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Home , Anne Oldfield, Bryan Forbes, Dorothy Tutin, Edith Evans, Flora Robson, George Anne Bellamy

Notes

CHAPTER 1: THE SEVENTEENTH CENTURY ACTRESSES

1. John Genest, Some Account of the English Stage from the Restoration to 1830, vol. I (Bath, 1832), p. 37. 2. Dr John Doran, Their Majesties' Servants: Annals of the English Stage, vol. I (: William H. Allen & Co., 1864), p. 60. 3. E. K. Chambers, Modern Language Review, XI (October 1916) 466. Also, see Chambers's book The Medieval Stage, vol. II (London, 1948), p. 409. 4. As quoted in Genest, vol. I, p. 37 from Richard Brome's The Court Beggar (1632) and James Shirley's The Ball (1639) in which Freshwater, speaking of the plays in Paris, says, 'Yet the women are the best actors, they Play their own parts, a thing much desir'd in .' 5. Thornton Shirley Graves, 'Women of the Pre-Restoration Stage,' Studies in Philology, XXII, No.2 (1925) 189, 192-3. The record on which Graves draws is Reyher's Les Masques Anglais, p. 25. 6. Robert Latham and William Matthews (eds), The Diary of Samuel Pepys, vol. I (London, 1970), p. 224. 7. John Downes, Roscius Anglicanus (London, 1708), p. 19. 8. Pepys, vol. II, p. 7. 9. , An Apology for His Life (London, 1740), p. 55. 10. Pepys, vol. IX, p. 425. 11. Downes, p. 19. 12. She was introduced to the world by means of a hilarious prologue especially written by Thomas Jordan to show what a ridiculous figure the boy- actor had been cutting: Henry Wisham Lanier, The First English Actresses: 1660-1700 (New York, 1930), p. 31. First printed in G. Malone (ed.), Works of Shakespeare, vol. III (1821 edn), p. 128.

Our women are defective and so siz'd You'd think they were some of the guard disguis'd, For, to speak truth men act, that are between Forty and fifty, wenches of fifteen; With bones so large and nerve so incompliant, When you call , enter Giant ...

The woman plays today: mistake me not No man in gown, or page in petticoat.

13. Allardyce Nicoll, A History of English Drama: 1660-1900, vol. I ( University Press, 1955), p. 334. 14. Pepys, vol. II, p. 5. 15. Cibber, Apology, p. 54. 16. Pepys, vol. II, p. 203; vol. v, p. 289. The editors note that the play was written in 1640 and that Mrs Marshall spoke the prologue in men's clothes. 17. George Scott Saintsbury (ed.), The Works of , vol. II (Edinburgh, 1882), p. 510. The occasion took place in June 1672 at the King's Company's temporary playhouse in Lincoln's Inn Fields. See also Philip Henry Highfill, Kalman A. Burnim and Edward A. Langhans (eds), Biographical Dictionary of 261 262 Notes to Chapter 1 Actors, Actresses, Musicians and Dancers, Managers and Other Stage Personnel; 1660-1800 vol. XII (Southern Illinois University Press, 1973- ), p. 299. The epilogue first appeared in Drolery (1672), is included in Montague Summers's more recent (1927) edition of the work on pp. 1-2, and was first attributed to John Dryden by Sir Walter Scott in the Saintsbury edition, pp. 509-11. William Bradford Gardner, The Prologues and Epilogues of John Dryden (Columbia University Press, 1950), p. 197 notes, however, that the evidence for Dryden's authorship of the epilogue remains inconclusive. 18. Lanier, pp. 57-8, 98. Lady Slingsby acted under the name of Mrs Lee from 1670 to 1680 and as Lady Slingsby from 1681 to 1685. 19. Doran, vol. I, pp. 244-5. Eventually, 'a royal decree was issued, which prohibited gentlemen from entering the 'tiring rooms of the ladies of the King's theatre'. See also Biographical Dictionary, vol. X, p. 107. Unless other- wise indicated, I have used this reference work as a primary source for biographical and salary data on Restoration and eighteenth century ac- tresses. 20. Pepys, vol. VIII, p. 463. 21. Judith Milhous, 'Elizabeth Bowtell and Elizabeth Davenport: Some Puzzles Solved', Theatre Notebook, XXXIX (1985) 124-31. 22. Thomas Davies, Dramatic Miscellanies, vol. III (London, 1785), p. 207. Also recorded in T. Betterton (alias Edmund Curl}), A History of the English Stage (London, 1741), pp. 156-7. 23. Antony Aston, A Brief Supplement to Cibber's Apology (London, 1747), p. 8. 24. J. H. Wilson, 'Biographical Notes on Some Restoration Actresses', Theatre Notebook, XVIII (1963/4) 43-7. 25. Doran, vol. I, pp. 138-49. 26. William Egerton (alias T. Curl}), Memoirs of Anne Oldfield (London, 1731), p.14. 27. Cibber, Apology, p. 97. 28. Ibid., p. 95. Aston's Supplement gives us this picture of Mrs Barry's appear- ance and style:

Mrs. Barry was middle-fiz'd, and had darkish Hair, light Eyes, dark Eye- brows and was inifferently [sic] plump: - Her face somewhat preceded her Action, as the latter did her words, her Face ever expressing the Passions; not like the Actresses of late Times, who are afraid of putting their Faces out of the Form of Non-meaning, lest they should crack the Cerum white-wash, or other cosmetic, trowel'd on.

29. Cibber, Apology, pp. 96, 99, 101-2. Playwrights like Davenant, Dryden, Shadwell, Tate and Crowne expanded women's roles in Shakespeare and added female parts if not already there. See William Van Lennep (ed.), The London Stage, vol. I (Southern Illinois University Press, 1965), p. cxxx. Nicoll notes that while Mrs Verbruggen specialized in hoydens, most notably in D'Urfey's plays, another comedienne of the first order, Mrs Leigh, impersonated antiquated and obnoxious old-maids such as Lady Wishfort in Congreve's Way of the World. See Nicoll, vol. I, p. 73. 30. Van Lennep, The London Stage, vol. I, p. xxv. 31. Cibber, Apology, pp. 97-8. 32. Details of actresses' wages are derived from the Petition of Players, c. Decem- ber 1694, from Lord Chamberlain's order for governing the theatres, L. C. 7/3, now in Public Records Office, as reprinted in Nicoll, vol. I, p. 378. Mrs Corey, Mrs Bowman and Mrs Leigh earned 30s. per week. Mrs Leigh's Notes to Chapter 1 263 wages were raised by lOs. per week on her husband's death. 33. Cibber, Apology, pp. 95-6. 34. The proportion of actors to actresses at this time was usually two to one, in line with the disproportionate number of male to female roles. See Van Lennep, The London Stage vol. I, p. xxv. 35. Pepys, vol. VIII, p. 101 and vol. III, p. 295. 36. Betterton, History, pp. 19-20. Dr Doran, vol. I, p. 146 notes that Mrs Barry declared she was carried away by the illusion and excitement of the scene, which was repeated 'with similar stage effects' by Mrs Woffington and Mrs Bellamy in the eighteenth century. 37. Cibber, Apology, p. 110. 38. Genest, vol. I, p. 88. 39. Bishop Gilbert Burnet, A History of My Own Time, vol. I (: Clarendon Press, 1823), p. 468. 40. Grammont's Memoirs (London, 1714) as reprinted in Lanier, pp. 54-5. 41. Pepys, vol. IX, p. 189. 42. Doran, vol. I, p. 86. 43. Cibber, Apology, p. 96. 44. Biographical Dictionary, vol. I, pp. 317-18. The Biographical Dictionary at- tributes the story to Curll, whose accounts are frequently found to be inac- curate. In this case, Van Lennep, pp. 352-3 indicates there was a production of Mustapha in October of 1686 but the cast list is not documented. The story may be true but has not yet been proven conclusively. 45. Pepys, vol. IX, p. 415. The editors note that 'Doll common' was the name given to Mrs Corey of the King's Company, from the character in Jonson's The Alchemist and that Sempronia, from Jonson's Cataline was an aging courtesan posing as a stateswoman when examined on her performance by the Lord Chamberlain, who was Lady Harvey's second cousin. Mrs Corey was said to be 'bold and Sawcye'. 46. Judith Milhous, Theatre Notebook, XXXIX, No.3 (1985) p. 127. The incident was first recorded in Narcissus Luttrell's A Brief Historical Relation of State Affairs, vol. IV (Clarendon Press: Oxford, 1857), p. 169. 47. Cibber, Apology, p. 101. 48. See Thomas Macaulay, History of England, vol. III (London: J. M. Dent, 1906; repro 1953), p. 380, and Biographical Dictionary, vol. II, p. 278. 49. The Biographical Dictionary, vol. II, pp. 271-2 gives an account of the events from trial testimony. Narcissus Luttrell's record in A Brief Historical Relation of State Affairs, vol. II (Clarendon Press: Oxford, 1857), p. 637 carries some errors. The story also appears in Lanier, p. 77. 50. Biographical Dictionary, vol. II, p. 315. 51. Cibber, Apology, p. 101. One of Mrs Bracegirdle's most famous songs was 'I burn, I burn' in Thomas D'Urfey's Don Quixote (Dorset Gardens, 1694). She created the part of Venus in Congreve's Judgment of Paris (Dorset Gardens, 1701), Lavinia in 's The Fair Penitent (Lincoln's Inn Fields, 1703) and Semanthe in Ulysses (Queen's, 1705). 52. Montague Summers (ed.), The Complete Works of (The Non- such Press: London, 1923), p. 78. The entire 'Song' contains two verses:

Pious Selinda goes to Pray'rs, If I but ask the Favour; And yet the tender Fool's in Tears, When she believes ... I'll leave her. 264 Notes to Chapter 1 II Wou'd I were free from this Restraint, Or else had Hopes to win her; Wou'd she cou'd make of me a Saint, Or I of her a Sinner.

53. Roswell Gray Ham, Otway and Lee: Biographies from a Baroque Age (Yale University Press, 1931), pp. 86-7. 54. Montague Summers, The Restoration Theatre (London, 1934), pp. 86-9. 55. Most paintings of Restoration actresses, including the one mentioned here, are found today at the British Museum, the National Portrait Gallery, the , and a host of stately homes throughout the UK. A full account of them is given under the appropriate entries for the actresses in the Biographical Dictionary. Though some of them were probably commissioned by the noble lovers of actresses, there are enough of them, considering how raw the acting profession still was, to attest to the personal magnetism that could inspire some of the best and most intriguing portraits to come out of the Restoration. See Biographical Dictionary, vol. II, p. 281. 56. John Dryden, Preface to Cleomenes (1692), as mentioned in Cibber, Apology, p.94. 57. Cibber, Apology, p. 101. 58. This and the following two extracts are from Jeremy Collier, A Short View of the Immorality and Profaneness of the English Stage (London, 1698), pp. 8-9, 135-7. 59. Otway's Preserved, I, i, 337-42 as printed in J. C. Ghosh (ed.), The Works of (Clarendon Press: Oxford, 1932). Jeremy Collier quotes several salient examples of anti-feminism in Restoration plays. 60. David Bond, 'Nell Gwyn's Birthdate', Theatre Notebook, XL (1986) 3-9. This recent piece of scholarship establishes that from the evidence of Nell Gwyn's stage career, there is no reason to suppose that the actress was born any later than 1650 and there is, in fact, more persuasive reason to believe that she was still in her teens during the 1660s. Bond notes that the 'madcap' was Nell's specialty and the 'most distinctive contribution to the drama of the time', and he describes her as usually a wayward young girl, witty, re- sourceful, mischievous and forthright, most often a younger sister or de- pendent cousin of 15 or 16 as Florimel and Mirida were (see Bond, pp. 5-6). 61. Arthur Irwin Dasent, Nell Gwynne: 1650-87 (London: Macmillan, 1924), pp. 32,36. 62. Pepys, vol. VIII, p. 594, and Dasent, pp. 87-8. Pepys's editors give an account of the rise of the Restoration couple in vol. X, p. 437. By 1665 Killigrew needed a new type of play to rival Davenant's productions. Charles Hart and Nell Gwyn had already begun to map out a type of play based on a witty battle between a rakish hero and an independent-minded heroine that filled the need in such plays as James Howard's The English Monsieur (1666) and All Mistaken (1667). (See T. W. Craik (gen. ed.), Revels History of Drama in English, vol. V (London: Methuen, 1976), p. 172. John Harrington, The Gay Couple in Restoration Comedy (Harvard Univer- sity Press: Cambridge, Mass., 1948), pp. 47-97 traces the development ofthis new comic convention from 1663 to 1676 toward playing the love game for its own sake rather than with a view to marriage, though later plays restored the social advantage to men by re-imposing the double standard, i.e. women could only win their man if they succeeded in marrying him. Notes to Chapter 2 265 63. Biographical Dictionary, vol. VI, p. 469. Nell's property included a freehold in Pall Mall, Sandford House in Chelsea, a house in Ley ton, Essex, a house in Princes Street, Leicester Square, a summer residence in Bagrigge Wells, and Burford House in Windsor. (See Biographical Dictionary, vol. VI, p. 464.) 64. Dasent, p. 74. 65. Pepys, vol. VIII, pp. 333-4, 402. 66. Burnet, vol. I, p. 457. (See also Genest, vol. I, p. 381 and Biographical Diction- ary, vol. VI, p. 463.) 67. Ibid., p. 457 and Genest, vol. I, p. 381. 68. Cibber, Apology, p. 317. 69. Peter Cunningham, The Story of Nell Gwyn and the Sayings of Charles II (London, 1927), p. 127. 70. Dasent, pp. 179,214-15. 71. Cunningham, pp. 116-17. Nell's famous rivalry with the Duchess of Ports- mouth appears in a contemporary verse of 1682 entitled 'A Dialogue be- tween the Duchess of Portsmouth and Madam Gwyn at parting' which contains the following lines:

The People's hate, much less their curse, I fear I do them justice with less sums a year. I neither run in court nor city's score, I pay my debts, distribute to the poor.

72. Dasent, pp. 127, 169, 177,209. 73. Cunningham, p. 119. 74. John Harold Wilson, Nell Gwyn: Royal Mistress (London, 1952), p. 242. 75. Dasent, pp. 200-1, 211, 251, 276-7, 288. 76. See Biographical Dictionary, vol. VI, pp. 457, 462 for samples of these satires of which the following is one of the most colourful:

The Pious Mother of that flaming Whore, Maid, Punk, and Bawd full Sixty Years and more, Dy'd Drunk with Brandy in a common shore- No matter that, nor what we were must shame us, 'Tis what we last arrive to, that must arne us, Pam'd be the Cellar then, wherein the Babe Was first brought forth to be a Monarch's Drab.

77. Cunningham, pp. 139-41, 151. 78. Pepys, vol. IX, p. 81. 79. Biographical Dictionary, vol. VI, pp. 470-1. The account quoted was written by George Vertue in 1721. 80. Cibber, Apology, p. 318. See also Cunningham, p. 167.

