Notes

Notes to the Introduction 1. Thomas Hardy, The Life and Work of Thomas Hardy, (ed.) Michael Millgate (London, Macmillan, 1984; Athens: University of Georgia Press, 1985) p. 56. Hereafter cited as Life and Work. 2. While this is the first full-length study of Hardy's interest and involvement in the theatre, it takes its place within the small but solid body of scholarship that has appeared since Marguerite Roberts first addressed two specific aspects of the subject in her books Tess in the Theatre (University of Toronto Press, 1950) and Hardy's Poetic Drama and the Theatre: The Dynasts' and 'The Famous Tragedy of the Queen of Cornwall' (New York: Pageant Press, 1965). Other significant contributions are David N. Baron, 'Harry Pouncy and the Hardy Players', Notes and Queries for Somerset and Dorset, 31 (September 1980) pp. 45-50 and his 'Hardy and the Dorchester Pouncys- Part Two', Notes and Queries for Somerset and Dorset, 31 (September 1981) pp. 129-35; Harold Orel, 'Hardy and the Theatre', in Margaret Drabble (ed.), The Genius of Thomas Hardy (London: Weidenfeld & Nicolson, 1976) pp. 94-108, and 'Hardy's Interest in the Theatre' in Harold Ore!, The Unknown Thomas Hardy (Brighton: Harvester, 1987) pp. 37--{;6; Desmond Hawkins's very helpful checklist of dramatiza• tions, which forms an appendix (pp. 225-36) to his Hardy, Novelist and Poet (Newton Abbot: David & Charles, 1976); and Joan Grundy's 'Theatrical Arts', in her Hardy and the Sister Arts (London: Macmillan, 1979) pp. 70-105. Mention should also be made of Vincent Tollers's useful unpublished doctoral dissertation, 'Thomas Hardy and the Professional Theatre, with Emphasis on The Dynasts' (University of Colorado, 1968) and James Stottlar's 'Hardy vs. Pinero: Two Stage Versions of Far from the Madding Crowd', Theatre Survey, 18 (1977) pp. 23-43. See also Keith Wilson, 'Hardy and the Hangman: The Dramatic Appeal of "The Three Strangers"', English Literature in Transition, 24 (1981) pp. 155--{;0, and 'Thomas Hardy and the Hardy Players: The Evans and Tilley Adaptations', English Literature in Transition, 31 (1988) pp. 7-26. Less academic, though in their way no less instructive, are the brief memoirs in the Toucan Press Hardy monograph series by some of those associated with the Hardy Players: Gertrude Bugler, Personal Recollections of Thomas Hardy (Monograph 1, 1962); Norman Atkins, Hardy, Tess and Myself (Mono• graph 2, 1962; enlarged and reissued as Thomas Hardy and the Hardy Players, 1980); and Evelyn L. Evans, My Father Produced Hardy's Plays (Monograph 17, 1964). 3. Thomas Hardy to Florence Henniker, 1 December 1893, The Collected Letters of Thomas Hardy, vol. 2: 1893-1901, ed. R. L. Purdy and Michael Millgate (Oxford: Clarendon Press, 1980) p. 43. Hereafter cited as Letters. 161 162 Notes to pages 2-10

4. 'Why I Don't Write Plays', Pall Mall Gazette, 31 August 1892; reprinted in Harold Ore! (ed.), Thomas Hardy's Personal Writings (London: Macmillan, 1967) p. 139. 5. J. Hillis Miller, Thomas Hardy: Distance and Desire (Cambridge, Mass.: Harvard University Press, 1970) p. x; John Bayley, An Essay on Hardy (Cambridge University Press, 1978) pp. 6, 23; Donald Davie, Thomas Hardy and British Poetry (New York: Oxford University Press, 1972) p.40. 6. Florence Emily Hardy to Rebekah Owen, 28 December 1922 (Colby). The letter is dated 28 January 1922 but this is almost certainly an error for December. The accompanying envelope is postmarked 29 December 1922. 7. For a full discussion of the checkered relationship of Rebekah Owen with the Hardys, see Carl J. Weber, Hardy and the Lady from Madison Square (Waterville: Colby College Press, 1952). 8. The Complete Poetical Works of Thomas Hardy, vol. I, ed. Samuel Hynes (Oxford: Clarendon Press, 1982) pp. 113,235. 9. Florence Emily Hardy, The Later Years of Thomas Hardy: 1892-1928 (London: Macmillan, 1930) p. 93. The comment is included as a post• Hardyan revision in Life and Work, p. 517. 10. Life and Work, p. 446. 11. Thomas Hardy, The Dynasts (London: Macmillan, 1910) p. x. 12. The Dynasts, pp. x-xi. 13. For a full discussion of Granville Barker's productions, see Dennis Kennedy; Granville Barker and the Dream of the Theatre (Cambridge University Press, 1985). 14. See Life and Work, p. 397. 15. Thomas Hardy to A. E. Drinkwater, 28 January 1915 (Letters 5: 78).

Notes to Chapter 1: Thomas Hardy and the Theatre 1. In response to a suggestion from James Barrie, Hardy adapted his short story 'The Three Strangers' into a one-act play entitled The Three Wayfarers. This was submitted to the producer Charles Charrington on 15 May 1893 and first performed at Terry's Theatre on 3 June. On 21 April 1893, the day on which he responded favourably to Barrie's suggestion, Hardy sketched out a two-act scenario for a play entitled Birthwort, whose central story was eventually used in the poem 'A Sunday Morning Tragedy'. See Thomas Hardy to J. M. Barrie [21 April 1893], and Thomas Hardy to Charles Charrington, 15 May 1893 (Letters 2:7, 9). 2. Four versions of Jude scenarios, dated 1895, 1897, 1910 and 1926, sur• vive in draft in the Dorset County Museum. 3. Life and Work, p. 20. 4. Florence Emily Hardy, The Early Life of Thomas Hardy: 1840-1891 (London: Macmillan, 1928) p. 27. The episode is included in Life and Work (p. 501) as a post-Hardyan revision. Notes to pages 10-15 163

5. Life and Work, pp. 44-5, 54, 361. 'To an Impersonator of Rosalind' is dated 21 April 1867: Mrs Scott-Siddons played in As You Like It at the Haymarket on the previous night. 6. Life and Work, pp. 55--6. See also Desmond Hawkins, Hardy: Novelist and Poet (Newton Abbot: David & Charles, 1976) pp. 14-15. 7. Thomas Hardy to J. W. Mackail, 13 August 1916 (Letters 5: 173--4). 8. Life and Work, p. 157. 9. Life and Work, pp. 173--4. 10. Dorset County Chronicle, 7 February 1907. 11. Life and Work, pp. 125, 166, 236, 273, 349; Letters 1: 104-5 and 2: 22, 285. Hardy also had some dealings, if only as intermediary, with Irving over the possibility of Irving's producing and appearing in the Charles Jarvis and Jack Grein adaptation of The Woodlanders (see Charles Jarvis to Thomas Hardy, 6 May 1891, DCM). 12. Life and Work, pp. 219-20, 238-9, 273; Letters 1: 213, 215, and 2: 11, 18, 81-2. Hardy wrote 'Lines' for Ada Rehan to speak as an epilogue to a performance given at the Lyceum Theatre, 23 July 1890, on behalf of Lady Jeune's Holiday Fund for City Children (Complete Poetical Works 1: 104-5). 13. Life and Work, p. 289. 14. Thomas Hardy to Robert Donald, 10 May 1908 (Letters 3: 313). 15. For a full discussion of Phelps's work, see Shirley S. Allen, Samuel Phelps and Sadler's Wells Theatre (Middletown: Wesleyan University Press, 1971). 16. Charles and Ellen Kean opened on 17 May 1866 in Henry VIII, which ran until2 June. This was followed by Dion Boucicault's adaptation of Casimir Delavigne's Louis XI, which played from 4 to 19 June. The season ended with a one-night benefit appearance in The Merchant of Venice on 20 June. The Times review of Henry VIII indicates the distinc• tive scenic emphasis. Noting that its previous run in 1855 had been around a hundred nights, the reviewer comments 'Long "runs" could alone compensate for the enormous outlay demanded by the gorgeous "revivals" at the Princess's Theatre' (The Times, 21 May 1866). 17. See Clement Scott, The Drama of Yesterday and Today (London: Macmillan, 1899) vol. 1, pp. 291-2. 18. Life and Work, p. 220. 19. George C. D. Odell, Shakespeare - From Betterton to Irving (1920; reprint, New York: Benjamin Blom, 1963) vol. 2, p. 439. 20. Thomas Hardy to Emma Lavinia Hardy [26 April1901] (Letters 2: 285). 21. For a discussion of the designs, see Sybil Rosenfeld, 'Alma Tadema's Designs for Henry Irving's Coriolanus', Shakespeare Jahrbuch, 71 (1974) pp. 84-95. 22. Life and Work, p. 243. 23. Unidentified clipping, Hardy Scrapbook of Theatrical Criticisms, Dorset County Museum. This is recorded as Hardy's direct speech, and he has made no corrective annotations, as was his habit with newspaper comments to which he took exception. 24. Personal Writings, p. 139. 164 Notes to pages 16-20

25. 'A British "Theatre Libre"', Weekly Comedy, 30 November 1889, p. 7. Hardy reverted to this idea in a later letter to Grein (24 July 1890): 'a theatre in which the play takes place in a sort of arena, half• surrounded by the spectators; (as with the Greeks)- a mere curtain representing scenery thus, [diagram] would be attractive- People are getting rather tired of the cumbersome mise-en-scene' (Letters 1: 213). 26. Henry Arthur Jones, Preface, The Renascence of the English Drama (1895; reprint, Freeport: Books for Libraries Press, 1971) p. xii. 27. Jones, 'Our Modem Drama', in The Renascence of the English Drama, p. 270. 28. Jones, 'The Dramatic Outlook', in The Renascence of the English Drama, p.173. 29. Jones, 'The Future of the English Drama', in The Renascence of the English Drama, p. 129. 30. Doris Arthur Jones, The Life and Letters of Henry Arthur Jones (London: Gollancz, 1930) p. 205. 31. Letters 2: 43. 32. The Life and Letters of Henry Arthur Jones, p. 83. 33. Jones, 'Realism and Truth', in The Renascence of the English Drama, p. 87. 34. Mario Borsa, The English Stage of Today (London: Bodley Head, 1908) p. 46. 35. Ibid., p. 57. 36. See particularly Jones, 'Realism and Truth', in The Renascence of the English Drama, pp. 85-92. 37. For discussion of this tendency, in part with specific reference to Irving's Coriolanus, see Ralph Berry, 'The Imperial Theme', in Shakespeare and the Victorian Stage, ed. Richard Foulkes (Cambridge University Press, 1986) pp. 153--60. 38. Thomas Hardy to Florence Henniker, 27 April1897 (Letters 2: 162). 39. Thomas Hardy to Emma Lavinia Hardy [18 April 1891] (Letters 1: 233). 40. Life and Work, p. 245. 41. Ibid., p. 272. 42. Ibid., p. 310. 43. Ibid., p. 235. 44. Ibid., p. 285. 45. See Life and Work, p. 236; Letters 1: 227-8, 231; 2: 13-14, 22-3, 58; Life and Letters of Henry Arthur Jones, pp. 171, 359; Vincent Toilers, 'Thomas Hardy and the Professional Theatre, with Emphasis on The Dynasts' (Ph.D. thesis, University of Colorado, 1968) p. 169. 46. While there is no firm evidence of Hardy's having attended any performances of Pinero plays in the 1890s, there is circumstantial evidence that he may have seen The Second Mrs Tanqueray. He wrote to Florence Henniker (1 December 1893), 'Consider what a poor novel "Mrs Tanqueray" wd make - I mean, how little originality it wd possess - that sort of thing having been done scores of years ago in fiction' (Letters 2: 43). This judgement must be seen in the light of Hardy's 1881-2 plagiarism dispute with Pinero over The Squire. Notes to pages 20-8 165

47. Life and Work, p. 259. Lottie Collins was the hit of the season at the Gaiety Theatre with 'Ta-ra-ra-boom-de-ay', which was used to rescue a sagging burlesque called Cinder Ellen. For a full discussion of both Lottie Collins and Carmen up to Data, see W. Macqueen Pope, Gaiety: Theatre of Enchantment (London: W. H. Allen, 1949) pp. 277-9, 300--4. 48. Letters 3: 127, 209-10; 4: 95; Life and Work, p. 349. 49. Letters 4: 37. 50. Lady Gregory, Seventy Years, ed. Colin Smythe (New York: Macmillan, 1974) p. 316. 51. W. B. Yeats, 'The Theatre', in Essays and Introductions (London: Macmillan, 1961) pp. 169-70. 52. Moore's The Strike at Arlingford (1893) and Yeats's The Land of Heart's Desire (1894). 53. Arthur Scott Craven, 'Modem Scenic Art', in 'The Stage' Year Book, 1914, ed. L. Carson (London: 'The Stage' Offices, 1914) p. 17. 54. Bernard Weller, 'The Theatrical Year: The War and the Stage', 'The Stage' Year Book, 1915, ed. L. Carson (London: 'The Stage' Offices, 1915) p. 13.

