Printer Friendly

Before Ibsen: the early stage career of Janet Achurch, 1883-89.

An actress of Janet Achurch's status warrants little introduction. Her innovative interpretation as Nora Helmer in the first unexpurgated British production of Henrik Ibsen's A Doll's House at the Novelty Theatre on 7 June 1889 brought her instant fame. (2) Indeed, such was the impact of A Doll's House on the course of British theatrical history that it is easy to forget that Achurch had a theatrical past before she became famous as Nora. This metaphorical severance from her formative years has been so overwhelming that her pre-Ibsen period has almost escaped attention. The paucity of information is evident in a plethora of readily available biographical summaries on Achurch that offer little of this early period. (3) The recovery of this undocumented past has entailed a study of Achurch's six-year apprenticeship from 1883, when she first came to the stage, up to the early notices for A Doll's House in 1889. During this period, Achurch acted under well-known managements, notably those of Genevieve Ward, Sarah Thorne, F. R. Benson, and Herbert Beerbohm Tree. On this journey of recuperation are revealed not only the predictable peaks and troughs in fortune but also the relative strengths and weaknesses of Achurch's developing talent, and the emergence of performance traits and artistic style that prefigured the performer she became. In a wider context, and in recognition of the changing status of actresses in the last two decades of the nineteenth century, the impact of familial and gender issues on her career path demands consideration also. Attention is therefore drawn to Achurch's theatrical heritage and family connections [Figure 1], and to key personal relationships in her early acting years. These forces were outside the theatrical events that defined her career but they significantly influenced the direction she chose. Her first husband was the actor-dramatist St Aubyn Miller (1865-1929) whose mainstream artistic ambitions were incompatible with her own (Ince, "After Janet"). (4) Her second husband, the actor-manager Charles Charrington (1854-1926), proved the exact opposite. Charrington was a risk-taking pioneer and Fabian socialist but hopeless in the management of financial matters (Ince, "An Early Pioneer"). Artistically and intellectually however Charrington and Achurch were the perfect match, yet the great things promised by this extraordinary partnership (even with the later sponsorship of George Bernard Shaw) failed to materialise for reasons that have been well documented. At the end of this essay is a chronological list of Achurch's roles for the period under study, the most comprehensive survey of her early career undertaken to date.

