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Introduction

Introduction

Notes

Introduction

1. The new series was called the Acme Library Series and the first novel pub- lished in the series was Arthur Conan Doyle’s The Parasite in 1894. 2. See Hughes (2000). Glover’s (1996) and Hughes’s monographs were instru- mental in the development of Stokerian criticism at this period. Hughes and Smith’s collection of essays on Stoker, : History, Psychoanalysis and the Gothic (1998), was also published in this period. 3. For sexual and gender readings, see, for instance, Roth (1997), Craft (1984) and Cranny-Francis (1988). On the colonial resonances of , see Arata (1990). For a study of the vampire figure, see Frayling (1991), Senf (1988) and Auerbach (1995). 4. See, for instance, Moses (1997). 5. Tóibín, however, describes Irving as ‘tyrannical’, but the relationship between Irving and Stoker was complex and should not be interpreted as one of tyranny and subjugation. 6. See Hopkins (2007), Wynne (2006, 2011, 2012) and Hoeveler (2012). Daly connected the Irish playwright to Stoker’s The Snake’s Pass (1995, 1999). 7. For instance, there are only fleeting references to Stoker in Foulkes’s excel- lent collection of essays on (2008). 8. Peter Haining and Peter Tremayne argue that between 1870 and 1876 the Wildes ‘acted in loco parentis to Bram and undoubtedly had an influence imparting information on Irish folklore to him’ (1997: 68). 9. In an unpublished letter to Stoker written from Paris and dated 24 July 1875, Ward asks Stoker to convey her love to the Wildes and describes how her mother has planted the ivy which they brought from the Wilde garden (Stoker Correspondence). 10. See Wynne (2012, vol. 1: xvii–xix). 11. This point is corroborated by Stoker’s unpublished correspondence. See, for example, letters to Stoker from Adeline Billington, Fanny Davenport and V. B. Dillon (Stoker Correspondence). With thanks to Chris Sheppard and staff in Special Collections for access to this material. 12. Certainly, Stoker’s unpublished theatrical correspondence in the Brotherton Library, Special Collections, University of Leeds reveals the difficulties in managing relationships at the Lyceum. For instance, Stoker had, at times, an awkward relationship with the Lyceum actor . In a series of letters to Stoker in 1893, Terriss complains that he was underpaid for an American tour. In a letter dated 13 October, the actor is furious that Stoker brought the matter to Irving’s attention. Letters from Tennyson’s son, Hallam, reveal the problems Stoker also encountered in liaising between the Lyceum actors and Tennyson, whose two plays, The Cup and Becket, were performed by Irving at the Lyceum in 1888 and 1893 respectively. In a letter

171 172 Notes

dated 18 August 1892, Hallam, acting on behalf of his father, informs Stoker that Terriss and the Lyceum actress Jessie Millward failed to show up for lunch with the poet. But Stoker is also the subject of some of the Tennysons’ dissatisfaction. In letters from the 1880s Hallam chastises Stoker for his dila- tory responses to his queries (Stoker Correspondence, 10 May 1882; June 1883) and reveals the poet’s impatience with Irving. This correspondence also shows how Stoker, as acting manager, functions as a buffer for Irving. 13. See Auerbach (1990: 78–80) and Belford (1997, passim). 14. For a more detailed reading of the story, see Wynne (2011: 19). 15. See Roth (1997: 420).

1 Stoker, Melodrama and the Gothic

1. In Heathcliff and the Great Hunger: Studies in Irish Culture, Terry Eagleton dis- cusses the lack of a realist tradition in nineteenth-century Irish fiction. The social conditions were too disruptive and disrupted to produce an adequately realist text as the ‘genre depends on settlement and stability, gathering indi- vidual lives into an integrated whole’ (1995: 147). 2. See, for instance, Richelieu, The Dead Heart, Robespierre and Madame Sans Gêne. For a reading of these productions, see Richards (2005: 353–417). 3. For a full discussion of vampire melodramas, see Frayling (1991: 131–44). See Luke Gibbons for a political discussion of the ‘facility with which depictions of Ireland and the Scottish Highlands […] lent themselves to some of the earliest forays into the Gothic’ (2004: 20). 4. For further discussion of these associations, see Rarignac (2012: 50–4). 5. The opening of Planché’s play also recalls ‘Dracula’s Guest’, published as a short story in 1914, and functioning as a preface to Dracula. Here the narrator, an unnamed Jonathan Harker, visits an abandoned German village associated with vampires on Walpurgis Night. Taking refuge from the storm in the tomb of a suicide, the Countess of Styria – Stoker’s tribute to J. Sheridan Le Fanu’s vampire Carmilla (1872) – he sees a vision of the corpse arising from its tomb, until he feels himself clasped and pulled away by a strange force and then shielded by a wolf which lies on his body. Soldiers come to rescue him. Later when he queries how his rescue has come about he is presented with a letter from Dracula prom- ising to reward Harker’s hosts if his safety is ensured. Like Margaret at the tomb of Cromal, supernatural intervention ensures his safety, but unlike the vampire play, his safety is only temporary. In Dracula Harker is rescued again by Dracula, this time from the clutches of the vampire women. 6. For an examination of other Irish plays performed in during Stoker’s tenure as reviewer, see Wynne (2012, vol. 1: xxi–xxiii). 7. Deirdre McFeely’s Dion Boucicault: Irish Identity on Stage (2012) examines the contemporary reception of Boucicault’s Irish plays in Dublin, London and New York. 8. For a discussion of how the novel was thematically similar to other plays that Stoker saw at the Theatre Royal and the broader political context, see Wynne (2012, vol. 1: xix–xxiv). 9. For a fuller discussion of this, see Wynne (2012, vol. 1: xxii–xxiii and vol. 2: 85–7). Notes 173