Notes to Chapter 2: Hardy's Experiments in Theatrical Adaptation 1. For details of the controversy and the similarities between the two plays, see Michael Millgate, Thomas Hardy: A Biography (New York: Random House, 1982) pp. 226-8; Richard Little Purdy, Thomas Hardy: A Bibliographical Study (Oxford: Clarendon Press, 1954; repr. 1968) pp. 28-30; James F. Stottlar, 'Hardy vs. Pinero: Two Stage Versions of Far from the Madding Crowd', Theatre Survey, 1.8 (November 1977) pp. 23-43. The influential journal Theatre devoted one of its 'Our Symposium' sections to the matter, under the seductive title 'Plays, Plagiarisms and Mr. Pinero: Who Is Right And Who Is Wrong' (1 February 1882, pp. 65-8), to which Pinero contributed an energetic defence. 2. J. Comyns Carr to Thomas Hardy, [30 December 1881], DCM. Hardy's letters appeared in The Times and the Daily News on 2 January 1882, provoking replies from the StJames's management on 3 January. 3. Thomas Hardy toW. Moy Thomas, 30 December 1881 (Letters 1: 99). 4. Thomas Hardy to G. Herbert Thring, April1910 (Letters IV: 80). 5. [Alice Vansittart Carr], J. Comyns Carr: Stray Memories (London: Macmillan, 1920) pp. 83-4. 6. J. Comyns Carr to Thomas Hardy, 20 January 1882, DCM. 7. J. Comyns Carr to Thomas Hardy [28 February 1882], DCM. 8. British Library 53267 J l.c.29, verso folio 43. 9. Eve Adam (ed.), Mrs J. Comyns Carr's Reminiscences (London: Hutchinson, [1926]) p. 77. 10. See J. Comyns Carr to Thomas Hardy [28 February 1882], DCM. 11. 'Far from the Madding Crowd', Theatre, 1 April 1882, pp. 244-6. For Theatre's earlier response to Pinero's play, see 'The Squire', Theatre, 1 February 1882, pp. 107-9. 166 Notes to pages 28-32 12. 'Our Captious Critic', Illustrated Sporting and Dramatic News, 6 May 1882, p. 190. 13. See Thomas Hardy to J. Comyns Carr, 2 April1882 (Letters 1: 105). 14. See Vera Liebert, "'Far from the Madding Crowd" on the American Stage', Colophon, 2 (1938) pp. 377-82. 15. Thomas Hardy to Robert Louis Stevenson, 7 June 1886 (Letters 1: 146). 16. Thomas Hardy to J. T. Grein and C. W. Jarvis, 19 July 1889 (Letters 1: 195). 17. See Charles Jarvis to Thomas Hardy, 16 September 1889, DCM. 18. The synopsis (DCM) matches with the comments that Hardy made in his 31 March 1890 letter to Jarvis (Letters 1: 210-11), although it has been dated 1889 in Hardy's hand. 19. Thomas Hardy to C. W. Jarvis, 31 March 1890 (Letters 1: 211). 20. For Tree, see Thomas Hardy to Charles Jarvis, 14 July 1890 (Letters 1: 212). By the following year, Jarvis was enlisting Hardy's help in an unsuccessful attempt to attract Irving's interest (see Charles Jarvis to Thomas Hardy, 1 April1891 and 6 May 1891, DCM). 21. Charles Jarvis to Thomas Hardy, 1 April1891, DCM. 22. Thomas Hardy to George Alexander, 12 September 1892 (Letters 1: 283- 4). See also Alexander to Hardy, 6 September 1892 and 13 September 1892, DCM. 23. In the letter to Charrington, Hardy writes 'I send the play as amended. I think you will like the new ending. I have inserted tunes & figures as they used to dance them - but they need not be strictly followed - though I know the dances myself, & would give any direc• tion' (Letters 2: 9). This suggests that Charrington had already seen another original version, which may have been the one actually pub• lished by Harper. In that case, the play as staged may have been closer to the Hardy Players version than is customarily assumed, and may have included the final dance. 24. Thomas Hardy to Florence Henniker, 3 June 1893 (Letters 2: 10). 25. For the performances at Terry's Theatre, the other plays were Becky Sharp by J. M. Barrie, Bud and Blossom by Lady Colin Campbell, Foreign Policy by Arthur Conan Doyle, and An Interlude by Walter H. Pollock and Mrs W. K. Clifford. For the matinee at the Criterion, the other pieces were Puppets by J. F. McArdle, The Burglar and the Judge by Charles Brookfield and F. C. Phillips, A Visit to a Music Hall performed by Bruce Smith, Mrs Hilary Regrets by S. Theyre Smith, and A Pair of Lunatics by W. R. Walkes. See J.P. Wearing, The London Stage 1890-1899: A Calendar of Plays and Players, vo!. 1: 1890-6 (Metuchen: Scarecrow Press, 1976) pp. 316-7,341. 26. Thomas Hardy, The Three Wayfarers (New York: Harper, 1893; reprint, with an Introduction and Notes by Carl J. Weber, New York: Scholars' Facsimiles & Reprints, 1943) p. 10. 27. Thomas Hardy, The Three Wayfarers: A Play in One Act (New York: Fountain Press; London: Cayme Press, 1930) p. 20. This edition is essentially the same as the Hardy Players acting texts at the Dorset County Museum and Riverside. 28. Wearing, The London Stage, pp. 316-17. Notes to pages 32-8 167 29. Life and Work, pp. 109-10. A more cryptic entry in Hardy's Memoranda I notebook suggests an even earlier date: 'March 13 [1873]. Let Europe be the stage & have scenes continually shifting. (Can this refer to any conception of the Dynasts?)' (The Personal Notebooks of Thomas Hardy, ed. Richard H. Taylor [London: Macmillan, 1978] p. 15). 30. Life and Work, p. 117. 31. Personal Notebooks, pp. 14, 25. 32. Thomas Hardy to Lord Lytton, 15 July 1891 (Letters 1: 240). 33. Thomas Hardy to Sydney Cockerell, 9 November 1911 (Letters 4: 189). 34. Life and Work, p. 302. 35. The letter was published in The Times for 13 August 1909. See Complete Poems 1: 382. 36. Hardy had also been receiving letters from Frank Benson, who was begging to be allowed to adapt Far from the Madding Crowd for the stage: see Frank R. Benson to Thomas Hardy, 21 June 1895, 15 July 1895, DCM. 37. The dating of these is problematic, and dependent upon the approx• imate evidence of the scraps of paper on which they are written. The third scheme is written on the back of a form letter, dated 21 May 1910, from Lazard Bros., offering stock for sale. The fourth scheme is on the back of a similar letter from Foster & Braithwaite, dated 8 July 1926. In both cases, the schemes are written directly on the letters, not pasted on as is sometimes the case with Hardy's dramatic outlines. In a letter to StJohn Ervine, 7 September 1926, giving him the sole right to dramatize Jude for a period of twelve months, Hardy refers to the outlines as ones 'which suggested themselves to me many years ago' (Letters 7: 41). 38. 'Memoranda II', Personal Notebooks, p. 85. 39. See Thomas Hardy to Ian Forbes-Robertson, 2 January 1899 (Letters 2: 209-10). 40. See Johnston Forbes-Robertson to Thomas Hardy [3 April 1895] (DCM). 41. See Mrs Patrick Campbell to Thomas Hardy, 6 July 1895 (DCM; Carl Weber, Thomas Hardy's Correspondence at Max Gate: A Descriptive Check• list [Waterville: Colby College Press, 1968] dates this falsely as 1896). The terms had the virtue of simplicity: £250 down as security, 12 per cent on gross receipts, the £250 to be deducted from percentages. 42. Mrs Patrick Campbell to Thomas Hardy, 10 July 1895 (DCM). A letter from Hardy to Mrs Patrick Campbell dated the same day indicates that he was delaying a decision while seeking advice about whether to make an agreement with her or negotiate with a manager but stipu• late who should play Tess (Letters 2: 81). 43. Johnston Forbes-Robertson to Thomas Hardy, 8 November 1895 (DCM). This letter is dated March in Roberts, Tess in the Theatre, p. xxvi. 44. In a letter written on 26 December 1895, Forbes-Robertson expressed pleasure at hearing of the play's completion and asked to see it as soon as possible (DCM). 45. Johnston Forbes-Robertson to Thomas Hardy [n.d.- a MS annotation in Hardy's hand indicates January 1896] (DCM). 168 Notes to pages 39-40

46. Johnston Forbes-Robertson to Thomas Hardy, 14 February 1896 (DCM). 47. See Frederick Harrison to Thomas Hardy; 4 March 1896 (DCM). The terms are somewhat less generous than those suggested by Mrs Patrick Campbell the previous year: nothing on houses under £100, 5 per cent from £100 to £130, 716_ percent from £130 to £170, 10% over £170. See also Hardy to Henry Arthur Jones, 15 March 1896 (Letters 2: 113-4). 48. Johnston Forbes-Robertson to Thomas Hardy [indecipherable date, DCM; the extract from this letter in Roberts, Tess in the Theatre, p. xxvii, contains mistranscriptions]. Weber's Checklist of the Max Gate correspondence gives 3 June 1895, which is impossibly early given that in January 1896 Forbes-Robertson was still 'looking forward' to reading Tess. However, Hardy's claim, in a letter written on 14 February to his American publisher Harper, that the play had been read by 'two eminent actors' (Letters 2: 111) may indicate that Forbes-Robertson had seen it before Harrison offered the terms. 49. Mrs Patrick Campbell to Thomas Hardy, 4 August 1896 (DCM). 50. Thomas Hardy to Mrs Patrick Campbell, 7 August 1896 (Letters 2: 128). 51. Life and Work, p. 293. See also Hardy's claim that an actor had admitted to him that 'he could not play such a dubious character as Angel Clare ... "because I have my name to make, and it would risk my reputation with the public if I played anything but a heroic character without spot'" (Life and Work, p. 282). The claim is echoed in a letter to William Archer, 17 February 1904 (Letters 3: 107). 52. Thomas Hardy to William Archer, 2 January 1896 (Letters 2: 104). The offer to which Hardy refers was presumably that made by Harrison Grey-Fiske in a letter to Harper on 13 December 1895 (see Thomas Hardy to Harper & Brothers, 9 February 1896 [Letters 2: 109-10]). 53. Thomas Hardy to Johnston Forbes-Robertson, 29 November 1924 (Letters, 6: 288). Forbes-Robertson's letter of 27 November 1924 is in DCM. 54. Olga Nethersole to Thomas Hardy; 26 August 1895 (DCM). Nethersole had been one of the first to contact Hardy with a request for a stage Tess, suggesting that he either dramatize it himself or allow Clement Scott, the dramatic critic and minor playwright, to do so (Olga Nethersole to Thomas Hardy, 19 November 1894 [DCM]). 55. Elizabeth Robins to Thomas Hardy, 18 March 1896 (DCM). This may well not have been Elizabeth Robins's introduction to the possibility of playinlg a Hardy heroine. She had probably been contacted by Jarvis about the possibility of her staging and appearing in The Woodlanders (see Jarvis to Thomas Hardy, 6 May 1891, DCM). 56. H. B. Irving to Thomas Hardy, 9 July [1897] (DCM). 57. William Terriss to Thomas Hardy, 12 June 1897 (DCM). See also Terriss to Hardy, 7 June 1897 (DCM). 58. L. Alma Tadema to Thomas Hardy, 28 January 1896 and 25 March 1896 (DCM). See also Thomas Hardy to Laurence Alma Tadema, 29 January 1896 and 30 March 1896 (Letters 7: 128-9). For Bernhardt's interest, see Life and Work, p. 293. Hardy's memory of the timing of the Notes to pages 40-5 169

Bernhardt contact here may have been faulty. He met her in 1901 and subsequently forwarded her a copy of the French translation of Tess of the d'Urbervilles (see Thomas Hardy to Sarah Bernhardt, 25 June 1901 [Letters 2: 291]). His consent at this time to her proceeding with a French version if she wishes does not suggest that the same poss• ibility had been raised by Bernhardt herself five years earlier. 59. Thomas Hardy to Harper & Brothers, 9 February 1896 (Letters 2: 110). 60. Thomas Hardy to Harper & Brothers, 14 February 1896 (Letters 2: 111). 61. Daniel Frohman to Harper & Brothers, 28 February 1896 (DCM). 62. Harper & Brothers to Thomas Hardy, 28 April1896 (DCM). The three offers, all based on gross weekly receipts, were as follows: Frohman: 5 per cent on first $5000, 10 per cent on next $3000, 15 per cent on all over $8000; Greenwal & Co (on behalf of the Fiskes): 5 per cent on first $4000, 71/ 2 per cent on next $1000, 10 per cent on all over $5000; J. F. Brien (manager for Helen Blythe): 10 per cent on all. Harper pro• vided a detailed chart to show Hardy the profits he could expect from the three offers on a range of weekly takings from $4000 to $10,000. 63. Roberts, Tess in the Theatre, p. xxxiv. 64. For the fullest discussion of the Fiske production, see Roberts, Tess in the Theatre, pp. xxxiv-1. 65. Hardy consulted with Henry Arthur Jones about the copyright performance (16 February 1897 [Letters 2: 147-8)), which was under• taken for him by George Alexander. See George Alexander to Thomas Hardy, 2 February 1897 and 17 February 1897 (DCM). Hardy's caustic view of the necessity for a copyright performan~ was registered in a letter to Emma Hardy on the day it occurred: 'Mr & Mrs Mcilvaine & a friend were "the audience" & duly paid 2 guineas each for their seats. It is a farce which will cost me more than twenty pounds' ([2 March 1897], Letters 2: 149). 66. Thomas Hardy to Clement Shorter, 7 March and 14 March 1897; to Rebekah Owen, 16 March 1897; to Lady Jeune, 29 March 1897; and to Florence Henniker, 31 March 1897 (Letters 2: 151, 152, 156, 157). 67. Thomas Hardy to Harper & Brothers, 30 November 1899 (Letters 2: 239). Hardy was sufficiently concerned about being associated with the Kennedy version that he wrote to The Times (21 February 1900) disavowing all connection with it. For discussion of the Kennedy play, see Roberts, Tess in the Theatre, pp. 1-lix. 68. Thomas Hardy to Mrs Patrick Campbell, 7 March 1897 (Letters 2: 150- 1). 69. Lorimer Stoddard, 'Tess of the D'Urbervilles', in Roberts, Tess in tile Theatre, p. 121. 70. Thomas Hardy, 'Tess of the D'Urbervilles', in Roberts, Tess in tile Theatre, pp. 69-70. Marguerite Roberts used the typescript submitted to Harper & Brothers as her text. Hardy's copy of this, marked 'super• seded' and identical apart from some minor later manuscript adjust• ments, survives (DCM). 71. Thomas Hardy, 'Tess of the D'Urbervilles', in Roberts, Tess in the Theatre, p. 3. 170 Notes to pages 45-53 72. Life and Work, p. 293. 73. The outline is written on the back of a letter to Hardy dated 17 July 1905 (DCM). 74. Thomas Hardy to George Macmillan, 11 February 1904 (Letters 3: 105). 75. See Thomas Hardy to Charles Hannan, 5 March 1904 (Letters 3: 111). See also Hardy to Hannan, 3 December 1903, and Hardy to William Archer 11 February 1904 and 17 February 1904 (Letters 3:92, 105, 107). 76. Charles Hannan to Thomas Hardy, 7 March 1904 (DCM). 77. Charles Cartwright to Thomas Hardy, 12 February 1908 (DCM). 78. Thomas Hardy to Charles Cartwright, 20 February 1908 (Letters 3: 297-8). 79. The shorter plan is sketched out on the back of an envelope post• marked 1922, and the other is attached to the outline for an adaptation of 'The Romantic Adventures of a Milkmaid', which was prepared as a suggestion for Tilley's use with the Hardy Players (DCM). The most likely date for the latter is also 1922. 80. The plan is sketched out on the back of a letter to Hardy dated 26 October 1908 (DCM). 81. Thomas Hardy to Florence Henniker, 23 August 1899 (Letters 2: 227). 82. Thomas Hardy to J. M. Barrie, 1 December 1911 (Letters 4: 193). See also his letter toR. Golding Bright, 7 December 1911 (Letters 4: 194). 83. Thomas Hardy to Florence Henniker, 25 July 1899 (Letters 2: 225).