CHAPTER 2: EARLY EIGHTEENTH CENTURY ACTRESSES

1. Cibber, Apology, p. 176. 2. William Chetwood, A General History of the Stage (Dublin, 1749), p. 128. 3. Susannah Maria Cibber, Account of the Life of Mrs Cibber (London, 1887), pp. 3-5. 266 Notes to Chapter 2

4. Biographical Dictionary III, p. 263, from testimony given by C. Cibber during the first Sloper trial (1738). 5. Tate Wilkinson, The Wandering Patentee, vol. III (York, 1795), p. 242. 6. See Davies, Dramatic Miscellanies, vol. III, pp. 466-7. 7. Wilkinson, vol. II, p. 168. 8. Janet Camden Lucey, Lovely Peggy (London: Hurst & Blackett, 1952), pp. 49-51. 9. Robert Hitchcock, A Historical View of the Irish Stage, vol. I (Dublin, 1788), p.104. 10. John Fyvie, Comedy Queens of the Georgian Era (London: Archibald Constable & Co., 1906), p. 123. See also Harold Simpson and Mrs Charles Braun, A Century of Famous Actresses: 1750-1850 (London, 1913), pp. 60,97, 122. 11. Biographical Dictionary, vol. III, p. 276. 12. S. M. Cibber, pp. 11-12. Mrs Cibber reigned as queen of pathos well up to her fifties when she deceived audiences into thinking of her as the teenage Celia in Whitehead's School for Lovers (Drury Lane, 1762). See S. M. Cibber, pp.16-17. 13. Simpson and Braun, pp. 70-3, as reprinted from The Dramatic Censor. 14. Simpson and Braun, p. 92 and Anthony Vaughan, Born to Please: H. Pritchard, Actress 1711-1768 (Society for Theatre Research: London, 1979), p. 118. As reprinted from a quote in P. Cunningham (ed.), The Letters of Horace Walpole (London, 1857-9), vol. VIII, p. 315, n.2., Vaughan states that any comparison between the two actresses is unjust, since Mrs Siddons made her first appearance fourteen years after Mrs Pritchard's death and 'there had been a shift in taste in those intervening years which makes comparison invidious'. (John Bernard, Retrospections, vol. II (Boston, Mass., 1832), p. 139.) 15. Alan S. Downer, 'Nature to Advantage Dressed: 18th Century Acting', PMLA, LVIII (1943) 1023, as reprinted from , The Art of Acting (New York, 1926), p. 29. 16. Thomas Campbell, The Life of Mrs. Siddons, vol. I (London, 1834), p. 136. 17. Thomas Davies, vol. II, pp. 149, 168. Such a relaxation of the old stilted style inspired the poet G. Keate to portray the Tragic Muse in the shape of Mrs Pritchard to take up the torch from the deceased Mrs Cibber:

Still to resume the Blaze a Pritchard's left, Whose Breath shall send it flaming to the skies She thro' the Heart's deep Windings makes us feel And adds new grandeur to the swelling scene. (from 'Poem to S. M. Cibber' (London, 1766), p. 6)

18. Nicoll, vol. III pp. 41-2. 19. Wilkinson, vol. I, pp. 127-8. 20. From Thomas Davies, as reprinted in Simpson and Braun, pp. 62-3, 79. See also Biographical Dictionary, vol. III, p. 351. 21. Biographical Dictionary, vol. III, p. 279. 22. Ibid., pp. 271-3. 23. Bernard, vol. I, p. 125. 24. Biographical Dictionary, vol. III, p. 281. 25. Nicoll, vol. II, p. 23. 26. Biographical Dictionary, vol. III, pp. 348-9. Mrs Clive's predicament was a conspiracy of the two patent houses to retain her services at a gradually reduced salary by agreed price-fixing. She signed with Fleetwood for £300 Notes to Chapter 2 267 and an additional salary to continue after the agreement. When his Haymarket Theatre failed Fleetwood offered her a reduced salary, so she signed with Rich who offered similar terms but also demanded she pay benefit charges. Mrs Clive's Case was an important example of an actress making a theatre tradition into a precedent and is interesting for the argument she makes for her own professional value to the management. (See Fyvie, Comedy Queens, pp.79-81.) 27. Thaler, p. 82 and Nicoll, vol. II, pp. 291-2. 28. Biographical Dictionary, vol. III, pp. 280-1. 29. Cibber, Apology, p. 84. 30. Nicoll, vol. II, p. 24 and vol. III, pp. 13-15. See also The London Stage, Part III, p.968. 31. John Fyvie, Tragedy Queens of the Georgian Era (London: Methuen, 1909), p.53. 32. , A Narrative of her Life (London, 1755), pp. 54, 75-6. 33. S. M. Cibber, pp. 25, 40, 47. 34. Mary Nash, The Provoked Wife: The Life and Times of Susannah Cibber (London: Hutchinson & Co., 1977), p. 176. 35. Betterton, p. 160. 36. Elizabeth Grice, Rogues and Vagabonds: The Actor's Road to Respectability (Lavenham, Suffolk: Terence Dalton, 1977), pp. 78-9. 37. Biographical Dictionary, vol. V, p. 224. 38. Chetwood, p. 206. 39. Biographical Dictionary, vol. III, p. 279, as taken from The Volunteer Manager (24 April 1763). 40. Fyvie, Comedy Queens, p. 98. 41. William Ernest Henley (ed.), Writings of , vol. X (London, 1903), p. 278. 42. Nicoll, vol. II, pp. 40, 185. See also Fyvie, Tragedy Queens, pp. 42-5. 43. Campbell, vol. I, p. 127. 44. Nash, p. 240. Johnson seems never to have forgiven the woman he associ- ated with his misfortune. 45. Fyvie, Comedy Queens, p. 85; vol. III, p. 214. See also Nicoll, vol. III for Mrs Clive's five other plays. 46. Nicoll, vol. II, p. 412. This act was a response to the new theatres that were springing up in London. It enabled the government to assume power over the stage by requiring manuscripts of plays to be deposited in the Lord Chamberlain's office. 47. Apology, pp. 52, 46. 48. James Boaden, Memoirs of Mrs Siddons, vol. I, pp. 3-5. 49. Colley Cibber's 'Preface' to Vanbrugh's The Provok'd Husband (1728). As well as a 'commanding Mein' he includes this tribute to Mrs Oldfield's powers as an actress:

Her Voice was sweet, strong, piercing, and melodious; her Pronunciation voluble, distinct, and musical; and her Emphasis always placed where the Spirit of the Sense, in her Periods, only demanded it.

50. Simpson and Braun, pp. 96-7. 51. Boaden, Memoirs of Mrs Siddons, vol. II, p. 299. 52. Charke, pp. 242-5 and the sequel to the 1827 edition by Samuel Whyte. 53. Cibber, Apology, p. 177-8,333-4. 268 Notes to Chapter 3 CHAPTER 3: THE LATE EIGHTEENTH CENTURY ACTRESSES

1. Margaret Cornwell Baron-Wilson, Our Actresses; or, Glances at stage favour- ites, past and present vol. I (London, 1844), p. 15 claims that there were 150 printed volumes of autobiography by 1844. 2. Fyvie, Comedy Queens, pp. 203-4; Biographical Dictionary, vol. I, pp. 12-13. Unless otherwise indicated, all biographical details are derived from the Biographical Dictionary, Fyvie's Comedy Queens and Tragedy Queens, or the DNB. 3. Fyvie, Tragedy Queens, pp. 180-1. 4. Biographical Dictionary, vol. V, p. 161. 5. Bernard, vol. II, pp. 42-3. 6. Simpson and Braun, pp. 169-74, 114. 7. Biographical Dictionary, vol. I, pp. 17-18. 8. Monthly Visitor (October 1797) as recorded in Biographical Dictionary, vol. I, p.16. 9. Chetwood, p. 69. 10. James Boaden, Memoirs of Mrs Inchbald, vol. I (London: Richard Bentley, 1833), p. 127. 11. A Confidential Friend, Great Illegitimates (London, 1830), p. 52. 12. James Boaden, The Life of Mrs Jordan, vol. I (London, 1831), p. 127. 13. , Critical Essays on the Performers in the London Theatres (London, 1807), p. 168. 14. Public Advertiser (16 November 1785), as quoted in Biographical Dictionary, vol. VIII, p. 250. 15. Simpson and Braun, p. 122. 16. James Henry Leigh, The New Rosciad (London, 1785), p. 37. 17. Charles Churchill, The Rosciad (London, 1772), pp. 22-3. 18. Boaden, The Life of Mrs Jordan, vol. II, p. 96. 19. A Confidential Friend, pp. 53-4, 209-10. 20. Hunt, Critical Essays, p. 146. 21. From Boaden's Memoirs of Mrs Siddons, as reprinted in Biographical Diction- ary, vol. I, pp. 348-9. 22. Fyvie, Tragedy Queens, p. 151. 23. George Anne Bellamy, An Apology for the Life of G. A. Bellamy, Vol. III (Dublin, 1785), p. 151; vol. I, pp. 190-1. 24. Biographical Dictionary, vol. VIII, p. 84. 25. Clare Jerrold, The Story of Mrs Jordan (London, 1914), pp. 207-8. 26. Boaden, The Life of Mrs Jordan, vol. I, pp. 291-2. 27. Fyvie, Comedy Queens, p. 157. 28. Boaden, Memoirs of Mrs Inchbald, vol. I, p. 171. 29. Fyvie, Tragedy Queens, p. 188. 30. Biographical Dictionary, vol. II, p. 8. 31. Fyvie, Tragedy Queens, pp. 132-3. 32. Details are from the following sources: Fyvie, Comedy Queens, pp. 275, 327, and Tragedy Queens, p. 128; Biographical Dictionary, vol. I, pp. 13,203; vol. II, p. 10; vol. V, p. 168; DNB, vol. XXI, p. 1214. 33. The figures given are from the following sources: Jerrold, p. 94; Biographical Dictionary, vol. VIII, pp. 94, 250; A. B. Fothergill, Mrs Jordan, Portrait of an Actress (London: Faber & Faber, 1965), p. 85. 34. Boaden, Memoirs of Mrs Siddons, vol. I, p. 247. 35. Burnet, vol. III, p. 37. 36. Simpson and Braun, pp. 175-6. Notes to Chapter 3 269

37. Fyvie, Comedy Queens, pp. 195,290-1. 38. Biographical Dictionary, vol. VIII, p. 248. 39. A Confidential Friend, p. 205. 40. Biographical Dictionary, vol. II, p. 12. 41. Gentleman's Magazine (October 1750). 42. Fyvie, Comedy Queens, pp. 178-9. 43. Bernard, vol. I, pp. 172-3. 44. New Rosciad, p. 36. Mrs Siddons is said to have remarked to her friend Dr Whalley, 'I should suppose she has a very good fortune, and I should be vastly obliged if she would go and live very comfortably on it' (Biographical Dictionary, vol. I, p. 349). 45. Bellamy, vol. I, pp. 81-4. 46. Thomas Campbell, The Life of Mrs Siddons, vol. II (London, 1834), pp. 69-70. 47. Jerrold, pp. 123-4; Fothergill, p. 105. 48. Boaden, Life of Mrs Jordan, vol. II, pp. 16-17,23,80. 49. Fyvie, Comedy Queens, pp. 265-8. 50. Biographical Dictionary, vol. X, pp. 176-8 as printed from Lockhart's biogra- phy of Sir Walter Scott. 51. Fyvie, Comedy Queens, pp. 303-4, 433; Simpson and Braun, p. 139. 52. Boaden, The Life of Mrs Jordan, vol. II, p. 38. 53. Fyvie, Comedy Queens, p. 208. 54. Biographical Dictionary, vol. I, pp. 344-5. 55. Bellamy, vol. II, pp. 48, 104. 56. Fyvie, Comedy Queens, pp. 322-3. 57. , A Pin Basket to The Children of Thespis (London, 1796), p. 62. 58. Fyvie, Comedy Queens, pp. 35, 235-6, 403, 419. See Biographical Dictionary, vol. I, p. 204 for a full account of Mrs Baddeley's lovers. 59. Elizabeth Steele, The Memoirs of Sophia Baddeley (Dublin, 1787), vol. I, p. 14. 60. Boaden, The Life of Mrs Jordan, vol. II, p. 342. 61. Leo Hughes, The Drama's Patrons (Austin, Texas, 1971), p. 172. 62. Boaden, The Life of Mrs Jordan, vol. II, p. 61. 63. Boaden, Memoirs of Mrs Inchbald, vol. II, p. 55. 64. Fyvie, Comedy Queens, pp. 242,249. 65. Bernard, vol. I, pp. 169-70. 66. From Bellamy's Apology, as summarized in Genest, vol. IV, p. 284. 67. Fyvie, Tragedy Queens, pp. 191-4. 68. Biographical Dictionary, vol. VIII, pp. 84-5 gives a list of Mrs Inchbald's dramatic productions. See also page 81 of the same volume and Elizabeth Jenkins, Ten Fascinating Women (London: Odhams Press, 1955), p. 117. Her best-known play is probably Lovers' Vows (1798), famous nowadays as the play chosen for the amateur theatricals in Jane Austen's Mansfield Park, which features a hero much resembling J. P. Kemble. Though Mrs Inchbald's publishers vied for her autobiography, her Roman Catholic confessor ad- vised her to destroy the four volumes and only the table of contents survives. 69. Fyvie, Comedy Queens, pp. 310, 312. 70. Jenkins, p. 124. 71. Mary Robinson, Memoirs of the Late Mrs Robinson, written by Herself (London: Cobden Sanderson, 1930), p. xiii. For Coleridge's letter on Mrs Robinson see p. ix. 72. Mary Robinson, A Letter to the Women of England on the Injustice of Mental Subordination, (London, 1799), pp. 2, 10-11, 32. 73. Simpson and Braun, p. 156; Genest, vol. VI, p. 314. 270 Notes to Chapter 4 74. Biographical Dictionary, vol. I, p. 18; Simpson and Braun, p. 124. 75. Boaden, Memoirs of Mrs Siddons, p. 228. 76. Hunt, Critical Essays, pp. 156-7. 77. Steele, vol. I, pp. 226-8. 78. Biographical Dictionary, vol. II, p. 11. 79. Wilkinson, Patentee, vol. I, p. 65.

CHAPTER 4:

1. Cecil Price, 'John Ward, Stroller', Theatre Notebook, I (January 1946) 10. 2. Lord Bruce's party attended the performance prepared to ridicule it as a provincial misrepresentation. Sarah did indeed hear some 'suppressed noises' during the performance which she assumed to be a refined tittering. The next day Lord Aylesbury told William in the street that his whole family, 'had wept so much and were so disfigured with red eyes and swaIn [sicl faces, that they were this morning actually unpresentable being all confined to their chambers with violent head-achs' [sicl. See William Van Lennep (ed.), Reminiscences of Sarah Siddons: 1773-1785 (Cambridge, Mass., 1942), p.3. 3. Campbell, vol. I, p. 68. 4. Campbell, vol. II, p. 109. 5. Boaden, Memoirs of Mrs Siddons, vol. I, pp. 382-3. 6. Gamini Salgado, Shakespeare and Performance (Sussex University Press, 1975), pp. 342, 333 as quoted from J. Boaden's Memoirs of the Life of John Philip Kemble (London, 1825). 7. Yvonne Ffrench, Mrs Siddons: Tragic Actress (London: Derek Verschayle, 1954), p. 119. B. Campbell, vol. II, p. BO. 9. DNB, XVIII, p. 197. 10. Campbell, vol. I, pp. 286-7; vol. II, p. 157. 11. Ffrench, p. 182. 12. Campbell, vol. II, p. 38. 13. D. Bartholomeusz, and the Players (Cambridge University Press, 1969), p. 118. 14. Campbell, vol. II, pp. 336-7. 15. Campbell, vol. II, pp. 35-6; vol. I, pp. 213-15. 16. Boaden, Memoirs of Mrs Siddons, vol. I, p. 366; vol. II, p. 400. 17. Anonymous, The Modern Stage Exemplified (London, 1788), p. 10. 18. John Ruffin, The Rhetorlogue (London, 1922), p. 239. 19. Ffrench, p. 233. 20. A Lady of Distinction, The Beauties of Mrs Siddons (London, 1786), p. 14. 21. Fleeming Jenkin, Papers, Literary, Scientific, etc., S. Colvin and J. A. Ewing (eds), vol. I (London, 1887), pp. 59-60, 79. See Ffrench, pp. 111-15 for a shorter summary of these notes. 22. Boaden, Memoirs of Mrs Siddons, vol. II, pp. 388, 391. 23. Roger Manvell, Sarah Siddons: Portrait of an Actress (London: Heinemann, 1970), p. 116. 24. Boaden, The Life of Mrs Jordan, vol. I, p. 85. 25. Van Lennep, Reminiscences pp. 4-7. 26. Ffrench, p. 33. 27. Boaden, Memoirs of Mrs Siddons, vol. II, p. 228. Notes to Chapter 5 271

28. Campbell, vol. II, pp. 163, 168, 173. See also London Chronicle (8 December 1790). 29. Manvell, Sarah Siddons, pp. 288. 30. Van Lennep, Reminiscences, pp. 20-1, 16. 31. Campbell, vol. I, p. 260. 32. Van Lennep, Reminiscences, pp. 4-6. 33. Boaden, Memoirs of Mrs Siddons, vol. I, p. 79. 34. Ffrench, pp. 42, 121. 35. Campbell, vol. I, pp. 226-7. 36. Ffrench, pp. 135, 244. 37. Van Lennep, Reminiscences, p. 9. 38. Naomi Royde-Smith, The Private Life of Mrs Siddons (London, 1933), pp. 242-3,245. 39. Ffrench, p. 180. 40. Campbell, vol. II, pp. 315-16. 41. O. G. Knapp, An Artist's Love Story (London, 1904), pp. 175-6, from a letter of 4 December 1798. 42. Manvell, Sarah Siddons, pp. 269-71. 43. F. M. Parsons, The Incomparable Siddons (London, 1909), p. 227. 44. Van Lennep, Reminiscences, pp. 12-13, 18-19, 89. 45. Parsons, p. 259. 46. Memoirs of Charles Lee Lewes, vol. I (London, 1805), p. 114. 47. Campbell, vol. I, p. 91-2; vol. II, pp. 258, 351. 48. Ffrench, p. 168. 49. Van Lennep, Reminiscences, pp. 17-18. 50. Royde-Smith, pp. 190-1. 51. Campbell, vol. I, p. 191. 52. Ffrench, p. 150. 53. Boaden, Memoirs of Siddons, vol. I, p. 307; vol. II, p. 277. 54. Van Lennep, Reminiscences, p. 19. 55. Manvell, Sarah Siddons, p. 299. 56. Campbell, vol. II, pp. 365-7. 57. Leigh, The New Rosciad, p. 40. 58. Van Lennep, Reminiscences, p. 7. 59. Boaden, Memoirs of Mrs Siddons, vol. I, pp. 220-1. 60. Ffrench, pp. 120, 163. 61. Parsons, pp. 247-8, 289. 62. Boaden, Memoirs of Mrs Siddons, vol. II, pp. 165-6.

