Sir Henry Irving Collection (1874-1905) Inventory
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Dame Ellen Terry GBE
Dame Ellen Terry GBE Key Features • Born Alice Ellen Terry 27 February 1847, in Market Street, Coventry • Married George Frederic Watts, artist 20 February 1864 in Kensington. Separated 1864. Divorced 13 March 1877 • Eloped with Edward William Godwin, architect in 1868 with whom she had two children – Edith (b1869) and Edward Gordon (b1872). Godwin left Ellen in early 1875. • Married Charles Kelly, actor 21 November 1877 in Kensington. Separated 1881. Marriage ended by Kelly’s death on 17 April 1885. • Married James Carew, actor 22 March 1907 in Allegheny County, Pennsylvania, USA. Unofficially separated 1909. • Died 21 July 1928 Smallhythe Place. Funeral service at Smallhythe church. Cremation at Golders Green Crematorium, London. Ashes placed in St Paul’s Covent Garden (the actors’ church). Urn on display on south wall (east end). A brief marital history Ellen Terry married three times and, between husbands one and two, eloped with the man who Ellen Terry’s first marriage was to the artist G F Watts. She was a week shy of 17 years old, young and exuberant, and he was a very neurotic and elderly 46. They were totally mismatched. Within a year he had sent her back to her family but would not divorce her. When she was 21, Ellen Terry eloped with the widower Edward Godwin and, as a consequence, was estranged from her family. Ellen said he was the only man she really loved. They had two illegitimate children, Edith and Edward. The relationship foundered after 6 or 7 years when they were overcome by financial problems resulting from over- expenditure on the house that Godwin had designed and built for them in Harpenden. -
Irving Room David Garrick (1717-1779) Nathaniel Dance-Holland (1735-1811) (After) Oil on Canvas BORGM 00609
Russell-Cotes Paintings – Irving Room Irving Room David Garrick (1717-1779) Nathaniel Dance-Holland (1735-1811) (after) Oil on canvas BORGM 00609 Landscape with a Cow by Water Joseph Jefferson (1829-1905) Oil on canvas BORGM 01151 Sir Henry Irving William Nicholson Print Irving is shown with a coat over his right arm and holding a hat in one hand. The print has been endorsed 'To My Old Friend Merton Russell Cotes from Henry Irving'. Sir Henry Irving, Study for ‘The Golden Jubilee Picture’, 1887 William Ewart Lockhard (1846-1900) Oil in canvas BORGM 01330 Russell-Cotes Paintings – Irving Room Sir Henry Irving in Various Roles, 1891 Frederick Barnard (1846-1896) Ink on paper RC1142.1 Sara Bernhardt (1824-1923), 1897 William Nicholson (1872-1949) Woodblock print on paper The image shows her wearing a long black coat/dress with a walking stick (or possibly an umbrella) in her right hand. Underneath the image in blue ink is written 'To Sir Merton Russell Cotes with the kind wishes of Sara Bernhardt'. :T8.8.2005.26 Miss Ellen Terry, Study for ‘The Golden Jubilee Picture’, 1887 William Ewart Lockhart (1846-1900) Oil on canvas BORGM 01329 Theatre Poster, 1895 A theatre poster from the Borough Theatre Stratford, dated September 6th, 1895. Sir Henry Irving played Mathias in The Bells and Corporal Brewster in A Story of Waterloo. :T23.11.2000.26 Russell-Cotes Paintings – Irving Room Henry Irving, All the World’s a Stage A print showing a profile portrait of Henry Irving entitled ‘Henry Irving with a central emblem of a globe on the frame with the wording ‘All The World’s A Stage’ :T8.8.2005.27 Casket This silver casket contains an illuminated scroll which was presented to Sir Henry Irving by his friends and admirers from Wolverhampton, in 1905. -
CYMBELINE" in the Fllii^Slhi TI CENTURY