10. See [Greville Cole] Theatre Programmes, 1849–1906, National Library of Ireland, Dublin. 11. Adaptations of sensation novels which appeared on the Dublin stage in the 1870s included: Collins’s The Woman in White (April 1872) and The New Magdalen (December 1874); and Mrs Henry Wood’s East Lynne (October 1874). One of J. L. Toole’s regular pieces was an adaptation of Oliver Twist (November 1873). Jennie Lee cross-dressed to perform in Jo, the crossing- sweeper of Bleak House. The role made her famous on the international stage. For reviews of the various adaptations performed in Dublin in the 1870s, see Wynne (2012, vol. 1: passim). 12. Stoker first saw Irving on stage in Dublin with Louisa Herbert’s company. Herbert was a beautiful actress who modelled for the Pre-Raphaelites. See Wynne (2012, vol. 2: 1, 5 n.). 13. For an account of the murder, see Rowell (1987). 14. It is clear that Stoker was thinking about the difficulties involved in adapting novels for the stage for some time. In a review of 30 April 1872 of Collins’s stage adaptation of The Woman in White he ponders: ‘In dramatising a novel there are many advantages, but many difficulties. The same knowledge which the audience is supposed to have of the characters and the plot of the novel tends to make them hypercritical, and to look for the reproduction of every minute incident. They seem to forget often that many things can be told and many descriptions perfected in words which could not possibly be represented upon the stage. Mystery is tolerable in a novel, but fatal on the stage; and whereas in the latter it is perfectly good art to show fully the development of a plot, it is wrong to conceal any of its working to an audi- ence. Mr. Wilkie Collins, in dramatising The Woman in White, saw all these difficulties and grappled with them in a masterly manner’ (Wynne, 2012, vol. 1: 29).

2 Irving’s Tempters and Stoker’s Vanishing Ladies

1. Henri Garenne describes how to recreate the trick: ‘Provide a wooden cabinet, about five feet in height, standing upon four short legs, and by about five feet in length by four feet in depth. Inside have a number of small hooks, upon which hang sundry musical instruments, a drum, tambourine, guitar, a bell, and anything the performer fancies. In the door of the cabinet towards the top, have a hole cut out, through which can be seen and heard the various manifestations. The performer takes care to have all the instruments smeared with some luminous liquid, so that the instruments can be seen by him when shut up in the cabinet. Having been tied up, and the doors of the cabinet being closed, the lights are turned down and the performer immediately releases his hands, takes off his coat and vest, and slipping his hands again into the loops calls for “light,” when the door of the cabinet is opened and he is seen without his coat or vest. The doors being again closed, he releases his hands again and commences making a noise, first with one and then with another of the various instruments. Replacing his hands in the loops, he calls again for “light,” and when the doors are opened he is still seen bound securely’ (1886: 290–1). 174 Notes

2. For a comprehensive study of the phenomenon of Trilby and its cultural context, see Pick (2000). 3. See also Terry (1908: 241). 4. The Strand Magazine of March 1901 features an article on Britain’s most popu- lar pictures and lists two of Doré’s paintings, Christ Leaving the Praetorium and The Vale of Tears. The latter painting, with its barren landscape, evokes the Brocken scenery of Faust. De Cordova (1901: 242–51). 5. Alexander Hermann, who appeared at the Egyptian Hall from 1870 to 1878, embodied the ‘public’s image of a magician, with a goatee beard and Mephistophelean appearance’. Dawes (1979: 155). 6. In the 1912 edition of the text, Margaret survives to marry Ross. For discus- sion of the changes between the 1903 and 1912 editions and their implica- tions, see Hughes (2000: 35–53).

3 and the ‘Bloofer Lady’

1. Legal papers at the Watts Gallery in Compton in Surrey (Instructions to Counsel to Advise on Evidence), dated 15 December 1876, describe that the failure of the marriage on Watts’s part was due to the fact that Terry’s early life on the stage and the impressions gained there were not compatible with Watts’s quiet life. With thanks to the Watts Gallery for allowing me to con- sult these papers. 2. See legal papers at the Watts Gallery. 3. In a letter to Mr Chute, 8 January 1881, Terry refers to ‘Mrs Denman’ and ‘Ruth’. The character in Gaskell’s Ruth is called Mrs Denbigh. See Cockin (2010: 49). 4. Bryant argues that ‘Watts’s images of Ellen often suggest her own input into realizing the artist’s vision’ (2004: 38). 5. Laurence Alma-Tadema’s letter to Stoker describing how Terry’s Sylvia in The Medicine Man was a ‘most lovely, delicate and complete performance’ is indicative of the public reception of Terry on stage (Stoker Correspondence). The public fascination with Terry can also be seen from T. Edgar Pemberton’s letter which asks Stoker whether he had seen his book on Ellen Terry and remarks that he was exceedingly pleased with its success with the public and the critics (Stoker Correspondence). 6. In a letter to her friend Stephen Coleridge (December 1878), Terry writes: ‘I’m so unsatisfactory to myself in Ophelia. I imagine her so delicate & feel old & frumpish in the part.’ Cockin (2010: 36). 7. Powell (1997: 51–4); St John (1907: 44). 8. Richard Jefferies, former Curator of the Watts Gallery in Compton, Surrey, discussed the painting with me during a visit to the gallery. I am exception- ally grateful to staff at the Watts Gallery for their enthusiasm and help. 9. See Wynne (2012, vol. 2: 273n.). 10. See Terry’s letters to her friend the barrister Stephen Coleridge in Cockin (2010). In a letter to Coleridge (16 October 1878) Terry signs herself as ‘Livie’ (2010: 35); in another letter (27 January 1881) she signs as ‘Olivia grown old’ (2010: 52). Notes 175