Achurch was the youngest of a family of six children whose mother died on 21 January 1863 aged 38, five days after the birth of her daughter. In 1881, Achurch, then aged 18, was the only child living with her widowed father William Prior Sharp, and had been for six years. Within two years of Achurch's enumeration on the 1881 census (of England and Wales), she had entered the theatrical profession. The (unrelated) American-born actress and former opera singer Genevieve Ward gave Achurch her first stage opportunity. An interview given by Achurch to the Pall Mall Gazette (5 Jul. 1889: 1) on the day she and Charrington left for their Antipodes tour after A Doll's House, reveals how this came about. In this article entitled "Norah Helmer Off for the Antipodes", Achurch admitted to having drawn early inspiration from the acting of Sarah Bernhardt, and reflected on her six years on the stage and the 200 roles played before Nora. (6) Describing herself as one of a "motley crew" at the School of Dramatic Art (by then defunct), Achurch was spotted by dramatist Hamilton Aide who recommended her to Genevieve Ward. (7) Prior to this however she had acted in a charity event in place of Mrs Beerbohm Tree in the role of Lady Camilla in Watts Phillips' three-act drama Camilla's Husband, but how this transpired was unexplained. It can only be surmised the extent to which Ward influenced Achurch's early development, and yet the impact must have been significant given that Ward's ethos for the aspiring actor was "There are no gains without pains" (Hammerton 204). With Achurch in Ward's company were two other young actresses, Lucy Buckstone (1859-93), the daughter of actor-comedian J. B. Buckstone, and Rosina Filippi (1866-1930), half-sister to Eleanora Duse, and a later noted teacher of elocution and acting, all of whom played the same roles at different times. The reconstruction of Achurch's one year in Ward's company is therefore complicated by this juxtaposition. After a two-year absence from the London stage, Ward opened at the Olympic on Saturday 6 January 1883 as Stephanie de Mohrivart in Hermann Merivale and Charles Grove's comedietta Forget-Me-Not as the main piece, her 719th rendition of the role she made famous. The forepiece was J. Maddison Morton's farce Betsy Baker in which Achurch made her acting debut as Mrs Mouser, but no review for this has been located. In March 1883, Betsy Baker was replaced by Charles Reade's one act play Nance Oldfield in which Achurch played Sarah Oldfield. In one of the earliest reviews found on Achurch, the Era (3 Mar. 1883: 8) commented, "she made the most of her opportunities as the tearful and unsophisticated relative and dependent of the heroine". At this time Achurch was also playing Alice Verney in the main piece Forget-Me-Not, a role taken earlier by Lucy Buckstone and later by Rosina Filippi, but it was one Achurch was to make her own with some success on tour. In the matinee of Aide's comedy A Great Catch (Era, 31 Mar 1883: 14), which eventually replaced Forget-Me-Not as the main piece, Achurch played the minor role of Lady Stanmore to Herbert Beerbohm Tree's Lord Boodle. Tree received the plaudits and Achurch's acting little notice except from the Standard (19 Mar. 1883: 3) who considered she'd acted with "absurd extravagance ... [and] very injuriously affected the scenes in which she appeared". Sydney Grundy's drama Rachel then took prime slot on the bill in April 1883 preceded by the farce The First Night adapted from the French by Thomas Parry (Stage, 6 Apr. 1883: 9). Achurch appeared in the latter at the end of April in the role of the debutante Emilie (to Tree's Achille Talma Dufard) when she replaced Lucy Buckstone. Achurch also took Mrs Leigh Murray's role of the child-stealer Margaret Waters in Rachel from 12 May during Murray's spell of illness until the end of the run in May 1883 (Era, 19 May 1883: 8; Morning Post, 21 May 1883: 3). At the beginning of June 1883, with Achurch still in The First Night, Grundy's comedy The Queen's Favourite (adapted from Eugene Scribe's Le Verre d'Eau) was introduced on the bill with Achurch in the role of Lady Albermarle, but without critical comment. The play was short-lived, ending 30 June, and considered lacking in dramatic value (Stage, 8 Jun. 1883: 10; Era, 9 Jun. 1883: 7). It was however later toured with Achurch as Queen Anne with greater success. After one week, W. Gordon's adaptation of the comedietta Dearest Mamma replaced The First Night as forepiece with Achurch in the role of Mrs Louise Honeywood, but again no reviews have been found. Ward's six-month occupation of the Olympic Theatre was, in her own words, a "hard struggle" during which she lost money (Ward 103). Despite these problems she received a present from the members of her company as a mark of appreciation for her "courtesy and kindness" (Era, 30 Jun. 1883: 8). (8) Before her world tour, Ward conducted a four-month farewell tour of England and Ireland, and Achurch was once more engaged in now familiar roles (Era, 21 Jul 1883: 8). The tour commenced 3 September 1883 at the Prince of Wales, Birmingham, and concluded on 7 December 1883 at the Opera House, Cork. For the opening week at Birmingham, Filippi took the main role of Alice Verney in Forget-Me-Not with Achurch as understudy. At Liverpool in September 1883, Achurch played Queen Anne in The Queen's Favourite, a performance described by the Stage (21 Sep. 1883: 4) as "effective [but] rather overweighted". However her portrayal of Queen Anne improved as the tour progressed, eliciting praise from most reviewers (Era, 6 Oct. 1883: 9; Stage, 19 Oct. 1883: 16; Manchester Courier, 16 Oct. 1883: 8; Stage, 9 Nov. 1883: 15; Era, 10 Nov. 1883: 9). At Cardiff, Chester and Belfast, Achurch also received praise for her sympathetic and intelligent acting of Alice Verney in Forget-Me-Not (Western Mail, 9 Oct. 1883; Stage, 12 Oct. 1883: 2; Era, 3 Nov. 1883: 8; Stage, 2 Nov. 1883: 3; Belfast NewsLetter, 20 Nov. 1883: 5). Success also came for Achurch in her other main role as Gladys Grant in Grundy's drama Rachel first staged at Manchester in mid-October 1883 where, as the young heroine passing as someone else's daughter, she proved "very efficient and pleasing" (Era, 20 Oct. 1883: 10). In her autobiography, Ward says little of her time at the Olympic, and nothing of her subsequent four-month provincial tour of England immediately prior to her world tour (Ward 101-02). Nevertheless, for Achurch, this was a valuable entry-level experience comprising six months in London followed by four months on tour.