Notes to Chapter 3: The Hardy Players: The Evans Years 1. Dorset County Chronicle, 3 December 1903. 2. Dorset County Chronicle, 15 November 1900, 22 November 1900, 17 January 1901, 31 January 1901 and 21 February 1901. 3. Dorset County Chronicle, 18 April 1901. A. Stanton Hill was a man of varied talents: he provided limelight views for many of the society's lectures and tableaux vivants, led the orchestra for most of the Hardy Players earlier productions, and took a minor role in The Trumpet• Major. 4. Dorset County Chronicle, 17 April1902. 5. Dorset County Chronicle, 9 November 1899, 16 November 1899. 6. Evans, like many of those who would be prominent in the Hardy Players (including Mrs Hill, Mrs Major, H. 0. Lock, A. S. Hill and W. R. Bawler), was an active member of the Dorchester Vocal Associ• ation and the Dorchester Madrigal and Orchestral Society. 7. See Dorset County Chronicle, 1 February 1900, 15 February 1900. Two weeks later Evans gave even more palpable indication of his sympa• thies by arranging a benefit for Henry Green, a reservist who was employed as a porter at Evans's shop and who had been called up for service in the war. Evans not only agreed to keep Green's job open for him but promised to be responsible for the rent on his house during his time on active service (Dorset County Chronicle, 1 March 1900). 8. Dorset County Chronicle, 17 May 1900. 9. Dorset County Chronicle, 17 April1902. Notes to pages 53--4 171

10. Dorset County Chronicle, 17 April 1902. H. 0. Lock, himself a solicitor and the son of Hardy's solicitor, Arthur Henry Lock, appeared in four out of the first five Hardy Players productions. Reginald Barrow, an auctioneer's clerk with Henry Duke and Son, appeared in every major Hardy Players production except The Return of the Native (1920). 'My Lord in Livery' was played again in the following year at a benefit for the ailing Dorchester Vocal Association (Dorset County Chronicle, 17 December 1903). 11. As well as successes at local shows, Tilley won first prize at the 1898 Crystal Palace Show, his winning bird being pictured on the front page of the Feathered World, 19 (19 August 1898). 12. For example, he erected the stage and proscenium for the tableaux vivants in aid of the war fund that were staged at the Com Exchange on 11 January 1900 (for which A. S. Hill provided the 'limelight apparatus), and arranged the scenic effects for the entertainment performed by children of the Girls' National School in aid of their piano fund on 25 and 26 April1900. Again the limelight for this was arranged by A. S. Hill, and the orchestra by A. H. Evans and W. R. Bawler, who became one of the most enduring of the Hardy Players (Dorset County Chronicle, 18 January 1900, 3 May 1900). Tilley's first performance was in a farce entitled Rumuns from Rome, on 3 February 1883. For an appre• ciation of Tilley, see the obituary article by F. E. Hansford, 'Thomas Henry Tilley', The Dorset Year Book 1944--45, pp. 129-33. 13. The Dorset County Chronicle published a four-and-a-half column report of the debate, 27 November 1902. 14. Dorset County Chronicle, 30 April1903. 15. The play performed at the end of the 1903-4 season was John Madison Morton's comedy Slight Mistakes, and the entertainment the following year included a farce Sarah's Young Man and a comedy Advice Gratis (Dorset County Chronicle, 28 April1904, 4 May 1905). 16. Dorset County Chronicle, 9 February 1905. 17. Dorset County Chronicle, 6 April1905. 18. Dorset County Chronicle, 16 November 1905, 14 December 1905. 19. For the fullest discussions of Harry Pouncy, see David N. Baron, 'Harry Pouncy and the Hardy Players', Notes and Queries for Somerset and Dorset, 31 (September 1980) pp. 45-50; and Baron, 'Hardy and the Dorchester Pouncys- Part Two', Notes and Queries for Somerset and Dorset, 31 (September 1981) pp. 129-35. 20. Stevens worked for almost sixty years for Andrews and Huxtable. He became Clerk to the Commissioners of Income Tax and Land Tax and was Vice-Chairman of the County Hospital Management Committee (see his obituary, Dorset County Chronicle, 11 November 1948). Bawler worked first as clerk to Thomas Coombs, and then with Herbert Till and Philip Morton. He was secretary and choir member at South Street Congregational Church (where his brother Arthur was organist), a member of the Dorchester Vocal Association, an oboe player and member of A. Stanton Hill's orchestra, and a member of Dorchester Rovers Cycling Club during T. H. Tilley's captaincy (see his obituary, Dorset County Chronicle, 16 May 1940). 172 Notes to pages 55-60

21. For a full report, see Dorset County Chronicle, 1 November 1906. 22. For a full report, see Dorset County Chronicle, 29 November 1906. 23. See Thomas Hardy to Harry Pouncy, 3 February 1907 (Letters, 3: 247). 24. Thomas Hardy to Harry Pouncy [21 October 1907] (Letters 3: 280). 25. See Thomas Hardy to Harry Pouncy, 29 December 1908 (Letters 3: 362). 26. Dorset County Chronicle, 3 May 1906. 27. Evans's experience with Shakespeare appears to have begun with his direction of a series of Shakespearian tableaux which provided the main entertainment at the annual 'tea and soiree' of the Congrega• tional Church, held on 29 March 1906. See the Dorset County Chronicle, 5 April 1906. 28. Dorset County Chronicle, 29 November 1906,5 December 1907. 29. H. F. B. Wheeler and A. M. Broadley, Napoleon and the Invasion of England: The Story of the Great Terror (London, 1908). 30. See Thomas Hardy to A.M. Broadley, 4 March 1906 (Letters 3: 199). 31. For the attribution to Evans, see Roberts, Tess in the Theatre, p. lxxiv, and Evelyn L. Evans, My Father Produced Hardy's Plays (Beaminster: Toucan Press, 1964) p. 7. However, in a letter to A. M. Broadley, 31 December 1907, Hardy wrote: 'Mr Pouncy called here yesterday. I think he can get (as he wants to do) a very good scene out of the T. M. for acting, as a finale to your lecture when you deliver it here' (Letters 3: 286). 32. Dorset County Chronicle, 6 February 1908. 33. Ibid. 34. See Thomas Hardy to Charles Cartwright, 25 October 1908 (Letters 3: 350-1). However, as late as the Morning Leader's review of The Trumpet Major (19 November 1908), the claim was made 'on good author• ity'(presumably Evans, who had been undiplomatically forthcoming in his conversations with the press) that 'Mr. Hardy is in negotiation with a London playwright for the dramatisation of "The Mayor of Casterbridge".' 35. Dorset County Chronicle, 5 March 1908. 36. Thomas Hardy to Harry Pouncy, 24 May 1908 (Letters 3: 317). The original plan had been for the scene from The Trumpet-Major to be performed at the fair (see Thomas Hardy to Rowland Hill [8 February 1908], Letters 3: 294). The three scenes performed were Act II, Scene V (Rainbarrow Beacon), a conflation of Scenes V and VII (Old Rooms Inn, Budmouth) of Act V from Part One, and Act V Scene VI (Durnover Green) from Part Three, which had been published in the previous February. The scripts survive in the Tilley collection at Riverside. 37. Dorset County Chronicle, 14 May 1908. 38. The performance was on 3 February 1910, and 'the company were honoured by the presence of the celebrated author himself, who has all along shown much interest in this slight attempt to present dra• matically picturesque episodes from his great epic-drama' (Dorset County Chronicle, 10 February 1910). 39. Thomas Hardy to George Macmillan, 27 February 1908 (Letters 3: 299-300). Notes to pages 60-8 173

40. Thomas Hardy to Harold Child, 21 October 1908 (Letters 3: 349). 41. Thomas Hardy to Harold Child [16 November 1908] (Letters 3: 356). 42. Evelyn Evans, My Father Produced Hardy's Plays, p. 7. 43. Morning Leader, 19 November 1908. 44. See A. H. Evans's Foreword to the souvenir collection of newspaper reviews printed to commemorate 'the unique reception of my version of the story in stage form'. The claim is repeated in Evelyn Evans, My Father Produced Hardy's Plays, p. 7. 45. Daily News, 19 November 1908. 46. Dorset County Chronicle, 26 November 1908. 47. T. H. Tilley's copy of the 1908 Trumpet-Major script, p. 109 (Riverside). 48. Morning Leader, 19 November 1908. 49 Evelyn Evans, My Father Produced Hardy's Plays, p. 16. 50. The Times, 19 November 1908. 51. This is partially confirmed by the quoting of one of these additional speeches in the Morning Leader (19 November 1908) as one of the new passages supplied by Hardy. The source for this information was again presumably Evans in his long talk to the Morning Leader reporter. The DCM script would seem to stand between the two Riverside scripts for the 1908 and 1912 productions, and is therefore probably the script Evans worked with when making changes for the 1912 production. 52. Sphere, 28 November 1908. 53. Dorset County Chronicle, 26 November 1908. For Martin's claim, see the leaflet pasted into certain presentation copies of The Trumpet-Major programme, listed in A Descriptive Catalogue of the GraZier Club Centenary Exhibition 1940 of the Works of Thomas Hardy, 0. M. 1840- 1928 (Waterville: Colby College Library, 1940) p. 66 (quoted in Roberts, Tess in the Theatre, p. lxxv). 54. Thomas Hardy to H. A. Martin [19 November 1908) (Letters 3: 357). 55. Daily Chronicle, 18 November 1908. 56 Thomas Hardy to Louis Parker, 30 September 1904 (Letters 3: 135--6). 57. Thomas Hardy to Louis Parker, 21 February 1908 (Letters 3: 298-9). 58. Encyclopaedia Brpannica, 11th edn., s.v., 'pageant'. 59. Quoted in Roberts, Tess in the Theatre, p. lxxv. 60. The report in the Dorset County Chronicle made the association even more specific: 'It is this combination of local elements - local materiel and personnel, local historical and personal associations - that imparted to the undertaking much of the nature of the revived folk-drama or pageant-play which has been so popular of l21te, though under cover instead of in the open.' (Dorset County Clzronicle, 26 November 1908). 61. Dorset County Clmmic/c, 26 November 1908. 62. The Times, 19 November 1908. 63. Thomas Hardy to A. H. Fvans, 5 May 1909 (Letters 4: 22). 64. Dailtj News, 20 November 1909. 65. Thomas Hardy, 'Why I Don't Write Plays', p. 139. 66. Life and Work, p. 37'i. This judgement is confirmed in a letter from Florence Emily Hardy to Philip Ridgeway, 11 July 1926 (Adams), in 174 Notes to pages 68-75

which she claims that Hardy thought Far from the Madding Crowd the best of the plays produced in Dorchester. 67. See Thomas Hardy to Florence Dugdale [18 November 1909], and Thomas Hardy to J. M. Bulloch, 21 November 1909 (Letters 4: 58, 59). In the letter to Florence Dugdale, Hardy praised Laura Evans for giving 'the real B. quite startlingly to me, seeming just like my hand• some aunt from whom I drew her'. He encouraged Bulloch, the editor of the Graphic, to publish a portrait of Laura Evans in conjunction with the London performance of the play, although her understudy, Ethel Hawker, took the role in London. 68. Dorset County Chronicle, 25 November 1909. In the script (Riverside), Coggan's song is William Barnes's poem 'The Carter', which was seem• ingly set to the music of 'They're all Jolly Yellows that do Vollow the Plough', whose strains the Dorset County Chronicle review identified. 69. There was also a special Dorchester performance, as there had been the previous year of The Trumpet-Major, in the theatre at Herrison, the Dorset County Asylum, at the invitation of the medical superin• tendant, Peter Macdonald. For reports of these performances (the first held on 31 December 1908, the second on 20 December 1909) see the Dorset County Chronicle, 7 January 1909, 6 January 1910. The Weymouth performance was held on 7 February 1910, and was followed the next day by a performance of The Trumpet-Major, which had not been taken to Weymouth at the time of its original production. 70. The Times, 26 November 1909. 71. '0 What Unbounded Goodness, Lord', 'Behold! Good News To Man Is Come', and 'Behold The Morning Star Arise'. 72. Morning Leader, 17 September 1910. 73. Thomas Hardy to A. H. Evans, 19 October 1910, 21 October 1910, 24 October 1910, and 1 November 1910 (Letters 4: 124-5, 126, 127). 74. Thomas Hardy to Edmund Gosse, 20 November 1910 (Letters 4: 129). 75. Daily News, 19 September 1910. 76. Morning Leader, 1 November 1910. 77. Daily Graphic, 18 November 1910. The production was originally scheduled for only two evening performances and a matinee, on 16 and 17 November 1910. However, so many people had to be turned away that an extra 'popular' performance, for which the cost of admission was reduced to a shilling, was held on the Friday night, 18 November. The London performance was at the Cripplegate Institute on 1 December 1910, and there was a performance at the Weymouth Pavilion on 9 February 1911. 78. Daily Mail, 17 November 1910. 79. Daily News, 17 November 1910. 80. Referee, 4 December 1910. 81. Saturday Review, 19 November 1910. 82. Dorset County Chronicle, 5 May 1910. 83. Thomas Hardy to H. A. Martin, 31 March 1911 (Letters 4: 146-7). 84. In October 1900, Hardy sent corrections to Charles Charrington: 'They are mainly a slight rearrangement of the opening speeches, which are Notes to pages 75-80 175

too artificial in the old copy you have' (Thomas Hardy to Charles Charrington, 28 October 1900 [Letters 2: 271]). In a 1907 letter to R. Golding Bright about a possible New York production, Hardy writes 'I have only my own copy of the play, which has been improved since it was first acted, & is the only correct one in existence so far as I know' (Thomas Hardy to R. Golding Bright, 5 September 1907 [Letters 3: 272]). While the New York production came to nothing, Bright did arrange a Glasgow production in February-March 1911 (Thomas Hardy toR. Golding Bright, 18 March 1909 [Letters 4: 12]). The Three Wayfarers was also staged at the Little Theatre in London, where it ran on a double bill with G. K. Chesterton's Magic between 21 November and 13 December 1913. 85. Thomas Hardy to A. H. Evans, 23 April 1911 (Letters 4: 149). Evans's letter of 9 April, accompanied by a detailed synopsis of scenes, survives (DCM). 86. Morning Post, 28 November 1911. 87. Daily Mail, 15 November 1911. 88. Academy, 2 December 1911. 89. Dorset County Chronicle, 23 November 1911. 90. Daily Mail, 15 November 1911. 91. See Thomas Hardy toT. H. Tilley, 28 October 1911,29 October 1911; to H. A. Martin, 29 October 1911; to Edwin Stevens, 13 November 1911 (Letters 4: 186, 187, 188, 190). Two pages (14 and 33) of the Riverside script of The Distracted Preacher show minor dialogue additions in Hardy's hand. One of the players described rehearsals to a Daily Mail reporter: 'Several times he has risen up from his dark comer and said, "Would you let me see the book please? I think that sentence does not sound right. I will alter it a little"' (Daily Mail, 15 November 1911). 92. Daily Mail, 15 November 1911. 93. Dorset County Chronicle, 23 November 1911. The plays were performed in Dorchester on 15, 16 and 17 November 1911; at the Cripplegate Institute in London on 27 November 1911; and at the Weymouth Pavilion on 15 December 1911. 94. Daily Express, 16 November 1911. 95. Thomas Hardy to Sir Frederick Macmillan, 16 October 1911 (Letters 4: 182). 96. Thomas Hardy to Edward Clodd [early December 1911?) (Letters 4: 194). 97. This production of The Trumpet-Major was given two evening performances and a matinee in Dorchester on 2'1 and 28 November 1912, and a London performance at the Cripplegate Institute on 5 December 1912. 98. Dorset County Chronicle, 5 December 1912. 99. The Dorchester performances, two evenings and a matinee, were on 19 and 20 November 1913, the London performance on 8 December 1913, and the Weymouth performance on 22 January 1914. 100. Thomas Hardy toT. H. Tilley, 9 January 1914 (Letters 5: 2). 101. Daily Express, 17 November 1913. 102. Daily News, 20 November 1913. 176 Notes to pages 80-7

103. Evelyn Evans, My Father Produced Hardy's Plays, p. 17. 104. The Times, 20 November 1913. 105. Dorset County Chronicle, 27 November 1913. 106. Daily Chronicle, 13 November 1913.

