policemen! old men! young men! boys! kids! row! rattles! riot! rumpus & revolution.
We haven't "got home" till morning; Don't, please don't—I'm so sleepy—Why, the sheets are damp—Never mind, the warming-pan's hot—"Music hath charms to soothe the savage breast." Yes, but not after two in the morning when you want to go to sleep, and have the tic-toorallo—"The Light of other days is Faded"—A Squall from Don Pasquale—Come gentil, anything but genteel—Mol-row! Mol-row! Puss! Puss! Puss!—Bang! Fire!—Affairs take a rapid turn—Hush! Let's go to bed! What a smell of fire! Smoke! fire! blazes! firemen! policemen! old men! young men! boys! kids! row! rattles! riot! rumpus & revolution.
INTERIOR OF A CONFECTIONER'S SHOP.
Love & Pastry—Send for a policeman—When 'em waters I sees, an' I screems—Below zero—Up to fever heat.A Christmas Polka Cake and a Trifle for Children, Old & Young.
Love & Pastry—Send for a policeman—When 'em waters I sees, an' I screems—Below zero—Up to fever heat.A Christmas Polka Cake and a Trifle for Children, Old & Young.
Love & Pastry—Send for a policeman—When 'em waters I sees, an' I screems—Below zero—Up to fever heat.
A Christmas Polka Cake and a Trifle for Children, Old & Young.
THE FLORAL REALMS OF LIGHT
THE NEW PANTOMIMEEvery Evening.
Monday. .The Merry Wives of Windsor.Tuesday. .The Iron Chest and Betsy Baker.Wednesday. .Hamlet.Thursday. .The Merry Wives of Windsor.
Acting Manager, Mr Emden.Stage Manager, Mr G. Ellis.Musical Director, Mr R. Hughes.Ballet Master, Mr Flexmore.
Dress Circle 5/. Boxes 4/. Pit 2/. Gallery 1/.Second price: Dress Circle 2/6. Boxes 2/. Pit 1/. Gallery 6d.Orchestra stalls 6/, which may be retained entire evening.Private Boxes £2. 12s. 6d.; £2. 2s. 0d.; & £1. 11s. 6d.Box Office open from 11 to 5 o'clock. Doors open at 6.30.Performance to commence at 7.0. Half price will commence as near 9.0 as is consistent with the non-interruption of the performance. Gallery door in Castle Street. Children in arms cannot possibly be admitted. Private boxes & stalls may be obtained at the libraries; & of Mr Massingham at Box Office of the Theatre, Oxford St., where places for Dress Circle and Boxes may be secured.Applications respecting the bills to be addressed to Mr Treadaway,Stage Door.
Dress Circle 5/. Boxes 4/. Pit 2/. Gallery 1/.Second price: Dress Circle 2/6. Boxes 2/. Pit 1/. Gallery 6d.Orchestra stalls 6/, which may be retained entire evening.Private Boxes £2. 12s. 6d.; £2. 2s. 0d.; & £1. 11s. 6d.Box Office open from 11 to 5 o'clock. Doors open at 6.30.Performance to commence at 7.0. Half price will commence as near 9.0 as is consistent with the non-interruption of the performance. Gallery door in Castle Street. Children in arms cannot possibly be admitted. Private boxes & stalls may be obtained at the libraries; & of Mr Massingham at Box Office of the Theatre, Oxford St., where places for Dress Circle and Boxes may be secured.Applications respecting the bills to be addressed to Mr Treadaway,Stage Door.
Dress Circle 5/. Boxes 4/. Pit 2/. Gallery 1/.Second price: Dress Circle 2/6. Boxes 2/. Pit 1/. Gallery 6d.Orchestra stalls 6/, which may be retained entire evening.Private Boxes £2. 12s. 6d.; £2. 2s. 0d.; & £1. 11s. 6d.Box Office open from 11 to 5 o'clock. Doors open at 6.30.