At the conclusion of Ward's farewell tour Achurch joined Sarah Thorne's stock company at Margate in January 1884, before the latter's School of Acting was opened in 1885 (Morley 109). In a rare interview towards the end of her life Sarah Thorne insisted that "stock work" formed the best training, offering a "breadth of style that no other work can" (Sketch, 9 Oct. 1895: 602). Thorne's company was therefore more than simply a nursery for the West End. Achurch was exposed to a far greater variety and number of roles than she had experienced under Ward, and a more taxing workload. Personal factors also came into play at Margate where she met her two future husbands. St Aubyn Miller had been with F. R. Benson's Shakespearean and Old English Comedy Company between August and December 1883, and joined Thorne in May 1884 (Stage, 16 May 1884: 21). Charles Charrington was engaged by Thorne for her autumn tour in August 1884 (Era, 23 Aug. 1884: 19) but had been with her in May-October 1882 at the very start of his career (Stage, 12 May 1882: 14). Achurch's initial engagement with Sarah Thorne was in a tour of George Thorne and F. Grove Palmer's adaptation of the pantomime Peter Wilkins in which Achurch played the small role of Queen Christmas. This began in January 1884 at the Town Hall, Folkestone (Stage, 11 Jan. 1884: 5-6), ending in May 1884 at Ventnor (Isle ofi Wight Observer, (10) May 1884: 6). Towards the end of the pantomime tour (before its conclusion at Ventnor), Thorne's company began a new tour which started at Margate in Easter 1884 (Era, 19 Apr. 1884: 19), and on 25 May 1884, shortly after St Aubyn Miller joined Thorne's company, he and Achurch married (Stage, 13 Jun. 1884: 11). On the eve of their marriage Achurch assumed the role of Kate O'Brien in T. H. Bayly's one-act comedy Perfection; or, The Lady ofi Munster, a performance described merely as "interesting" by the Era (24 May 1884: 4). As Louise in the drama from the French, The Cross Roads oi Liie, Achurch's performance however was described as "excellent" by the Era (7 Jun. 1884: 4-5). August 1884 at Margate (the start of Sarah Thorne's autumn tour) represents a further key date in Achurch's early career, one that was to have profound consequences for her future, for it was in this month that she first met Charles Charrington. The principal play of Thorne's autumn tour was J. Palgrave Simpson's drama Lady Dedlock's Secret, adapted from Charles Dickens' Bleak House. Achurch played Esther Summerson the heroine raised as an orphan to Miller's young, homeless boy Jo, while Charrington acted in the forepiece farce My Neighbour's Wifie, Alfred Bunn's adaptation from the French (Stage, 22 Aug. 1884: 19). Before leaving Thorne's company, Achurch played Ruth in W. E. Sprange's four-act domestic drama Wrecked (adapted from Mary Elizabeth Braddon's novel Joshua Haggard's Daughter) in which she acted with Charrington for the first time, and which also included Miller in the cast (Stage, 12 Dec. 1884: 15). The play was well received and was later toured by Thorne's leading actor Henry Dundas (Era, 6 Dec. 1884: 9).