4 Gothic Weddings and Performing Vampires

1. Ward, born into a prominent New York family, was a granddaughter of Gideon Lee. (Lee (1778–1841) was Mayor of New York City from 1883 to 1884 and a member of Congress from 1835.) As a teenager Ward undertook the European tour with her mother (Ward and Whiteing, 1918: 3). 2. The Wards stayed with a distant relative, the American Minister, Governor Seymour. He helped them draft the petition to the Tsar (Ward and Whiteing, 1918: 12–13). 3. Stoker describes it as ‘a machine-made play of the old school’ (1906, vol. 2: 167). 4. In a letter from Manchester dated 29 June 1876 Ward writes that she is happy that Madame Roland inspires Stoker and asks him to visit her the following month in Paris and that they could research the topic together. She asks him how long it will take him to write a play on Roland. In the final letter of the sequence, dated 23 September 1876, Ward writes to Stoker to say that she is returning to Paris from London and will spend the winter there. She fears that one of her letters to him might have gone astray as he does not mention her plans in his letter to her. She invites him to Paris (Stoker Correspondence). Stoker was certainly in Paris in November 1876. In Personal Reminiscences he describes how he went to see Sarah Bernhardt perform at the Théâtre Français in Paris on 9 November 1876 (1906, vol. 2: 162). In Ward’s letter of 27 July 1875, she notes that she had been reading Deux Femmes de la Révolution. This probably refers to Charles de Mazade’s 1866 publication in which he describes Madame Roland as ‘une de plus nobles personifications de la race humaine’ (1866: 97). 5. Lucy dies before she can marry Arthur Holmwood in Dracula; in The Snake’s Pass Norah Joyce is sent to finishing school. 6. On syphilis, see Showalter (1992: 188–200). 7. For example, see Norah Joyce in The Snake’s Pass (1890) and Marjorie Drake in The Mystery of the Sea (1902). 8. Richards argues that the delayed sexual union marks Stoker’s enactment of the ‘drama of sexual repression’ (1995: 153). 9. Though the play was originally attributed to Yeats it is now established as a collaborative work with Lady Gregory. See Grene (1999: 51, 273n.). 10. For Sage the political dimensions of the text are equally reactionary as ‘it restores Britain’s Imperial presence in Europe through creating a buffer-state, a Serb-led Balkan federation, which would deter German ambition in the south and east’ (1998: 132). 11. Barnes also claims that after the failure of Zillah he approached Merivale about Forget-Me-Not as a suitable play for Ward (1914: 98) although Barnes had no role in the play.

5 The Lyceum’s Macbeth and Stoker’s Dracula

1. Stoker also corresponded with Dowden’s brother, John Dowden, the Archbishop of Edinburgh, for advice on Scottish marriage laws for The Mystery 176 Notes

of the Sea (1902). See Stoker Correspondence. With thanks to the Brotherton Library, Special Collections, for use of the Stoker material. 2. For a discussion of Irving and Sullivan, see Wynne (2012, vol. 1: xxvi–xxxi). 3. Marshall also connects Lucy and Lady Macbeth (1998: 156). 4. Alan Hughes notes that in Irving’s 1895 revival of Macbeth, blue limelight was used to indicate the presence of the ghost of Banquo (1981: 107). Bibliography

Archival materials

Manuscripts and scrapbooks The Lord Chamberlain’s Plays, British Library, London Boucicault, Dion. 1852. The Vampire: A Phantom Related in Three Dramas. MSS Additional 52932 Q. Merivale, Herman. 1890. Ravenswood: A Drama in Four Acts. MSS Additional 53458 J. [Merivale, Herman and Grove, F. C.]. 1878. Forget-Me-Not (London: W. S. Johnson). MSS Additional 53161. Stoker, Bram. 1897. Dracula; or The Undead. MSS Additional 53630. Traill, H. D. and Hitchens, Robert S. 1898. The Medicine Man. MSS Additional 53658. Wills, W. G. 1878. Olivia: Drama in Four Acts. MSS Additional 53200. —— 1880. . MSS Additional 53235. Wills, W. G. and Fitzgerald, Percy. 1878. Vanderdecken. MSS Additional 53203.

Percy Fitzgerald Collection, Garrick Club, London ‘Dramatic.’ London Figaro, 2 October 1875, vol. 3, [209]. ‘Faust at the Lyceum.’ [1885], vol. 6, [327]. Fitzgerald, Percy. Letter to Henry Irving. n.d. vol. 4, [91]. ‘How I Sketched Mrs. Siddons’s Shoes: A Visit to Miss Terry’s Dressing Room.’ n.d. vol. 9, [17]. Irving, Henry. Letter to Percy Fitzgerald. September 1877. vol. 4, [91]. L., B. ‘The Medicine Man: Sir Henry Irving in a New Lyceum Play.’ vol. 19, [47]. ‘Lyceum Theatre.’ n.d. vol. 6, [314]. ‘Lyceum Theatre: The Medicine Man.’ vol. 18, [14]. ‘Macbeth at the Lyceum.’ Pall Mall Budget, 3 January 1889, vol. 5, [12]. ‘Review of Macbeth.’ The Irish Times, 26 September 1875, vol. 1, [40]. Scott, Clement. ‘Lyceum Theatre.’ The Daily Telegraph, 10 June 1878, vol. 2, [144]. ‘Vanderdecken.’ Era, 9 June 1878, vol. 1 [52].