Performance to commence at 7.0. Half price will commence as near 9.0 as is consistent with the non-interruption of the performance. Gallery door in Castle Street. Children in arms cannot possibly be admitted. Private boxes & stalls may be obtained at the libraries; & of Mr Massingham at Box Office of the Theatre, Oxford St., where places for Dress Circle and Boxes may be secured.
Applications respecting the bills to be addressed to Mr Treadaway,Stage Door.
VIVANT REGINA ET PRINCEPS.
The result of her father's wise policy was that Kate Terry was fully equipped when, in 1860, she commenced her engagement at the St. James's Theatre, under the management of Mr. Alfred Wigan, whose company included Miss Herbert (who soon became the manageress of the house), Mrs. AlfredWigan, Miss Nelly Moore, Mr. Terry, Mr. Dewar, and Mr. Emery. Young, beautiful, gifted, well practised in the art that she evidently loved, Kate Terry was well calculated to secure the praise of the critics and the heart of the public. At first the characters entrusted to her were comparatively small, but she industriously tended the firmly planted sapling that was destined to grow, flourish, and yield glorious as well as abundant fruit.
Even the greatest of histrionic geniuses have to wait for their chances, and Kate Terry's first real opportunity did not come until 1862.
A version, by Mr. Horace Wigan, of Victorien Sardou's fine comedy, "Nos Intimes," entitled "Friends or Foes," was in course of presentation, and Miss Herbert's company then included the honoured names of George Vining, Frank and Mrs. Frank Mathews, W. H. Stephens, and F. Charles. This play has been made familiar to later and present-day playgoers as "Peril," the clever adaptation by Clement Scott and B. C. Stephenson, which seems likely to hold the stage for many a long year to come. It proved one of the trump cards of the Bancrofts at the old Prince of Wales's Theatre, and its subsequent revivals have always been attended by success. The Lady Ormonde of "Friends or Foes" was, of course, played by Miss Herbert, and Kate Terry had to content herself with quite a minor part; but she was the conscientious understudy of hermanageress, and, when that delightful artiste suddenly fell ill, the burden of the piece—at a moment's notice—had to be borne upon the shoulders of the younger actress.
Her triumph was instantaneous and complete. Bravely, and with consummate skill, she went through her trying ordeal, and when the curtain fell it was evident that her permanent popularity on the London stage was secure.
It is ridiculous to depend upon that "will-o'-the-wisp" called "luck"; but there is no doubt that if we are ready for it, and promptly avail ourselves of it,chancewill sometimes do us a good turn.
But no one can afford to neglect the truth of the old warning reminding us that opportunities are very sensitive things, and that if you slight them on their first visit you seldom see them again. Of that memorable performance at the St. James's, Clement Scott says:—
"On that never-to-be-forgotten night this young girl, Kate Terry, made an astounding success. Her name was scarcely known; no one knew that we had amongst us a young actress of so much beauty, talent, and, what was more wonderful still, true dramatic power, for the temptation scene wants acting, and not the kind of trifling that we see in these modern and amateurish days."
The next morning, Tom Taylor in theTimeslet himself go, and blew the trumpet in praise of thenew actress, Kate Terry. Her fame was made from that minute. She never turned back.
Quickly she became the stage divinity of her day, and she remained the idol of London playgoers until, on her early marriage, she retired into private life. Those who saw her will never forget either her personal charm or the perfection of her art, and they will, I think, like to take a glimpse with me into a cherished past. We are told that times of special happiness should be regarded as a sort of reserve fund, to be drawn upon in dark or cloudy days, and the evenings of long ago, when we delighted in the acting of Kate Terry, were times of exceeding happiness. The little world of the theatre in which we have revelled is still open to us, and it is always pleasant to turn over the brightest pages of its history.