Notes to Chapter 4: The Dynasts Adapted: London, Dorset and Oxford 1. Blanche Crackanthorpe to Thomas Hardy, 1 June 1910 (DCM). See also Marguerite Roberts, Tess in the Theatre, p. lxxi. 2. Quoted in Lillah McCarthy, Myself and My Friends (London: Thornton Butterworth, 1933) p. 102. In the same letter Crackanthorpe also claimed that Hardy would 'have a special joy' in dramatizing Jude the Obscure, 'and ramming it down after these long years'. 3. McCarthy, Myself, p. 101. McCarthy played in The Tragedy of Nan, under Barker's direction, in five performances at the Royalty Theatre in May 1908. This is presumably the production she had in mind, which places a first meeting with Hardy more than two years earlier than Mrs Crackanthorpe's introduction. 4. Lillah McCarthy to Thomas Hardy, 15 June 1910 (DCM). See Roberts, Tess in the Theatre, p. lxxi. 5. Thomas Hardy to Lillah McCarthy, 17 June 1910 (Letters 4: 99). 6. Florence Hardy to Gertrude Bugler [2 December 1924] (Bugler). Granville Barker had been the leading force in 'The Repertory Theatre' season (1910) during Frohman's leasing of the Duke of York's Theatre. 7. Lillah McCarthy to Thomas Hardy, 21 June 1912 (DCM): see also Roberts, Tess in the Theatre, p. lxxiii. Fanny's First Play had opened under the McCarthy-Barker management at the Little Theatre on 19 April 1911 and, after transferring to the Kingsway in late December, con• tinued to run in evening performance untillO September 1912 and in matinee until20 December 1912. 8. Harley Granville Barker to Thomas Hardy, 25 September 1914 (DCM). See Eric Salmon (ed.), Granville Barker and His Correspondents: A Selection of Letters by Him and to Him (Detroit: Wayne State University Press, 1986) p. 371. 9. In the summer of 1905, for example, he saw the Vedrenne-Granville Barker productions of John Bull's Other Island and Man and Superman at the Court Theatre (Life and Work, p. 349), and in a 1907 letter he praised Vedrenne and Barker for their 'better sense of true drama than that possessed by other London managers' (Thomas Hardy to William Archer, 1 July 1907 [Letters 3: 257]). 10. For a full list of Granville Barker productions both at the Court Theatre and elsewhere, see Dennis Kennedy, Granville Barker and the Dream of Theatre (Cambridge University Press, 1985) pp. 208-14. 11. Thomas Hardy 'A British "Theatre Libre'", p. 7. 12. Dennis Kennedy, Granville Barker and the Dream of Theatre, p. 123. 13. Thomas Hardy, 'Why I Don't Write Plays', p. 139. 14. Thomas Hardy to Harley Granville Barker, [27] September 1914 (Letters 5: 51). Notes to pages 87-8 177

15. The correspondence with Granville Barker during the two month preparation of the production was extensive. See Thomas Hardy to Harley Granville Barker, [27] September 1914, [late September 1914], 4 October 1914, 9 October 1914, 14 October 1914, 15 October 1914, 21 October 1914, 28 October 1914, 8 November 1914, 13 November 1914 and 22 November 1914 (Letters 5:51--6,58,61, 62-3). 16. Barker's adaptation was constructed as follows (source scenes in the original are given in parenthesis):

Act One: Trafalgar Forescene i. A ridge in Wessex, March 1805 (Part One, I.i). ii. The same, the ensuing summer (Part One, II.iv). iii. Rainbarrow, mid-August 1805 (Part One, II.v). iv. Trafalgar, the deck of the 'Bucentaure' (Part One, V.i). v. Trafalgar, the deck of the 'Victory' (Part One, V.ii). vi. Trafalgar, the cockpit of the 'Victory' (Part One, V.iv). vii. London, before the Guildhall (Part One, V.v). viii. Weymouth, the Old Rooms Inn (Part One, V.vii).

Act Two: The Spanish Peninsula i. Open sea between English coast and Spanish Peninsula (Part Two, II.v). ii. A cellar near Astorga (Part Two, III.i). iii. The road near by, the same night (Part Two, III.ii). iv. Before Coruii.a (Part Two, III.iii). v. Coruii.a, near the ramparts, next morning: burial of Sir John Moore (Part Two, III.iv). vi. Albuera (Part Two, Vl.iv). vii. The Ford of Santa Marta, Salamanca (Part Three, l.ii). viii. The Field of Salamanca, and near Victoria (Part Three, !.iii, II.i). Intermezzo. Leipzig (Part Three, III.ii). ix. Fontainebleau (Part Three, IV.iv).

Act Three: Waterloo i. Elba: The quay, Porto Ferrajo (Part Three, V.i). ii. Durnover Green, Casterbridge (Part Three, V.vi). iii. Brussels: the Duchess of Richmond's Ball (Part Three, VI.ii). iv. A chamber overlooking a street in Brussels (Part Three, Vl.iv). v. Quatre Bras (Part Three, VI.vi, VI. viii). vi. Waterloo: the French position (Part Three, VII.ii). vii. Waterloo: the English position (Part Three, VII.iv). viii. Waterloo: the French position (Part Three, VII. vi). ix. Waterloo: the English position (Part Three, VII. vii, Vll.viii). x. The Wood of Bossu (Part Three, VII.ix and After Scene). 178 Notes to pages 88-95

In performance, the preliminary choric scenes for Acts Two and Three were incorporated into the Astorga cellar and Dumover Green scenes respectively, and in the later stages of the run, the burial of Sir John Moore was omitted (see script copies, DCM and Harvard). 17. Thomas Hardy to Harley Granville Barker, 13 November 1914 (Letters 5: 61). 18. The Prologue was printed in the programme for the production and, with the Epilogue, is reprinted in The Complete Poetical Works 3: 297-8. 19. The Complete Poetical Works 3: 299. 20. Thomas Hardy to Edmund Gosse, 1 December 1914 (Letters 5: 65-6). The disclaimer had been even more explicit in earlier letters: see Thomas Hardy to Dorothy Allhusen, 30 October 1914 (Letters 5: 57) and Thomas Hardy to Sir Sidney Colvin, 20 November 1914 (Letters 5: 62). 21. E. A. Baughan, 'Drama of the Year', 'The Stage' Year Book, 1915, p. 3. 22. Thomas Hardy to Charles Morgan, 11 December 1919 (Letters 5: 349). 23. Florence Hardy to Rebekah Owen, 1 December 1914 (Colby). 24. Daily Telegraph, 26 November 1914. 25. Morning Post, 26 November 1914. 26. Christine Dymkowski, Harley Granville Barker: A Preface to Modern Shakespeare (Washington: Folger, 1986) p. 30. For Poel's own discus• sion of Shakespeare staging, see William Poel, Shakespeare in the Theatre (London: Sidgwick & Jackson, 1913). For Craig's theorizing, see E. Gordon Craig, On the Art of the Theatre (London: Heinemann, 1924). 27. See The Times, 26 November 1914, and Athenaeum, 28 November 1914. 28. The Stage, 3 December 1914. 29. Saturday Review, 5 December 1914. 30. Harley Granville Barker to Thomas Hardy, 13 February 1925 (Salmon, Granville Barker and His Correspondents, p. 381). 31. Quotations are taken from the typescript of the Kingsway version (DCM). 32. 'Our Captious Critic: "The Dynasts" at the Kingsway Theatre', Illus• trated Sporting and Dramatic News, 19 December 1914. 33. Thomas Hardy to Florence Henniker, 23 December 1914 (Letters 5: 70- 1). Apart from attending an early rehearsal, Hardy had seen The Dynasts for the first time the previous week. 34. Esme Beringer to Thomas Hardy, 19 January [1915] (DCM). 35. Thomas Hardy to A. E. Drinkwater, 28 January 1915 (Letters 5: 78). The editors' claim here that 'no trace of any such scheme has survived' is incorrect. The scheme, headed "'The Dynasts"- The Fall of Prussia & Austria (selected from "The Dynasts" for Acting)', is among Hardy's dramatic outlines in DCM. He contemplated three acts, all using material from Part Two of The Dynasts, and divided as follows: Act One- I.iii, I.iv, I.v, and I. viii; Act Two -III.v, IV.i and IV.iii; Act Three• V.i, V.ii, V.iii, V.vi, and V.viii. Another undated and unfulfilled scheme from The Dynasts, marked 'Possible scenes for acting', survives among the outlines. It uses II.v, IV.i, V.iv and V.vii from Part One; III.i and ii from Part Two; and V.ii, V.vi, and VI.ii from Part Three. Notes to pages 96-100 179

36. Florence Hardy, Later Years, pp. 203-9. This account appears as a post• Hardyan revision in Life and Work, pp. 524--8. Morgan's manuscript survives in DCM. 37. Florence Hardy, Later Years, p. 204. 38. See Maurice Colbourne to Thomas Hardy, 20 October 1919 and 23 October 1919 (DCM). 39. Life and Work, p. 397. 40. Sir Frederick Pollock to Thomas Hardy, 4 December 1914 (DCM). 41. Thomas Hardy to A. E. Drinkwater, 6 December 1919; and to Maurice Colbourne, 11 December 1919 (Letters 5: 346, 347). 42. Maurice Colbourne to Thomas Hardy, 8 December 1919 (DCM). 43. Thomas Hardy to Harley Granville Barker, [27] September 1914 (Letters 5: 51). 44. Maurice Colbourne to Thomas Hardy, 8 December 1919 (DCM). These sentiments were echoed a day later in a letter to Hardy from Charles Morgan, who favoured more choral passages from unseen speakers, or at least the concealment of Reader, Strophe and Antistrophe: see Charles Morgan to Thomas Hardy, 9 December 1919 (DCM). 45. Morgan raised both these difficulties in a letter to Hardy, 14 December 1919 (DCM). 46. Life and Work, p. 397. See also Maurice Colbourne to Thomas Hardy, 23 October 1919: 'I agree wholly that it would be better to substitute outdoor scenery for outdoor scenes, and that the title "The Dynasts" for the acting version is hardly fair to the whole work' (DCM). 47. Thomas Hardy to Charles Morgan, 11 December 1919 (Letters 5: 349). 48. It ran until14 February, with matinees also on 11th, 12th and 14th. 49. Thomas Hardy to Florence Henniker, 28 February 1920 (Letters 6: 9). 50. The Times Literary Supplement, 19 February 1920. 51. The selections were made as follows: the first scene from I.i, II.iv and V.v of Part One; the second scene from II.v of Part One and passages from' A Tradition of Eighteen Hundred and Four'; the third scene from V.vii of Part One, expanded by reporting of events from V. ii and iv and by passages from The Tntmpet-Major; the fourth scene from IV. vi, V.i, ii, and iii (condensed) of Part Three; and the fifth scene from V. vi of Part Three, with reporting of events from VII (Riverside and DCM). 52. In the event, Red Cross duties prevented the Countess of Ilchester's appearance and the speech was given instead by her daughter, Lady Mary Fox-Strangways. A full report of the production appeared in the Dorset County Chronicle, 14 December 1916. 53. T. Hardy, 'Explanation of the Rural Scenes from the Dynasts' (DCM). 54. Dorset County Chronicle, 29 June 1916. 55. Thomas Hardy to Florence Henniker, 28 June 1916 (Letters 5: 166). 56. Anne Macpherson Lawrie, Vice-President of the British Red Cross for the Weymouth area, wrote to Hardy after the Weymouth performance with the news that 'we have done well', and the Dramatic Society's Treasurer, R. N. Dawes, wrote to Florence after the Dorchester per• formances to record a balance after expenses of £35. 3s. 2d. (Anne Lawrie to Thomas Hardy, 23 June 1916; R. N. Dawes to Florence Hardy, 16 December 1916 [DCM]). 180 Notes to pages 100-8

57. Dorset County Chronicle, 29 June 1916. 58. Dorset County Chronicle, 14 December 1916. 59. See Thomas Hardy to Edmund Gosse, 13 December 1916 (Letters 5: 191). 60. Florence Hardy to Rebekah Owen [21 May 1916] (Colby). See also the letters to Owen on 26 March and 5 May (Colby), the first of which contains the first mention of a play in Weymouth, with the 22 June already fixed as the date. Florence's emphasis in all these letters may have been affected by a desire not to encourage Owen's attendance at a performance (in which case, her design failed: Owen was present at the Dorchester matinee). 61. Florence Hardy to Rebekah Owen, 5 June 1916 (Colby). 62. Gertrude Bugler, Personal Recollections of Thomas Hardy (Dorchester: Dorset Natural History and Archaeological Society, 1962) pp. 5-6. 63. Florence Hardy to Gertrude Bugler [13 December 1916] (Bugler). 64. Thomas Hardy to Evelyn Gifford, 29 November 1916 (Letters 5:189).

Notes to Chapter 5: The Hardy Players: The Tilley Years 1. Florence Hardy to Rebekah Owen, 7 February [1918, annotated incorrectly 1917] (Colby). 2. It was given in matinee and evening performance on 31 January 1918 and repeated the following evening. 3. See The Times, 2 February 1918, and Thomas Hardy to Arthur McDowall, 2 February 1918 (Letters 5: 248). 4. Thomas Hardy to Florence Henniker, 7 February 1918 (Letters 5: 249- 50); Dorset County Chronicle, 7 February 1918. 5. Florence Hardy made reference to the Dorchester performance in a letter to Rebekah Owen [8 November 1919] (Colby), and the Dorset County Chronicle report (19 November 1919) indicates that it was in aid of St Mary's Church Building Fund. 6. Dorset County Chronicle, 7 February 1918. 7. The production was scheduled for two evening performances and a matinee on 17 and 18 November 1920, but proved so popular that it was held over for two more nights, proceeds from the first of which went to the Dorset County Hospital. Hardy attended the Thursday matinee, 18 November. 8. Florence Hardy to Rebekah Owen, 23 July 1920 (Colby). By 15 October, she was showing signs of a change of heart: 'I am glad that you will be able to come to the play - although I have an uncomfortable feeling that you may be disappointed' (Colby). 9. Thomas Hardy to Harold Child, 11 November 1920 (Letters 6: 45-6). Child obliged with an article on the forthcoming production (The Times, 16 November 1920). 10. Thomas Hardy toT. H. Tilley [25 January 1921] (Letters 6: 66). See also Hardy to Tilley [17 November 1920] (Letters 6: 46). Tilley told Bugler that he had received advice from Hardy about the ending of the play, and her memory is of the 'sheer enjoyment' of the rehearsals for The Return, with a Hardy 'alert in movement, keen-eyed, [with] a ready Notes to pages 109-19 181

sense of humour and a kindly smile. He was just one of us - and that was the Hardy we usually saw' (Bugler typescript memoirs). 11. Thomas Hardy to Sir Henry Newbolt, 16 December 1920 (Letters 6: 52). 12. Daily Mail, 18 November 1920. 13. Daily Mirror, 19 November 1920, and Evening News, 20 November 1920. 14. Daily Express, 26 and 27 January 1921. 15. Daily Sketch, 27 January 1921. 16. Florence Hardy to Sydney Carlyle Cockerell, 26 December 1920, in Viola Meynell (ed.), Friends of a Lifetime: Letters to Sydney Carlyle Cockerell (London: Jonathan Cape, 1940) p. 307. For Gertrude Bugler's memories of the same evening, see her 'Christmas Night at Max Gate, 1920', Thomas Hardy Society Review, 1 (1982) pp. 235-7. 17. The Referee, 30 January 1921, and The Times, 18 November 1920. 18 Daily News, 21 January 1921. 19 Dorset County Chronicle, 25 November 1920. 20 The Times, 18 and 19 November 1920. 21. Daily News, 28 January 1921. 22. Sunday Express, 30 January 1921. 23. Evening Standard, 28 January 1921. 24. Script, Return of the Native, Tilley Collection (Riverside). 25. Florence Hardy to Gertrude Bugler, 29 November 1920 (Bugler). 26. Florence Hardy to Gertrude Bugler [1 February 1921 ?] (Bugler). 27. A 'Warriors' Day' performance of 'Bathesheba Everdene and Her Lovers', attended by the Hardys, was reported in the Dorset County Chronicle for 7 April 1921. It was performed again on 9 June, along with the wedding scene from The Mellstock Quire, in the castle ruins at Sturminster Newton, and both scenes were also presented a week later, 16 June, at Bingham's Melcombe manor house, where they played to an audience of nearly eight hundred and made a profit of £100, which was given to support the village nurse (Dorset County Chronicle, 20 July 1921). 28. In a letter to Rebekah Owen (7 August 1921, Colby), Florence Hardy was still assuming that a play would be performed about the middle of November. 29. The play was performed on 15, 16 and 17 November, with a Thursday matinee on the 16th. Hardy attended the final performance, having decided to avoid the matinee and its subsequent tea because 'he was so worried last year by the company flocking round him and asking him to autograph their programmes' (Florence Hardy to Rebekah Owen, 29 October 1922 [Colby]). Despite the experience with The Return of the Native, the play was taken the following week to London for performance on 21 November before the Society of Dorset Men in London at the King's Hall, Covent Garden. 30. Dorset County Chronicle, 23 November 1922. 31. The Times, 17 November 1922. 32. Daily News, 22 November 1922. 33. Daily Telegraph. 17 November 1922. 34. Florence Hardy to Rebekah Owen, 29 October 1922 (Colby). 35. Florence Hardy to Rebekah Owen, 28 [December]1922 (Colby). 182 Notes to pages 120-6