A convenient bridge between Achurch's time with Sarah Thorne and later with F. R. Benson was her engagement by the actor-manager Henry Dundas (1860-1907), whose real name was Arthur Harrisson [sic]. Dundas was Thorne's son-in-law having married her actress daughter Elizabeth (Macknight) in December 1883, whose stage name was Bessie Knight (Era, 15 Dec. 1883: 3). Dundas was Thorne's General, Touring and Stage Manager, as well as her principal male lead (Era, 15 Mar. 1884: 15). He eventually branched out as an independent actor-manager with his wife, and engaged Achurch, Miller and Charrington for his first provincial tour, billed as the New Magdalen Company (Stage, 13 Feb. 1885: 22; Morley 106). The tour started 24 December 1884 at the Goole Theatre Royal (Era, 3 Jan. 1885: 15), ending 30 May 1885 at Margate (Era, 30 May 1885: 8). During this twenty-three week period were performed new pieces not played under Thorne. The principal ones were Jefferson's adaption of Hugh Conway's novel of crime and romance Called Back in which Achurch played the role of Pauline March, and Wilkie Collins' drama The New Magdalen with Achurch as Mercy Merrick. Dundas' company comprised an exceptional assemblage of talent, the legacy of Achurch's experience under Thorne evident in the many excellent reviews she and the company enjoyed (Era, 7 Feb. 1885: 6; Era, 28 Feb. 1885: 16; Stage, 27 Feb. 1885: 5). Achurch left Dundas' company after Lincoln in April 1885 but was then re-engaged by him for a further season in the Channel Isles. At Jersey and Guernsey she repeated her role of Mercy Merrick to further critical acclaim (Star, 23 Jul. 1885: 3), scoring also as the heroine Anne Silvester in David James Jnr's adaptation of Wilkie Collins' drama Man and Wife (Star, 30 Jul. 1885: 2; Jersey Weekly, 1 Aug. 1885: 6; Star, 4 Aug. 1885: 2).

Achurch's transition from Dundas to Benson was not straightforward. Approximately half way through Dundas' tour, Achurch appeared with Benson's Shakespearean and Old English Comedy Company on four occasions in April and May 1885, this being towards the end of the latter's fourth tour (Stage, 29 May 1885: 22). (9) However, her first engagement proper with Benson (for his fifth tour) was not until Monday 31 August 1885 at the Gaiety Theatre, Hastings, as Gertrude in Shakespeare's Hamlet,

and Portia in The Merchant of Venice to Benson's Shylock (Era, 5 Sep. 1885: 3, 10). Evidence of Achurch's involvement with Benson at an earlier date (during her period with Dundas) can be found in Benson's memoirs. This states that her very first engagement with him was at Leamington in early April 1885 in the role of Lady Macbeth to Benson's Macbeth, having replaced the actress Winifred Beadnell who had just left the company (F. R. Benson 225-28). (10) This was in preparation for a "large scale" performance at Reading at the end of April where Achurch gave "a most impressive and artistic impersonation of Lady Macbeth" (Stage, 24 Apr. 1885: 6). It was under Benson that Achurch was exposed for the first time to the demands of Shakespearean roles, quite different to the stock farces, comedies and dramas she had previously played. Her abilities in this arena of dramatic representation were instantly apparent. Of Achurch's Lydia Languish (to Benson's Jack Absolute) in R. B. Sheridan's comedy The Rivals played at Windsor at the end of September 1885, the Era (26 Sep. 1885: 4) commented that she "looked and acted charmingly". At Oxford in November 1885, a two-week stay, Achurch played Beatrice to Benson's Benedick in Shakespeare's comedy Much Ado about Nothing, sharing the plaudits for their "fine and artistic acting [which] elicited the loud applause of their audience" (Era, 21 Nov. 1885: 18). Benson's autumn tour concluded at Cirencester or Stroud (Era, 26 Dec. 1885: 8), and while it is difficult to pinpoint precisely when Achurch left, by the end of December 1885 her name is no longer seen on Benson's advertisements (Era, 26 Dec. 1885: 4). In his memoirs, Benson refers to Achurch as "an actress of the greatest promise ... of ... fair-haired, voluptuous appearance ... [whose] prospects had not been improved by an early and altogether unsuitable marriage with a young husband [St Aubyn Miller]" (F. R. Benson 226). Lady Constance Benson's memoirs offer additional insights (C. Benson 59). As the actress Constance Fetherstonhaugh, she relates how she had met Achurch in the spring of 1885 when "FRB" told her he was engaging her (a girl who had had "a very sad life, and had made few friends") to play the lead in Alexandre Dumas fere's The Corsican Brothers, and in Shakespeare's Othello and Macbeth. Lady Benson recalls that Achurch "was a very pretty girl, with beautiful blue eyes and an attractive figure" but sharing a room with her proved problematic, for as "clever and attractive as she was, she was quite regardless of others, and proved herself a most depressing companion". Achurch was "convinced that the only way to make a name for herself on the stage was by cultivating some trick or mannerisms" in order to force one's "individuality" on the "public attention", and in this respect she "practised twiddling her fingers" in front of a mirror. Achurch used to relate her life's "sorrows and difficulties, and though circumstances were against her ... she was very much her own enemy". In Lady Benson's opinion, Achurch's Lady Macbeth was better than her Desdemona and "gave more scope for her brain power and ingenuity, and was altogether better suited to her personality".