CHAPTER 5: NINETEENTH CENTURY AND VICTORIAN ACTRESSES

1. Anne Ellerslie, Diary of an Actress, H. C. Shuttleworth (ed.), (London, 1885), pp. 22-3, 50-1, 159-60. 2. These statistics are from Michael Baker, The Rise of the Victorian Actor (London, 1978), pp. 83, 105-6. 3. Edward Dutton Cook, Hours with the Players, vol. II (London, 1881), pp. 112-13. 4. T. E. Pemberton, The Kendals (London: C. Arthur Pearson, 1900), pp. 24, 56; M. Kendal, Dame Madge, by Herself (London, 1933), p. 47. 5. As one educator lamented: 272 Notes to Chapter 5 Since the '50s, for good or for ill, the entire theatrical system of England has been revolutionized, and it is now utterly impossible in this country to obtain the quantity and diversity of opportunity which had in the first twenty years of her theatrical life.

From Charles Hiatt, Ellen Terry and Her Impersonations (London, 1898), p. 19. 6. Simpson and Braun, pp. 265, 267. 7. Christopher Kent, 'Image and Reality: The Actress and Society', A Widening Sphere: Changing Roles of Victorian Women, Martha Vicinus (ed.), (Bloomington & London: Indiana University Press, 1977), p. 97. 8. C. E. Pearce, Mme Vestris and Her Times (London, 1923), pp. 26, 116-17. 9. Baron-Wilson, Our Actresses, vol. II, p. 194. 10. See Russell Jackson, "'Perfect Types of Womanhood": Rosalind, Beatrice and in Victorian Criticism and Performance', Shakespeare Survey, vol. XXXII (Cambridge University Press, 1979), pp. 15-26. 11. Salgado, pp. 193-4. 12. Judith Cook, Women in Shakespeare (London: Harrap, 1980), vol. II, pp. 120-1. 13. George Fletcher, Studies of Shakespeare: The Female Characters of Shakespeare and Some of Their Present Representatives on Stage (London: Longman, 1847), p.xxi. 14. Fletcher, p. 240. 15. Helena Saville Martin, On Some of Shakespeare's Female Characters (Edinburgh & London: William Blackwood, 1891), pp. 77, 139-40, 372-3, 384. 16. Salgado, p. 308. 17. , Helena Faucit (Edinburgh & London: William Blackwood, 1900), pp. 145-6, 159-60, 177, 195, 227. 18. C. John Williams, Mme Vestris: A Theatrical Biography (London, 1973), p. 58. 19. , Record of a Girlhood, vol. III (London, 1888), pp. 205-7, 44; vol. II, pp. 27-8. 20. , Dramatic Opinions (Woodchester, 1925), p. 32. 21. Pemberton, The Kendals, pp. 278, 281-3. 22. Simpson and Braun, pp. 319,323; DNB, vol. XX (1909), p. 855. 23. T. Martin, p. 47. 24. Helena Savile Martin, p. 284. 25. Williams, p. 109. 26. Kendal, Dramatic Opinions, pp. 31,43. 27. Christopher St John (ed.), Ellen Terry and Bernard Shaw: A Correspondence (London: Constable & Co., 1931), p. 260. 28. Ellerslie, p. 111. 29. Kendal, Dame Madge, pp. 168-9. 30. Kemble, Record, vol. II, pp. 56-7. 31. Margaret Armstrong, F. Kemble, A Passionate Victorian (New York, 1938), p.98. 32. T. Martin, p. 76. 33. E. Terry, The Story of My Life (Woodbridge, Sussex: The Boydell Press, 1982), p. 121. 34. T. Martin, pp. 183, 263. 35. Helena Savile Martin, p. 403. 36. Kemble, Record, vol. III, p. 112, where she says 'look at her fine person, her beautiful face; listen to her magnificent voice ... is it likely there can ever be a shadow of comparison between her and myself ...?.' 37. T. Martin, p. 179. Notes to Chapter 6 273

38. Geraldine Jewsbury, The Half-Sisters, vol. II (London, 1848), p. 81. 39. Henry James, The Tragic Muse (New York: Harper Torchbooks, 1960), p. 287. In the nineteenth century, fiction had, to an appreciable degree, begun to exploit the stage which supplied not only its subject from time to time, but also many of the standard forms for expressing emotion that fiction em- ployed, especially the more fashionable vehicles of passion like melodrama and farce. 40. This work was compiled from a series of articles for Murrays Magazine, something in the nature of an interview. 41. F. Kemble, Further Records of a Girlhood, vol. I (London, 1890), p. 315. 42. E. Lyn Linton, 'The Stage as a Profession for Women', National Review (March 1885) pp. 8, 19. 43. Pearce, p. 76. 44. Baron-Wilson, Our Actresses, vol. II, pp. 194-7,204-5. 45. Baron-Wilson, Our Actresses, vol. II, pp. 32-7. 46. Henry Gibbs, Affectionately Yours, Fanny (London, 1945), pp. 173-5. 47. T. Martin, pp. 230-1. Dame Madge Kendal tells us that Martin was so devoted to Lady Martin that when she came on stage for the first time in the evening he used to rise in his stall and bow to her. (See M. Kendal, Dame Madge, p. 5.) 48. M. Kendal, Dame Madge, p. 70. 49. Dame Madge, Dramatic Opinions, p. 53. 50. Roger Manvell, Ellen Terry (London: Heinemann, 1968), p. 7. 51. Pearce, p. 255. 52. John Coleman, 'The Social Status of the Actor', National Review, II (March 1885) pp. 20-8. 53. F. Kemble, Record, vol. II, p. 19. 54. Gibbs, pp. 99, 181. 55. T. Martin, pp. 180, 405. 56. Leo Waitzkin, Theatrical Reforms of Mme Vestris (Harvard University Press, 1933), pp. 12, 15, 19-20. 57. Williams, pp. 160, 182. 58. M. Kendal, Dramatic Opinions, p. 31. 59. M. Kendal, Dame Madge, pp. 187, 196. 60. Pemberton, The Kendals, p. 307.

CHAPTER 6: ELLEN TERRY

1. and Christopher St John (eds), Ellen Terry's Memoirs, (London, 1933), p. 11. 2. Manvell, Ellen Terry, pp. 64-5. 3. Charles Hiatt, Ellen Terry and Her Impersonations: An Appreciation (London, 1898), p. 55. 4. Craig and St John, pp. 87-8. 5. Henry James, The Scenic Art (London: Rupert Hart-Davis, 1949), pp. 143-4. 6. Tom Prideaux, For Love or Nothing (London, 1975), pp. 130-1; Manvell, Ellen Terry, p. 128; Hiatt, p. 143. 7. Prideaux, p. 111. 8. Craig and St John, p. 122. 9. Manvell, Ellen Terry, p. 158. 10. Prideaux, pp. 147, 166-7. 274 Notes to Chapter 6 11. Ellen Terry, Four Lectures on Shakespeare, Christopher St John (ed.) (London, 1932), pp. 94-5. 12. Manvell, Ellen Terry, pp. 192-3. 13. Hiatt, p. 215. 14. Prideaux, p. 176. 15. Hiatt, pp. 176, 178, 203, 206, 213. 16. Terry, Lectures, p. 159. 17. Craig and St John, p. 89. 18. Hiatt, p. 82. 19. Craig and St John, pp. 257-8. 20. Ibid., p. 116. 21. Prideaux, pp. 221-2. 22. Craig and St John, p. 300. Overcoming her earlier view that it was impossi- ble to act well in films, Ellen became by the age of 75 an avid filmgoer and developed a view that the stage could learn from the screen. Of Valentino's romantic performance in Blood and Sand (1922) she remarked, 'If I were going to play Romeo I should come here every night and study that man'. A Chaplin fan since seeing The Kid (1901), Ellen came out of his own produc- tion of A Woman of Paris on her seventy-fifth birthday in 1924 insisting it was 'Chaplin with the part of Chaplin left out'. 23. Hiatt, pp. 83, 154. 24. Terry, Story, pp. 54, 58-9. 25. Craig and St John, pp. 61, 110. 26. Ibid., p. 120. 27. Ibid., pp. 61, 110, 120, 250. 28. Manvell, Ellen Terry, pp. 245-6, 350 (Note 25). 29. Craig and St John, p. 256. 30. Manvell, Ellen Terry, pp. 36-7, 46, 47, 48, 53, 56, 166-70, 173, 297. 31. Craig and St John, p. 115. 32. One contemporary claimed of the Terrys that 'no family in the history of the Modern English stage can count amongst its members so many men and women possessing histrionic talent of a high order'. Hiatt, p. 8. 33. Prideaux, p. 141. 34. Manvell, Ellen Terry, pp. 50-1, 334. 35. Craig and St John, p. 235. 36. Manvell, Ellen Terry, p. 201. 37. Christopher St John (ed.), Ellen Terry and Bernard Shaw: A Correspondence (London: Constable & Co., 1931), p. 26. 38. Craig and St John, p. 251. 39. St John, p. 276. 40. Nina Auerbach, Ellen Terry: Player in Her Time (London: J. M. Dent & Sons, 1987), pp. 291-2, 299. 41. St John, p. xxxviii. 42. Craig and St John, pp. viii, vi. 43. Terry, Lectures, pp. 81, 121, 137-8. 44. Craig and St John, pp. 208, 280-1, 316-17, 321-2. 45. Ibid., pp. 341-3. 46. Terry, Lectures, pp. 119-20. 47. Craig and St John, p. 293. 48. Prideaux, p. 10. 49. Hiatt, pp. 130-1. 50. Terry, Lectures, pp. 14-15. Notes to Chapter 7 275 CHAPTER 7: EDWARDIAN AND EARLY TWENTIETH CENTURY ACTRESSES

1. Janet Dunbar, (London: Harrap, 1960), p. 19. 2. Margaret Webster, The Same Only Different (London: Victor Gollancz, 1969), pp.113-17. 3. Julie Holledge, Innocent Flowers: Women in the Edwardian Theatre (London, 1981), p. 33. 4. Pemberton, The Kendals, p. 273. 5. Mrs P. Campbell, My Life and Some Letters (London: Hutchinson, 1922), p. 70. 6. Margot Peters, Mrs Pat: The Life of (London: Hamish Hamilton, 1985), p. 116. 7. Mrs P. Campbell, p. 144. 8. Peters, p. 131. 9. Mrs P. Campbell, pp. 98-9, 114,213,336-7. 10. See letters dating from 4 February 1919 in A. H. Dent (ed.), Bernard Shaw and Mrs Patrick Campbell: Their Correspondence (London, 1952). 11. , To Tell My Story (London, 1949), pp. 49, 53, 56. The play had a vogue that season. 12. Hector Bolitho, (London, 1936), pp. 100-1, 104-5, 243-4. 13. Bolitho, pp. 280-2, 315. Margaret Webster records that as a comedienne, Marie Tempest became the embodiment in the English theatre of chic and precision and a disciplined playing of comedy that was also unique. (See Webster, p. 204.) 14. , (London, 1981), pp. 76-7,80, 116. 15. This and subsequent quotations from and Gwen Ffrangcon- Davies were given in personal interviews with the author of this book. 16. Tim Beaumont (ed.), The Selective Ego: The Diaries of (London: Harrap, 1976), Agate's review of 10 July 1942, pp. 152-4. 17. These comments are from a special television programme on Gwen Ffrancgon-Davies's career entitled 'A Remembered' (BBC 2, 7 October 1988). 18. Dunbar, pp. 171-2, 152-4,269-70. 19. Lena Ashwell, The Stage (London: Geoffrey Bles, 1929), p. 22. 20. Julia Neilson, This for Remembrance (London: Hurst & Blackett, 1941), pp. 71, 132-3. 21. Bolitho, pp. 113-14. 22. Mrs P. Campbell, p. 39. See p. 144 for how she played role. 23. Peters, p. 282. 24. Mrs P. Campbell, p. 346. 25. Elizabeth Sprigge, Casson (London: Victor Gollancz, 1971), p.83. 26. , Gladys Cooper (London: Hutchinson, 1931), p. 268. 27. Peters, pp. 72-3. 28. Cooper, p. 173. 29. Peters, pp. 384-5. 30. Bolitho, pp. 80, 89. 31. Neilson, p. 50. 32. Mrs P. Campbell, p. 44. 33. Peters, p. 116. 34. Mrs P. Campbell, p. 214. 276 Notes to Chapter 8 35. Webster, p. 240. 36. Lawrence Kitchin,Mid-Century Drama (London: Faber & Faber, 1960), p. 146. 37. Webster, p. 350. 38. Neilson, pp. 106, 143, 164. 39. Cooper, pp. 161, 164-5,241. 40. Dent, Bernard Shaw and Mrs Patrick Campbell, p. 22. 41. Ashwell, The Stage, p. 168. 42. Ashwell, Myself A Player (London: Michael Joseph, 1936), p. 148. See pp. 141-52 for a fuller account of this relationship. 43. Holledge, p. 42. 44. Holledge, pp. 123-5, 137, 142-3, 145, 150, 156; Sprigge, p. 124. 45. Webster, pp. 368-9. 46. Bolitho, p. 121; Ashwell, Myself A Player, p. 132; Daily Express (18 September 1948); Mrs P. Campbell, p. 157. 47. Dunbar, pp. 235, 257. 48. Irene Vanbrugh, Hints on the Art of Acting (London, 1951), p. 67. 49. Bolitho, pp. 274, 292-3. 50. Neilson, p. 134. 51. Vanbrugh, To Tell My Story, p. 61. 52. Bolitho, pp. 97-8, 136-8, 157. 53. Cooper, pp. 272-3. 54. Peters, pp. 176,362-3. 55. Dent, Bernard Shaw and Mrs Patrick Campbell, pp. 195,211. 56. Mrs P. Campbell, p. 270. 57. Bolitho, p. 243. 58. Cooper, pp. 215-16. 59. Peters, pp. 393-4. 60. Kitchin, p. 146; Athene Seyler and Stephen Haggard, The Craft of Comedy (London: Frederick Muller, 1943), pp. 26, 64-5. 61. See Flora Robson, The Amateur Stage (London: Geoffrey Bles, 1939), pp. 44-63. 62. Ashwell, Myself A Player, pp. 185-6. 63. Ashwell, The Stage, pp. 109, 135, 139, 177. 64. The article is printed in R. D. Charques (ed.), Footnotes to the Theatre (London: Peter Davies, 1938), pp. 240, 244-5. 65. Holledge, pp. 2-3, 91-2, 97. 66. Webster, pp. 246-9. 67. Ashwell, Myself A Player, pp. 182-3, 194-5, 198-9. 68 Vanbrugh, To Tell My Story, p. 89. 69. Richard Aldrich, Gertrude Lawrence as Mrs A. (London: The Companion Book Club, 1957), pp. 68, 131, 135, 155-6,225. 70. Ashwell, Myself A Player, p. 220. 71. Bolitho, pp. 211-12. 72. Aldrich, p. 221. 73. Peters, p. 279, and Webster, p. 220. 74. Neilson, pp. 234-5, 244, 274. 75. Ashwell, Myself A Player, pp. 244-5

CHAPTER 8: SYBIL THORNDIKE AND

1. Sprigge, pp. 97-9. 2. Sybil and , (London: Chapman Hall, 1938), p.44. Notes to Chapter 8 277 3. J. c. Trewin, Sybil Thorndike (London: Theatre World Monograph No.4, Rockliff, 1955), p. 64. 4. Sheridan Morley, Sybil Thorndike: A Life in the Theatre (London: Weidenfeld & Nicolson, 1977), p. 62. 5. Sprigge, pp. 53, 156-7, 159, 163, 169. She last played Joan on stage in New Zealand early in 1933, the beginning of the second of her careers, although she continued with radio performances of the role well into the 1950s. See Morley, pp. 68, 77-8, 89. 6. Trewin, Sybil Thorndike, p. 59. 7. Morley, Sybil Thorndike, pp. 107-8. Sybil must have thought she had already paid her tribute to Mrs Siddons when in November 1933 she played the title role in Naomi Royde-Smith's play of that name, with her daughters Mary and Ann taking the parts of the Siddons girls. (See Sprigge, p. 213.) 8. Sprigge, pp. 304-6. 9. Sybil said of this role, 'I used 's own Thomas aKempis, lent me by one of her relatives, with the special passages marked on which she had meditated in her last hours. I lent this to when she played the parts: (See Sprigge, pp. 181-2.) 10. J. c. Trewin, Edith Evans (London: Theatre World Monograph, 1954), pp. 33, 61, 89. Edith played Hesione Hushabye twenty-one years later (Cambridge, 1943) in one of this popular play's many revivals. 11. Sunday Times (23 January 1927). 12. Trewin, Edith Evans, p. 92. 13.. , Ned's Girl (London: Hamish Hamilton, 1977), pp. 221-2, 238. 14. The foregoing information on Edith Evans's stage career is taken from Forbes, pp. 244, 259, 262. 15. See Sprigge, pp. 81-3. 16. Trewin, Sybil Thorndike, p. 85. 17. Listener (12 September 1968). Bryan Forbes observes that this method would have tried and inhibited Edith since her gropings toward a character took in the rehearsal process. See also Trewin, Edith Evans, p. 92. 18. Guardian (18 April 1974). 19. Trewin, Sybil Thorndike, pp. 65, 75; S. & R. Thorndike, Lilian Baylis, p. 34. 20. Trewin, Edith Evans, pp. 88-9. 21. Listener (12 September 1968). 22. Forbes, pp. 183, 188, 242. 23. Charles Frohman, American producer, with Harley Granville-Barker, arranged US tours for British theatrical companies. 24. S. & R. Thorndike, Lilian Baylis, pp. 43, 99. 25. Sprigge, p. 125. 26. Forbes, pp. 145, 198-9. 27. Sybil Thorndike, 'Religion and the Stage', Affirmations: God in the Modern World (London, 1928), pp. 14-15. 28. Forbes, pp. 99, 101, 124. 29. Sprigge, p. 159. 30. Sybil Thorndike, 'Thanks to Bernard Shaw', The Year's Work in the Theatre: 1949-50 (British Council), pp. 30-1, 35. 31. Forbes, pp. 30, 106. 32. Jane McLaughlin, 'Dame Edith - frightening but only to humbugs', Daily Telegraph (19 September 1974). 33. Daily Express (19 September 1974). 34. Morley, Sybil Thorndike, pp. 37-8, 108. 35. Sprigge, pp. 186, 194. 36. Forbes, pp. 141,223. 278 Notes to Chapter 9 37. Sprigge, pp. 168, 223. 38. Morley, Sybil Thorndike, p. 144; Forbes, p. 276. 39. Trewin, Sybil Thorndike, p. 69; Sprigge, p. 325; Morley, Sybil Thorndike, pp. 142-3. Sybil received her DBE in 1931 and her Companion of Honour award in 1970. 40. Guardian (10 October 1969). 41. Morley, Sybil Thorndike, p. 147. 42. Forbes, p. 3. 43. Trewin, Edith Evans, p. 91.

