Ellen Terry's House FRANCIS REID Visits the National Trust's Museum of Nineteenth-Century Theatre at Smallhythe

Ellen Terry's House FRANCIS REID visits the National Trust's museum of nineteenth-century theatre at Smallhythe.

Smallhythe Place, built in the first half of the figures, together with the width of her own The Terry Room is devoted to memories sixteenth century, was known, originally as collections of theatrical ephemera, make the of the actress plus some material of her fami the Port House but became The Farm when house into something of a general museum ly background. In addition to drawings, the sea receded and agriculture replaced of the stage of the second half of the nine paintings and photographs, both in and out navigation. Smallhythe as a sixteenth teenth century. A width that also springs in of character, there is her make-up box, in century port built vessels, and by early this evitably from her family tree which encap signia as a Dame of the British Empire, and century goods were still being brought by sulates the Gielguids, the Hawtreys and her death mask. Particularly enchanting is a barge from Rye to Smallhythe quay, but the son Edward Gordon Craig, the visionary photograph of the 16-year-old Ellen Terry waterway has now shrunk to a drainage who, with Appia, looked forward to the pro by the great pioneer artist photographer ditch. duction styles of today. Julia Margaret Cameron. The Dining Room 1 Despite the large quantity of displayed displays portraits and possessions of the .. The house was bought by Ellen Terry in theatre material, the house manages to retain great actors including Garrick, Siddons, 1899 and, within the nomadic context of an a considerable air of domesticity in all its Kean, Bernhardt, Woffington, Vestris, acting life, was her true home until she died rooms. With the exception of the Bedroom, Macready, Kemble, Matthews, Toole, there in 1928. Now in the care of the National each room has a theatric theme. Her Rachel, Duse and many others. Items in Trust, it houses an Ellen Terry Memorial bedroom, however, remains as she left it, clude Garrick's recorder, Phelp's cigar case, Museum. While the emphasis is certainly on furnished with personal items of which only Bernhardt's handkerchief and Sir Arthur the life of that great actress whom Shaw one is a part intrusion from the world of the Sullivan's monocle. And from E.T's own declared the whole age to be in love with, her stage - her annotated copy of the Globe performances are Olivia's corals, Cordelia's associations with so many other major acting Shakespeare. cloak clasp, Titania's shoes and Juliet's Nurse's rosary. A little cash book lies open at a week showing the results of touring Shakespeare to the Theatre Royal in Bath: Gross takings £730-11- 6 Share 547-18- 7 Expenses 252-13-11 Profit 295- 4- 8 An American corner includes a travelling candlestick presented by the 'School of Expression' in Boston, Mass in 1888: The Costume Room displays some of her costumes from productions over the half century between 1875 and 1925 including the Lady Macbeth of 1888 worn in the much reproduced Sargent portrait in the National Gallery. Irving had his costumes made in quality silks and satins and so, despite con tinual repertoire use, they still retain much of their original flavour. The Lyceum Room Smallhythe (built c.1500), Ellen Terry's home from 1900-1928. records the partnership of Ellen Terry and National Trust photograph by Jeremy Whitaker Henry Irving from 1878 until 1902. All the expected sort of items are here plus a special one for theatre architecture collectors: an in scribed silver trowel presented to Irving by Frank Matcham on the occasion of laying a stone in commemoration of the re-building of the Theatre Royal, Bolton in 1888. The library contains Ellen Terry's own collection of theatre books and, peering through the glass one notes a very wide range, rather strong in local stage histories. This collection may be consulted by arrangement outside the midsummer tourist season. The cor ridors are rich in originals of the standard prints that are familiar as preproductions in theatre history books - and, again par ticularly for the architecture lovers, there is a photograph of the interior of the old Lyceum, taken from the stage. All in all this house is a delightful encap sulation of a particular era, seen through the eyes of its leading lady, and given an authen ticity through the personal· atmosphere in Lyceum Room, Smallhythe. Photo National Trust Properties evitably left behind by her presence.