36. Florence Hardy to Gertrude Bugler, 17 June [1922] (Bugler). 37. Thomas Hardy to Harley Granville Barker, 2 July 1923 (Letters 6: 203). 38. Thomas Hardy to Sydney Cockerell, 20 September 1916 (Letters 5: 179). 39. Life and Work, p. 81. 40. See J. M. Barrie toT. H. Tilley, 22 February 1924 (DCM). 41. Thomas Hardy to Sir Frederick Macmillan, 30 August 1923 (Letters 6: 208). 42. In a letter to Macmillan on 5 September, Hardy mentioned that he had promised Tilley 'not to anticipate his date, which is about the middle of November'. On 18 September, he was able to confirm that a 15 November publication date was satisfactory for the Players. Despite the later scheduling of the opening night for 28 November, by 27 October the society had been brought to agree with Hardy that 'the publication should antedate the acting .... thinking it will help them if people have become a little familiar with the story' (see Thomas Hardy to Sir Frederick Macmillan, 5 September, 18 September and 27 October 1923 [Letters 6: 209, 211, 219]). 43. Harley Granville Barker to Hardy, 6 July 1923 (Granville Barker and His Correspondents, pp. 374-5, 377). See also Granville Barker toT. H. Tilley, 28 October 1923 (DCM). 44. J. M. Barrie toT. H. Tilley, 27 October 1923 (DCM). 45. Harley Granville Barker toT. H. Tilley, 28 October 1923 (DCM). In a letter to Gertrude Bugler a week before this rehearsal, Florence Hardy had expressed doubt that Barker 'will say one word to the performers about their acting' (Florence Hardy to Gertrude Bugler, 19 October 1923 [Bugler]). In the event, the notes that Barker sent to Tilley ran to eight pages. 46. Life and Work, p. 245. Hardy impressed the same point upon his audi• ence: the programme for The Queen of Cornwall contained the note 'The time occupied by the supposed events is about the same as that of their stage representation.' 47. Thomas Hardy to Harold Child, 11 November 1923 (Letters 6: 221); see also Life and Work, p. 456. Hardy was to return to the same point in another letter to Child in the following year (9 December 1924 [Letters 6: 293]). 48. The programme was scheduled in Dorchester on 28, 29 and 30 November 1923, with a matinee on 29 November, and was held over for an extra performance on the Saturday night, 1 December (see Dorset County Chronicle, 6 December 1923). The London appearance was at King George's Hall, Tottenham Court Road, on 21 February 1924, in both a matinee and an evening performance. 49. Daily News, 29 November 1923. 50. Daily Express, Daily Telegraph and Manchester Guardian, all29 November 1923. 51. Ernest Brennecke Jr, The Life of Thomas Hardy (New York: Greenberg, 1925) p. 19. 52. The Dynasts, p. xi. 53. Thomas Hardy, The Famous Tragedy of the Queen of Cornwall (London: Macmillan, 1923). Notes to pages 126-30 183

54. Daily Express, 29 November 1923. Conversely, Ernest Brennecke Jr felt that the performance might have been improved by pushing the mumming element further: '[i]f the mummers had only "mummed" the piece, and not tried to "produce" it after the manner of the late Sir Herbert Beerbohm Tree!' (The Life of Thomas Hardy, p. 19). 55. Quotations are taken from the Tilley playscript (Riverside). 56. Dorset County Chronicle, 6 December 1923. 57. T. E. Lawrence to Florence Hardy, 2 December 1923 (DCM). See The Letters ofT. E. Lawrence, ed. David Garnett (London: Jonathan Cape, 1938) p. 442. 58. J. M. Barrie toT. H. Tilley, 22 February 1924 (DCM). 59. Daily News, 29 November 1923. 60. Kathleen Hirst, writing to thank Hardy for his congratulations on her performance, indicated how enjoyable her first and only experience with the group had been: they were 'delightful people with whom to be associated, considerate & kind to everyone & only anxious to make the production worthy of the honour you had done them' (29 February 1924 [DCM]). 61. The Times, 29 November 1923. 62. T. P. and Cassell's Weekly, 22 December 1923. 63. Thomas Hardy to Harold Child, 11 November 1923 (Letters 6: 221). 64. Gertrude Bugler had in the previous year run disastrously foul of Florence Hardy's notions of upper-middle-class etiquette when, at the suggestion of William Watkins, Secretary of the Society of Dorset Men in London, she had called at Max Gate to collect an autographed book that Hardy was wanting to give her and had referred to Watkins's suggestion that she call in on Mr. Hardy, failing to implicate Florence in the phrasing. In a subsequent letter, Florence treated her to a lengthy lecture on social niceties ('it is not usual in our station of life for any lady to call upon a gentleman. It is simply "not done"'), which provoked an explanatory reply indicative of Bugler's acute sensitivity to the condescension: 'Although not in your husband's "station of life", even I am aware that a lady does not call upon a gentleman.... I have never looked upon myself as being on visiting terms at Max Gate, so that it was hardly a call in the ordinary sense of the word. On the other hand, neither can I be placed in a business catagory [sic]' (Florence Hardy to Gertrude Bugler, 13 June 1922, and Gertrude Bugler to Florence Hardy, 16 June 1922 [Bugler]). 65. Thomas Hardy to Rutland Boughton, 25 November 1923 (Letters 6: 225). 66. The Hardys drove to Glastonbury on 28 August to see the production, and were to see it again on 25 April1925 when it was performed at the Winter Garden Theatre in Bournemouth (see Life and Work, p. 459, and Thomas Hardy to Sir Dan Godfrey [Letters 6: 321]). 67. See particularly Thomas Hardy to Rutland Boughton, 16 and 28 January 1924, 6 and 8 May 1924, 18 June 1924 (Letters 6: 232, 234, 249-50, 257). Boughton paid a two-day visit to Max Gate (11-13 June 1924) for con• sultations with Hardy, who found him most congenial (see Life and Work, p. 458). 184 Notes to pages 131-3

68. See Charles Speyer to Thomas Hardy, 18 February, 10 June and 11 July 1924 (DCM). The DCM has Hardy's draft replies, 20 February and 14 July 1924, the second of which appears in Letters 6: 264-5. 69. See Thomas Hardy to Rutland Boughton, 7 April 1924, and Kenneth Barnes, 8 April 1924 (Letters 6: 244-5); also A. Davies Adams to Thomas Hardy, 15 April1924, and Hardy's draft reply (not in Letters), 3 May 1924 (DCM). The latter reads in part: 'I am sorry if you feel your time was wasted in the composition of the music (which I am told is very good), but you will I am sure recognize that I knew nothing of any request to you for such, or of any intended performance.' 70. SeeS. H. Bathe to Thomas Hardy, 24 October 1923 (DCM). Hardy's draft reply (not in Letters) indicated that the play 'is not yet in a suffi• ciently advanced state for him to give an answer, but he hopes to be able to send one in two or three weeks'. 71. Brennecke, The Life of Thomas Hardy, p. 17. See also Bertram Freyer to Thomas Hardy, 21 October 1923 (DCM) and Thomas Hardy to Sir Frederick Macmillan, 17 November 1923 (Letters 6: 223-4).

Notes to Chapter 6: Tess on Stage: Dorchester and London 1. Minute Book, Dorchester Debating and Dramatic Society (Dorset County Record Office, D349/1) p. 57. 2. Thomas Hardy to T. H. Tilley, 24 August 1924 (Letters 6: 269). The stipulation that the identity of the adapter not be made public lapsed almost immediately, and Hardy himself was completely forthright about his own responsibility for the script. 3. Bugler, memoirs. 4. Life and Work, p. 460. The diary entry on which this is based is even more evasive. It contains the parenthetical comment 'Hardy was therefore charged with an ambition for practical stagery, when in fact the whole proceeding had been against his own judgement and mainly an act of good nature' (Personal Notebooks, p. 83). 5. Norman Atkins provides detailed information about the Max Gate visits, its perspective not unaffected by his sense of having been singled out by Florence Hardy in response to Hardy's interest in Gertrude Bugler, which Florence was convinced 'was a matter of some comment amongst the Players themselves and that was most undesirable. Hence my personal invitation to Max Gate as being the only young male member of the Players suitable for an invitation!' (Thomas Hardy and the Hardy Players [Guernsey: Toucan Press, 1980], p. 11). Hardy recorded the visit to Wool in his 'Memoranda II' notebook (Personal Notebooks, p. 84). 6. Tess was performed on four consecutive evenings in Dorchester between Wednesday, 26 November and Saturday, 29 November 1924, and there was also a Thursday matinee. Hardy attended the Saturday performance, as well as the two performances given in Weymouth on Thursday, 11 December. Most uncharacteristically, he was persuaded by the Mayor of Weymouth to give a brief speech at a small dinner Notes to pages 134-8 185

held at Gloucester Lodge between these two performances. The idea of a performance in Bournemouth, which Hardy actively encouraged, came to nothing (see Thomas Hardy to the Mayor of Bournemouth, [mid-] December 1924 [Letters 6: 295]). 7. Daily Express, 27 November 1924. The interest translated into a finan• cial success for the Society, which was able to show a profit of £115. 13s. 10d on the production, £100 of which was distributed among nine charities. By contrast, the statement of accounts for the staging of The Queen of Cornwall had shown a deficit (see Dorchester Debating and Dramatic Society Minute Book, pp. 50,63--6 [DCRO, D349/1]). 8. Daily Express, 27 November 1924. 9. Daily Mail, 27 November 1924. 10. The Times, 27 November 1924. 11. Daily Chronicle, 27 November 1924. 12. Sybil Thorndike to Thomas Hardy, 5 November 1924, 11 November 1924, and 11 February 1925 (DCM). StJohn Ervine's account of his involvement with the script and of Hardy's recalling it is given in Roberts, Tess in the Theatre, pp. lxxxiv-lxxxv. 13. Thomas Hardy to StJohn Ervine, 3 February 1925 (Letters 6: 306). 14. Thomas Hardy to StJohn Ervine, 9 February 1925 (Letters 6: 309). 15. Thomas Hardy to Harley Granville Barker, 10 February 1925 (Letters 6: 310). 16. Harley Granville Barker to Thomas Hardy, 13 February 1925 (DCM). Hardy's correspondence with the American literary agent Albert Curtis Brown about the possibility of an American production of Tess had begun on 6 January 1925 (Letters 6: 302). Discussion became more convoluted as Hardy delayed any decision on an American produc• tion until the play had been successfully produced in England. He was then faced with the difficulty of arbitrating between the declared interest in the play of both Winthrop Ames and the New York Theatre Guild, and the increasingly hysterical desire of Ridgeway to gain con• trol of virtually all foreign rights (see Thomas Hardy to R. Golding Bright, 16 September 1925 and 19 September 1925 [Letters 6: 353-5]). 17. Thomas Hardy to StJohn Ervine, 19 February 1925 (Letters 6: 312). 18. Thomas Hardy to Frederick Harrison, 13 December 1924 (Letters 6: 295). 19. Thomas Hardy to Gertrude Bugler, 16 December 1924 (Letters 6: 297). Hardy's reservations about the London trip are more covertly expressed in his poem 'An Expostulation' (Complete Poetical Works 3: 113) - so covertly that Gertrude Bugler did not notice the poem's application to her until many years after Hardy's death. 20. See Thomas Hardy to J. W. Mackail, 24 December 1924: 'I am afraid the attention she has drawn upon herself has given her an itch for the regular theatre, & I am old fashioned enough to feel uneasy about it, being to some extent the cause' (Letters 6: 300). 21. Florence Hardy to Gertrude Bugler, 25 November 1924 (Bugler). 22. Florence Hardy to Gertrude Bugler, 2 December 1924 (Bugler). The apparent intimacy of the supper conversation had been caused by Gertrude Bugler's deafness in her right ear, which had forced her to incline her head towards Hardy. He was in fact trying to talk to her 186 Notes to pages 139-43

about the possibility of Augustus John painting her as Tess, without John, who was sitting on her other side, hearing him. 23. Thomas Hardy to Sir James Barrie, 19 December 1924 (Letters 6: 299). Barrie's reply was sympathetic to Gertrude Bugler's being given the opportunity to try and break into professional theatre, and recom• mended that Hardy use Reginald Golding Bright as his agent. 24. Florence Hardy to Gertrude Bugler, 2 January 1925 (Bugler). 25. These included a salary of twenty pounds a week, with no more than two matinees a week, and with Harrison providing dresses. At least twelve days would be needed for rehearsals, which could not begin before April. The matinees themselves would be on Wednesdays and Fridays. See Frederick Harrison to Gertrude Bugler, 8 January 1925 and 19 January 1925 (Bugler). 26. Florence had already confided in Sydney Cockerell about her appre• hensions, which he recorded in some detail in his diary. See Wilfrid Blunt, Cockerell (London: Hamish Hamilton, 1964) pp. 214--b. 27. Thomas Hardy to Gertrude Bugler, 7 February 1925 (Letters 6: 308). 28. Florence Hardy to Gertrude Bugler, 5 February [1925] (Bugler). 29. Florence Hardy to Gertrude Bugler, 12 February [1925] (Bugler). 30. Florence Hardy to Gertrude Bugler, 20 February [1925] (Bugler). 31. Florence Hardy to Gertrude Bugler [2 August 1925] (Bugler). 32. Florence Hardy to Gertrude Bugler [August 1925] (Bugler). 33. Florence Hardy to Philip Ridgeway, 24 February 1926 (Adams). 34. Thomas Hardy toR. Golding Bright, 12 June 1925 (Letters 6: 330). 35. See Thomas Hardy to Philip Ridgeway, 16 July 1925, 21 July 1925 and 23 July 1925 (Letters 6: 334, 336, 339); and Thomas Hardy toR. Golding Bright, 19 July 1925,21 July 1925 and 23 July 1925 (Letters 6: 335--b, 337). 36. Thomas Hardy to Philip Ridgeway, 21 July 1925 (Letters 6: 336). Hardy had mentioned Ridgeway's suggestion of Hermione Baddeley to Granville Barker, whose response had been 'the man must be mad' (Thomas Hardy to Harold Child, 26 July 1925 [Letters 6: 340]). Hardy had been remotely acquainted with Hermione Baddeley since April 1923, when Edwin Stevens had arranged a visit by the Arts League of Service to give some charity performances in Dorchester. Her Christmas Eve telegram to Hardy in 1924, conveying 'Wonder• ful wishes to the King of Authors', had elicited a cordial response (28 December 1924, DCM), and the week after Tess opened, she sent him a congratulatory letter which suggests that she may have been aware of the mention of her name in connection with the role: 'I long to play the part in some years time, although I am sorry it has been put on the stage as the atmosphere of the book could never be there' (15 September 1925, DCM). 37. Hardy wrote again the next day to emphasize that in forwarding Bugler's address he had not meant to influence Ridgeway 'unless you were in great difficulties' (Thomas Hardy to Philip Ridgeway, 3 and 4 August 1925 [Letters 6: 342]). 38. Hardy recorded the visit in his memoranda book: see Personal Note• books, p. 89. 39. Daily News, 6 August 1925. Notes to pages 143-7 187