CHAPTER 9:

1. Michael Billington, Peggy Ashcroft (London: John Murray, 1988), pp. 13-18. 2. Eric Keown, Peggy Ashcroft (London: Theatre World Monograph, 1955), p.73. 3. Billington, Peggy Ashcroft p. 39. praised Peggy's uncompromis- ingly full-blooded approach to female characters: 'No emptiness of the pretty flaxen puppet here: he wrote, 'but a true woman opening the petals of her love to the African sunlight of her hero's triumphs: (See Keown, Peggy Ashcroft, p. 29.) 4. Robert Tanitch, Ashcroft (London: Hutchinson, 1987), p. 9. The production ran to 189 performances at the New Theatre. 5. Keown, Peggy Ashcroft, p. 56. 6. Peggy Ashcroft, 'Playing Shakespeare', Shakespeare Survey, XL (1987) 13. 7. Keown, Peggy Ashcroft, pp. 59-61; Billington, Peggy Ashcroft, p. 63. 8. Billington, Peggy Ashcroft, p. 82. See also Keown, Peggy Ashcroft, p. 58. 9. Billington, Peggy Ashcroft, pp. 100-1. 10. Ibid., p. 10. 11. Ibid., p. 114. See also pp. 60, 92, 95, 98,115, which show Agate at times found her classical performances too reductive for his tastes as well. Though at times Agate's anti-Peg campaign assumes what seems an undue amount of attention from Billington, he is probably right in judging that the more conservative critics came to the actress's performance with memories of tragedy pitched in the grand manner and towards the universals of human experience. Behind the saga, perhaps, lies the point that an emergent brand of tragedy more suited to the twentieth century's view of human nature called for a slow and painstaking conversion of raca1citrant critics over many years of consistently fine performances. 12. Billington, Peggy Ashcroft, p. 145. 13. Ibid., pp. 117-19. On p. 22 of M. Billington's post-production programme script for Dame Peggy: A Portrait of Peggy Ashcroft (A Landseer Production for Channel 4, directed by Derek Bailey, 24.12.87), the author claimed that Edward, My Son gave the actress a chance to break the mould of 'classic heroines touched by moral grace' that had been her forte till then. 14. Billington, Peggy Ashcroft, p. 139. 15. Tanitch, p. 13. 16. Billington, Peggy Ashcroft, p. 84. 17. From Lecture, presented as an interview between Dame Peggy and Michael Billington at the National Film Theatre, 15 December 1985. 18. See Billington, Peggy Ashcroft, pp. 32-3. Notes to Chapter 9 279 19. Ibid., p. 116. Peggy's son Nicholas formed his own Caravan Theatre touring company in British Columbia, where Peggy joined him briefly in 1977, and later ran both the English section of the Canadian National Theatre School in as well as a summer company in British Columbia. See Billington, Peggy Ashcroft, pp. 3, 47. 20. Ibid., p. 132. 21. Keown, Peggy Ashcroft, p. 79. 22. Billington, Peggy Ashcroft, p. 135. 23. Ibid., p. 127. 24. Peter Lewis, 'Nor Custom Stale', (19 December 1987), p. 18. 25. Billington, Peggy Ashcroft, p. 145. 26. Keown, Peggy Ashcroft, p. 84. 27. T. C. Kemp, 'Acting Shakespeare: Modem Tendencies in Playing and Pro- duction', Shakespeare Survey, VII, 12. 28. Billington, Peggy Ashcroft, p. 152. 29. Keown, Peggy Ashcroft, p. 84. 30. Billington, Peggy Ashcroft, p. 153. 31. Dame Peggy, pp. 25-9. 32. Billington, Peggy Ashcroft, pp. 185-6. 33. Norman Sanders, 'The Popularity of Shakespeare: An Examination of the Royal Shakespeare Theatre's Repertory', Shakespeare Survey, XVI (1963) 22. 34. Billington, Peggy Ashcroft, pp. 187, 192, 199-201. 35. Ashcroft, 'Playing Shakespeare', p. 19. See also Billington, Peggy Ashcroft, pp. 204-6. The author's treatment of this phase of Peggy's career is an admirable account of its seminal importance both to the actress's career and to British theatre history in general. Peggy's years of practice in playing unpleasant women enabled her to plumb unsuspected reserves of hate and cruelty. At the same time, she gave actresses a new standard for playing women on an epic scale, one that has since been met only once, by Penny Downie in the RSC's new version of the tetrology called The Plantagenets (SMT, 1988-89). 36. Billington, Peggy Ashcroft, p. 195. 37. Ibid., pp. 221, 235. 38. Ibid., pp. 254. 39. Ibid., pp. 269-72. 40. Dame Peggy, p. 53. 41. Rosalie Homer, 'Jewels in ', Radio Times (7-13 October 1989) p. 14. 42. Billington, Peggy Ashcroft, p. 114. 43. Ashcroft, 'Playing Shakespeare', p. 12. 44. See Billington's account of Peggy's work with older actresses on pp. 163 and 252. Of senior actresses Peggy came into contact most with the work of Edith Evans. Critics preferred Peggy's Mrs Madrigal to Edith's Mrs St Maugham when they played together in (Haymarket, 1956). preferred the openness and warmth of Peggy's Countess of Rousillon to the 'tranquillized benevolence of royalty opening a bazaar' of Edith's. 45. Ashcroft, 'Playing Shakespeare', pp. 11-12, 46. Excerpts taken from Nicholas Wapshot, 'Mother Courage', Observer (10 March 1985), p. 45 and Dame Peggy, p. 45. 47. Billington, Peggy Ashcroft, (p. 279) notes that Peggy is both a passionate supporter of CND and a veteran Aldermaston marcher. 48. Ibid., pp. 175, 196. 49. Tanitch, p. 16. 280 Notes to Chapter 10 50. Billington, Peggy Ashcroft, pp. 10,205. 51. Jane Bown, 'A Girl Next Door to Greatness', Observer (20 December 1987), p. 7. The best account that I have found of the qualities that make Peggy the century's greatest actress is in a Summer 1984 article by Harold Hobson in the magazine Drama: 'Her greatest strength lies in the portrayal of vulner- ability ... to penetrate the heart of the overlooked and despised that makes her the greatest English actress of this century.'

CHAPTER 10: THE MODERN ACTRESS

1. Catherine Stott, Guardian (14 June 1972). 2. The Times (20 November 1957). This version of the play was produced by Margaret Webster. remarked to Angela Pitt that she felt her second attempt at Isabella was less successful because 'She must believe in what she does absolutely .... It is difficult to simulate that kind of innocence without making her totally unsympathetic'. (Angela Pitt, Shakespeare's Women (Newton Abbot, 1981), pp. 42-3. 3. Emrys Bryson, Nottingham Evening Post (13 October 1966). 4. Eric Shorter, Daily Telegraph (23 February 1978). 5. Richard David, Shakespeare Survey, VI (1953) 132. 6. Peter Roberts, Plays and Players (December 1957). 7. John Barber, 'Queen Carried off to Rome', Daily Telegraph (4 July 1983). 8. Charles Lewsen, The Times (10 January 1976). 9. The Times (16 November 1961). 10. The Times (23 November 1965). 11. The Times (4 September 1979). 12. Roy Walker, Shakespeare Survey, XII (1959) 127-8; Sunday Times (27 April 1958); R. P. , Guardian (25 April 1958); Rosemary Anne Simon, Stratford-upon-Avon Herald (25 April 1958); Alan Dent, News Chronicle (23 April 1958). 13. B. Levin, Daily Express (5 April 1961); W. A. Darlington, Daily Telegraph (4 April 1961); 'An Undistinguished but Enjoyable Much Ado': The Times (5 April 1961). 14. The Times (19 October 1962). 15. Clive Hirschhorn, Sunday Express (12 April 1983); J. Barber, Daily Telegraph (12 April 1983); S. Morley, Punch (12 April 1983); M. Coveney, (12 April 1983); R. Cushman, Observer (12 April 1983); M. Billington, Guardian (12 April 1983); Francis King, Sunday Telegraph (12 April 1983). 16. M. Billington, Guardian (22 October 1987); M. Coveney, Financial Times (22 October 1987). 17. Kenneth Muir, 'Shakespeare's Open Secret', Shakespeare Survey, XXXIV (1981) 8; The Times (27 July 1960); B. Levin, Daily Express (27 July 1960); Edward Gardner, Stratford-upon-Avon Herald (29 July 1960). See also John Russell Brown, '' in K. Muir and Stanley Wells (eds), Aspects of Shakespeare's Problem Plays (Cambridge, 1982), pp. 149-52. Jan Kott in his Shakespeare Our Contemporary, 2nd edn (London: Methuen, 1967), p. 65 called Cressida 'a teenage girl of the mid-20th century.... She is our contemporary because of this distrust, reserve, and need of self-analysis'. 18. The Sunday Times (27 April 1958); Warwick Advertiser (27 June 1967); 1. Wardle, The Times (16 June 1967); G. Lloyd-Evans, Guardian (16 June 1967). 19. Warwick Advertiser (27 June 1967). 20. Ronald Bryden, Listener (31 August 1967), p. 272. Notes to Chapter 10 281 21. Janet Watts, Guardian (19 August 1977). 22. Edmund Gardner, Stratford-upon-Avon Herald (7 July 1961). See also Julian Holland, Evening News (5 July 1961) in which Redgrave's performance was called 'at once timeless and contemporary' and herself 'the most exciting actress on our stage'. 23. K. Tynan, Observer (17 September 1961); Tom Milne, Time and Tide (21 September 1961); Edmund Gardner, Stratford-upon-Avon Herald (22 Sep- tember 1961). 24. John Russell Brown, Sluzkespeare Survey XVI (1963) 146, 150-1. 25. M. Billington, Guardian; J. Barber, Daily Telegraph; 1. Wardle, The Times. All the foregoing published on 10 August 1973. B. A. Young, Financial Times (11 August 1973); Nicholas Shrimpton, Shakespeare Survey, XL (1987) 181. 26. New Statesman, LXXXIV (1972) 853. 27. Andrew Stephen, Observer (25 January 1987) 22. 28. Marcelle Bernstein, 'Vanessa, Queen of Scots', Observer Magazine (6 Febru- ary 1972). 29. M. Billington, The Times Saturday Review (24 July 1971). 30. Penelope Gilliat, 'Ophelia, Prince of Stratford', Observer Review (22 August 1965); Ian Woodward, : a Study in Fire and Ice (London: Weidenfeld & Nicolson, 1985), pp. 44-5. All biographical data and some reviews regarding Glenda Jackson are taken from this text. 31. Woodward, pp. 160-1. 32. R. Cushman, Observer (15 October 1978). 33. Jeremy Treglown, Plays and Players (December 1978), p. 18; J. c. Trewin, Post (October 1978); John Higgins, ''s Response to the Critics', The Times (18 October 1978). 34. Woodward, p. 187. 35. John Elsom, The Post-War British Theatre (London, 1976), pp. 141-5. See also Sally Beauman, The Royal Shakespeare Company (Oxford, 1982), pp. 272-4. 36. Woodward, pp. 40, 55. 37. The Times (21 August 1964); Woodward, pp. 43, 47-8. 38. David Nathan, Glenda Jackson (Tunbridge Wells: Spellmount, 1984), pp.40-l. 39. Woodward, pp. 122, 148-9. 40. Woodward, pp. 37, 61-6, 69, 190-1; Victoria Mather, Daily Telegraph (10 September 1987). 41. Woodward, p. 73. 42. Gareth Lloyd-Evans, Shakespeare Survey, XXVII (1974) 138; Gerald Jacobs, A Great Deal of Laughter (London: Weidenfeld & Nicolson, 1985), p. 30. Unless otherwise indicated, all subsequent biographical data and reviews for are drawn from this authorized biography and are to be found on pages 35, 54-5, 58, 60, 61-4, 82-3,102-4,123-30. For Judi Dench'~St Joan see Holly Hill, Playing Joan: Actresses on the Cluzllenge of Sluzw's St Joan (New York: Theatre Communications Group, 1987). 43. G. Lloyd-Evans, Shakespeare Survey, XXVII (1974) 139, 14l. 44. Jacobs, pp. 88-90; David, p. 87. Dame Judi told Angela Pitt:

I've always been obsessed somewhat by the view of Edith Evans that there is a missing scene in the play, between the , before the sleepwalking scene .... But when I came to work on it again, I found I no longer believed this . . . I think there is a tremendous passion between them, a truly animal passion, but I don't think ... that drives him on- otherwise it makes him a very weak man indeed. (Pitt, p. 128) 282 Notes to Chapter 11 45. M. Coveney, Financial Times (11 April 1987); M. Billington, Guardian (11 April 1987); P. Kemp, Independent (11 April 1987); M. Ratcliffe, Obseroer (12 May 1987). 46. Jacobs, pp. 108-9,101-2,115-17, 123-4, 127, 130-3. 47. , 'Star by Choice, Star by Chance', The Sunday Times (17 November 1968), pp. 74-6. 48. Pitt, pp. 212, 217. On page 214 Janet claims is 'the only play of Shakespeare's where there is a truly reigning queen on the throne . . . . All the plays are about male power. I felt there should be something reckless, unthinkingly commanding, about her'. See also David Addenbrook, The Royal Shakespeare Theatre: The Years (London, 1974), p. 175 and David, p. 160. 49. Drama (Summer 1987), pp. 9-10. 50. Charles Spencer, Daily Telegraph (2 September 1988); N. de Jongh, Guardian (2 April 1988); P. Kemp, Independent (2 September 1988). 51. D. Nathan, Jewish Chronicle (9 September 1988); Daniel Jones, Sunday Tel- egraph (4 September 1988); M. Shulman, Evening Standard (26 August 1988); Charles Osborne, Daily Telegraph (27 August 1988). 52. A. Stephen, Obseroer Magazine (25 January 1987), p. 25. 53. Peter Freedman, 'Taking the Female Lead', The Sunday Times (10 June 1984); Woodward, pp. 187-8. 54. The passage beside which wrote the word '' in the margin is the following:

Not to affect many proposed matches Of her own clime, complexion and degree, Whereto we see in all things nature tends Fie! We may smell in such a will, most rank Foul disproportion, thoughts unnatural.