Letters from correspondence and literary manuscripts of Bram Stoker (Stoker Correspondence) Brotherton Library, Special Collections, University of Leeds Allingham, Helen. Letter to Bram Stoker, 8 May 1894. Alma-Tadema, Laurence. Letter to Bram Stoker, 17 June 1898. Billington, Adeline. Letter to Bram Stoker, undated. Braddon, Mary Elizabeth. Letter to Bram Stoker, 23 June 1897.

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—— Letter to Henry Irving, undated. Cumberland, Stuart. Letter to Bram Stoker, June 1882. Davenport, Fanny. Letter to Bram Stoker, 15 July 1892. Dillon, V. B. Letter to Bram Stoker, 14 May 1901. Dowden, Edward. Letter to Bram Stoker, 3 January 1879. Dowden, John. Letter to Bram Stoker, 20 January 1901. Halifax, Viscount (Charles Wood). Letter to Bram Stoker, 23 October 1897. —— Letter to Bram Stoker, 1 July 1898. Hallam, Lord Tennyson. Letter to Bram Stoker, 10 May 1882. —— Letter to Bram Stoker, June 1883. —— Letter to Bram Stoker, 18 August 1892. —— Letter to Bram Stoker, 23 August 1892. Hitchens, Robert. Letter to Bram Stoker, 27 July 1897. Kelly, Charles. Letter to Bram Stoker, 30 December 1878. Pemberton, T. Edgar. Letter to Bram Stoker, 23 July 1902. Terriss, William. Letter to Bram Stoker, 13 October 1893. —— Letter to Bram Stoker, 9 November 1893. Tisdall, Charles Edward (Chancellor of Christ Church Cathedral, Dublin). Letter to Henry Irving, 13 June 1897. Traill, Henry Duff. Letter to Bram Stoker, 11 June 1897. Ward, Geneviève. Letter to Bram Stoker, 24 July 1875. —— Letter to Bram Stoker, 29 June 1876. —— Letter to Bram Stoker, 23 September 1876. Winter, William. Letter to Bram Stoker, 31 October 1895.

Theatre programmes National Library of Ireland, Dublin [Greville Cole] Theatre Programmes, 1849–1906.

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Adelphi Theatre, 1, 2, 34, 47 Bratton, Jacky, 16 Agate, James, 31, 135 Brereton, Austin, 50, 52–3, 92–3, 94, Albert Edward, Prince of Wales, 128 150–2 Alhambra Theatre, 56–7 Brooks, Peter, 15–16, 58, 111, 167 Allingham, Helen, 77 Brown, Terence, 132 Alma-Tadema, Laurence, 174n5 Browning, Tod, 169 Arata, Stephen, 171n3 Bruce, Edgar, 128 Archer, Frank, 102 Bryant, Barbara, 174n4 Archer, William, 76, 127–8 Burne-Jones, Edward, 130 Athenaeum, The, 1–2 Byron, H. J., 5 Auerbach, Nina, 33, 87, 89, 129, 168, 171n3, 172n13 Cagliostro, 41, 43–4 Caine, Hall, 36–7, 113, 169–70 Bancroft, Marie and Squire, 28, 35, Calmour, Alfred, 98 41, 76 The Amber Heart, 98, 129 Barnes, J. H., 125, 175n11 Campbell, Beatrice Stella Barrington, Mrs Russell, 90 (Mrs Patrick), 93 Bartholomeusz, Dennis, 136, 147, Campbell, Thomas, 145 149, 150, 151, 153 Carr, Alice Comyns, 99, 151 Bateman, Colonel, 29, 45 Carr, Joseph Comyns, 34, 129, 144–5 Bateman, Isabel, 135 King Arthur, 129–30 Bateman, Mrs, 45, 133, 135 Charcot, Jean-Marie, 32, 58–9, 75 Beckman, Karen, 60–2 Cheshire, David, 80, 85 Bell, Millicent, 133, 147, 157 Chisholm, Alex, 12–13, 37–8 Belford, Barbara, 8, 109, 171n13 Christopher, Milbourne, 41, 63 Benson, Constance (Lady), 129 Clapp, Austin, 159–60 Bentley, Eric, 15 Clarence, O. B., 147–8, 151 Bertram, Charles, 54–7, 61, 67 Cockin, Katharine, 82, 84–5, 103, Bloom, Clive, 13 174n3, n6, n10 Boas, Frederick, 135 Colbourne, Maurice, 140 Booth, Edwin, 94–5 Colburn’s New Monthly Magazine, 19, as Othello, 94–5 20 Booth, Michael R., 15, 85 Coleman, John, 20 Boucicault, Dion, 2, 9, 12, 13, 22–7, Collins, Wilkie, 28, 75, 171n11, 28–9, 36, 44, 76, 127, 171n6, 173n14 172n7 The Woman in White, 171n11, Arrah-na-Pogue, 27 173n14 The Colleen Bawn, 27 colonialism, 4, 6–7, 14, 122, 166 The Corsican Brothers, 44, 76, 127 and The Lady of the Shroud, 117–18, The Shaughraun, 27 121–5, 166, 168 The Streets of London, 9 Cook, James W., 60 The Vampire, 12, 13, 22–4 Craft, Christopher, 171n3 Braddon, Mary Elizabeth, 28, 31 Craig, Edith, 36, 105, 146