40. Florence Hardy to Gertrude Bugler, 6 August 1925 (Bugler). In this letter, Florence flatly contradicts Ridgeway's version of events: 'He rang me up three times in two days only, about the signing of a contract, & never rang up my husband. The twenty letters are a myth.' 41. Daily Graphic, 11 August 1925. Some months later the Manchester Guardian, in honour of the performance of Tess by the Garrick Theatre cast at Max Gate, published a photograph that offers silent testimony to Ridgeway's priorities and strategy. The photograph, of the confes• sion scene, shows Angel and Hardy looking at Tess, Tess looking into space, and Philip Ridgeway, awkwardly hunched into maximum proximity to Hardy, looking resolutely into the camera (Manchester Guardian, 8 December 1925). 42. This is also suggested by a letter from Hardy to Granville Barker during the course of the Barnes run: 'I had no time to revise the tech• nicalities of the adaptation, which no doubt I should have done if I had known that my casual handing over of the old copy to the players here would have extended so far afield' (Thomas Hardy to Harley Granville Barker, 20 October 1925 [Letters 6: 362]). 43. Tess of the d'Urbervilles, Dorchester playscript, pp. 41-2 (Tilley Collec• tion, Riverside); see Roberts, Tess in the Theatre, p. 175. 44. Gwen Ffrang<;on-Davies to Thomas Hardy, Wednesday [n.d.] (DCM). For Hardy's reply, see Thomas Hardy to Gwen Ffrang<;on-Davies [13 August 1925] (Letters 6: 343). 45. Gwen Ffrang<;on-Davies to Thomas Hardy, 14 October 1925 (DCM): see Roberts, Tess in the Theatre, p. c. Henry Arthur Jones, who wrote at length to Hardy to give his impression of the play's first night, felt much the same about Alec's appearance at Wellbridge, suggesting that it made 'a double distraction in Tess's already too distracted heart' and divided 'the volume of interest and the movement towards the dreadful moment of the confession' (Henry Arthur Jones to Thomas Hardy, 8 September 1925 [DCM]). See also Thomas Hardy to Henry Arthur Jones, 13 September 1925 (Letters 6: 351-2). 46. Thomas Hardy to Gwen Ffrang<;on-Davies, 17 October 1925 (Letters 6: 361). The scene, set on the highway near Marlott to utilize the flats from the forescene, shows the evicted Durbeyfields and Alec's attempt to use their plight to win Tess back. It survives in the 'Rough Study Copy' of the London script (DCM). 47. For Ffrang<;on-Davies's further comments on the episode, see Roberts, Tess in the Theatre, pp. c-ci. While Hardy was prepared to accommo• date the suggestions, he was also wary about public announcements of changes lest, as Florence Hardy mentioned in writing to Philip Ridgeway, 'the impression was given that it was a bad play that had to be patched up' (29 November 1925 [Adams]). 48. Thomas Hardy to StJohn Ervine, 3 February 1925 (Letters 6: 306). On 9 February, Hardy sent Ervine a copy of the whole play as revised (Letters 6: 309). The suggestion may have originated with Barrie; Hardy was later to inform Ridgeway that Barrie thought 'the intro• ductory scenes help the understanding of the plot' (Thomas Hardy to Philip Ridgeway, 23 July 1925 [Letters 6: 339). 188 Notes to pages 147-52

49. DCM. The reason for the sending of a revised five-act version to Curtis Brown as late as November 1927 is suggested in Florence Hardy's cor• respondence with the American agent after Hardy's death, in which she mentions negotiations with a small American theatre 'several months before my husband's death' (7 June 1928 [UCLA]). 50. Thomas Hardy to Gwen Ffrang<;:on-Davies, 17 October 1925 (Letters 6: 361). 51. Edmund Blunden, Thomas Hardy (London: Macmillan, 1942) pp. 170-1. 52. Tess (London version), Roberts, Tess in the Theatre, pp. 198-9. 53. Observer, 13 September 1925. James Agate made the same point in his review for the Sunday Times (13 September 1925), as, rather more brutally, did the Sunday Express reviewer, who noted the 'snigger' echoing through the auditorium at the landlady's 'drip, drip, drip' (Sunday Express, 13 September 1925). 54. Thomas Hardy to StJohn Ervine, 13 September 1925 (Letters 6: 350-1). 55. This variation is offered as a possible opening in Hardy's 'Rough Study Copy' of the play, and annotated 'not adopted in London' (DCM). 56. Observer, 13 September 1925. Ervine's response was again echoed by James Agate: 'I cannot imagine that Mr. A. E. Filmer, left to himself, would not have cut out the entirely ineffective country dancing' (Sunday Times, 13 September 1925). 57. Sunday Times, 13 September 1925. 58. Westminster Gazette, 9 September 1925. 59. The Stage, 10 September 1925, Sunday Express, 13 September 1925. 60. Daily Mail, 8 September 1925. 61. Sunday Express, 13 September 1925. 62. The Times, 8 September 1925. 63. See, for example, the Daily Graphic, 11 September 1925. 64. BBC to Thomas Hardy, 20 October 1925 (DCM). Details of the forth• coming broadcast and the state of Hardy's wireless receiver were duly recorded in the national press: see, for example, the Daily Express, 20 October 1925. 65. See A. R. Coster (The Topical Press Agency) to Thomas Hardy, 2 December 1925, and Hardy's draft reply (not in Letters), 3 December 1925 (DCM). 66. Lzfe and Work, pp. 462-3. 67. Florence Hardy to Philip Ridgeway, 24 September 1925 (Adams). 68. Thomas Hardy to R. Golding Bright, 15 December 1925 (Letters 6: 372). Florence Hardy was less forgiving in her summation of the motives for the visit. Noting that it had been arranged for its adver• tising value rather than to entertain Hardy, she complained about the annoyance caused by newspaper publicity: 'I had previously written to Mr. Ridgeway ... that there were to be no newspaper reporters here, & no photographs were to be taken' (Florence Hardy to Paul Lemperly, 27 December 1925 [Colby]). 69. Thomas Hardy toR. Golding Bright, 17 June 1926 and 16 February 1927 (Letters 7: 30, 58). The provincial tour included performances in Hammersmith, Bournemouth, Glasgow, Liverpool, Harrogate, Notes to pages 152-5 189

Sheffield and Manchester. Florence Hardy had told Gertrude Bugler, while recommending against acceptance of the offer, that Ridgeway was prepared to consider her for the lead in the touring production (Florence Hardy to Gertrude Bugler, Sunday [27 September?] 1925 [Bugler]). 70. Sir James Barrie to Thomas Hardy, 15 August 1925 (DCM). 71. Florence Hardy to Philip Ridgeway, 26 September 1925 (Adams). 72. Thomas Hardy to R. Golding Bright, 26 September 1925 (Letters 6: 357--8). Ridgeway's requests were made all the more problematic in the light of the ongoing discussions with the American agent Curtis Brown (see Thomas Hardy toR. Golding Bright, 16 September 1925 and 19 September 1925 [Letters 6: 353-5]). 73. See Harley Granville/Barker to Thomas Hardy, 11 November 1925 (DCM). 74. See William K. Hill to Thomas Hardy, 15 September 1925, and to Florence Hardy, 21 October 1925 (DCM). 75. Florence Hardy to Philip Ridgeway, 11 July 1926 (Adams). 76. Florence Hardy to Philip Ridgeway, 29 November 1925 and 1 December 1925 (Adams). 77. Florence Hardy to Philip Ridgeway, 10 May 1926 and 12 September 1926 (Adams). 78. Philip Ridgeway to Florence Hardy, 22 April1926 (DCM). 79. Thomas Hardy to Philip Ridgeway, 23 April1926 (Letters 7: 19). 80. Florence Hardy to Gertrude Bugler [August 1925] (Bugler). 81. Florence Hardy to Philip Ridgeway, 3 May 1926 (Adams). Florence sent Ervine Hardy's outlines of a Jude scenario (now at the University of Texas at Austin) on 26 July, and Hardy wrote on 9 September giving Ervine 'the sole right to dramatize "Jude" for twelve months from the beginning of November next' (Letters 7: 41). See also Personal Note• books, p. 283. 82. See Thomas Hardy to Madeleine Rolland, 27 December 1922 (Letters 6: 173-4). 83. Florence Hardy to Gertrude Bugler, 27 June 1926 (Bugler). 84. Gertrude Bugler to Florence Hardy, (draft n.d. 1926 [Bugler]). In another letter to Florence, Bugler wrote of The Mayor as a play that had not been done by the Hardy Players and therefore one to which she felt no particular attachment. By contrast, the loss of Tess to another woman had felt like the loss of a child (draft n.d. 1926 [Bugler]). 85. Florence Hardy to Gertrude Bugler, Wednesday [Summer] 1926 (Bugler). In the same letter Florence invited Bugler to accompany her to a matinee performance of The Mayor of Casterbridge in the autumn, an invitation that was honoured on Tuesday 14 September (see Florence Hardy to Philip Ridgeway, 12 September 1926 [Adams] and Personal Notebooks, p. 93). 86. Florence Hardy to Gertrude Bugler, 3 September 1926 (Bugler). 87. The Times, 9 September 1926. 88. Drinkwater's Mayor reached a wider audience two years later when a slightly abbreviated version was broadcast on BBC radio (17 August 1928); see Radio Times, 10 August 1928. 190 Notes to pages 156-10 89. Life and Work, p. 467. A detailed account of the Weymouth perform• ance appeared in the Dorset County Chronicle, 23 September 1926. 90. But not his last attendance at a play. The Balliol Players from Oxford University had already journeyed twice to Max Gate to perform The Curse of the House of Atreus - a version of the Oresteia - and Hippolytus (1 July 1924 and 29 June 1926). They were to do so again to give a per• formance of Iphigenia in Aulis (6 July 1927). See Personal Notebooks, pp. 81, 93, 97. 91. Florence Hardy to Gertrude Bugler, Friday [17 September 1925] (Bugler). 92. See Radio Times, 24 December 1926. This was not the Players' first radio performance: they had broadcast '0 Jan! 0 Jan! 0 Jan!' and The Play of Saint George on 1 December 1923 from the Boumemouth studios. 93. F. Stamper to Thomas Hardy, 10 September 1927 (DCM). The play was performed on 8, 9 and 10 September: see Dorset County Chronicle, 15 September 1927.

Notes to the Epilogue 1. Hannen Swaffer, 'Tess in the Grill-Room', Sunday Express, 28 July 1929. 2. Sunday Times, 28 July 1929. 3. Evening Standard, 24 July 1929. 4. Dorchester Debating and Dramatic Society Minute Book (Dorset County Record Office, D349/1). Three of the players had made their farewells to Hardy performances somewhat later than the rest: Mrs Major, her brother William Jameson and the enduring Edwin Stevens took part in a BBC broadcast of scenes from Under the Greenwood Tree on 4 April1936. 5. See A. H. Evans to Thomas Hardy, 14 July 1924, and Maurice Evans to Thomas Hardy, 14 July 1924 (DCM); for Hardy's reply, see Thomas Hardy to A. H. Evans, [mid-] July 1924 (Letters 6: 265). Maurice Evans died in 1989. Selected Bibliography

The following list comprises only published works referred to or cited in the text. It excludes all unpublished materials and newspaper reviews or reports.

Adam, Eve (ed.), Mrs J. Comyns Carr's Reminiscences (London: Hutchinson, [1926]). Allen, Shirley S., Samuel Phelps and Sadler's Wells Theatre (Middletown: Wes• leyan University Press, 1971). Atkins, Norman J., Hardy, Tess and Myself (Beaminster: Toucan Press, 1962; enlarged as Thomas Hardy and the Hardy Players, 1980). Baron, David N., 'Hardy and the Dorchester Pouncys- Part Two', Notes and Queries for Somerset and Dorset, 31 (1981) pp. 129-35. --, 'Harry Pouncy and the Hardy Players', Notes and Queries for Somerset and Dorset, 31 (1980) pp. 45-50. Baughan, E. A., 'Drama of the Year', in L. Carson (ed.), 'The Stage' Year Book, 1915 (London: 'The Stage' Offices, 1915) pp. 1-9. Bayley, John, An Essay on Hardy (Cambridge University Press, 1978). Berry, Ralph, 'The Imperial Theme', in Richard Foulkes (ed.), Shakespeare and the Victorian Stage (Cambridge University Press, 1986) pp. 153-60. Blunden, Edmund, Thomas Hardy (London: Macmillan, 1942). Borsa, Mario, The English Stage of Today (London: Bodley Head, 1908). Bugler, Gertrude, 'Christmas Night at Max Gate', Thomas Hardy Society Review, 1 (1982) pp. 235-5. --, Personal Recollections of Thomas Hardy (Dorchester: Dorset Natural History and Archaeological Society, 1962). [Carr, Alice Vansittart], f. Comyns Carr: Stray Memories (London: Macmillan, 1920). Craig, E. Gordon, On the Art of the Theatre (London: Heinemann, 1924). Craven, Arthur Scott, 'Modern Scenic Art', in L. Carson (ed.), 'The Stage' Year Book, 1914 (London: 'The Stage' Offices, 1914) pp. 17-23. Davie, Donald, Thomas Hardy and British Poetry (New York: Oxford University Press, 1972). Dymkowski, Christine, Harley Granville Barker: A Preface to Modern Shakes• peare (Washington: Folger Books, 1986). Evans, Evelyn L., My Father Produced Hardy's Plays (Beaminster: Toucan Press, 1964). Gregory, Lady Augusta, Seventy Years, ed. Colin Smythe (New York: Macmillan, 1974). Grundy, Joan, Hardy and the Sister Arts (London: Macmillan, 1979). Hardy, Florence Emily, The Early Life of Thomas Hardy: 1840-1891 (London: Macmillan, 1928). --,The Later Years of Thomas Hardy: 1892-1928 (London: Macmillan, 1930). Hardy, Thomas, The Collected Letters of Thomas Hardy, 7 vols, ed. Richard Little Purdy and Michael Millgate (Oxford: Clarendon Press, 1978-88).