Many of us know how old fox-hunters are never so happy as when they are recalling the glorious "runs" of the past. How they met at Quinton Cross Roads; found "one of the right sort" in Bamkin's Gorse; ran him at a rattling pace over Lickford Common; had a check in Bowler's Wood; lost him in Messer's Osier Beds; found him again, and followed him over that dangerous water jump, Priddis Brook, low lying, as it broadly flows between thick quick-set hedges; and finally ran him to earth in Linnecor Coppice.
So are old playgoers supremely content when withcongenial souls they discuss the famous and favourite actors and actresses they have seen and admired in bygone days. So they will follow them from their initial efforts in the provinces, through their series of triumphs in this or that London theatre. To such theatrical enthusiasts as these their collections of old play-bills are as precious and replete with pleasurable reminiscences as are the "pads" of many defunct reynards nailed to the stable doors of the fox-hunter.
At about the time when Kate Terry made her unmistakable mark at the St. James's, Charles Albert Fechter was the actor-hero of the hour.
He came to fulfil his trying ordeal in London with great credentials. Charles Dickens had described seeing him first, quite by accident, in Paris, having strolled in to a little theatre there one night. "He was making love to a woman," Dickens wrote, "and he so elevated her as well as himself by the sentiment in which he enveloped her, that they trod in a purer ether, and in another sphere, quite lifted out of the present. 'By heavens!' I said to myself, 'a man who can do this can do anything. I never saw two people more purely and instantly elevated by the power of love. The man has genius in him which is unmistakable.'"
Taken when she was acting with Fechter at the Lyceum, and won the admiration of Charles Dickens. Photograph by London Stereoscopic CoPhotograph by[London Stereoscopic Co.KATE TERRY.Taken when she was acting with Fechter at the Lyceum, and won the admiration of Charles Dickens.[To face page 102.
Photograph by[London Stereoscopic Co.KATE TERRY.Taken when she was acting with Fechter at the Lyceum, and won the admiration of Charles Dickens.[To face page 102.
Photograph by[London Stereoscopic Co.
KATE TERRY.
Taken when she was acting with Fechter at the Lyceum, and won the admiration of Charles Dickens.
[To face page 102.
[See larger version]
In due course Fechter, having made his triumph on English boards, became the manager of the Lyceum Theatre. It was a great undertaking for a French actor, for he had to contend against the conservatismof not only our audiences, but of English actors and critics. That he was the best "love-maker" our stage had seen was readily admitted, and the fascination of his love-scenes was certain to be an attraction. But no actor can make the success of a love-scene unless he is assisted by a perfectly accomplished and responsive actress. Who was to be the heroine of Fechter's reign at the Lyceum? She was found in Kate Terry, and she right worthily shared in his notable victories.
One of the earliest productions was the first English version of the French play that (in spite of many other and differently named versions) has been made familiar to us as "The Duke's Motto." In this Kate Terry appeared as Blanche de Nevers, and in speaking of the impersonation Charles Dickens, who, for the sake of his friend Fechter, was inclined to be very critical, said that it was "perfectly charming,"—"the very best piece of womanly tenderness he had ever seen on the stage."
No doubt Kate Terry contributed largely to Fechter's Lyceum successes. She could not only act, but she so threw herself into her characters that she couldlistento those who acted with her, and let her audiences not only see, but believe that she was listening with all her heart and soul. The exercise of this rarely displayed histrionic gift was invaluable in the beautiful love-scenes of Fechter.
But in her girlish days Kate Terry had shownthat she understood the value of action on the stage, and knew that when deftly handled it could make an even deeper impression than words.
Speaking of Charles Kean's great production of "Henry the Fifth" at the Princess's in 1859 the notoriously keen critic of theAthenæumsaid:—"The union of England and France in one kingdom is the ambitious sentiment of the play, and the heroism of the English character the spirit that pervades the scenes. This is exemplified in the small as well as the great incidents, and in none, in acting, did it come out more significantly than in the little part of the boy belonging to the Pistol group of characters at the end of the first act. Miss Kate Terry, as the impersonator of the brave youth, in the heroic and pleasing attitude with which he listened to the sound of the drum, and the measured march with which he followed delightedly the spirit-stirring music, showed us at once the sympathetic gallantry of the English lad going to the wars. There was in it an intelligible indication of the wonderful daring by which the battle of Agincourt was won. To men who were once such lads as he nothing was impossible. The trait was well brought out; and that little bit of acting, in regard to its completeness, was the gem of the performance."