189 190 Index

Craig, Edward Gordon, 41, 44, 87, 98, Du Maurier, George 99, 105, 113 Trilby, 43 Craven, Hawes, 7, 50 During, Simon, 42, 62 Cumberland, Stuart, 41, 42, 73–4 A Fatal Affinity, 73–4 Egypt, representation of, 67 Eighteen-Bisang, Robert, 156 Daly, Nicholas, 24, 71, 171n6 Eliot, George Danahy, Martin, 12–13, 37–8 The Mill on the Floss, 83 Davenport Brothers, 41–2 empire and imperialism, 2, 3, 4, 6–7, Davies, David Stuart, 113 38–9, 45, 61, 62, 66–74, 77, 117, Davies, Robertson, 16 159, 166, 175n10 Davis, Tracy C., 124 Evans, Bertrand, 13, 14 Day, Philip, 41 Deane, Hamilton, 40, 168–9 fallen woman, 11, 34, 53–5, 78–9, Delong, Kenneth, 145, 149 81–5, 101–6, 112, 125–8, 129, De Vere, Charles (Professor), 62, 63 162–5, 167–8 Diamond Jubilee, Queen Victoria’s, Famine, Irish, 3–4, 9 38–9 Faucit, Helen, 137 Dickens, Charles, 17 femme fatale, 11, 34, 113, 127–8, 149, Dijkstra, Bram, 118, 120 152, 167–8 Disher, Maurice Willson, 47 Fitzgerald, Percy, 5, 7, 45, 54–5, 94–5, Doré, Gustave, 52–3, 174n4 135, 137, 143, 145, 154 Dowden, Edward, 89, 93, 131–5, 137, Vanderdecken (with W. G. Wills), 10, 141, 159, 175n1 38, 40, 45–50, 54, 108, 169 Dowden, John, 175–6n1 Fletcher, George, 136–7, 145 Downing, Lisa, 119 Forbes-Robertson, Johnston, 86 Doyle, Arthur Conan, 38, 171n1 Foulkes, Richard, 171n7 Waterloo, 38–9 Frayling, Christopher, 19, 171n3, Dracula 172n3 centenary of the publication of, French Revolution, 14, 15–16, 110, 2–3 167 and the Lyceum’s Faust, 10, 32, 40, 44–5, 50–7, 165–6 Gaiety Theatre, Dublin, 5 and the Lyceum’s Macbeth, 11, Garenne, Henri, 41, 62–5, 67, 173n1 133–5, 142, 143, 145, 149, 150–61, Gaskell, Elizabeth 165, 168, 176n3 Ruth, 82–3, 174n3 and the Lyceum’s Vanderdecken, 10, Gerould, Daniel, 26 40, 45–50, 54–5, 108 Gibbons, Luke, 172n3 on stage, 36, 38–9, 168–9 Gielgud, John, 40 see also Stoker, Bram Gladstone, William Ewart, 26 Drakakis, John, 135 Glenn, Susan, 128 Dr Jekyll and Mr Hyde (play), 12–13, Glover, David, 2, 3, 39, 171n2 37–8 Godwin, Edward, 33, 79–80, 81–3, see also Mansfield, Richard 89, 104 Dublin Evening Mail, 2, 3, 4, 5, 9, 25, Goldsmith, Oliver, 28, 101 79, 109, 138, 140–1 Gould, Veronica Franklin, 84, 90 see also Stoker, Bram: theatrical Gregory, Augusta (Lady), 121, 175n9 reviews Greville Cole Theatre Programmes, Duff Gordon, Lady, 80–1 173n10 Index 191