55. This extract from the article was kindly supplied to me in handwriting by Janet Suzman. 56. Angela Brook, The Times (30 October 1987); B. Levin, The Times (26 October 1987); Charles Osborne, 'Anti-Apartheid ', Daily Telegraph (19 December 1988). 57. Transcript of a tape recording of Janet Suzman's 'Theodore Spencer Lecture' at Harvard University in the Spring of 1988. 58. J. Suzman, ': the Play in Performance', Ibsen and the Theatre (London: Macmillan, 1980), pp. 84, 90-1. 59. Woodward, pp. 100, 199.

CHAPTER 11: THE RECENT ACTRESS

Note: Unless otherwise indicated, all material quoted from actresses derives from personal interviews with the person concerned. 1. James Fenton, 'All's Well with the Age of Chivalry', Sunday Times (22 November 1981); M. Billington, Stage Guardian (30 July 1982); Richard Corliss, 'Three Cheers and a Kowtow', Time Magazine (25 April 1983). 2. See Marilyn French, Shakespeare's Division of Experience (London: Jonathan Cape, 1982). In discussing , Ms French holds that Shakespeare presents gender as two sides of the same human coin, as country and court Notes to Chapter 11 283 are two sides of the same society. Rosalind, in her view, is able to develop areas of her personality that could not be gracefully revealed if she were in female apparel. 3. Michael Billington, 'A Gilt-Edged Production', Guardian (5 October 1983); Andrew Rissik, ': A New Isabella', Drama (Spring 1984); RSC News (Autumn 1983). 4. Irving Wardle, 'Fallibility by Design', The Times (12 November 1987); Eric Shorter, 'Novelty Value' , Daily Telegraph (13 November 1987); Andrew Rissik, 'Shaw Touch for Shakespeare's Vienna', Independent (13 November 1987); Michael Coveney, Financial Times (13 November 1987); Michael Billington, Guardian (13 November 1987). 5. M. Williams, Sunday Times (4 August 1968); 1. Wardle, The Tlmes (9 August 1968); W. A. Darlington, Daily Telegraph (9 August 1968); Gareth Lloyd- Evans, Guardian (9 August 1968); Liz Smith, Observer Magazine (11 July 1971). 6. Hugh Herbert, 'Love on a Battlefield', Guardian (24 June 1985); John Barber, Daily Telegraph (27 June 1985); Michael Coveney, Financial Times (27 June 1985). 7. Carol Rutter, Clamorous Voices (London: The Women's Press, 1988), p. 23. 8. Rutter, p. 4; Francis King, Sunday Telegraph (17 October 1982); John Barber, Daily Telegraph (14 October 1982); Michael Billington, Guardian (13 October 1982); Irving Wardle, The Times (13 October 1982). 9. Andrew Rissik, Independent (10 September 1987); Eric Shorter, 'Lessons in Marital Politics', Daily Telegraph (10 September 1987). 10. Judith Cook, Women in Shakespeare (London: Harrap, 1980), pp. 124-5; Hugh Kretzmer Daily Express (30 October 1974); M. Shulman, Evening Sandard (30 October 1974); Irving Wardle, The Times (30 October 1974); M. Billington, Guardian (30 October 1974). 11. 1. Wardle, The Times (14 October 1982); M. Coveney, Financial Times (14 April 1983); Gareth Lloyd-Evans, Drama (Spring 1983); Terry Grimley, Birmingham Post (8 January 1983). 12. Janet Watts, Observer Magazine (7 April 1983). 13. John Barber, Daily Telegraph (15 November 1980). 14. Quoted from Constance Babington-Smith, , 3rd edn (Wellingborough: Stephens, 1988), p. 258. 15. Neil Taylor, Plays International (April 1986); Helen Carr, Women's Review Number Two (October 1985); John Peter, The Sunday Times (20 October 1985). 16. Victoria Radin, New Statesman (2 October 1987); 1. Wardle, The Times (1 March 1988). 17. Ian McEwan, The Imitation Game and Other Plays (Boston, Mass.: Houghton Mifflin, 1982), pp. 173-4. 18. Janet Watts, When Women Go to War', Observer Review (20 April 1980); Jennifer Lovelace, The Stage and Television Today (1 May 1980). 19. M. Billington, Guardian (19 November 1981). 20. M. Ratcliffe, Observer (11 November 1984). 21. Peter Kemp, Independent (28 March 1987); Claire Armitstead, Financial Times (27 March 1987); M. Ratcliffe, Observer (29 March 1987). Claire Armitstead's description of Juliet Stevenson's developing performance gives the best account of its uncompromisingly graphic nature. 22. Irving Wardle, The Times (18 November 1981). 23. Irving Wardle, The Times (9 January 1986). When I remarked to Juliet on how many of her characters were, like her Mme de Tourvel in Les Liaisons Dangereuses, under the spell of their love for men, her heartfelt reply was, 284 Notes to Chapter 11 'I spent two years every night, playing people madly and passionately in love and it's terribly knackering. One's experience of life is not always about being in love, but centuries of writing have placed women in plays as being there to represent the heart, while men are there to represent the mind'. 24. Robert Hewison, The Sunday Times (5 February 1989). 25. Bronwen Balmforth, The Sun (17 May 1980); Eric Roberts, Daily Mail (24 May 1980); Patrick O'Neill, 'A Story of Unbridled Passion from Juliet', Daily Mail (3 March 1980). 26. Daily Express (13 May 1981); Sean Day-Lewis, Daily Telegraph (13 May 1981); Russell Davies, The Sunday Times (17 May 1981). 27. Louise Page, 'Power and Beauty', an RSC press release from an unidentified Sunday supplement magazine. Ms Page makes the following interesting statement in the article:

I'm a writer who rewrites during the rehearsal process and in response to what is being brought to my characters by the actors .... Every actress who performs the part of Dorcas plays an element of Josette ... she brought to the part ... a strength and discipline.

28. Georgina Howell, 'Patricia in Pinterland', Sunday Times Magazine (4 Septem- ber 1983). 29. Anne Chisholm, 'The Shooting of Jemima Shore', Observer (29 May 1983). 30. When asked what women have to give directing, Sinead Cusack gave the most concrete answer:

I think it's the human dimension. Very often women will go to the tiny human details out of which come great heroism, great tragedy, great comedy. Generally, male directors come in with a massive concept in which they invite their actors to join and sometimes they can be pushed into the design. Women are much more likely to draw out what their players have to give.

31. Michelene Wandor, Carryon Understudies: Theatre and Sexual Politics (London: Routledge & Kegan Paul, 1986), p. 51, 95. See also Wandor, pp. 47-9, 83-93, 108-12 for an account of the origins, formation and deve- lopment of the Women's Theatre Group. 32. 'The Status of Women in the British Theatre' was initiated and commis- sioned by Sue Parrish, at that time a director of WPT. Later, the study was used as an arguing basis for the 1986 Cork Report entitled 'Theatre Is for All' commissioned by the Arts Council as an inquiry into the professional theatre in England. For more information about the employment of women in the theatre see also Caroline Gardiner, 'What Share of the Cake: The Employment of Women in the English Theatre' (London: Women's Play- house Trust publication, October 1987), p. 11. Maggie Drummond, 'Jobs for the Girls', Daily Telegraph (22 November 1987) and Carol Woddis, 'Hard Slog, Grit and Vision', The Stage and Television Today (12 July 1984). 33. Jules Wright points out that until 1983, when the WPT gained charitable status, the organization operated on no except that provided by its members and had neither a permanent playhouse nor theatre seasons. The WPT has sponsored such award-winning women playwrights as Clare McIntyre, Winsome Pinnock, Sarah Daniels and . 34. Lizbeth Goodman, 'Waiting for Spring to Come Again: Feminist Theatre, 1978 and 1989', New Theatre Quarterly, VI, No. 21 (February 1990) 43-51. Notes to Chapter 11 285 35. Lynn Alderson, 'Writing Our Own History: Feminist Theatricals', Trouble & Strife, XVI (Summer 1989) 52. Quoted comments and publicity material were generously supplied to me by Gillian Hanna, a director of Monstrous Regi- ment, and by its Administrator, Rose Sharp. 36. Wandor, pp. 31-2, 126, 157. In Wandor's view, the images of women pre- sented in drama are still confined by the invisible, servicing female on the one hand, and by the visible, glamorous, or sexually desirable female on the other. They act either as conscience or victim, as male-instructed or isolated in their independence. 37. , an unpublished article entitled 'Women's Playhouse Trust' (1987), pp. 2, 10-11. 38. Harriet Walter, 'Right Out in Front', in Susan Todd (ed.), Women and Theatre: Calling the Shots (London: Faber & Faber, 1984), pp. 2-3, 14-15,22-3. 39. Lynne Edmunds, 'From Sex Symbol to ', Daily Telegraph (15 July 1977). 40. Vera Lustig, 'Soul Searching', Drama Magazine, IV (1988) 15. Harriet Walter disagrees that Hare portrays unstereotypical women. Like many actresses of her generation, she looks more to women dramatists like Caryl Churchill for more recognizably female characters. 41. Her achievement was to show the heroism as well as the stubbornness of an elderly person's struggle to keep her dignity and sense of humour intact in the face of increasing decline and helplessness. Bibliography

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RESTORATION AND EIGHTEENTH CENTURY

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Highfill, Philip Henry, Kalman Burnim and Edward Langhans, A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Per- sonnel: 1660-1800 (Southern Illinois UP, 1973- ). Hill, John, The Actor (London, 1755). Hitchcock, Robert, A Historical View of the Irish Stage, 2 vols (Dublin, 1788-94). Hook, Lucyle, 'Portraits of Elizabeth Barry and Anne Bracegirdle',Theatre Note- book, XV, No.4 (1961) 129-40. Hotson, Leslie, The Commonwealth and Restoration Stage (Cambridge, Mass., 1928). Hughes, Charles, Mrs Piozzi's Thraliana (London, 1913). Hughes, Leo, The Drama's Patrons (Austin, Texas, 1971). Hume, R. D. and J. Milhous (eds), Roscius Anglicanus (London: Society for Theatre Research,1987). Hume, Robert D., The Development of English Drama in the Late 17th Century (Oxford UP, 1976). Hunt, Leigh, Critical Essays on Performers in the London Theatres (London, 1807). --, Dramatic Essays (London, 1894). Jenkin, Fleeming, Papers, Literary, Scientific, etc., (London, 1887). Jerrold, Clare Armstrong, The Story of Mrs Jordan (London: Eveleigh Nash, 1914). Keate, G., Poem to the Memory of Mrs Cibber (London, 1766). Bibliography 289 Kennard, Nina H., Mrs Siddons (London, 1887). Knapp, O. G. (ed.), An Artist's Love Story (London, 1904). --, Intimate Letters of H. Piozzi and Penelope Pennington (London, 1914). Lamb, Charles, Dramatic Essays (London, 1891). --, Essays of Elia 2 vols (London, 1929). --, The Works of C. Lamb: Critical Essays (London: Dent, 1914). Langbaine, Gerard, The Lives and Characters of the English Dramatic Poets (Oxford, 1691). --, The Life of Mr (London, 1710). Lanier, Henry Wysham, The First English Actresses: 1660-1700 (New York, 1930). Lawrence, W. J., 'The Real Peg Woffington', The Connoisseur, VIII, No. 27 (January 1904) 42-4. Leigh, James Henry, The New Rosciad (London, 1785). Lennox, Lord William Pitt, Plays, Players, and Playhouses, 2 vols (London, 1881). Lewes, Charles Lee, Memoirs (London, 1805). Littlewood, S. R., and Her Circle (London, 1921). Lord, George de F. (ed.), Poems on Affairs of State: Augustan Satirical Verse: 1660-1714 (New Haven, Conn. and London, Yale UP, 1963). Lucey, Janet Camden, Lovely Peggy (London: Hurst & Blackett, 1952). Luttrell, Narcissus, A Brief Historical Relation of State Affairs, 6 vols (Oxford: Clarendon Press, 1857). Mackenzie, Kathleen, The Great Sarah (London, 1968). McAfee, Helen, Pepys on the Restoration Stage (Oxford: UP, and New Haven, Conn.: Yale UP, 1916). Manvell, Roger, Elizabeth Inchbald (London, 1988). --, Sarah Siddons: Portrait of an Actress (London: Heinemann, 1970). Melville, Lewis, Nell Gwyn: The Story of Her Life (London, 1923). Milhous, Judith, 'Elizabeth Bowtell and Elizabeth Davenport: Some Puzzles Solved', Theatre Notebook, XXXIX, No.3 (1985) 124-34. Molloy, J. Fitzgerald, The Life and Adventures of Peg Woffington, 2 vols (London, 1884). Morgan, Fidelis, The Well-Known Troublemaker (London: Faber, 1988). Murphy, A., The Life of Garrick (London, 1801). Nicoll, Allardyce, A History of English Drama: 1660-1900, 7 vols, 4th edn (Cam- bridge, UP, 1961). --, The Garrick Stage (Manchester, 1980). Otway, Thomas, Venice Preserved (Exeter, 1885). Oulton, W. c., A History of the Theatres of London, 3 vols (London, 1796). Parsons, F. M., The Incomparable Siddons (London, 1909). Pattison, Mark (ed.), Pope's Satires and Epistles (Oxford, 1872). Pearce, C. E., The Jolly Duchess Harriot Mellon (London, 1915). Pearson, Jacqueline, The Prostituted Muse: Images of Women and Women Dramatists: 1642-1737 (Brighton: Harvester Wheatsheaf, 1988). Pepys, Samuel, Diaries, Robert Latham and William Matthews (eds) 10 vols (London, 1972-83). Powell, Jocelyn, Restoration Theatre Production (London: Routledge, 1984). Price, Cecil, 'John Ward, Stroller', Theatre Notebook, vol. I (January 1946) 10-12. --, Theatre in the Age of Garrick (Oxford: Blackwell, 1973). Ralph, James, The Case of Our Present Theatrical Disputes (London, 1743). Ricks, Christopher, English Drama to 1710 (London: Barrie & Jenkins, 1977). Robins, Edward, Twelve Great Actresses (New York, 1900). Robinson, Mary (alias Anne Frances Randall), A Letter to the Women of England on the Injustice of Mental Subordination, 2nd edn (London, 1799). 290 Bibliography --, Memoirs of the LAte Mary Robinson, by herself, 2 vols (London, 1803); M. E. Robinson (ed.) 2nd edn (Philadelphia: Lippincott, 1894); 3rd edn (London: Cobden Sanderson, 1930). Rosenfeld, Sybil, Strolling Players and Drama in the Provinces: 1660-1765 (Cam- bridge, 1939). Rothstein, Eric, Restoration Tragedy: Form and the Process of Change (Madison, 1967). Rowe, Nicholas, Jane Shore (Dublin, 1714). --, The Fair Penitent (London, 1703). Royde-Smith, Naomi, The Private Life of Mrs Siddons (London, 1933). Ruffin, John, The Rhetorlogue (London, 1922). Saintsbury, G. (ed.), Works of John Dryden, 18 vols (Edinburgh, 1882-93). Scouten, A. H., Revels History of Drama in English, vol. V (London: Methuen, 1978). Sergeant, Philip Walsingham, Mrs Jordan, Child of Nature (London, 1913). Shafer, Robert (ed.), Jeremy Collier's Essays', 17th Century Studies, 2nd Series (1937) 179-285. Smith, J. H., The Gay Couple in Restoration Comedy (Cambridge, Mass., 1948). Southern, Richard, The Georgian Playhouse (London, 1948). Sprague, A. c., Shakespearean Players and Performances (Cambridge, Mass.: Harvard UP, 1954). Steele, Elizabeth, The Memoirs of Sophia Baddeley, 3 vols (Dublin, 1787). Styan, J. L., Restoration Comedy in Performance (Cambridge: UP, 1986). Summers, Montague, The Playhouse of Pepys (London, 1935). --, The Restoration Theatre (London, 1934). Thaler, Alwin, Shakespeare to Sheridan (Cambridge, Mass., 1922). Thompson, Edward, The Meretriciad (London, 1763). Tomlins, F. 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EARLY NINETEENTH CENTURY AND VICTORIAN