And so Kate Terry shared in Fechter's Lyceum conquests, and in "Bel Demonio, a Love Story," adapted by John Brougham from the French drama"L'Abbaye de Castro," she played Lena to his Angelo. A little later she was the "pretty Ophelia" to the much discussed Hamlet of Fechter, and again honours were divided.
How critics differed concerning the new Hamlet!
Writing long after the glamour of the impersonation has passed away, Clement Scott has told us how Hamlet was represented "in a new way, in a fresh style, with carefully considered new business; with a sweetly pathetic face showing 'the fruitful river of the eye,' and in a long flaxen Danish wig.
"'A Frenchman play Hamlet!'" he says. "There was a yell of execration in the camp of the old school of playgoers, and the feathers began to fly. Hamlet in a fair wig indeed! Hamlet in broken English! Oh! you should have heard the shouts of indignation, the babble of prejudice! The upholders of the mouthing, moaning, gurgling Hamlets—the Hamlets who obeyed every precept in his advice to the players, and 'imitated nature so abominably,' the Hamlets who strutted and stormed—held indignation meetings at their clubs, and metaphorically threw their 'scratch wigs' into the air with rage and indignation.
"I, of course, became the easiest convert to the new Fechter school, and elected to serve under his brilliant banner. In fact, I will candidly own that I never quite understood Hamlet until I saw Fechter play the Prince of Denmark. Phelps and Charles Kean impressed me with the play; but with FechterI loved the play, and was charmed as well as fascinated by the player."
I am among the many who yielded to that charm, and wish that the delightful experience of seeing Fechter's Hamlet and Kate Terry's Ophelia might be repeated.
When, early in 1870, Fechter left England for America, Charles Dickens contributed to theAtlantic Monthlyan article in his praise. "I cannot," said the great novelist, "wish my friend a better audience than he will find in the American people, and I cannot wish them a better actor than they will find in my friend." Charles Dickens, it will be remembered, was one of the keenest of all dramatic critics.
His admiration for Fechter's much discussed rendering of Hamlet is expressed in the following words:—
"Perhaps no innovation in art was ever accepted with so much favour by so many intelligent persons, pre-committed to, and pre-occupied by, another system, as Fechter's Hamlet. I take this to have been the case (as it unquestionably was in London), not because of its picturesqueness, not because of its novelty, not because of its many scattered beauties, but because of its perfect consistency with itself. Its great and satisfying originality was in its possessing the merit of a distinctly conceived and executed idea. Fechter's Hamlet, a pale woe-begone Norseman, with longflaxen hair, wearing a strange garb, never associated with the part upon the English stage (if ever seen there at all), and making a piratical sweep upon the whole fleet of little theatrical prescriptions without meaning, or like Dr. Johnson's celebrated friend, with only one idea in them, and that a wrong one, never could have achieved its extraordinary success but for its animation by one pervading purpose, to which all changes were made intelligently "sub-servient."
And yet of Fechter's Hamlet in America, William Winter, that greatest and most deservedly honoured of transatlantic critics and authorities on things theatrical, has said:—
"About 1861 Charles Fechter appeared upon the English stage and gave an extraordinary performance of Hamlet. It subsequently (1869-70) reached America. It was 'the rage' on both sides of the sea. In a technical sense it was a performance of ability, but it was chiefly remarkable for light hair and bad English. Fanny Kemble tells a story of a lady who, at a dinner in London, was asked by a neighbouring guest whether she had seen Mr. Fechter as Hamlet. 'No,' she said, 'I have not; and I think I should not care to hear the English blank verse spoken by a foreigner.' The inquirer gazed meditatively upon his plate for some time, and then said, 'But, Hamletwasa foreigner, wasn't he?'