191 192 Selected Bibliography

--,The Complete Poetical Works of Thomas Hardy, 3 vols, ed. Samuel Hynes (Oxford: Clarendon Press, 1982-85). --,The Dynasts (London: Macmillan, 1910). --, The Famous Tragedy of the Queen of Cornwall (London: Macmillan, 1923). --, The Life and Work of Thomas Hardy, ed. Michael Millgate (London: Macmillan, 1985; Athens: University of Georgia Press, 1985). --,The Personal Notebooks of Thomas Hardy, ed. Richard H. Taylor (London: Macmillan, 1978). --, Thomas Hardy's Personal Writings, ed. Harold Orel (London: Macmillan, 1967). --, The Three Wayfarers (New York: Harper, 1893; repr., with an Introduc• tion and Notes by Carl J. Weber, New York: Scholars' Facsimiles and Reprints, 1943). --, The Three Wayfarers: A Play in One Act (New York: Fountain Press; London: Cayme Press, 1930). Hawkins, Desmond, Hardy, Novelist and Poet (Newton Abbot: David & Charles, 1976). Jones, Doris Arthur, The Life and Letters of Henry Arthur Jones (London: Gollancz, 1930). Jones, Henry Arthur, The Renascence of the English Drama (1895; repr. Freeport: Books for Libraries Press, 1971). Kennedy, Dennis, Granville Barker and the Dream of Theatre (Cambridge University Press, 1985). Lawrence, T. E., The Letters ofT. E. Lawrence, ed. David Garnett (London: Jonathan Cape, 1938). Liebert, Vera, "'Far from the Madding Crowd" on the American Stage', Colophon, 2 (1938) pp. 377-82. McCarthy, Lillah, Myself and My Friends (London: Thornton Butterworth, 1933). Meynell, Viola (ed.), Friends of a Lifetime: Letters to Sydney Carlyle Cockerell (London: Jonathan Cape, 1940). Miller, J. Hillis, Thomas Hardy: Distance and Desire (Cambridge, Mass.: Harvard University Press, 1970). Millgate, Michael, Thomas Hardy: A Biography (London: Macmillan, 1982; New York: Random House, 1982). Odell, George C. D., Shakespeare- From Betterton to Irving (1920; repr. New York: Benjamin Blom, 1963). Orel, Harold, 'Hardy and the Theatre', in Margaret Drabble (ed.), The Genius of Thomas Hardy (London: Weidenfeld & Nicolson, 1976) pp. 94-108. --,The Unknown Thomas Hardy (Brighton: Harvester, 1987). Poel, William, Shakespeare in the Theatre (London: Sidgwick & Jackson, 1913). Pope, W. Macqueen, Gaiety: Theatre of Enchantment (London: W. H. Allen, 1949). Purdy, Richard Little, Thomas Hardy: A Bibliographical Study (Oxford: Clarendon Press, 1954; repr. 1968). Roberts, Marguerite, Hardy's Poetic Drama and the Theatre (New York: Pageant, 1965). Selected Bibliography 193 -- (ed.), Tess in the Theatre: Two Dramatizations of 'Tess of the D'Urbervilles' by Thomas Hardy: One by Lorimer Stoddard (University of Toronto Press, 1950). Rosenfeld, Sybil, 'Alma Tadema's designs for Henry Irving's Coriolanus', Shakespeare Jahrbuch, 71 (1974) pp. 84-95. Salmon, Eric (ed.), Granville Barker and His Correspondents: A Selection of Letters by Him and to Him (Detroit: Wayne State University Press, 1986). Scott, Clement, The Drama of Yesterday and Today (London: Macmillan, 1899). Stottlar, James. 'Hardy vs. Pinero: Two Stage Versions of Far from the Madding Crowd', Theatre Survey, 18 (1977) pp. 23--43. Wearing, J. P., The London Stage 1890-99: A Calendar of Plays and Players (Metuchen: Scarecrow Press, 1976). Weber, Carl J., Hardy and the Lady from Madison Square (Waterville: Colby College Press, 1952). --, Thomas Hardy's Correspondence at Max Gate: A Descriptive Checklist (Waterville: Colby College Press, 1968). Weller, Bernard, 'The Theatrical Year: The War and the Stage', in L. Carson (ed.), 'The Stage' Year Book, 1915 (London: 'The Stage' Offices, 1915) pp. 11-16. Wilson, Keith, 'Hardy and the Hangman: The Dramatic Appeal of "The Three Strangers'", English Literature in Transition, 24 (1981) pp. 155-60. --, 'Thomas Hardy and the Hardy Players: The Evans and Tilley Adapta• tions', English Literature in Transition, 31 (1988) pp. 7-26. Yeats, W. B., Essays and Introductions (London: Macmillan, 1961). Index

Abbey, Henry, 41 Archer, William, 46, 168 Abbey Theatre, Dublin, 21, 22 Atkins, Norman, 184 Adams, A. Davies, 131 adaptation, see theatrical adaptation Baddeley, Angela, 142 adaptations (completed and staged) Baddeley, Hermione, 142, 186 see: Bailey, Harry, 75-6 A Desperate Remedy Baird, Dorothea, 40 The Distracted Preacher Balliol Players, Oxford, 190 The Dynasts Barker, Harley Granville, 86, 153, Far from the Madding Crowd 162 The Mayor of Casterbridge attitude to adaptations, 93-4 The Mellstock Quire and The Dynasts, 7-8,81-2, 85-96, The Return of the Native 124-5, 177-8 Tess of the d'Urbervilles and The Famous Tragedy ... , 5, 120, The Three Wayfarers 122-3 The Trumpet Major Greek drama productions, 7, 86, The Woodlanders 87 adaptations (Hardy outlines) see: and Hardy, 83, 87,89-90,93, 103, 'Birthwort' 122, 176-7 'The Duchess of Hamptonshire' as producer, 7, 13,22, 23, 86-7 'Enter a Dragon' Shakespearean productions, 13, Jude the Obscure 86-7 The Mayor of Casterbridge and Tess ... , 83--5, 136 'A Sunday Morning Tragedy' Barnes, Kenneth, 131 The Return of the Native Barnes, William, 54, 157, 174 'The Romantic Adventures of a Barnes, Theatr~ 141,142,143,155 Milkmaid' Barrie, James M., 20, 31, 33, 84, 85, The Trumpet-Major 100,133 Two on a Tower and Gertrude Bugler, 137, 138-9, Agate, James, 150,159,188 140-1,159,186 Ainley, Henry, 87, 94, 95 and Hardy, 162, 187 Aldbourne Village Players, 73-4, 76, and Florence Hardy, 101-2, 137, 159 138-9 Alexander, George, 30, 169 and Tess ... , 137-9 American productions: and Tilley, 121, 122-3, 128 Far from the Madding Crowd, 29 Barrow, Reginald C., 53, 80, 171 Tess ... , 19,39-43,44,45,83-4,169, Bathe, S. H., 184 185 'Bathsheba Everdene and her see also the theatre Lovers' (also 'Suitors') see American rights: Far from the Madding Crowd to Tess ... , 39, 40-1, 136 Baughan, E. A., 68,72-3,76, 111-12, see also foreign rights 115, 117, 125, 128 Ames, Winthrop, 136, 185 Bawler, Walter R., 54, 55, 57, 78, 130, Antoine, Andre, 15 160,171

194 Index 195

Bawler, Walter R. - continued and T. H. Tilley, 106, 137, 180 in A Desperate Remedy, 117, 118 in The Woodlanders, 79--80 in Far from the Madding Crowd, 68, Bulloch, J. M., 17 69 • in The Mel/stock Quire, 70, 72 Campbell, Mrs Patrick, 11, 34,37--40, in The Return of the Native, 113 42-3, 167, 168 in The Woodlanders, 80 Carr, Alice Vansittart, 26 Bayley, John, 4 Carr, J Comyns, a Beckett, Gilbert, 10 and Far from the Madding Crowd, 5, The Bells (Lewis), 11, 20 25-9, 67, 68, 71, 157 Benson, Frank R., 167 Cartwright, Charles, 48, 58, 75, 155 Beringer, Esme, 95 Casson, Lewis, 134, 135, 137 Bernard, Hugh, 157 Cazauran, A. R., 29 Bernhardt, Sarah, 40, 168--9 censorship, 33 'Birthwort' (Hardy), 33, 162 charitable performances, 99, 100, blank-verse plays, 10, 126--7 105, 106, 115, 158, 163, 179, 181 see also verse drama Charrington, Charles, 31, 162, 166, Blythe, Helen, 41, 169 174-5 Borsa, Mario, 18 Child, Harold, 60, 62-3, 66, 107, 123, Boucicault, Dion, 163 129, 134-5 Boughton, Rutland, 130, 131, 183 class structure, 129-30, 183 Brennecke, Ernest, 125-{), 131, Hardy's attitude to, 49-50 183 Cockerell, Sydney, 33, 110, 120-1, Brien, J. F., 169 141 Bright, R. Golding, 142, 152, 153, Colbourne, Maurice, 96, 97 159, 175 Collins, Lottie, 20, 49, 165 broadcasting, see radio broadcasts Compton, Fay, 142 Broadley, A. M., 57, 59, 64 conditions of performance: Brown Albert Curtis, 147, 185, 188, for Hardy Players, 119-20, 184 189 contemporary theatre, 5, 7, 8, 9, 60 Bucks tone, John, 10 production values, 12-17, 18 Bugler, Captain Ernest, 129 and Shakespeare, 12-17, 18 Bugler, Gertrude, 3, 159-{)0 see also the theatre and J. M. Barrie, 137,138--9,140-1, copyrights, 42, 46, 169 159, 186 see also foreign rights in A Desperate Remedy, 116 Cornwall: in The Dynasty, 99 Hardy's visits, 120-1 and Hardy, 5, 6, 103, 106, 118, 129, costumes, 90 137--41, 185-{) see also the theatre and Florence Hardy, 85, 101-2, Court Theatre, 86 107, 115, 120, 137--42, 154-7, Crackanthorpe,Blanche,83, 176 159,183,184,189 Craig, Gordon, 91-2 and Hardy Players, 109-12, 115 Craigie, Pearl, 20 and Frederick Harrison, 136-7 Craven, Arthur Scott, 22-3 in The Mellstock Quire, 105--{) Cripplegate Institute, 69, 174, 175 and the press, 109-10, 130 Criterion Theatre, 31 in The Return of the Native, 107, critical response: 109-15 to amateur productions, 4, 69-70, in Tess ... , 5, 40, 133--41, 159 72--4,81 196 Index critical response: -continued Dorchester Vocal Association, 52, 73, to A Desperate Remedy, 116-18 170, 171 to The Distracted Preacher, 75-6 Dorset Day entertainments, 55 to The Dynasts, 90-2. 94-5, 98 drama: to The Famous Tragedy ... , 5, 125-6, aims of, 5, 16-17 127-9 blank-verse, 10, 126-7 to Far from the Madding Crowd, contemporary, 5, 7, 8, 9, 12-17, 60 27-8,29,68-9 folk drama, 72-3 Hardy's attitude to, S-6, 49-50, 59, Greek,7,18,22,86,87, 122 103,119-20 Hardy's attitude to, 1-2,4-5, 6-7, to Hardy Players, 69-70, 80-1 17-19,32--4 to The Mayor of Casterbridge, 156-7 Irish,20-2 to The Mel/stock Quire, 72-3, 105 melodrama,27--8 to The Return of the Native, 109 and poetry, 33 to Tess ... , 42, 133-5, 143, 146, 147- realism in, 18-19, 21,22-3 51, 159 Shakespearean,10-15, 18,86-7, to The Trumpet Major, 60,61-2,64, 172 66-7 subjects of, 17 to The Woodlanders, 79---80 verse drama, 120, 121, 123, 126-7 see also publicity see also the theatre cultural nationalism, 21, 22-3 dramatization, see theatrical see also nationalism adaptation Drinkwater, A. E., 7, 95, 96, 97 Dasent, Revd Maurice, 56 Drinkwater, John, 154, 155-6, 157, Dawes, R. N., 179 190 Delavigne, Casimir, 163 'The Duchess of Hamptonshire', 45 Derosne, Captain 28-9 Duckworth, H. C., 20 A Desperate Remedy: Dugdale, Florence, see Hardy, authorship, 116 Florence critical response to, 116-20 Duke of York's Theatre, 159 Hardy Players production, 5, 6, Dunsany, Lord, 20 116-20 Duse, Eleonora, 40 dialects, 28, 60, 70, 113-14, 117-18 Dymkowski, Christine, 92 see also language The Dynasts, 1, 9, 32, 45, 57, 59, 65, Dickens, Charles, 54 172, 178 The Distracted Preacher 67, 75, 175 Granville Barker production authorship, 75 (Kingsway Theatre), 7---8, critical response to, 75-6 23-4,81-2,85-96,124-5, Hardy Players production, 67, 177---8 75-7,175 critical response to, 90-2, 94-5, 98 Dorchester, 3-4, 51 Hardy Players production (Wessex Dorchester Debating and Dramatic Scenes from 'The Dynasts'), Society, 2, 6, 11, 50,51--4,64, 73, 4-5,98-104,179 74,92-3,129,132,160,190 Hardy's attitude to staging, 102-3 see also Hardy Players 'Hardy's explanation.. .', 99 Dorchester Madrigal and Oxford production (OUDS), 90, Orchestral Society, 52, 73, 170 96---8 Dorchester Players see Hardy Preface, 12, 126 Players Prologue, 88-9 Index 197