The end of the Benson period in December 1885 came three years before A Doll's House, a phase during which Achurch came to greater attention and attracted more in-depth reviews. Not only did she assert her independence from touring companies run by other agents, but toured her own company. At the same time she consolidated her relationship with Charrington (who was principally responsible for producing and directing her productions), both at a personal and professional level. In consequence, her relationship with her husband St Aubyn Miller deteriorated, their marriage ending in divorce three years later. The year 1886 marked the beginning of the "Charrington" period, an initially loose, joint-management venture that later developed into an inseparable partnership [Figure 2]. Paramount was Achurch's need to establish a niche during an increasingly competitive time on the British stage, one that was on the threshold of new directions and initiatives. This period is also characterised by a brief spell with the Farren & Conway English Comedy Company, and three key performances under Beerbohm Tree. Drawing on the experience gained under Ward, Thorne, Dundas and Benson, Achurch's opening venture was in the familiar role of Mercy Merrick (to Charrington's dual role of Ignatius Wetzel and Julian Gray) in The New Magdalen played at Chatham Hall and the Vaudeville in the first two weeks of April 1886 (Stage, 16 Apr. 1886: 4). A review of the matinee performance played at the Vaudeville on 15 April 1886 reminded readers that Achurch was treading in the footsteps of Ada Cavendish, the original exponent of the role, as did Shaw when Achurch revived the role a decade later in 1895 (Shaw 1: 232-37). Achurch however showed "so much earnestness, true feeling, unexpected power, and womanly passion" as to (some extent) "obliterate" the former excellent exposition [of Cavendish] (Era, 17 Apr. 1886: 14). (11) The reviewer nevertheless noted in the prologue in particular a "slight affectation" and "mouthing" in her elocution style "which at times mar her artistic work", significant in that it would not be the last time this particular defect was evident. At Chatham shortly after, Achurch scored in the previously undocumented role of the servant girl Sarah Gooch (to Charrington's Gervas Raynor) in Florence Warden's romantic melodrama The House on the Marsh (Stage, 23 Apr. 1886: 4). Similar success came in the dual role of Lady Isabel and Madam Vine in Ellen Wood's drama East Lynne, considered "excellent" by the Stage (7 May 1886: 4), and "remarkable both for its power and realism" by the Era (1 May 1886: 16).