"CYMBELINE" IN THE fllii^SLHi TI CENTURY Bennett Jackson Submitted in partial fulfilment for the de ree of uaster of Arts in the University of Birmingham. October 1971. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. SYNOPSIS This thesis consists of an Introduction, followed by Part I (chapters 1-2) in which nineteenth- century criticism of the play is discussed, particular attention being paid to Helen Faucit's essay on Imogen, and its relationship to her playing of the role. In Part II the stags-history of Oymbcline in London is traced from 1785 to Irving's Lyceum production of 1896. Directions from promptbooks used by G-.P. Cooke, W.C. Macready, Helen Eaucit, and Samuel ±helps are transcribed and discussed, and in the last chapter the influence of Bernard Shaw on Ellen Terry's Imogen is considered in the light of their correspondence and the actress's rehearsal copies of the play. There are three appendices: a list of performances; transcriptions of two newspaper reviews (from 1843 and 1864) and one private diary (Gordon Crosse's notes on the Lyceum Gymbeline); and discussion of one of the promptbooks prepared for Charles Kean's projected production. -
Henry Irving in England and America 1838-84
THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES il -.;^ >--i ; . An?' Mi:-''' 4 ,. 'f V '1 \ \v\V HENRY IRVING. y^wn. «. /i/ur€e?ytayi/i Oy, J^f ..><? PPa/^»^. HENRY IRVIN.G IN ENGLAND and AMERICA 1838-84 BY FREDERIC DALY ' This ahozie all : To thine own self he true i Ami it mustfollow, as the niglit the day, Thou canst not then befalse to any )iian." Shakespeare " ' PeiseTerance keeps honour bright.' Do your duty. Be fatthfnl to the /inblic to "whom we all appeal, and that public loill be faitliful to you.'— Henky Irving ]] riH VIGNETTE PORTRAIT ETCHED DY AD. LALAUZE T. FISHER UNWIN 26 PATERNOSTER SQUARE 1884 " ^5 IN A MIRROR, WE SEE IN FLA YS IVHA T IS BECOMING IN A SERVANT, WHAT IN A LORD, WHAT BECOMES THE YOUNG, AND WHA7 THE OLD. CHRISTIANS SHOULD NOT ENTIRELY FLEE FROM COMEDIES, BECAUSE NOW AND THEN THERE ARE COARSE MATTERS IN THEM. I OR THE SAME REASON J IE MIGHT CEASE TO READ THE BIBLE.''— Mautix Lutiiku. XTA8 CONTENTS. CHAPTER I. EARL V A SSOCIA TIONS. I'AGK February 6, 1838—A Schoolmaster Alarmed— "It's a Bad " ' — . I Profession A Curious Coincidence . CHAPTER H. PROBATION. A Spiteful Faii-y—The First Disappointment—Hamlet : An Augury—London at Last ...... 10 CHAPTER HL FIRST SUCCESSES IN LONDON. A Monojjoly of Stage \'illains — Stirring Encouragement — A Momentous Experiment — At the Lyceum — "The " Bells"— Pleasant Prophecies— Charles L"—"Eugene Aram"—A too subtle Richelieu — "Philip"— Hamlet: a Fulfilment— Shakespeare spells Popularity . iS CHAPTER I\". SHAKESPEARE AND TENNYSON. Tradition at Bay — "Queen Mary"—Academic Honours— " " Exit Cibber— The Lyons Mail "— Louis XL"— End of the Bateman Management ..... -
When the Invisible Man Came to Swansea the Year 2012 Seems
When the Invisible Man Came to Swansea The year 2012 seems especially rich with the anniversaries of famous events that took place many years ago. There has, for example, been much publicity about the 100th anniversary of Captain Scott’s tragic dash for the South Pole; about the sinking of the Titanic; and about the bi-centenary of the birth of Charles Dickens. There is, however, another 100th anniversary that, it seems, will pass by largely unnoticed. For 2012 also marks the 100th anniversary of the death of an author who, while not as prolific or as successful as Charles Dickens, nevertheless gave us a character as equally famous as Oliver Twist, David Copperfield or Ebenezer Scrooge. This author, who died in 1912, and his casual links to Swansea only recently came to my attention. Swansea’s Grand Theatre has an enviable display of historic posters which advertise some of its long-forgotten shows by usually long-forgotten artistes. They adorn the walls of the Circle as well as the Stalls and provide an intriguing glimpse of the Grand’s long and varied history. At Grand Theatre events over many years, having finished my interval tub of Joe’s ice cream, I have browsed some of these posters, occasionally spotting the name of a famous, but long dead, artiste which still echoes to us down the ages. During a January 2012 visit my attention was drawn to a name I had not expected to see on a Grand Theatre poster. The title of this article may lead the reader to assume that I am referring to H.G. -