Guerbel, Comte de, 107–8, 112, 129 47–50, 75–6, 133, 135, 136, 147, Guerbel, Geneviève de, see Ward, 150–1, 158 Geneviève relationship with Stoker, 2, 4, 6, Gunn, John and Michael, 5 8, 9, 14, 18, 36, 40, 50, 132–3, Gustafson, Zadel Barnes, 107–8, 112, 171–2n12 128 roles: Dr Primrose (Olivia), 105 Hadley, Elaine, 17 Edgar Ravenswood (Ravenswood), Haggard, H. Rider, 66, 67–8, 151–2 114–15 King Solomon’s Mines, 66 Eugene Aram, 6, 136 She, 67–8, 149, 151–2 , 5–6, 31, 40, 89, 91, 132–3, Haining, Peter, 171n8 135, 140–2 Halifax, Lord (Charles Lindley Wood), Iachimo (Cymbeline), 93–4 12–13, 22, 24, 28, 39 Macbeth, 135–7, 142–3, 145–6, Hare, John, 101 147–9, 150–1, 157, 158–9 Harker, Joseph, 43 Mathias (The Bells), 29–31, 135, 136 Harris, John, 5 Mephistopheles, 8, 34, 44, 51, 52, Hatton, Joseph, 44 53–4, 55, 57, 76, 157 Haymarket Theatre, 43, 86 Othello, 94–5 Herbert, Louisa, 28–9, 173n12 Irving, Laurence, 8 Hercat, 67–8, 169 Hermann, Alexander, 174n5 James, Henry, 15, 55, 125 Hiatt, Charles, 80, 89, 102, 105 Jameson, Anna, 89 Hitchens, Robert, 75–6 Janes, Regina, 166–7 Hoeveler, Diane Long, 171n6 Jefferies, Richard, 174n8 Holcraft, Thomas, 14 John, Juliet, 15 Holroyd, Michael, 84 Jones, Henry Arthur, 32, 34 Home Rule, Irish, 26, 124 Hope, Anthony, 117 Kansas City Star, 31 Hopkins, Albert A., 68, 69, 70, 71, 72 Kean, Charles, 22, 127 Hopkins, Lisa, 9, 100, 171n6 Kean, Edmund, 16, 138 Hughes, Alan, 89, 138, 149, 176n4 Kelly, Charles (Wardell), 79–80, 86–7 Hughes, Arthur, 90 in Arkwright’s Wife, 79 Hughes, William, 2, 118, 171n2, 174n6 Kemble, John Philip, 138 Hunt, William Holman Kendal, Madge, 80, 129 The Awakening Conscience, 104 Kiberd, Declan, 2, 9, 38 Knowles, James, 6 Irving, Henry, 2, 4, 5, 13, 14, 16, 18, Krause, David, 22 24, 28–40, 41–2, 44–5, 47, 57, 74–8, 82, 85, 87–9, 91, 92–8, 101, Lee, Gideon, 175n1 105, 114, 117, 127, 131–7, 138, Lee, Jennie, 173n11 140–61, 162–3, 165–71, 171n5, Le Fanu, J. Sheridan, 108, 116–17, 118 171–2n12 Carmilla, 116, 118, 172n5 association with the vampire, 8–9, ‘Schalken the Painter’, 109, 115–17, 10, 38 118 ‘The Character of Macbeth’, 144–5, Lewis, Matthew, 15 158 Lloyd’s Weekly Newspaper, 100, 103 as Gothic performer, 6, 10, 13, Lockhart, J. G., 39 16–17, 29, 31, 32–5, 37–8, 41–4, Loveday, Harry, 8, 163 192 Index

Ludlam, Harry, 40 Marshall, Gail, 98, 176n3 Lugosi, Bela, 40 Martin Harvey, John, 7–8, 33 Lyceum Theatre Maskelyne, John Nevil, 41–2 decline of, 40 Maturin, Charles, 108–9 descriptions of, 7–8, 78, 135–6, 143 Melmoth the Wanderer, 109, 115, Lyceum Theatre productions 121 The Amber Heart, 98 Mayer, David, 15, 24–5, 32 Becket, 129–30, 171n12 Mayhew, Henry, 17 The Bells, 29–31, 35, 38–9, 44, 45, Mazade, Charles de, 175n4 135 McFeely, Deirdre, 172n7 Charles I, 85 Meisel, Martin, 88 Coriolanus, 106 melodrama, 1–2, 9, 10, 11, 13–20, The Corsican Brothers, 76 22–6, 28–36, 44–5, 47, 54, 57, 58, The Cup, 91, 171n12 66, 74–6, 77, 83–4, 85, 101–6, Cymbeline, 92–4 108, 111, 117, 129, 130, 131, 136, Faust, 8, 10, 32, 34, 40, 44–5, 50–7, 162, 163, 165, 166, 167–8 76, 77, 80, 81, 83, 85, 115, 149, Melville, Joy, 74, 81, 87, 98 157, 165, 166, 175n4 Menpes, Mortimer, 158 Hamlet, 5–6, 31–2, 40, 44, 78, 86–9, Merivale, Herman, 114, 175n11 91, 132, 135, 140–2, 143 Ravenswood, 114–15 Iolanthe, 105–6 Mesmer, Franz Anton, 41, 42, 44 King Arthur, 129–30 mesmeric influence, 19, 42, 43, 45, , 37–8, 45 47, 75 Macbeth, 11, 133, 135–8, 142–60, mesmerism, 29, 30, 32, 41, 42–5 165, 167, 168–9 and performance, 42–5, 75, 77 The Medicine Man, 44, 75–6 Millais, John Everett , 86 Ophelia, 90, 119 Olivia, 28, 82, 101–6, 167, 174n10 Miller, Elizabeth, 3, 156 Othello, 89, 92, 94–6, 106 Millward, Jessie, 34–5, 171–2n12 Ravenswood, 114–15 Moore, George Vanderdecken, 10, 38, 40, 45–50, A Mummer’s Wife, 128 54–5, 108, 169 Morash, Chris, 26 Moses, Michael Valdez, 171n4 Maccabe, Fred, 41 Murray, Paul, 8–9 Macey, Frank Haldane, 47 Mackay, Charles, 42–3 Nash, Percy, 76 magic, 41–2, 43–4, 45, 55–7, 60–5, Newton, H. Chance, 45 67–8, 69, 70, 71, 72, 73, 74, 76–7, New Woman, 123–4, 166 124, 166–7, 169, 175n5 Nuremberg, 50 ‘Bertram’s Diablerie’, 56–7 ‘Mephisto in a Fix’, 56 Odell, George, 93 ‘Professor de Vere’, 62, 63 O’Shea, Kitty, 26 ‘She’, 67–8, 69, 70, 71, 72, 169 ‘The Sphinx or Decapitated Head’, 67 Parkin, Andrew, 25–6 ‘Thauma Illusion’, 62–5, 77 Parnell, Charles Stewart, 26 ‘Vanishing Lady Trick’, 61–2, 73 Pemberton, T. Edgar, 7, 80, 174n5 Mansfield, Richard, 12–13, 37–8 Pick, Daniel, 58, 174n2 association with Jack the Ripper, Pinero, Arthur Wing, 93–4 13, 38 Pixérécourt, Guilbert de, 14 Index 193