The Dynasts- continued Comyns Carr production, 5, 25-9, staging difficulties, 7, 87-8, 90-3, 67,68,71 96-7 critical response to, 27-8, 29, 68--9 Hardy Players production, 67-70 Elizabethan Stage Society, 91-2 and William K. Hill, 153 Elliott, Gertrude, 40 London production, 25-9, 69-70, 'Enter a Dragoon', 45,48 153 Ervine, StJohn, 135-6, 146-7, 148-9, The Mistress of the Farm, 25, 26, 33 154, 167, 187 Fare, Ethel, 116, 128, 130 Euripides, 7, 86 Fare, Rex, 116 Evans, Alfred Herbert, 2, 30, 52-4, Fare, W. J., 160 55,92-3,129,160,170 Parr, Florence, 22 and The Distracted Preacher, 75, 77 Faucit, Helen, 10 and Far from the Madding Crowd, Ffrang~on-Davies, Gwen, 143, 146, 67-70 147,148,150,160,187 and Hardy, 60-1, 62, 69, 71-2, 75, Filmer, A. E., 143, 147, 148, 151 154,171 financial considerations, 49, 84-5, and Hardy Players, 56-82, 171 152,169 in London, 70-1,77,81 First World War, 23, 24, 66, 78, 80, 81, and The Mellstock Quire, 70-1 103 Shakespearean productions, 172 Fiske, Harrison Grey, 41-3, 168, 169 and T. H. Tilley, 78 Fiske, Minnie Maddem, 40,41-3 and The Trumpet-Major, 60-4, 67, Flower, Newman, 112-13,115 153-4 folkdrama,72-3 and The Woodlanders, 78,80 see also drama Evans,Evelyn,60-1,62,63, 172,173 Forbes-Robertson, Johnston, 11, 34, Evans, Laura, 174 37-40,44,45,167,168 Evans, Maurice, 160 foreign language rights, 153 Examiner of Plays, 28 foreign rights, 152-3 'An Expostulation', 185 American, 39,40-1, 136 see also copyrights The Famous Tragedy of the Queen of Forster, E. M., 134 Cornwall Fox-Strangways, Mary, 179 and Granville Barker, 5, 120, 122-3 Frohman, Charles, 85 critical response to, 5, 125-6, 127-9 Frohman, Daniel, 41 Hardy Players production, 5, 16, 120-31 Gaiety Theatre, 20 opening night, 5 Galsworthy, John, 33 as an opera, 130-1 Garrick Theatre, 143, 152 pre-production coverage, 122 Gifford, Emma, see Hardy, Emma publication of, 122-2 Gifford, Evelyn, 102 radio broadcast, 131 Gillette, William, 20 unauthorised performance, 131 Globe Theatre, 26, 28--9 Far from the Madding Crown Gosse, Edmund, 19, 71, 89 American production, 29 Granville Barker, Harley, see Barker, authorship,25-7,67-8 Harley Granville 'Bathsheba Everdene and her Greek drama, 7, 18, 22, 86, 87, 122 Lovers' (also 'Suitors'), 55, 57, see also drama 106, 115, 187 Green, Henry, 170 198 Index

Gregory, Lady, 20-1 in Wessex Scenes from 'The Grein, Jack T., 15, 29-30, 163, 164 Dynasts', 4-5,98-104 in The Woodlanders, 78-81 Hammond, Aubrey, 143 Hardy Plays, 2, 3-4, 52, 154, 157 Hanbury, Mrs, 99 Hare, John, 25 Hannan, Charles, 46 Harper (publisher), 40, 41, 42 Harding, Lyn, 156 Harrison, Frederick, 38-9, 134, Hardy, Emma, 19, 59, 64, 74, 76, 78 136-7, 139-40, 168, 186 Hardy, Florence, 8, 90, 174 Hawker, Ethel, 72, 174 and J. M. Barrie, 101-2, 137, 138-9 Haymarket Theatre, 84, 134, 136-7, and Gertrude Bugler, 85,101-2, 139 107, 115, 120, 137-42, 154-7, Hedda Gabler (Ibsen), 19 159, 183, 184, 189 Henniker, Florence, 2, 19, 31, 42, 49, character, 101, 102 76,105,164 and Gwen Ffrang~on-Davies, 151 Hill, A. Stanton, 52, 170, 171 and Hardy, 101, 153-4 Hill, Rowland, 59 and Hardy ,Players, 6, 101, 104, Hill, William K., 153 105, 118 Hirst, Kathleen, 128, 183 The Later Years, 96 Hull, Beatrice, 57 and Philip Ridgeway, 151-4, 159 Hardy Players, 4, 45-6, 157-8, 160, Ibsen, Henrik, 17, 19, 22,29 171 Hedda Gabler, 19 antecedents, 51-9 Ilchester, Lady, 99, 179 and Gertrude Bugler, 109-12,115 Incorporated Stage Society, 18, 75,86 critical response to, 69-70, 80-1, IndependentTheatr~17-18,22,29 118 Irish drama, 20-2 in A Desperate Remedy, 5, 6, 116-20 Irish Literary Theatre, 21, 22 under Evans, 56-82, 171 Irving, Henry, 11, 14, 20, 163, 164 factions in, 106, 110-11 Irving, Henry, Brodribb, 40 in The Famous Tragedy ... , 5, 16, Iseult legend, 120-1 120-31 in Far from the Madding Crowd, 27, Jarvis, Charles W., 15, 29-30, 163, 166 28,67-70 Jeune, Lady, 30, 42, 163 in First World War, 105-6 John, Augustus, 134, 186 Hardy's attitude to, 5-6, 8, 58-9, Jones, Henry Arthur, 16-18, 20, 38, 67, 103, 104, 110, 115, 119-20 39, 169, 187 Hardy's conditions of performance, Jude the Obscure, 9, 33-7, 50, 154, 155 119-20,132-3,184 Hardy outlines for, 9, 33-7, 162, 167 Florence Hardy's attitude to, 6, 101, 104, 105, 118 Kean, Charles, 10, 12-13, 163 in The Mellstock Quire, 70-4, 105 Kean, Ellen, 10, 163 radio broadcasts, 131, 157, 190 Kendal, William Hunter, 25 in The Return of the Native, 106-15 Kennedy, Hugh Arthur, 42, 169 in Tess ... , 5, 37, 40, 85, 132-58, 184-5 Kingsway Theatre, 7, 23, 82, 85, 90 in The Three Wayfarers, 31,647, 74-7, 157 language: under Tilley, 67, 141, 155, 160, 171 dialects, 228,60, 70, 113-14, in The Trumpet Major, 59-67,69, 117-18 77-8 use of, 21-2 Index 199

The Later Years (Florence Hardy), 96 'Old-Time Rustic Wedding Scene', Lawrence, T. E., 128, 134 115, 125, 187 Lawrie, Anne Macpherson, 179 versions of, 71-2, 105 Le Hay, John, 150 melodrama, 27--8 Lewis, Leopold: see also drama The Bells, 11, 20 Miller, J. Hillis, 4 The Life and Work of Thomas Hardy Millgate, Michael (ed.) (ed. Millgate), 9, 11, 19, 96, 121, The Life and Work of Thomas Hardy, 123-4 9, 11, 19, 96, 121, 123-4 Little Theatre, 175 The Mistress of the Farm -A Pastoral Littlewood, S. R., 80-1 Drama: see Far from the Madding Lock, Arthur Henry, 171 Crowd Lock, H. 0., 53, 54, 72, 160, 171 Moore, George, 22 London productions, 3, 6, 49-50, Morgan, Charles, 90, 96, 97, 179 81-2 Morris, Clara, 29 The Dynasts, 7--8, 23-4, 85-96 Morton, John Madison, 171 Far from the Madding Crowd, 25-9 mummers, 107, 108, 110, 126-7 The Mayor of Casterbridge, 155-7 see also the theatre Tess ... , 8, 142-52, 159 music halls, 20, 49 The Three Wayfarers, 31, 32, 75, 175 music and song: Longman, F. G., 59 in Hardy's plays, 68-9, 70, 75-6, Lord Chamberlain's Office, 26 105 Lyceum Theatre 38 musical entertainments, 52,53 Lyceum Theatre, New York, 41, 163 Lyric Theatre, 86 nationalism, 22-3, 87, 88-9, 95 cultural, 21, 22-3 McCarthy, Lillah, 83-4, 85, 176 Nethersole, Olga, 40, 41, 168 McDowall, Arthur, 105 New Theatre, Oxford, 97 McEvoy, Charles, 14-15, 73 Newbolt, Henry, 108 Macmillan, Frederick, 121-2, 182 Macmillan, George, 46, 59 '0 Jan! 0 Jan! 0 Jan!', 125, 190 Major, Ethel, 116, 129-30, 160 'Old-Time Rustic Wedding Scene' 'The Marchioness of Stonehenge', see The Mellstock Quire 32-3 O'Loughlin, Dr, 51, 53 Marlowe, Christopher, 91 OUDS, see Oxford University Martin, H. A., 54, 63-4, 65-6, 74, 130, Dramatic Society 160 Owen, Rebekah, 6, 42, 105, 107, 118, Masefield, John, 83, 143 162, 180 Massingham, W. H., 129 Oxford: The Major of Casterbridge Hardy's visit, 96 Drinkwater adaptation, 154-7, 190 Oxford University Dramatic Society: Hardy outlines for, 45, 47--8, 58, in The Dynasts, 90, 96--8 118-19, 170, 172 Robert Louis Stevenson, 29 pageants, 64-6, 68 The Mellstock Quire Palmer, Albert, 41 authorship, 70-2 Palmer, John, 92 critical response to, 72-3, 105 pantomime, 10 Hardy Players production, 67, see also the theatre 70-4,105 Parker, Louis Napoleon, 65 200 Index

patriotism see nationalism Ridgeway, Philip, 141, 142-3, 151-4, Pavilion Theatre, Weymouth, 69, 156 156-7,159,160,186-7,188 Pegasus Film Company, 131 Robins, Elizabeth, 40, 168 Pettit, Henry, 20 'The Romantic Adventures of a Phelps, Samuel, 10, 12, 13 Milkmaid', 118-19, 170 Pinero, Arthur Wing, 20, 25, 164 Rootham, S. A., 54, 56 The Squire, 25, 28, 164 Rosmer, Milton, 143 The Play of'Saint George', 107, 121, Royal Academy of Dramatic Art, 125, 126, 190 131 see also The Return of the Native Royalty Theatre, 176 playgoing, see theatregoing plays, see drama Sassoon, Siegfried, 134 Poel, William, 91-2 Scenes from 'The Dynasts', see The 'Poems of 1912-13', 4 Dynasts Poems of the Past and the Present, 6 Scott, Clement, 27--8, 168 poetry, 1, 6-7 Shakespearean productions, 10-15, and drama, 33 18,86-7,172 see also verse drama see also drama Pollock, Sir Frederick, 96-7 Shaw, George Bernard, 5, 17, 20, 22, Pouncy, Harry, 54-5, 57, 58, 64, 106, 85,86 113, 171 Sherborne Pageant, 64, 65 and Hardy, 55--6, 59, 172 Shorter, Clement, 42 Pouncy, Thomas, 55, 70, 80 Siddons, Mrs Scott, 10 Prince of Wales Theatre, Liverpool, Silver, Christine, 152, 155 25 Sims, George, 20 Princess's Theatre, 13, 163 Smerdon, E. W., 128 provincial audiences, see touring social class, see class structure productions Society of Dorset Men, 69, 77, 109, public appearances: 135 by Hardy, 76-7, 96, 156 song, see music and song publicity, 2-3,109-10, 130 Speyer, Charles, 130-1 see also critical response The Squire (Pinero), 25, 28, 29, 164 The Pursuit of the Well-Beloved, see Stage Society, see Incorporated The Well-Beloved Stages Society 'The Stage' Year Book, 22, 23 Queen of Cornwall: see The Famous staging, 12-17, 18, 19, 86-7, 163 Tragedy of the Queen of Cornwall difficulties of, 7, 87--8, 90-3, 96-7 of verse drama, 123, 124 radio broadcasts, 131, 151, 157, 190 see also the theatre realism: Stevens, Edwin J., 54, 55, 130, 160, in drama, 18-19,21,22-3 171,186 in staging, 86-7 in A Desperate Remedy, 117, 118 Rehan,Ada, 11,13-14,163 in The Mellstock Quire, 72, 106 The Return of the Native in The Return of the Native, 110 authorship, 107--8 Stevenson, Robert Louis, 29, 155 critical response to, 109-10, 111-15 Stoddard, Lorimer, 39-40,41-3,44, Hardy outline for, 107 144 Hardy Players production, 106-15 Stottlar, James, 28 reviews, see critical response strolling players, 11 Index 201

'A Sunday Morning Tragedy', 33, Granville Barker's approach, 93-4 48, 162 difficulties of, 27-31, 33-5,44-5, Swinley, Ion, 150 48-9 Synge, John Millington, 20, 21 Hardy's approach, 49-50, 87-8, 136 Tadema, Lawrence-Alma, 14 variations in, 34-7, 46-7 Tennyson, Alfred, 11, 20 Thomas, Charles, 54 Terries, William, 40 Thorndike, Sybil, 40, 134, 135-6, 137, Terry, Ellen, 14 138, 140, 150 Terry's Theatre, 31, 162, 166 'The Three Strangers' see The Three Tess of the d'Urbervilles, 3, 4, 8, 9, 11, Wayfarers 34,37-45,49 The Three Wayfarers American production, 19, 39-43, Hardy Players production, 4, 31, 44,45,83-4,168,185 67,74-7,157 American rights, 39,40-1, 136 London production 2, 31-3, 162, and Granville Barker, 83-5, 136 166 critical response to, 42, 133-5, 143, versions of, 31-3, 74-5 146,147-51,159 Tilley, Thomas Henry, 2, 30, 52, 53-4, English negotiations, 37-40, 83-5, 55,56,115-16,129,171 135-42 and J. M. Barrie, 121, 122-3, 128 and A. E. Filmer, 147, 148-9 and Gertrude Bugler, 106, 137, 180 Hardy Players production, 5, 37, and A Desperate Remedy, 116-20 40,85,132-58,184-5 and A. H. Evans, 78 Max Gate performance, 151-2 and Hardy, 78, 103-4, 107-8, Ridgeway production, 142-52, 118-19 159 and Hardy Players, 67, 70, 77, 78, versions of, 42-5, 144-8, 168, 188 106-15, 141, 154, 160, 171 the theatre: as Mayor of Dorchester, 53, 63, amateur productions, 4, 6, 21, 90, 130 92-3,96-8,155,190 and The Return of the Native, American productions, 19, 29, 106-15 39-43,44,45,83-4,153,168, and Wessex Scenes from 'The 185 Dynasts', 99 contemporary, 5, 7, 8, 9, 12-17,60 and The Woodlanders, 78 costumes,90 Tilley, Mrs T. H., 110, 138 Hardy's involvement, 1-3,9-24 Tilley, William, 53 mummers, 107, 108, 110, 126-7 Time's Laughingstocks, 6 pantomime, 10 touring productions, 25-6,27-8, 159, staging, 12-17, 18, 19, 86-8,90-3, 189 96-7, 123, 124, 163 see also the theatre touring productions, 25-6, 27-8, 'A Trampwoman's Tragedy', 7, 55 159, 189 translations, see foreign language see also drama; London rights productions; Hardy Players Tree, Beerbohm, 14-15 Theatre of Ideas, 17-18 Trevor, Austin, 143, 150 Theatre Libre, 15-16,60,86, 164 The Trumpet-Major, 57, 58, 153-4 theatregoing: authorship, 63-4 by Hardy, 9, 10-15, 19-21 critical response to, 60, 61-2, 64, theatrical adaptation, 25-50 66-7 202 Index The Trumpet-Major- continued The Well Beloved, 30-1 Hardy outline for, 45,60-2 Wessex Scenes from 'The Dynasts', see Hardy Players production, 59-67, The Dynasts 69,77-8 Wessex Tales, 31, 77 versions of, 62, 63, 77-8, 172 'Why I Don't Write Plays', 2, 9, 15 Two on a Tower, 45, 46-7 Wilde, Oscar, 20 Wimbome Shakespeare Reading Under the Greenwood Tree, see The Society, 10-11 Mellstock Quire The Woodlanders Union Square Theatre, New York, 29 authorship, 78 critical response to, 79-80 Vaudeville Theatre, 19 Grein-Jarvis adaptation, 29-30, Vedrenne, John, 86 163 verse drama, 120, 121, 123 Hardy Players production, 78-81 blank verse, 10, 126-7 see also drama Yeats, Williams Butler, 20, 22