ACTORS (19Th Century)
Library of Little Masterpieces In Forty-four Volumes LITTLE MASTERS OF AUTOBIOGRAPHY: ACTORS (19th Century) Edited by GEORGE ILES VOLUME XXXVI 1 Table of Contents PREFACE 5 JOSEPH JEFFERSON 6 HOW I CAME TO PLAY RIP VAN WINKLE 7 THE ART OF ACTING 10 PREPARATION AND INSPIRATION 10 SHOULD AN ACTOR "FEEL" HIS PART 11 JOSEPH JEFFERSON IN MONTREAL: PLAYWRIGHTS AND ACTORS 13 THE JEFFERSON FACE 13 EDWIN BOOTH 15 TO HIS DAUGHTER: BOOTH'S THEATER, NEW YORK, November 15, 1871. 16 TO HIS DAUGHTER: CHICAGO, March 2, 1873. 16 TO HIS DAUGHTER: April 23, 1876. 17 TO HIS DAUGHTER: CHICAGO, October 9, 1886 17 TO HIS DAUGHTER: NEW YORK, January 5, 1888, 17 TO HIS DAUGHTER: DETROIT, April 04, 1890. 18 TO HIS DAUGHTER: THE PLAYERS, NEW YORK, March 22, 1891. 18 TO MISS EMMA F. CARY SAINT VALENTINE'S DAY, 1864. 19 TO MISS EMMA F. CARY [Three weeks after the assassination by his brother, John Wilkes Booth, of President Lincoln.] Saturday, May 6, 1865 20 TO MR. NAHUM CAPEN: [In response to an inquiry regarding his brother, John Wilkes Booth.] WINDSOR HOTEL, NEW YORK, July 28, 1881. 21 ADVICE TO A YOUNG ACTOR: [TO WALTER THOMAS] NEW YORK, August 28, 1889.21 CHARLOTTE CUSHMAN 23 AS A CHILD A MIMIC AND SINGER 24 FIRST VISITS TO THE THEATRE 24 PLAYS LADY MACBETH, HER FIRST PART 25 TO A YOUNG ACTRESS [PART OF A LETTER] 25 TO A YOUNG MOTHER [FROM A LETTER] 26 EARLY GRIEFS. ART HER ONLY SPOUSE [FROM A LETTER TO A FRIEND] 27 FAREWELL TO NEW YORK 28 CLARA MORRIS 29 SOME RECOLLECTIONS OF JOHN WILKES BOOTH 30 THE MURDER OF PRESIDENT LINCOLN 32 WHEN IN MY HUNT FOR A LEADING MAN FOR MR. -
2.1 Claudius in Henry Irving's 1878 Hamlet and in the First Quarto
2. POETIC ECONOMY AND DRAMATIC CHARACTER This chapter explores the relationship of poetic economy to the representation of character in the Hamlet versions. It might come as a surprise, perhaps, that Hamlet as the play’s protagonist has not been selected as a subject for analysis in this chapter. A survey of the stage versions shows, however, that they gen- erally cut very little from the part considering its overall length. To illustrate the effects of alterations two other characters have been selected which are of- ten affected by cutting: Claudius and Polonius. As the villain in the tragedy of Hamlet , the character of Claudius has to fulfil the function of providing a counterpart to the play’s protagonist. The balance between the part of the hero and the part of the villain is shifted in stage versions which alter the part of Claudius. The analysis of Claudius will concentrate on the treatment of the character in one particular stage version, which considerably shortens the part, namely Henry Irving’s 1878 Hamlet . Irving’s approach will be compared to the approach taken to the character in the First Quarto of Hamlet , which also gives the King less room than Q2 and F. The character of Polonius particularly lends itself to an analysis of poetic economy because the character’s use of language creates the impression of ‘uneconomy’ in all of the three substantive Hamlet texts. In conjunction with other character traits evoked by the text, the tendency to be verbose leads to an ambiguity of the character Polonius as a sign, i.e. -
Our Chapter Takes the Form of an Encyclopaedia of the Major Literary
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Enlighten Heinrich, A. (2011) Seriously Funny. Pitlochry Festival Theatre 60th Anniversary Season Programme 2011 . pp. 36-37. http://eprints.gla.ac.uk/61184/ Deposited on: 29th March 2012 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Trelawny of the 'Wells' by Arthur Wing Pinero Programme note by Dr Anselm Heinrich, University of Glasgow Arthur Wing Pinero (1855-1934) had to wait a long time before winning widespread recognition. He acted in supporting roles for years, adapted plays from the French, and generally served “a long and arduous apprenticeship”.1 From the late 1870s