Planché, John Robinson Senf, Carol, 19, 108, 116, 130, 171n3 The Vampire; or the Bride of the Isles, Shakespeare, William, 13, 30, 32, 78, 19–20, 24, 46, 172n5 82, 85, 89, 90, 102, 132–4, 135, Polidori, John, 19, 20 137, 145–6, 149, 153, 154, 157, Poole, Adrian, 132 159 Powell, Frederick, 68 Victorian critical approaches to, see also magic: ‘She’ 133–4, 135–43, 144–6, 157, 159 Powell, Kerry, 87, 111, 174n7 Shaw, George Bernard, 74, 140 Prendergast, Christopher, 6, 17–18, Showalter, Elaine, 175n6 57, 66 Siddal, Elizabeth, 113 Prescott, Paul, 136, 137 Siddons, Sarah, 106, 137, 144, 145, Prince of Wales’s Theatre, 28, 128 146, 152 Punch, 44, 76 Simon, Nancy Lynn, 146–52, 154 Pye, Deborah, 85 Simpson, Palgrave, 125 Skal, David J., 169 Radcliffe, Ann, 18 Smith, Andrew, 171n2 The Mysteries of Udolpho, 18 Smith, James L., 14–15 Rahill, Frank, 10, 14, 15, 29, 30 spectacle, theatrical, 14, 15, 32, 36, Rance, Nicholas, 58 55, 147, 148 Ranger, Paul, 13–14 Spielmann, M. H., 148 Rarignac, Noel Montague-Etienne, Steen, Marguerite, 87–8 172n4 Stodare, Colonel (Alfred Inglis), 62 Read, Michael, 55–6 Stoker, Bram Richards, Jeffrey, 8, 172n2, 175n8 as acting manager, 2, 3, 4, 6, 7–8, Richards, Sandra, 89 10, 14, 21, 36, 40, 52, 77, 78, 131, Ristori, Adelaide, 90–1 132, 143, 170, 172–3n12 Robert-Houdin, Jean Eugène, 60 civil service career, 4, 6 Robertson, Graham W., 33–4, 85–6, correspondence, 12–13, 22, 31, 93, 101, 103, 115 54–5, 73, 76, 77, 87, 109–10, 117, Roland, Madame, 110, 111, 175n4 131, 132, 145, 171n11, 171–2n12, Rosenman, Ellen Bayuk, 79 174n5, 175n4 Rossetti, Dante Gabriel, 113 relationship with Ellen Terry, 9, The Gate of Memory, 104 78–9, 98 Roth, Phyllis, 171n3, 172n13 relationship with Geneviève Ward, Roy, Donald, 19–20 4, 6, 11, 33, 39, 109–10, 125, 130, Ruskin, John, 104 162, 174n4 Russell, E. R., 136 relationship with Henry Irving, 2, 4, 6, 8, 9, 14, 18, 36, 40, 50, Sage, Victor, 117, 124, 175n10 132–3, 171–2n12 St John, Christopher, 80, 82, 85, 103, theatrical reviews (Dublin Evening 174n7 Mail), 2, 4, 5–6, 9–10, 15, 22, 25, Salter, Denis, 32 27–8, 29–32, 45, 48–50, 79, 109, Salvini, Tommaso, 138, 139–40 138–43, 157, 162, 165, 172n6 Sargent, John Singer, 35, 168 upbringing, 3–4 Scott, Clement, 46–7, 53, 129–30, ‘The Art of Ellen Terry’, 102, 106 136 ‘Bengal Roses’, 101, 103–4 Scott, Mrs Clement, 7, 86, 106 ‘The Burial of Rats’, 110 Scott, Walter ‘The Censorship of Fiction’, 109 The Bride of Lammermoor, 114 Dracula (novel), passim 194 Index