A Lady, An Appeal to the Women of England to Discourage the Stage (London, 1855). Anonymous, 'Actress Between Two Schools: The Case of Madge Kendal', Speech Monographs, XI (1944) 105-14. Anonymous, 'An Examination of the Plays Produced by Mme Vestris during her Management of the Olympic Theatre in London from Jan. 3 1831 to May 31 1839', Theatre Survey, X, No.2 (November 1969). Anonymous, 'The Actress: Her Position and Her Influence on Society', The Theat- rical Times, I (29 August 1846). Bibliography 291 Appleton, William W., Mme Vestris and the London Stage (New York: Columbia UP, 1974). Archer, William, , Actor and Manager (London, 1883). Armstrong, Margaret, Fanny Kemble, A Passionate Victorian (London: Macmillan, 1938). Armstrong, William, 'Mme Vestris: A Centenary Appreciation', Theatre Notebook, XI (Autumn 1956). Auerbach, Nina, Ellen Terry: Player in Her Time (London: 1987). Baker, Michael, The Rise of the Victorian Actor (London: Croom Helm, 1978). 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Heaven, Constance, Bright Star, A Portrait of Ellen Terry (London, 1971). Hiatt, Charles, Ellen Terry and Her Impersonations: An Appreciation (London: George Bell, 1898). Hudson, W. H., The Church and the Stage (London, 1886). Hughes, Alan, 'The Lyceum Staff: A Victorian Theatrical Organization', Theatre Notebook, No.1 (1974) 16. Irving, Laurence Henry F., Henry Irving, the Actor and His World (London, 1951). Jackson, Russell, "'Perfect Types of Womanhood": Rosalind, Beatrice and Viola in Victorian Criticism and Performance', Shakespeare Survey, XXXII (1979) 15-26. James, Henry, The Scenic Art: Notes on Acting and the Drama: 1872-1901 (London: Hart-Davis, 1949). --, The Tragic Muse (New York: Harper, 1960). Jewsbury, Geraldine, The Half-Sisters, 2 vols (London, 1848). Jones, c. I., Memoirs of Miss O'Neill (London, 1816). 292 Bibliography Kemble, Fanny, Further Records of a Girlhood: 1843-83, 3 vols (London: Richard Bentley, 1890). --, Journal of a Visit to the U.S., 2 vols (New York: Benjamin Blom, 1970). --, Journal of Residence on a Georgia Plantation in 1838-39, J. A. Scott (ed.), (London, 1961). --, Notes Upon Some of Shakespeare's Plays (Woodchester, 1882). --, Record of a Girlhood, 3 vols (London, 1878). Kendal, Madge, Dame Madge Kendal, by Herself (London: Murray, 1933). --, Dramatic Opinions (Woodchester, 1925). --, The Drama (London, 1884). Kent, Christopher, 'Image and Reality: The Actress and Society', A Widening Sphere: Changing Roles of Victorian Women, Martha Vicinus (ed.), (Bloomington & London, Indiana UP, 1977), pp. 94-116. Kleb, William, 'Marie Wilton (Lady Bancroft) as an Actress', Theatre Survey, XX (May 1979) 43-79. Lennox, Lord William Pitt, Plays, Players, and Playhouses, 2 vols (London, 1881). Lewes, G. 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Rowell, George, 'Misleading Ladies', Theatre Notebook, XLII, No.3 (1988) 126-32. --, The Victorian Theatre: 1792-1914, 2nd edn (Oxford, 1956). Shaw, G. B., Dramatic Opinions and Essays (London, 1907). Shaw, Bernard, Our Theatres in the Nineties (London, 1932). Smith, Edward Percy, Remember Ellen Terry and Edith Craig (London: English Theatre Guild, 1948). Bibliography 293

Sprague, A. C. and Bertram Shuttleworth, The London Theatre in the 1830s (London, 1950). St John, Christopher (ed.), Ellen Terry and Bernard Shaw: A Correspondence (London: Constable, 1931). Stokes, Margaret, 'Helen Faucit', Blackwoods Magazine (December 1885). Terry, Ellen, Four Lectures on Shakespeare, Christopher St John (ed.), (London, 1932). --, The Story of My Life (Woodbridge, Suffolk: Boydell Press, 1908). Thompson, Patricia B., The Victorian Heroine: 1837-73 (London, 1956). Tolles, Winton, Tom Taylor and the Victorian Drama (New York: Columbia UP, 1940). Vicinus, Martha (ed.), A Widening Sphere: Changing Roles of Victorian Women (Bloomington & London: Indiana UP, 1977). Waitzkin, Leo, The Witch of Wych St: A Study of the Theatrical Reforms of Mme Vestris (Cambridge, Mass.: Harvard UP, 1933). West, E. T., The London Stage: 1870-90, A Study in the Conflict of the Old and New Schools of Acting (University of Colorado Studies, Series B, 21943). Williams, C. John, Mme Vestris: A Theatrical Biography (London: Sidgwick & Jackson, 1973). Winter, William, Ada Rehan, 2nd end (New York, 1891). Woolf, Virginia, 'Ellen Terry', Collected Essays, vol. IV (London, 1967).

TWENTIETH CENTURY

Addenbrooke, David, The Royal Shakespeare Company: The Peter Hall Years (London, 1974). Agate, James, First Nights (London, 1934). --, More First Nights (London, 1937). --, The Selective Ego (London: Harrap, 1976). Alderson, Lynn, 'Writing Our Own History: Feminist Theatricals', Trouble and Strife, XVI (Summer 1989) 47-52. Aldrich, R. S., Gertrude, Lawrence as Mrs A. (London: Companion Book Club, 1957). Ashcroft, Peggy, Guardian Lecture (with Michael Billington), National Film Theatre, 15 December 1985. --, 'Introduction' to King Henry VI (London: Folio Society, 1967). --, 'Playing Shakespeare', Shakespeare Survey, XL (1987) 11-19. Ashwell, Lena, Myself A Player (London: Michael Joseph, 1936). --, Reflections From Shakespeare (London, 1926). --, The Stage (London: Geoffrey Bles, 1929). Bain, K. B. F. (ed.), English Stage Company (Ambergate, 1981). Baker, Felix, The Oliviers (London, 1953). Barrow, Kenneth, Flora: An Appreciation of the Life and Work of Dame Flora Robson (London, 1981). Batters, Jean, Edith Evans: A Personal Memoir (London: Gollancz, 1977). Beauman, Sally, The Royal Shakespeare Company (Oxford UP, 1982). Billington, Michael, The Modern Actor (London, 1973). --, Peggy Ashcroft (London: Murray, 1988). --, post-production script for Dame Peggy: A Portrait of Peggy Ashcroft (Landseer, for Channel 4, 24 December 1987). Bolitho, Henry Hector, Marie Tempest (London: Cobden Sanderson, 1936). Branagh, Kenneth, Beginning (London: Chatto & Windus, 1989). 294 Bibliography

Brockbank, P., R. Jackson and R. Smallwood, Players of Shakespeare, 2 vols (Cam- bridge, 1985, 1988). Campbell, Mrs Patrick, My Life and Some Letters (London: Hutchinson, 1922). Case, Sue-Ellen, Feminism and Theatre (London: Macmillan, 1988). Casson, John, Lewis and Sybil: A Memoir (London: Collins, 1972). Conference Papers: 1979-81, Standing Conference of Women Theatre Directors and Administrators (London, 1981). Cook, Judith, The National Theatre (London, 1976). Cooper, Gladys, Gladys Cooper (London: Hutchinson, 1931). Darlington, W. A., The Actor and His Audience (London, 1949). David, Richard William, Shakespeare in the Theatre (Cambridge, 1978). Dent, A. H., Mrs Patrick Campbell (London: Gollancz, 1961). --(ed.), Bernard Shaw and Mrs Patrick Campbell: Their Correspondence (London, 1952). Dunbar, Janet, Flora Robson (London: Harrap, 1960). 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Wardle, Irving, The Theatres of (London: Cape, 1978). Webster, Margaret, The Same Only Different (London, 1969). Wells, Stanley, Royal Shakespeare (Manchester, 1977). Wilcox, Anna Neagle, It's Been Fun (London, 1949). Wilcox, Marjorie, There's Always Tomorrow (London, 1974). Woodfield, James, English Theatre in Transition (London, 1984). 296 Bibliography

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LIST OF NEWSPAPERS AND PERIODICALS CONSULTED

Blackwood's Magazine Plays International Country Life Plays and Players Daily Mail Radio Times Daily Telegraph Sight and Sound Drama The Stage and Television Today Encore Stratford-upon-Avon Herald Era Almanack The Sun Evening Standard Sunday Times Magazine Financial Times The Theatre Gentleman's Magazine Theatrical Times Guardian Theatre Notebook Harpers & Queen Time & Tide Independent Time Magazine Listener The Times London Theatre Record Times Literary Supplement National & English Review University of Colorado Studies New Statesman Victoria Magazine New Theatre Quarterly Women's Review Notes & Queries The Year's Work in the Theatre Observer

PERSONAL INTERVIEWS

Dame Peggy Ashcroft 12 May 1988 Sinead Cusack 26 January 1988 Dame Gwen Ffrangcon-Davies 29 September 1988 Patricia Hodge 15 March 1988 Barbara Jefford 13 October 1987 Geraldine McEwan 2 February 1988 Athene Seyler 24 October 1988 20 October 1988 Juliet Stevenson 3 December 1987 13 March 1991 30 June 1991 Janet Suzman 17 January 1989 15 July 1988 Harriet Walter 19 May 1988 12 January 1990 Dr Jules Wright 12 October 1989 Index

Abbey, Henry E., 130 279 (n.35); Films: in The Wars of the Roses, Abbey Theatre, Dublin, 231 199; in Edward and Mrs Simpson, Caught Abington, Frances (Barton), 45, 47, 48, in a Train, Cream in My Coffee, 199; in The 53-4, 62-3, 66, 70, 71, 73; in The Jewel in the Crown, 199-200; in A Passage Recruiting Officer, High Life Below Stairs, to India, She's Been Away, 200; in When The Beaux' Stratagem, Much Ado About the Wind Blows, 203 Nothing, 48; in School for Scandal, 48, 51 Ashwell, Lena, 138, 159, 166, 168, 169, 170; Abington, James, 47 in Frou Frou, 139, 157; Lena Ashwell Ackland, Rodney, 186 Players, 158; Writings: The Stage, 149, Actress's Franchise League, 167, 168 157; Reflections From Shakespeare, 166, 280 , 103 (n.51) Agate, James, 160, 178 Association of Actors, 10 Ainley, Henry, 173 Atkins, Eileen, 259 Albee, Edward, 195, 198 Aungier St Theatre, 28 Albery, Bronson, 187, 192 Alchemist, The, 29 Baddeley, Robert, 45 Aldrich, Richard, 168, 169 Baddeley, Sophia, 45, 64, 66, 71; in , Alexander, George, 140, 151, 156 47 Alvarez, A., 148 Bagnold, Enid, 180, 197 Anderson, Mary, 219 Baillie, Joanna, Jane de Montfort, 85 Apollo Society, 202 Bancroft, Marie (Wilton), 91, 105, 106, 139, Archer, William, 138, 141, 196 144 Argalus and Parthenia, 4 Bancroft, Sir Squire, 105, 119 Argyll Rooms, 78 Banks, John, 35 Armstrong, Alun, 239 Barber, John, 241 Arts Council, 203 Barrie, George, 226 Ashcroft, Peggy, 146, 189-204, 208, 213, Barrie, J. M., Alice-Sit-By-The Fire, 123, 147 229,234,252; in As You Like It, 189, 190, Barry, Anne (Dancer, Crawford) Spranger, 196; in , 189; in The Merchant 46, 47, 56, 57, 58, 81; in The Orphan, of Venice, 189, 190, 196, 202; in Jew Suss, Orphan of China, Medea, 49, 52-3; in 189; in Othello, 189-90, 195, 197, 198, 202; Venice Preserved, 52-3; in The Mourning in , , 190; in Bride, 57; in , 63 , 190, 196; in Friiulein Elsa, The Barry, Elizabeth, 6, 7, 9, 12, 13, 14, 15,25, , The Importance of Being 262 (n.28), 263 (n.36); in The Rival Queens Earnest, 191; in , 191, 198; in A 10; in Caius Marius, 14; in Venice Midsummer Night's Dream, The Duchess of Preserved, 15 Malfi, , , 192; Barry, Spranger, 47, 56, 57, 63 in Hamlet, 192, 195; in Edward, My Son, Barton, John, 197,207,208 192,278; in King Lear, Much Ado About Bates, Alan, 147 Nothing, 193, 195--6; in She Stoops to Bath, 80, 82, 88, 92 Conquer, 194; in Electra, Antony and Baylis, Lilian, 152, 166, 182, 190 Cleopatra, 195; The Good Woman of Beaton, Cecil, 152 Setzuan, 195, 197 in Hedda Gabler, Caesar Beaumont, Binkie, 183, 192 and Cleopatra, 196; in The Winter's Tale, Beaumont, Sir Francis, 24, 27 197; in , 197, 238; Beckett, Samuel, 195, 198 in The Chalk Garden, 197,279 (n.44); in Beef-Steak Club, The, 25, 27 The Wars of the Roses, 197-8; in All's Well, Beggar's Bush, The, 3 198,201,279, (n.44); in , A Behn, Aphra, The Feigned Courtezan, 22; The Slight Ache, A Delicate Balance, Watch on Lucky Chance, 226, 252 the Rhine, Days in the Trees, The Lovers of Bell, Prof. G. J., 76-7 Viorne, , 198; in John Gabriel Bellamy, George Anne, 29, 54, 56, 57, 72, Borkman, 198; in The Wandering Jew, 263 (n.36); in The Mourning Bride, 31; 45; 198-9; in Romersholm; in Age of Kings, in The Provok'd Wife, 47-8, 49; in Venice

297 298 Index Bellamy - continued Gabler, 142; in George Sand, 142; in Preserved, 52-3; in King Lear, 53, 57; in , 143, 162; in Deirdre of the , 55; in Romeo and Juliet, 56-7; Sorrows, 150; in Nelson's Enchantress, 153; in The Rival Queens, 58; in All for Love, produces Carolyon Sahib, 156; and G.B. 58-9; in Macbeth, 63 Shaw, 162-3; Writings: My Life and Some Benthall, Michael, 206 Letters, 164; 'Diction and the Dramatic Bernard, John, 48 Art', 164 Berry, Cicely, 206 Campbell, Thomas, 59, 73, 74, 85, 86 Betterton, Mary (Saunderson), 8, 15 Carew, James, 130, 131 Betterton, Thomas, 8,9,25,30,73 Carroll, Madeline, 191 Bibby, Thomas, 46, 47 Casson, Lewis, 175, 176, 181, 185, 186, 187 Billington, Michael, 189, 192, 195, 196, 199, Catley, Anne, 70 203,233,236 Celeste-Elliott, Mme, 103 Bland, Frances, 45 CEMA (Council for the Encouragement of Bluestockings, 79 Music and the Arts), 176 Boaden,James,49,53,70,80-1,88 Central School of Speech and Drama, 139 Bogdanov, Michael, English Shakespeare Charke, Charlotte, 24, 42, 44; in Jane Shore Co., 251 and The Distress'd Mother, 26; in The Booth, Guy, 185-6 Beggar's Opera and The Humours of Sir Boucicault, Dion, 143, 160, 161 John Falstaff, 27; 49; in Hamlet, 49; Bowler, Chris, 254 writings: The Art of Management, 33, 41; Bowtell (or Boutel), Elizabeth,S, 12, 262 The Battle of the Poets, 36; Narrative of the (n.21); in The Rival Queens, 10 Life of Mrs Charlotte Charke, 36, 41; The Bracegirdle, Anne, 6, 7, 9, 12-13, 14, 15,22, Carnival of Harlequin Blunderer and Tit for 25,99-100,262 (n.52 and n.53); in The Tat, or the Comedy and Tragedy at War, 41 Squire of Alsatia, Othello, Love for Love, Charles II, 2, 3, 6, 10, 19, 20, 21, 22, 23, 160 The Mourning Bride, , Charlot, Andre, 140 The Richmond Heiress, 14 Chekhov, Anton, 118, 191 Branagh, Kenneth, Renaissance Theatre Cheltenham, 73 Co., 225, 251 Chester passion plays, 1 Brand, Thomas, 1 Chetwood, William,24,25,39 Brenton, Howard, 258 Churchill, Caryl, 254, 258, 259, 285 (n.40) British Actors' Association, 104 Churchill, Charles, The New Rosciad, 51 Brook, Peter, 205, 207, 214, 215, 216 Churchill, Winston, 135-6 Brooke, Frances, 55 Cibber, Colley, 2, 6, 7, 8, 10, 12, 19, 22, 24, Browne, Maurice, 189 25,26,30,33,42,43 Brunton, Anne, 45; in The Grecian Daughter, Cibber, Susanna Maria, 24, 33, 34, 35, 36, 47-8 37,42,43,49,54,57-8,71,80-1,266 Brunton, Louise, 45 (n.12 and n.17); in Opera of Operas and Bulwer Lytton, Edward, 122-3 Amelia, 25; in Romeo and Juliet and King Bunbury, Sir Charles, 67 John, 29; in The Fair Penitent, 30; in Dido, Butler, Pierce, 110, 112 32; in Hamlet, 39; in The Orphan, 49 Buckhurst, Charles Sackville, Lord, 18, 19 Cibber, Theophilus, 29, 32, 35, 83 Buckingham, the Duke of, 19 Clarence, The Duke of, 54, 64-5 Burney, Fanny, Evelina, 67 Clive, Catherine (Raftor), 24, 25, 32, 33, 34, Butler, Charlotte, 6, 8 35, 37-8, 39-40; in The Devil to Pay, in Byam-Shaw, Glen, 189, 193, 196 The Mourning Bride, 29, 31; in Deborah Byron, Lord William, 60 and The Intriguing Chambermaid, 40; in Byron, George Gordon, Lord, 87 Love in a Riddle, 41; writings: The Rehearsal, or Bayes in Petticoats, Sketch of a Campbell, Patrick, 161 Fine Lady's Rout, 41, 44,51-2,266-7 Campbell, Mrs Patrick (Beatrice Stella), (n.26) 102, 135, 138, 139, 149, 151, 153, 157, 159, Coghill, Nevill, 192 161,170,196; in The Second Mrs Coleman, Catherine, in The Siege of Rhodes, 3 Tanqueray, 14-1, 151, 152; in Romeo and Collier, Jeremy, 15 Juliet, 141, 153; in Macbeth, 141-2, 150; in Coleridge, Samuel T., 18, 85 The Notorious Mrs Ebbsmith, 142, 153; in Colman, George, 47, 88 Sudermann's Magda, 142; in Hedda Conscious Lovers, The,24 Index 299