Achurch then conducted two tours, the first as Clemence de Fauvry (to Charrington's Georges d'Altinais) in the drama A Gay Husband, an adaptation from Octave Feuillet, the second (a longer autumn tour) as the unhappy heroine Rachel Dunbar (to Charrington's Captain Craven) in Sydney Grundy's drama Rachel. The former play was staged for the first time in London at the Criterion on 15 June 1886 for a matinee after earlier mixed outings at Eastbourne and Canterbury (Stage, 4 Jun. 1886: 16; Era, 5 Jun. 1886: 8; Eastbourne Chronicle, 5 Jun. 1886: 5; Era, 5 Jun. 1886: 7). Achurch's performance in the demanding role of the neglected wife Clemence was universally praised, being described as "displaying] a power akin to genius" by the Stage (18 Jun. 1886: 15), and confirming the Era's already high opinion of Achurch's great promise (19 Jun. 1886: 15). Commenting on the Criterion performance, The Theatre (Jul-Dec. 1886, 8: 53) described Achurch as "a lady with a graceful figure, singularly expressive face, sympathetic voice, and an undeniable aptitude for the highest stage work". As Clemence "she played with an emotional power very rare even among actresses who have had a long experience of the boards". After securing the full provincial rights of Rachel from the author and Genevieve Ward (Stage, 6 Aug. 1886: 2), Achurch's conspicuously successful fourteen-week autumn tour commenced at Coventry on 30 August and concluded at the Comedy Theatre, Manchester, on 11 December 1886. At each venue she was praised for her artistry and power in this role (Coventry Times, 8 Sep. 1886: 5; Leicester Daily Post, 14 Sep. 1886: 2; Stage, 24 Sep. 1886: 9; Shrewsbury Chronicle, 24 Sep. 1886: 5; Stage, 8 Oct. 1886: 8). During the second of a two-week stay at Scarborough, Achurch introduced a number of new roles into her repertoire, one being Emilie de Lesparre in Dion Boucicault's adaptation of The Corsican Brothers (Stage, 22 Oct. 1886: 8), repeated at the Winter Gardens, Blackpool. According to the Blackpool Herald (5 Nov. 1886: 8) the role "requires more than ordinary ability in the dramatic art to represent it" and Achurch once more gave abundant proof of her capacity for the display of emotional power in such roles. Towards the end of her autumn tour at Liverpool Achurch showed much "pathos and power" in the role of Rachel Dunbar (Stage, 3 Dec. 1886: 16) and "greatly distinguished herself in the character" (Era, 4 Dec. 1886: 19). Finally, at Manchester, Achurch took her benefit as Gilberte (to Charrington's Henri de Sartorys) in the drama Frou-Frou, a new translation from the French of Ludovic Halevy and Henri Meilhac. Overall, the Stage (10 Dec. 1886: 16) considered that while Achurch "show[ed] great intelligence and promise in her acting", her performance was "marred by too much self-consciousness and artificiality", defects it was sure more stage experience would remove. The Era (11 Dec. 1886: 16), while acknowledging Achurch's considerable dramatic powers in the role of Rachel, nevertheless considered Frou-Frou (the nickname for Gilberte) to have been "utterly unsuited to the idiosyncrasies of the company under Miss Achurch's command".

In January 1887, Achurch joined the ranks of the Adelphi Theatre at the Strand (whose lead player was William Terriss) in the role of Lina Nelson in George R. Sims and Henry Pettitt's melodrama The Harbour Lights (Era, 8 Jan. 1887: 8). The play had enjoyed great success, having been played over 350 times up to this time, but no review of Achurch's performances has been located. Achurch left the Adelphi on Saturday 26 March to take up an engagement at Edinburgh and Glasgow as Dora in the comedy Diplomacy, adapted from Victorien Sardou's Dora by Clement Scott and B. C. Stephenson. Her stay ended at Edinburgh in April 1887 in the role of Hazel (to Charrington's Aaron Rodney) in Steele Mackay's drama Hazel Kirk. Achurch's three weeks in Scotland (following her first performances there under Ward in November 1883) were an unqualified success (Glasgow Herald, 29 Mar. 1887: 3; Era, 2 Apr. 1887: 17). Her performance as Dora in Glasgow elicited the highest praise, being considered a "revelation", especially for so young an actress (Stage, 8 Apr. 1887: 8).

Following her successes in Scotland came a rather mixed two-year period in the run up to A Doll's House. An analysis of this reveals a picture complicated by a seemingly random assortment of engagements with no clear-cut pattern emerging, a clearly experimental period. Achurch's work with Charrington was particularly dispersed partly because the latter was also striving to establish himself as an actor of note and thus many of these performances were as much a vehicle for Charrington as they were for Achurch. Their partnership at this time amounted to little more than matinees and the occasional evening performance, but they were nevertheless reviewed widely and were generally successful.