onwards, however, Pinero became one of the most prolific playwrights of his generation and well-known not only for his comedies but also for his serious drama, which ridicules the social hypocrisy of late- Victorian society. Taken at face value Trelawney of the ‘Wells’ (1898) is a comedy par excellence: theatre star gives up the stage for love, is unable to fit into conventional society, returns to theatre and is reunited with her sweetheart on stage who – unbeknown to her – has chosen the same career path. A closer look reveals a fascinating dramatic investigation into the contemporary theatre world. To start with there are many parallels between play and reality: the aspiring young playwright Tom Wrench is no other than Tom Robertson, the Barridge Wells Theatre only a thinly disguised Sadler’s Wells Theatre, and the more realistic plays Rose encounters are nothing less than a celebration of the new realist drama produced at the Prince of Wales’ Theatre in the 1860s – a drama, too, which Pinero seems to suggest was a precursor to his own playwriting of the 1890s. -
Centrality, Orthodoxy and Self-Reflexivity In
Prague Journal of English Studies Volume 1, No. 1, 2012 '2,SMHV ISSN: 1804-8722 “Our Little Parish of St. James‘s”: Centrality, Orthodoxy and Self-Reflexivity in the 1890s London Theatre Rudolf Weiss In the 1890s the London theatre was governed by the idea of centrality. is most representative and most prestigious theatrical territory was ruled by the actor-manager, the monocratic director who also played the leading roles. Moreover, he was the arbiter in matters of dramatic aesthetics, in matters of dramatic ethics as well as audience reception. Henry Arthur Jones and Arthur Wing Pinero, the most popular playwrights of the period, provided them with leading parts which reflect their managerial functions in the dramatic world: the raisonneurs in their society dramas manipulate the action, advise the other characters and represent social and moral orthodoxy. e article explores the concept of centrality in the London theatre of the 1890s on various interconnected levels – theatre management, dramatic technique, functions of the raisonneur and ideological implications of the scène à faire as well as audience structure and audience taste. A special focus is placed on the essential (self)reflexivity of this “little parish”, where the managerial structures of the mainstream theatre are mirrored in the conventional dramatic aesthetics of society drama, the predominant genre in the repertoire, which echoes the mind-set of the majority of the spectators. 1. Introduction: the authority of the actor-manager In her introductory chapter to e Cambridge Companion to Victorian and Edwardian eatre Nina Auerbach claims that all the contributions in this volume “insist on the centrality of the theatre in nineteenth-century culture; until the end of the century, its broad popularity gave its conventions the aura of universality” (4). -
"H.B." and Laurence Irving
WILLIAM HUE 2 NO VISCOUNT LEVERHULME " H.B." and Laurence Irving "H. B." "H.B." and Laurence Irving By Austin Brereton With Eight Illustrations London Grant Richards Ltd. mdccccxxii ?N Ttbt PRINTED IN GREAT BRITAIN BV THE RIVERSIDE PRESS LIMITED EDINBURGH Contents PART I. "H.B." CHAPTER I. CHILDHOOD . .15 II. OXFORD . ?6 III. THE STAGE OR THE BAR . .40 " " IV. YOUNG HAMLET . -53 V. MARRIAGE AND LONDON . .62 VI. CRICHTON AND JEFFREYS . .68 VII. IN AMERICA . .81 VIII. His OWN MANAGER . .92 IX. MATHIAS IN LONDON . 101 X. HAMLET . .120 XI. AUSTRALIA AND HOME . 139 XII. AUTHOR AND CRIMINOLOGIST . -149 PART II. LAURENCE XIII. MARLBOROUGH TO RUSSIA . 165 XIV. ACTOR AND AUTHOR .... 172 XV. SUCCESS IN SHAKESPEARE . .177 XVI. BRIEUX AND DOSTOIEVSKY . 183 XVII. HAMLET AND SKULE .... 189 XVIII. TYPHOON AND CANADA . 199 XIX. A TRAGIC END . .216 APPENDIX . .227 INDEX . .235 5 Illustrations " H.B." . Frontispiece PAGE " " HARRY . .... 48 THE BROTHERS . .96 HARRY AS HAMLET . .128 " H.B." AND LAURENCE . .144 With the Bust of their Father LAURENCE IRVING ..... 163 LAURENCE AS CHARLES SURFACE . 176 LAURENCE AS RICHARD LOVELACE . 192 " The portrait of" Harry is from a photograph by Elliott and Fry, that of The Brothers by Window and Grove, of Laurence Irving by J. Beagles and Co., of Laurence as Charles Surface by W. and D. Downey, of Laurence as Richard Lovelace by Norman May and Co., Cheltenham. 6 Introduction the afternoon of a summer day, nearly thirty-nine years ago, a lonely man sat in ONhis study awaiting the arrival of his two sons. He was at the zenith of his career. -