Conti, Italia, 139 Directs: , 225 Corey, Katherine, 3; in Cataline, 12; in The Derby, Earl of, 60, 61 Plain Dealer, 14,263 (n.46) Devil to Pay, The, 29 Cooper, Gladys, 138, 139, 156-7, 150-1, 161, Devine, George, 189, 190, 191, 193, 195, 197 169, 170; in , Digges, West, in Macbeth, 63 152; produces , 157; produces Dionisetti, Paola, in The Taming of the The Last Mrs Cheney, 163-4 Shrew, 239 Cornwallis-West, George, 161-2 Dodd, James William, 46 Coutts, Thomas, 55, 57,58 Donat, Robert, 148 Coward, Noel, 140, 144, 145, 150, 163, 169; doubled female roles, 3 , 145 Downrnan, John, 69 Covent Garden, 25, 27, 29, 92, 93, 95, 99, Downie, Penny, 242; in The Plantagenets, 108, 109 279 (n.35) Coventry, Sir John, 10 Drake, Fabia, 160 Craig, Edith, 136, 158; the Pioneer Players: Drogheda Theatre, 91 158, 167; produces The First Actress, The Drury Lane Theatre, 24, 25, 28, 29, 32, 33, Hostage, 158, 182-3 34,43,44,56,57,60,73,78,79,95,98,99, Craig, Edward Gordon, 129, 131 103,108 Crow St Theatre, Dublin, 45, 63, 92 Dryden, John, 22 Curzon, Frank, 156 Duncan, Lindsay, 245 Cusack family, the: Niamh, Sorcha and Duras, Marguerite, 198 Cyril,231 Duse, Eleanora, 151 Cusack, Sinead, 231, 241, 255, 257; in The Taming of the Shrew, 239; in Much Ado Edgeworth, Maria, 85 About Nothing, 240; in Macbeth, 240; Edwardes, George, 144, 152 Films: in The Hen-House, 259, 284 (n.3O) Ellerslie, Anne, 90, 105 Emery, Winifred, 139 Dalton, Timothy, 213 Enders, Bob, 226 Daly, Richard, 57 English Shakespeare Company, see Michael Daly's Theatre, 144, 152 Bogdanov Dancer, William, 47, 63 ENSA (Entertainment National Service Darlington, W. A., 175 Association), 169-76 Davenant, William, The Duke's Company, 3 Entertainment Tax, 156, 158 Davenport, Elizabeth,S, 262 (n.21) Erskine, Lord Thomas, 86 Davenport, Hester, in The Siege of Rhodes, 9 Ervine, St John, 184 Davies, Mary (Moll), 10; in The English Etherege, Sir George, 14 Princess, 9 Evans, Edith, 139, 145, 146, 171, 172-88, Davies, Thomas, 51 190,191,197,201,202,213,228; in Much Dean, Basil, 139 Ado, Troilus and Cressida, 172; in Elizabeth DeCamp, Marie-Therese, 91 Cooper, , The Laughing Dench, Judi, 206, 218, 229, 259, 281 (n.44); Lady, 177; in Romeo and Juliet, 177, 179, in Hamlet, 206; in Romeo and Juliet, A 186; in , As Far as Midsummer Night's Dream, Measure for Thought Can Reach, The Way of the World, Measure, St Joan, 218; in Rules of the The Beaux' Stratagem 178; in The Late Game, The Promise, The Taming of the Christopher Bean, Evensong, The Seagull, Shrew, Cabaret, A Comedy of Errors, The Daphne Laureola, 179; in Waters of the Three Sisters, The Winter's Tale, Twelfth Moon, 179-80; in The Importance of Being Night, 219; in Much Ado About Nothing, Earnest, 179, 181, 188; in The Chalk 220; in Macbeth, Antony and Cleopatra, Garden, 180; in All's Well, 279 (n.44), 281 The Country Wife, Private Lives, The Way (n.44); in As You Like It, 181-2, 184; in of the World, 220; in The Importance of The Lady in Law, , Being Earnest, , Juno The Taming of the Shrew, Heartbreak and the Paycock, Pack of Lies, Mother House, 183, 277 (n.10); in Robert's Wife, Courage, 221; Films: in Age of Kings, 184; in The Old Ladies, 186; Films: Look , A Fine Romance, The Importance Back in Anger, , 180 of Being Earnest, Talking to a Stranger, On Eyre, Richard, 230 Giants' Shoulders, Going Gently, Branagh's Henry V, Behaving Badly, 222; Farquhar, George, 24, 27 300 Index

Farren, Elizabeth, 51, 60, 72; in The Sultan Grundy, Sidney, A White Lie, 113 and The Provok'd Husband, 26 Guthrie, Tyrone, 176, 188, 189 Faucit, Helen, 91, 93, 103-4, 107, 112, 115, Gwyn, Nell,S, 10, 15, 16-23,61, 158, 264 273 (n.46); in Romeo and Juliet, 92, 99, (n.61 & n.63), 265 (n.72 & n.77); in The 108; in The Hunchback, 92, 99; in As You Maiden Queen, 9; in The Indian Emperor, Like It, 97,107; in Othello, Hamlet, King The English Monsieur, The Humorous John, 97; in The Winter's Tale, 98, 107; in Lieutenant, Secret Love, 17; in Tyrannic Macbeth, 98-9, 107; Browning's Colombe's Love, 17-18; in Demoiselles ii la Mode, The Birthday, 113; in Browning's Strafford, Conquest of Granada, The Mad Couple, 18; Blot on the Scutcheon, 114; Writings: Notes sons: James Beauclerk, 19 and Charles on Shakepeare's Female Characters, 96--8, Beauclerk 19, 20, 23 110 Fenton, James, 234 Haggard, Stephen, 165 Fenton, Lavinia, 30; in The Beggar's Opera, Halflang, Comte de, 63 25,30,38 Hall, Peter, 194, 203, 205, 211 Fielding, Henry, 40 Hamilton, William, 86 Fleetwood, Charles, 33, 34, 35 Hamilton, Esther, 31; in The Rival Queens, Fogarty, Elsie, see Central School of Speech 58 and Drama Hancock, Sheila, 226 Forbes, Bryan, 170, 179 Hands, Terry, 194, 208 Forbes-Robertson, Johnston, 153, 156, 161, Hangar, John, 64 163, 164, 167; in Romeo and Juliet, 141 Hanna, Gillian, 254, 255 Fox, Charles James, 62 Hare, David, 258-9, 285 (nAO) Ffrangcon, Davies, Gwen, 138, 154-5, 191, Hare, John, Court Theatre, 125, 139, 143 203; in Romeo and Juliet, The Three Sisters, Harris, Thomas, 54, 55 Much Ado About Nothing, The Chalk Hart, Charles, 2, 18, 23, 264 (n.63) Garden, The Importance of Being Earnest, Hart-Davies, Rupert, 194 146; in Macbeth, 146-7; in Long Day's Haymarket Opera House, 55 Journey Into Night, 147; Writing: 'English Haymarket Theatre, 32, 33, 34, 105, 153 Acting Today: The Player's View', 166-7 Haymarket Theatre, Leicester, 231 Fraser, Antonia, 249 Hellman, Lillian, 198 Frith, Moll (alias Cutpurse), 1 Her Infinite Variety, 203 Frohman, Charles, 182 Hewison, Robert, 246 Furnival, Mrs, 55; in All for Love, 58-9 Hiatt, Charles, 121 Hill, John, 53 Gainsborough, Sir Thomas, 86 Hill, Capt. Richard, 13 Galindo, Catherine, 83-4 Hiller, Wendy, 198 Galindo, P., 83 Hird, Thora, in , 259 Garrick, David, 29, 30, 31, 34, 37,47, 51, His Majesty's Theatre, 139 53--4, 55, 56, 57, 64, 73, 78, 80, 87, 101, Hobson, Harold, 280 (n.51) 153; in Beatrice and Benedict and Dido, 32 Hodge, Patricia, 231, 248, 257, 260; in Noel George III, 84 & Gertie, 248; Films: in , Rumpole, Gielgud, John, 146, 181, 189, 190, 191, 192, Jemima Shore, Edward and Mrs Simpson, 193,195 248-9 Gilliatt, Penelope, 214 Holloway, Joseph, 150 Gingold, Hermione, 172 Hitchcock, Robert, 28 Glover, Julia, 91, 92, 95, 111, 115; in Venice Horniman, Annie, 173, 188 Preserved, Measure for Measure, 92; in Hoskyns, Tam, 225 Richard III, 91; in King Lear, King John, Hughes, Margaret, in Othello, 3 Tom Thumb, 95 Hunt, Holman, 132 Godwin, William, 73 Hunt, Leigh, 50, 52, 70-1 Goldsmith, Oliver, 24 Hussey, John, 46 Goodbody, Buzz,225 Hutchinson, Jeremy, 194-5 Gordon-Lennox, Cosmo, 160 Goring, Marius, 190 Ibsen, Henrik, 91, 118, 123, 128, 129, 140, Granville-Barker, Harley, 142, 153-4, 182 150 Grath, John, 230 Inchbald, Elizabeth (Simpson), 45, 46, 48, Greet, Ben, 173 52, 54, 60, 65--6, 67; in Henry VIII, Hamlet, Index 301

49; in The Beggar's Opera, 49-50; Writings: Daughter, 106-7; in Henry VIII, 108; The Wedding Day, A Mogul Tale, A Simple Writings: Notes Upon Some of Story, 67; Such Things Are, Nature and Shakespeare's Plays, An English Tragedy, Art, 67-8; Everyone Has His Fault, 69, 269, 110; Journal of a Residence on a Georgia (n.68) Plantation, 110 Irons, Jeremy, 257 Kemble, John Philip, 78, 81, 148; in Hamlet, Irving, Henry, 103, 115, 118-9, 120, 122, 54, 56, 60, 74 123, 125, 126, 127, 128, 132, 135; in The Kendal, Madge, 91, 103, 106, 111, 113, 116, Taming of the Shrew, 118-19; in Merchant 139,149,273 (n.46); in The Struggle for of Venice, 127; in Macbeth, The Winter's Gold, 92; in Uncle Tom's Cabin, 93; in A Tale and Twelfth Night, 122; in Hamlet, Midsummer Night's Dream, New Men and 126; in The Man of Destiny, 128, 138, 196 Old Acres, Coralie, The Lady of Lyons, The Second Mrs Tanqueray, 102; in Pygmalion Jackson, Glenda, 205, 214, 215, 221; 226, and Galatea, 106; A White Lie, 113; in 229,252; in All Kinds of Men, 205; in Uncle's Will, , 114; Writings: Hamlet, 214; in Antony and Cleopatra, Dramatic Opinions, 105, 110; 'The 214-15; in The Public Bath, 215; in Maratl Drama', 116-17 Sade, 215-16; in Brook's US, The Maids, Kendal, Sir William, 103, 113 Hedda Gabler, Stevie, 216; Films: in This Kennedy, Jacqueline, 215 Sporting Life, 216; in Women in Love, Keown, Eric, 190, 196 216-17; in The Music Lovers, Sakharov, Killigrew, Thomas, King's Company, 2, 3, 4 Elizabeth R, 217; in Stevie, 259 King, Thomas, 51 James II, 21-2 King's Theatre, Haymarket, 93 James, Geraldine, 200 Kingsley, Ben, 248 James, Henry, The Tragic Muse, 109-10 Kingsway Theatre, 157 Jefford, Barbara, 205, 229; in Measure for Kneller, Sir Godfrey, 15 Measure, 205, 207, 280 (n.2); in The Knepp, Mary, 5, 13, 18 Taming of the Shrew, 207; in Antony and Knight, Joseph, 123 Cleopatra, 207-8; in All for Love, Henry VI Komisarjevsky, Theodore, 155, 179, 189, trilogy, Romeo and Juliet, Hamlet, 208; in 190,191, 193, 194 , 208-9; in St Joan, The Kynaston, Edward, 2, 23; in The Loyal Browning Version, Mourning Becomes Subject, The Silent Woman, 2 Electra, Capt. Brassbound's Conversion, The Government Inspector, Labours of Love, 209 Lacy, James, 32, 34, 54 Jewsbury, Geraldine, The Half-Sisters, Lacy, William, 120, 126 109-10 Lally, Gwen, 189 Johnson, Richard, 196 Lamb, Charles, 68, 85 Johnson, Samuel, 40, 85 LAMDA (London Academy of Music and Joint Stock Community Theatre, 230, 253 Dramatic Arts), 206, 230, 231 Jones, H. A., 140 Lang, Matheson, 189 Jonson, Ben, 29 Lansdowne, 76 Jordan, Dorothy, 34, 45, 46, 48, 52, 54; in Latham, James, 41 The Country Girl, 48; in The Romp, Twelfth Lawrence, Gertrude, 139, 145, 168-9,231; Night, The Spoil'd Child, 50; in The in Private Lives, Tonight at 8.30, Hands Soldier's Daughter, 51; in Hamlet, 54; in As Across the Sea, 145 You Like It and Cymbe/ine, 59; in Pizarro, Lawrence, Sir Thomas, 68, 82, 83 60; in The Clandestine Marriage, 62 Lee, Mary Aldridge (Lady Slingsby), 4 Leigh, James Henry, The New Rosciad, 51 Kani, John, 227 Leigh, Mrs, 262 (n.29 & n.32) Kean family, the, 155 Lely, Sir Peter, 15, 23 Kean, Charles, 114, 115 Lena Ashwell Players, see Ashwell, Lena Kean, Edmund, 92, 118 Levin, Bernard, 227 Keeley, Fanny, 103 Licensing Act of 1713, The, 41 Kelly, Charles, 131 Lion, Leon M., 183 Kemble family, the, 155 Littlewood, Joan, 225 Kemble, Charles, 80, 91, 94, 103 Litvin, Natasha, see Apollo Society Kemble, Fanny, 91, 101, 106, 114, 115; in London Pantheon, 71 Romeo and Juliet, 91, 93; in The Grecian Lord Chamberlain, 2, 9 302 Index