Stoker, Bram – continued association with the vampire Lucy Dracula or the Undead (play), 36–7, in stage roles, 10, 11, 53, 79, 84, 38, 40 86, 88, 92, 95, 97, 98–9, 129, ‘Dracula’s Guest’, 116, 172n5 152–3 Duties of Clerks of Petty Sessions of economic power, 10–11, 85, 89 Ireland, 6, 7 Gothic associations, 33, 35, 78, 81, ‘The Great White Fair’, 123 83–4, 85, 86, 87, 91, 93, 105–6, ‘Irving and Stage Lighting’, 21, 52 129–30, 151–2 The Jewel of Seven Stars, 45, 57, marriages and relationships, 79–84, 66–74, 77, 166 87, 104, 174n1 The Lady of the Shroud, 11, 33, mentioned in Dracula, 92, 96–8 108–11, 113, 117–24, 128, paintings of, 84, 89–90, 168, 174n4 129–30, 166, 168 playing victims, 10, 78–9, 85, The Lair of the White Worm, 23 101–5, 106, 114–15, 167–8 The Mystery of the Sea, 175n7, relationship with Stoker, 9, 78–9, 98 175–6n1 The Story of My Life, 28, 33, 35, 78, Personal Reminiscence of Henry Irving, 82, 83, 87–9, 90, 91, 95, 103, 105, 5–6, 8, 38–9, 48, 50, 55, 78, 79, 145, 146, 150 84, 85, 98, 107, 109, 113, 132–3, roles: 142–3, 163–4, 165, 168 Desdemona, 86, 89, 92, 94–5, 106 The Primrose Path, 161–3 Ellaline (The Amber Heart), 98, 129 ‘The Secret of Growing Gold’, 113 Guinevere (King Arthur), 130 The Shoulder of Shasta, 95–6, 170 Henrietta Maria (Charles I), 85 The Snake’s Pass, 9, 26, 175n5 Imogen (Cymbeline), 92–4 Snowbound: The Record of a Iolanthe, 105–6, 129 Theatrical Touring Party, 8, 9, Lady Macbeth, 145–6, 147–8, 27–8, 99–101, 162–5 149–50, 151–3, 157, 158, 159, ‘The Squaw’, 50 167, 168 The Watter’s Mou’, 1–2, 11 Lucy (Ravenswood), 114–15 Stoker, Dacre, 3 Margaret (Faust), 52, 53–5, 77, 81, Stottlar, James F., 53 83, 85, 106, 115, 145 Stuart, Roxana, 17, 19, 40 Olivia, 28, 82, 101–5, 106, 167, Sullivan, Arthur, 149 174n10 Sullivan, Barry, 138–40, 142–3, 157, Ophelia, 78, 85, 86, 87–92, 101, 176n2 102, 106, 113, 145, 174n6 Sullivan, Thomas Russell, 12 Portia, 28, 86 Rosamund (Becket), 129 Taylor, Gary, 132, 133 Sylvia (The Medicine Man), 74–5, Taylor, George, 43 174n5 Tennyson, Alfred Lord, 91 Volumnia, 106 Becket, 129–30, 171–2n12 Theatre Royal, Dublin, 4, 5–6, 9, 15, The Cup, 91, 171–2n12 26, 27, 29, 31, 109, 132, 138, 170, Tennyson, Hallam, 171–2n12 172n8 Terriss, William, 34–5, 105, Tilley, Elizabeth, 110 171–2n12 Tisdall, Edward, 24 Terry, Ellen, 9, 10, 28, 32, 33–4, 35, Tóibín, Colm, 3, 171n5 40, 41, 52, 53, 74, 75, 77, 78–106, Toole, J. L., 55–7, 173n11 144, 145–50, 152, 158–9, 163, Toole’s Theatre, 55–7 169, 174n3, n5, n6, n10 Traill, H. D., 75–6 Index 195

Tree, Herbert Beerbohm, 43 as Morgan Le Fay (King Arthur), Tremayne, Peter, 171n8 129–30 Trinity College, Dublin, 3, 131–2, as Queen Eleanor (Becket), 129–30 141–2 relationship with Stoker, 4, 6, 11, 33, 109–10, 125, 130, 162, vagina dentata, 11 174n4 vampire cat, 39 Watts, G. F., 80–1, 84, 89–90, 97–8, vampire melodrama, 12, 13, 18–24, 174n1, n4 40, 46 Choosing, 84 vampire trap, 20, 161–2 Found Drowned, 84 vampires, 1, 3, 4, 8, 10–12, 14, 18–24, Watts Gallery, Compton, 81, 174n1, 27–8, 32, 34, 40, 46–9, 53–4, n2, n8 57–8, 61, 64–6, 69, 73, 76–7, 79, West, E. J., 140 86, 92, 94, 95, 96, 97–8, 100, 106, Whitby, in Stoker’s writing, 20–1, 44, 108, 114, 116–17, 118, 119–22, 46, 48, 92, 134, 155 124, 128–30, 134, 145, 152–8, Whiteing, Richard, 107, 111–12, 125, 162, 166, 172n3, n5 127, 129, 175n1, n2 actors’ association with, 3, 8, 10–11, see also Ward: Both Sides of the 32–3, 79, 86, 97–8, 165 Curtain pseudo-, 11, 108, 113, 117–20, 122, Whitman, Walt, 4 124, 128–30, 166, 168 Wilde, Oscar, 3 The Picture of Dorian Gray, 9, 10, Wallace, William, 132, 148 35, 85 Walpole, Horace, 13, 108, 160 Wilde, Sir William and Lady, 4, The Castle of Otranto, 13, 108, 160 171n8, n9 Walsh, Townsend, 22, 28–9 Wills, Freeman, 102 Ward, Geneviève, 4, 6, 11, 33, 34, 91, Wills, W. G., 28, 45, 50, 53–5, 82, 107–13, 117, 125–30, 162, 167–9, 101, 103, 104, 105 171n9, 175n1, n2, n4, n11 The Dream of Eugene Aram, 6, 136 as Adrienne Lecouvreur, 109 Faust, 8, 10, 32, 40, 44–5, 50–7, 76, Both Sides of the Curtain (with 77, 80, 81, 83, 85, 115, 149, 157, Richard Whiteing), 107, 111–12, 161, 165, 166, 174n4 125, 127, 129, 175n1, n2 Iolanthe, 105–6, 129–30 Dame of the , 34 Olivia, 28, 82, 101–6, 167 dedicatee of The Lady of the Shroud, Vanderdecken (with Percy Fitzgerald), 11, 108, 168 10, 38, 40, 45–50, 54, 108, 169 Forget-Me-Not, 11, 33, 34, 109, Winter, William, 37–8, 145, 149 125–8, 167, 175n11 Wood, Mrs Henry influence on Stoker’s writing, 33, East Lynne, 28, 164, 173n11 109, 110–11, 117, 130 Wynne, Catherine, 171n6, n10, as Lucrezia Borgia, 125 172n14, n6, n8, n9, 173n11, n12, marriage to de Guerbel, 107–8, 176n2 111–13, 117, 121, 129, 168 Memoir de Ginevra Guerrabella, 108 Yeats, W. B., 121

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