"That is the gist of the whole matter. We wereto have the manner of 'nature' in blank verse. We were to have Hamlet in light hair, because Danes are sometimes blonde. We were to have the great soliloquy on life and death omitted, because it stops the action of the play.[1]We were to have the blank verse turned into a foreigner's English prose. We were to have Hamlet crossing his legs upon the gravestone, as if he were Sir Charles Coldstream; and this was to be 'nature.' Mr. Fechter's plan may have been finely executed, but it was radically wrong, and it could not be rightly accepted. Some courage was required to oppose it, because Mr. Fechter had come to us (to me among others) personally commended by no less a man than the great Charles Dickens."
But if critics differed with regard to the merits of Fechter's Hamlet, there was a perfect chorus of praise for the exquisitely portrayed Ophelia of Kate Terry. It is interesting to note that this victory was won on the same stage on which, in the same part, Ellen Terry was to commence her stage history-making engagement with Henry Irving.
When Fechter's brief reign at the Lyceum came to an end, Kate Terry went to support Henry Neville at the Olympic Theatre. This admirable actor was then at the height of his still well sustained popularity.
Handsome, graceful, endowed with a beautiful voice, and a master of his art, Henry Neville was an ideal hero of romance, and though to-day he elects to play quieter parts, and to delight his audiences with his rich appreciation of comedy, he looks as young and dashing as he did in the days of 1864.
Kate Terry's first appearance at the little Wych Street playhouse was in a piece entitled "The Hidden Hand," an adaptation by Tom Taylor, from the French drama by MM. D'Ennery and Edmond,called"L'Aieule." She and Henry Neville distinguished themselves in the characters of Lord and Lady Penarvon, and the company included Miss Louisa Moore, Miss Lydia Foote, Miss Nelly Farren, and Charles Coghlan. Later came Sterling Coyne's comedy called "Everybody's Friend," which, under the title of "The Widow Hunt," was destined in later years to be made famous by that admirable American comedian, John Sleeper Clarke. Who, having seen it, will ever forget the delicious drollery of his Major Wellington de Boots? The Major of the Olympic days was Mr. Walcot, who, although announced as an American actor, was an Englishman by birth. Kate Terry was the Mrs. Swansdown, Henry Neville the Felix Featherley, and Mrs. Leigh Murray Mrs. Major de Boots.
Other successes were made in Tom Taylor's five-act drama "Settling Day," and the same playwright's "The Serf." The production of the latter piece beingthe "benefit" night of the gifted actress, she delivered an address written for her by the grateful author.
In "Twelfth Night" Kate Terry doubled the parts of Viola and Sebastian; and a notable hit was made in Tom Taylor's stage version of Miss Braddon's novel "Henry Dunbar." In Leicester Buckingham's "Love's Martyrdom" she again distinguished herself.
On June 20, 1866, she again took a benefit at the theatre she had served so well, and on this occasion appeared for the first time as Julia in "The Hunchback" of Sheridan Knowles, and once more delivered an address specially written for her by Tom Taylor. But the great event of the evening was the appearance (also for the first time) of Ellen Terry as the sprightly Helen. In order that she might serve her sister she made this brief departure from her retirement, and acted with great spirit and animation.
A little later on she appeared at the Prince's Theatre at Manchester in the first performance of a new play by Dion Boucicault originally called "The Two Lives of Mary Leigh" but subsequently renamed "Hunted Down." This proved to be a memorable evening. Not only did Kate Terry add to her laurels as the heroine, but Henry Irving, in the character of Rawdon Scudamore, made his first great impression. Hitherto he had only been known as a very earnest actor in the provincial stock companies—but in this play he found his chance, seized it, and made his mark.