Caricatures of Henry Irving and Edwin Booth, Inscription Reads
[Caricatures of Henry Irving and Edwin Booth, inscription reads] Box (An English Hamlet)-Who are You? Cox (An American Hamlet)-If it comes to that, Who are You? (artist unidentified, circa 1881-1906?). Folger ART Vol. a8 no.47. Box and Cox was a popular one-act farce written by John Maddison Morton and first produced in 1847. In it, a landlady rents an apartment to one lodger (Cox) by day and another lodger (Box) by night, with both tenants continually confused by changes in "their" apartment, but unaware that they are sharing space. After many mix-ups, they discover the double tenancy, and ultimately decide that the arrangement works for them. In this caricature, an unidentified artist portrays Henry Irving and Edwin Booth, both popular actors known for their performances as Hamlet, as a Shakespearean Cox and Box. When the American Booth visited England during a theatrical tour in 1881 and announced that he would perform Hamlet, many theatergoers anticipated a rivalry with English actor Irving. However, Irving made Booth welcome, and the two actors even performed the title role in Irving's production of Othello on alternating nights. The rival Richards !!! (F. Str., 1817). Folger ART File K24.4 no.90 copy 2 (size M). The artist, identified only as "F.Str.", shows the whim of British theater audiences, personified as Folly, a three-faced jester, preferring rival actors Junius Brutus Booth and Edmund Kean in their performances as Richard III. Other actors who had portrayed the same role are seen fleeing or fainting around the jester: the cluster of actors on the right includes Charles Mayne Young and John Philip Kemble. -
Shakespeare and the Festivals
Shakespeare and the Festivals Alice Griffin This year, the 400th anniversary of Shakespeare's beth? In more recent years, under a number of new birth, promises to set a worldwide record for Shake directors like Peter H all , young companies have enacted speare festivals. Hundreds of schoolchildren in West the comedies creditably. Attempts by English directors chester are piping the Bard's blank verse for a mammoth to give individuality to their productions have been celebration; more than a hundred amateur productions both praised and deplored. are scheduled in England; schoolboys in the Philippines The Canadian Shakespeare Festival was founded ten are rehearsing the roles of Shakespearean heroines, and years ago, with Tyrone Guthrie, a veteran of the the replica E lizabethan stage at Waseda University in Stratford-on-Avon festival, as its artistic director. Alec Tokyo will ring to Shakespeare in Japanese translation. Guinness and Irene Worth were the stars in the first Why should there be so much activity in the summer season, but the real star, then and ever since, has been when, to the best of this writer's recollection, there has the stage, generating excitement to the production and been no independent Broadway production of the Bard bringing the actor into close rapport with the audience, between the Olivia de Havilland Romeo and Juliet and who surrounds him on three sides, as he stands on a the Burton Hamlet this spring? One reason, of course, bare platform. Such features of the Elizabethan stage is financial. The large cast of Shakespeare and the as the inner and upper stages are reproduced in a grace large number of stagehands required make for the high ful , columned structure at the back.