Lyceum, 98, 103, 105, 141, 149, 158 Neagle, Anna, 212, 277 (n.9) Neilson, Julia, 138, 139, 153, 155, 156, 160, Macklin, Charles, 33, 37, 57 170; in Sweet Nell, 170 Macready, William, 82, 94, 103, 108, 115, Neville, John, Nottingham Playhouse, 229 153 New Theatre, 155 Maileson, Miles, 176 Nokes, James, 2, 18 Margate Theatre, 91 Nunn, Trevor, 194, 234 Market Theatre, , 226 Marowitz, Charles, 217 O'Hara, John, 45 Married Women's Property Act, 111 Oldfield, Anne, 14,24, in Sir Courtly Nice, Marshall, Anne, in Othello, 3, 18 25; in The Beaux Stratagem, The Careless Marshall, Arthur, 181 Husband, 30, 40; in The Provok'd Husband, Marshall, Rebecca, 17, 18 26,30,32, 33, 34-5, 39, 40, 43, 44, 71, 267 Martin, Sir Theodore, 92,110,112,114 (nA9) Marylebone, Theatre, 92 Old Price Riots, 80 Marxist 7:84 group, 230, 253 Old Vic, 152, 173, 176, 179, 182, 190,206 Mason, Michael, 46 Olivier, Laurence, 188, 190 Massey, Anna, 210 Olympic Theatre, Wych St, London, 92, 95, McCusker, Mary, 254 104, 100, 115 McEwan, Geraldine, 209, 215, 249; in Love's O'Neill, Elizabeth (Lady Beecher), 91, 92, Labour's Lost, 205; in Twelfth Night, 94, 115; in Romeo and Juliet, 94, 108; in 209-10,211; in Much Ado About Nothing, Measure for Measure, 95, 108; in Shiel's School for Scandal, , Dance of Death, Evadne, or the Statue, The Apostate and Home and Beauty, , A Flea Knowles's The Wife, 113 in Her Ear, The Way of the World, The Osborne, Charles, 225 Rivals, 210; in A Lie of the Mind; Films: O'Toole, Peter, 197; in The Taming of the Branagh's Henry V, 210; in L'Elegance, Shrew, 238-9 The Prime of Miss Jean Brodie, The Otway, Thomas, 14, 15, 22; Venice Barchester Chronicles, Mapp and Lucia, Preserved, 52 Oranges Are Not the Only Fruit, 211 Oxberry, William, Theatrical Biography, 111 McKellen, Ian, 220 Oxford Meadow Players, 229 Mathews, Charles, 108, 116 Maugham, Somerset, 190 Page, Louise, 258 Meggs, Mary (alias 'Orange Moll') 5, 19 Pasquin, Anthony, The Children of Thespis, Mellon, Harriot, 45, 46, 47, 60, 61, 64, 67; in 64,66,68 The Spoil'd Child, 47; in The Romp, 47, 50; Pepys, Samuel, 2, 4, 5, 7, 12 in As You Like It, 47; in School for Friends, 'Perdita', see Robinson, Mary 52 Phelps, Samuel, 99, 153 Metham, George, 66 Phillips, Grace, 45, 46 Miller, Mrs, 53 Pinero, A. W., 113, 138, 140, 142; The Second Mirren, Helen, 213, 231; in Hamlet, 231; in Mrs Tanqueray, 140 Macbeth, 231, 240, 241; in Antony and Pinter, Harold, 194, 195, 198,203,248 Cleopatra, 231, 240, 241; in Troilus and Pitt, William, 86 Cress ida, 231, 237, 241; in The Duchess of Planche, James Robinson, 115 Malji, 252, 257-8; Film: Agamemnon, 241 Playfair, Nigel, 172, 174, 194 Molyneux, Edward, 151 , 156 Monstrous Regiment, 251, 253-5 Plowright, Joan, 225 Morgan, Charles, 181 Plutarch,123 Morley, Henry, 99 Poel, William, 172, 177, 182 Morley, Robert, 175, 188, 192 Pope, Alexander, 46 Morley, Sheridan, 145 Pope, Jane, 51-2, 53 Motley, Robert, 192 Porter, Mary, 25, 26 Motleys, The, 190, 193 Price, Mrs, 12, 17, 19 Mottley, John, The, Imperial Captives, 38 Priestley, J. B., 176 Mountfort (or Monfort, later Verbruggen) Prince of Wales's Theatre, London, 105, Susanna 6, 8, 14, 262 (n.29); in The 108, 156 Rehearsal, 8 Prinsep, Mrs Thoby, 130 Murphy, Arthur, 45, 49 Pritchard, Hannah, 24, 25, 33, 43, 47; in Index 303

Macbeth, 29-31, 40-1, 75; in Papal Robson, Flora, 138, 139, 150, 153, 159, 170, Tyranny, 30; and David Garrick in 214,215; in Undercurrents, 139; in Beatrice and Benedict, 32; in Irene, 30; in Macbeth, 147; in The Anatomist, For Hamlet, 47, 52, 71, 266 (n.14) Services Rendered, All God's Chillun Got Prospect Theatre, 229 Wings, Mary Read, Anna Christie, Provok'd Husband, The, 26 Autumn, Ladies in Retirement, in M. Prynne, William, 1 Redgrave's adaptation of The Aspern Papers, 148; in Six Characters in Search of Queen Charlotte, 84 an Author, 154; Films: Catherine the Great, Queen's Theatre, London, 105 , 150; Writing: , 'The Windsor Theatricals', 'Amateur and Professional Acting', 165--6 110,114 Rochester, John Wilmot, the Earl of, 13, 22 Quick, Diana, 226 Rogers, Jane, 32 Quin, James, 28, 32, 55 Rogers, Samuel, 81 Roscius,78 RADA (Royal Academy of Dramatic Art), Rossetti, Dante Gabriel, 132 138-9, 165, 168 170, 205, 230, 231 Rowe, Nicholas, 35 Randall, Anne Frances, see Robinson, Mary Royal Court, 203 Ratcliffe, Michael, 236 Royal Marriage Act, 64 Rattigan, Terence, 190, 192 Royal Patent of 1660, 3 Reade, Charles, 119; The Wandering Heir, RSC (Royal Shakespeare Company), 211 It's Never Too Late to Mend, 119 Ruskin, John, 118, 120 Redgrave family, the, 231 Rutherford, Margaret, 191 Redgrave, Michael, 181, 182, 191, 193, 196, Rylands, George, 153, 192 206 Redgrave, Vanessa, 206, 221, 229; in A Sadler's Wells Theatre, 82 Touch of the Sun, 206; in As You Like It, Saint-Denis, Michel, 189, 192, 194, 195, 199 212-13; in Cymbeline, Antony and Sargent, John Singer, 121, 132 Cleopatra, The Prime of Miss Jean Brodie, Savage, Richard, 40 , M. Redgrave's adaptation of The Scornful Lady, The, 24 Aspern Papers, 213; Films: in Blow-Up, Scott, Clement, 141 Isadora, Julia, The Bostonians, Mary Queen Scott, Sir Walter, 61 of Scots, 213-14; in Cato St, 226; Seyler, Athene, 138, 145, 149, 154, 209; in Reeve, Anne, 4, 261 (n.17) The Princess and the Butterfly, 139; in Renaissance Theatre Company, see Kenneth Marriage ilIa Mode, Love for Love, School Branagh for Scandal, The Rivals, The Importance of Restoration Gay Couple, 18 Being Earnest, 145; in The Merchant of Reynolds, Sir Joshua, The Tragic Muse, Venice, Romeo and Juliet, 146; Writing: The 77-8,86 Crafts of Comedy, 165 Rich, Christopher, 9, 25, 34, 48 Sevigne, Mme de, 21 Richardson, Ralph, 176 Seward, Anna, 85 Richardson, Tony, 180 Shakespeare Jubilee 1775, 80 Rissik, Andrew, 236 Shaw, Fiona, 230, 258, 260; in The Rivals, Roaring Girl, The, 1 231,249; in As You Like It, 233-4; in The Robertson, Graham, 131, 150 Taming of the Shrew, 239-40; in The Robertson, T. W., 105-{i; Society, 106 Rivals, 250; in Hyde Park, The New Inn, Robertson, William, 'The Actor's Social Bloody Poetry, 250; in , 250-1; Position', 91 in Electra, 259; Film: Agamemnon, 259 Robeson, Paul, 148, 176, 189-90, 195 Shaw, George Bernard, 113, 116, 123-4, Robins, Elizabeth, 151 128,129,131,132,133,134,142,157,158, Robinson, Crabbe, 79 162-3,172,174,175,177,178,182,183, Robinson, Anastasia, 39 184,190; Pygmalion, 143 Robinson, Mary, 41, 46, 60,68; in The Sheffield Crucible, 255 Winter's Tale, 61-2; Writings: Nobody, Sheridan, Richard Brinsley, 24, 47, 48, 54, 'Monody to the Memory of Sir Joshua 60, 73, 75, 78, 79 Reynolds', 'The Maniac', 68; A Letter to Shorter, Eric, 208 the Women of England on the Injustice of Siddons, Sarah, 6, 24, 45, 49, 54, 56, 69, 71, Mental Subordination, 69-70, 269 (n.71) 73-89, 107, 108, 118, 121, 130, 141, 146, 304 Index

Siddons - continued The Author, 48; in The Beggar's Opera, 148,153,165,176,220,252,266, (n.14), 49-50; in The Agreeable Surprise, 69 269, (n.44), 270 (n.2); in The Provok'd Suzman,Janet,205,206,222-3,223-4,282 Husband, 29; in Venice Preserved, 52-3, 73, (nA8 & n.54); in A Comedy of Errors, 206; 79; in As You Like It, Cymbeline, 59; in in Twelfth Night, 212; in As you Like It, Pizarro, 60; in Charles I, , 73; 212-13; in Antony and Cleopatra, 213; in in The Merchant of Venice, 73-4; in Much Ado About Nothing, 223; in The Hamlet, The Winter's Tale, Cymbeline, As Three Sisters, Hedda Gabler, St Joan, 224; You Like It, The Way to Keep Him, The Earl in The Good Person of Setzuan, Boesman of Warwick, 74; in Macbeth, 74, 75, 76-7, and Lena, , 79,80,87,89,121-2; in Coriolanus, 75; in Andromache, 225; Films: Nicholas and King John, The Grecian Daughters, The Alexandra, 224; The Singing Detective, 225; Mourning Bride, 76; in King Lear, 78; in Directs Othello, 226-8; Writings: Julia, 79; in Pizarro, 75, 79; in Othello, Shakespeare inSouWt Africa article, 227; Coriolanus, Fatal Curiosity, 79; in Jane 'Hedda Gabler: The Play in Performance', Shore, 80; in Douglas, Nahum Tate's King 228 Lear, Isabella, 81; in The Stranger, 84, 85; Swift, Jonathan, 35 in Measure for Measure, 75, 82; in Henry VIII, 79, 85; in The Tragedy of Tancred and Tempest, Marie, 138, 139, 144, 145, 149, Sigismunda, 86; as Britannia at St Paul's, 152,159,160,161,163,209,275 (n.13); in 87; Daughters: Cecilia, 81; Sally, 82, 83; Becky Sharp, 144, 149; in , 144, Maria, 82, 83; Sons: George, Henry, 84, 163; in The Marquise, Theatre Royal, 144; 92, 93, 95, 97, 98; Writings: Notes on Lady in The Malingerer, and as Kate Moore, Macbeth, 95; Notes on Constance and 161 Lady Macbeth, 101; Reminiscences, 78, 84 Terry, Ellen, 6, 98,102,103,107,117, Siddons, William, 73, 82-3 118-37,138,139,141,146,147,158,186, Simon, Josette, 230--1; in Joseph and His 220,271-2 (n.5), 274 (n.22 & n.32); in The Amazing Technicolour Dreamcoat and Winter's Tale, 118; in A Midsummer Love's Labour's Lost, 231; in Measure for Night's Dream, 118; in Taming of the Measure, 236-7; Films: in Blake's Seven, Shrew, 118-19; in The Wandering Heir, 231; in The Golden Girls, 247, 284 (n.27); 119; in The Merchant of Venice, 119, 120, in Cry Freedom, Milk and Honey, 247-8 127,130, 134, 136; in It's Never Too Late to Sinden, Donald, 219 Mend, 119; in Hamlet, 120, 126, 130; in Sloper, William, 36 Faust, 120; in Much Ado, 120, 130, 131, Smith, Maggie, 213, 250 134; in Macbeth, 121-2, 132; in Cymbeline, Smith, Mrs, in The Clandestine Marriage, 62 Twelfth Night, The Winter's Tale, 122; The Smock Alley Theatre, Dublin, 27, 55, 62 Lady of Lyons, 122, 123; 124-5; in Olivia, Sprigge, Elizabeth, 176 The Amber Heart, Alice Sit-By-The-Fire, St Albans, Duke of, 60, 61 123; Wills' adaptation of Goethe's Faust, St James's St Playhouse, 44 The Belle's Stratagem, New Men and Old St James's Theatre, 140 Acres, 123, 131; The Cup, 123, 124; in 'St John, Christopher' (Christabel Crossings, 124; in The Vicar of Wakefield, Marshall), 127; Ellen Terry's Memoirs, 125; in The Man of Destiny, 129, 133; in 134-5 The Vikings, 129; in Capt. Brassbound's Steen, Marguerite, 129 Conversion, 132, 133; in Othello, 134; Stevenson, Juliet, 230, 235, 244-5, 260; in Writings: The Story of My Life, Four The Churchill Play, The White Guard, 230; Lectures on Shakespeare, Memoirs, 134; in As You Like It, 232-3, 238; in Measure Films: Her Greatest Performance, The for Measure, 235-6; in Troilus and Pillars of Society, , Cressida, 237-8; in Money, Breaking the Potter's Clay, The Invasion of Britain, 137 Silence, The Witch of Edmonton, 245; Terry, Kate, 112, 118, 130, 132 Yerma, 245, 283 (n.21); in Les Liaisons Terry, Fred, 138, 139, 141, 146, 147, 158 Dangereuses, 245, 283-4 (n.23); in Hedda The New Rosciad, 87 Gabler, 246 Theatre of Cruelty, 215-16 Stride, John, 218 'The Stage as a Profession for Women', Sultan, The, 26 National Review, 110--11 Sumbel, Mary (Davies) (alias 'Becky Thorndike, Sybil, 139, 150, 158, 168, 171, Wells'), 45, 64; in King John, Richard III, 172-88, in Julius Caesar, 172; in The Index 305

Cabinet Minister, 173; in Hindle Wakes, Well, 234-5; in The Possessed, The Castle, Jane Clegg, 173; in St Joan, 173-4, 175, 242; in A Question of Geography, 242-3; in 176,184, 188,277 (n.5); in Macbeth, 173, The Witch of Edmonton, 245; Films: in 175,187; in The Trojan Women, The Great Amy, 242; in The Imitation Game, 243-4; Day, 174; in The Cenci, 174, 175; in Henry in Harriet Vane, 244 VIII, The Verge, Dawn, Major Barbara, 175; Wandor, Michelene, 255-6 in Cymbeline, Coriolanus, Othello, Six Men Wardell, Charles, see Charles Kelly of Dorset, , Peer Wardle, Irving, 198, 220, 233, 240, 245 Gynt, Teresa of Avila, There Was an Old Warner, David, 214 Woman, 176; in , Warner, Deborah, 258, 259 179-90; in Candida, Hyppolytus, 182; in Watts, George Frederick, 118, 130, 131, 132, The Hostage, 182-3; in Medea, 186-7; in 133 Mrs Siddons, 277 (n.7); Film: Dawn, 177, Webster, Ben, 138 277 (n.9) Webster, Margaret, 158, 164, 168, 275 Thrale, Hester Piozzi, 85 (n.13), 280 (n.2); in Musical Chairs, 155 Todd, Susan, 252 Wells, Becky, see Mary Sumbel Topham, Edward, 64 West, Benjamin, 103 Tree, Ellen, in Romeo and Juliet, 101 Whitty, May, 138, 139, 158, 159, 168, 169, Tree, Sir Henry Beerbohm, 115, 119 170; in The Madras House, 154 Trewin, J.e., 176, 178, 181 Wilde, Oscar, 133, 135, 140; Lady Turner, John, 207 Windermere's Fan, A Woman of No Tutin, Dorothy, 205, 211, 229; in Henry V, Importance, 140 The Living Room, I Am a Camera, 205; in Wilford, Mrs, 57 Troilus and Cressida, 211; in Twelfth Night, Wilkinson, Tate, 26, 27, 46, 49, 54, 55, 76 211-12; in As You Like It, Portrait of a Williams, Harcourt, 152 Queen, Life After Death, 212 Woffington, Margaret ('Peg'), 24, 26, 31, Tynan, Kenneth, 198 32-33,37,40,41, 44, 50, 263 (n.36); in The Constant Couple and The Recruiting Vanbrugh,Irene, 138, 149, 160, 168, 170; in Officer, 27; in The Scornful Lady and , 143; in Tre/awney of Hamlet, 28 the Wells, 143-4; Writings: Hints on the Wollstonecraft, Mary, Vindication of the Art of Acting, 160, 164-5; To Tell My Rights of Women, 69 Story, 164 Women's Playhouse Trust, 226, 251, 252-3; Vanbrugh, Sir John, 25, 26 publication: 'The Status of Women in the Vanbrugh, Violet, 138 British Theatre', 284 (n.32 & n.33) Vedrenne, John E., 142, 154 Women's Project, The, 252 Venables, Clare, 255 Women's Theatre Festival, The, 252 Vennar, Richard, England's Joy, 19 Women's Suffrage Movement, 158, 167 Veronese, Paolo, 119 Women's Theatre Group, The, 252 Vestris, Armand, 93 Wood, Peter, 197 Vestris, Mme Lucy Elizabeth, 91-2, 101, Wright, Jules, 252, 253 104, 115-16; in The Lord of the Manor, Wynyard, Diana, 195 Giovanni in London, The Beggar's Opera, 94; Produces: A Midsummer Night's Yates, Mary Ann, 46, 47, 55, 57; in Henry Dream, 105; Comus, Purcell's King Arthur, VIII, Orphan of China, 49; in The 109; The Fortunate Isles, 114; London Mourning Bride, Jane Shore, The Distrest Assurance, 115--16, 158 Mother, 57; in Macbeth, 75 'vraie larmes' controversy, 106 Yates, Richard, 45, 47, 48 York circuit, 92 Walkley, A. B., 141 Young, Charles Mayne, 75 Walpole, Horace, 38, 61 Younger, Elizabeth, 73, 74; in The Mourning Walter, Harriet, 198, 203, 230, 241-2, 243, Bride, 57; in Macbeth, 75 252, 256, 258, 259, 285 (n.40); in The Ragged-Trousered Philanthropist, 230; in ZeffireIli, Franco, 197 Cymbeline, 234; in All's Well That Ends