Irving, who was then most anxious to get to London, made a stipulation with Boucicault before he accepted the part to the effect that if he succeeded he should have the opportunity of appearing in it in the production of the play in the metropolis. This was acceded to, and on the opening night the dramatist was so struck with his splendid performance that he induced his friend and brother playwright, Charles Reade, to travel to Manchester in order that he might see this remarkable impersonation. It was then that these two experts decided that in Henry Irving they saw the coming leading actor of his day.
On November 5, 1866, "Hunted Down" was produced at the St. James's Theatre, with Miss Herbert in the character created by Kate Terry; Rawdon Scudamore at once "took the town" and excited the admiration of the critics, and so the name and fame of Henry Irving were made out of material that has never faded. It is curious to remember that our famous actor's first great success was made with Kate Terry, and that most of his later triumphs have been shared with Ellen Terry.
Kate Terry's next London home was the Adelphi Theatre. There she created the character of Anne Carew in Tom Taylor's evergreen play "A Wolf in Sheep's Clothing" (a part that was in after years most beautifully played by Mrs. Kendal at the St. James's), and won great favour in "A Sister's Penance," by Tom Taylor and A. W. Dubourg. In the latter productionshe was associated with Miss Fanny Hughes, John Billington, and Hermann Vezin. "Good acting by Kate Terry" is the verdict pronounced upon the piece in the pages of Edward Leman Blanchard's happily preserved diary.
Probably Kate Terry's sojourn at the Adelphi will be best remembered by her exquisitely tender rendering of the sweet character of Dora in Charles Reade's happy stage version of Tennyson's poem bearing that name.
We all know the touching story telling that—
"With farmer Allan at the farm abodeWilliam and Dora; William was his son,And she his niece—"
"With farmer Allan at the farm abodeWilliam and Dora; William was his son,And she his niece—"
"With farmer Allan at the farm abodeWilliam and Dora; William was his son,And she his niece—"
"With farmer Allan at the farm abode
William and Dora; William was his son,
And she his niece—"
We remember how the stern old man desired that the cousins should marry, and we know that while Dora would willingly give her heart to William, he is cold to her. We recall his scene with his father and how he said—
"I cannot marry Dora; by my lifeI will not marry Dora." Then the old manWas wroth, and doubled up his hands, and said:—"You will not, boy! you dare to answer thus!But in my father's time a father's word was law,And so it shall be now for me."
"I cannot marry Dora; by my lifeI will not marry Dora." Then the old manWas wroth, and doubled up his hands, and said:—"You will not, boy! you dare to answer thus!But in my father's time a father's word was law,And so it shall be now for me."
"I cannot marry Dora; by my lifeI will not marry Dora." Then the old manWas wroth, and doubled up his hands, and said:—"You will not, boy! you dare to answer thus!But in my father's time a father's word was law,And so it shall be now for me."
"I cannot marry Dora; by my life
I will not marry Dora." Then the old man
Was wroth, and doubled up his hands, and said:—
"You will not, boy! you dare to answer thus!
But in my father's time a father's word was law,
And so it shall be now for me."
Its mistress is at the gate of her charming Vine Cottage.ELLEN TERRY'S COUNTRY HOME IN KINGSTON VALE.Its mistress is at the gate of her charming "Vine Cottage."[To face page 112.
ELLEN TERRY'S COUNTRY HOME IN KINGSTON VALE.Its mistress is at the gate of her charming "Vine Cottage."[To face page 112.
ELLEN TERRY'S COUNTRY HOME IN KINGSTON VALE.
Its mistress is at the gate of her charming "Vine Cottage."
[To face page 112.
[See larger version]
Then we follow William out of the house whose doors are mercilessly closed behind him, see him marry his sweetheart Mary, know that all things fail with him until despair brings him to his death-bed. Now werealise the depth and unselfishness of Dora's love. She goes to the aid of the woman who has really spoilt her life's dream of happiness, and through her dead darling's child endeavours to secure poor stricken Mary's prosperity by a reconciliation with the still angry and always stubborn farmer Allan. Her simple, loving plan succeeds. The child softens the obdurate heart—