However, some reviewers again highlighted certain blemishes in her style of delivery, remarked on in earlier years, although improvements were also noted. As Angela Caresfoot (to Charrington's George Caresfoot) in C. Haddon Chambers and J. Stanley Little's drama Devil Caresfoot (adapted from Rider Haggard's novel Dawn), (12) the Graphic (16 Jul. 1887: 59) noted Achurch's "genuine though ill-regulated power" and also commented on her over-manipulation of "eyes and eyelashes" and "much involuntary winking". The Era (16 Jul. 1887: 14) however praised the production and commended Achurch's "exhibition of emotional power as Angela", as did the Stage (15 Jul. 1887: 14) who predicted "[she] should one day take a prominent position among the leading actresses of emotion and power". In a later review of Achurch's performance in this role at the Vaudeville however, the Stage (12 Aug. 1887: 14) while commending Achurch's "excellent command of pathos" suggested she should "improve her elocution which at times is too measured to be good". Cecil Howard, the dramatic critic and editor of Dramatic Notes, considered Achurch "The most rising young actress of the day", likening her ability to "express so much without uttering a sound" to Sarah Bernhardt (64-65), who it may be recalled was Achurch's early inspiration. Howard also noted (as remarked in the Graphic review) "one or two mannerisms that must be guarded against", in particular her frequent "blinking of the eyes" which became "unpleasant to behold". The Standard (21 Dec. 1887: 3) thought Achurch's Desdemona (to Charrington's Moor), given in a matinee of Othello at the Vaudeville on 20 December 1887, was "charming", being "acted with gentleness and grace in the earlier scenes" and "considerable pathos and emotion" in the later ones. However, her "restlessness" and lack of "repose" spoilt what would otherwise have been an excellent interpretation.

In the matinee of Wyllard's Weird (adapted by Dr Harry Lobb from Mary Elizabeth Braddon's novel of the same name) played at the Criterion at the end of December 1887, Achurch played the demanding dual role of Marie Prevol and Dora Delmaine (to Charrington's Edward Heathcote). In the opinion of the Morning Post (30 Dec. 1887: 5) Achurch "displayed dramatic genius of high order ... [and] seems destined to take a leading position in her profession at no distant date". The Era (31 Dec. 1887: 7), although less enthusiastic about the adaptation per se nevertheless praised Achurch's performance for the "feeling and passion" displayed, sentiments echoed in the Stage (6 Jan. 1888: 14). Pierre Leclercq, a younger brother to the actress Carlotta Leclercq, was the author of the promising four-act drama The Love Story, his first stage play, produced at a matinee at the Strand on 23 May 1888. As the heroine Madeline Borth (to Charrington's Charles Marchcastle and Carlotta Leclercq's Mrs Falshawe) Achurch's display of "emotional power" was considered by the Era (26 May 1888: 8) "one of her greatest triumphs". "A marvel of power ... poetic to a degree" remarked the Stage (25 May 1888: 11), and in the opinion of Dramatic Notes, "one of the best things this young actress has ever done" (Howard 79). The Stage's review of the later Vaudeville matinee performance confirmed its original opinion both of the play and of Achurch's interpretation, in particular her less-mechanical acting style (22 Feb. 1889: 9). The reviewer however reiterated concern of Achurch's want of "clearness of speech" and a "strangely inartistic inflexion of voice that often destroys all attempts to be natural in her acting", but considered that these blemishes could be cured by elocution lessons.

In June 1888, almost one year to the day before the staging of A Doll's House, were produced in London two different versions of Nathaniel Hawthorne's famous novel The Scarlet Letter. One version was performed at the Royalty on 4 June 1888 and the other, directed by Charrington (who also wrote the prologue), at the Olympic the following day [Figure 3]. The latter was the adaptation of Alec Nelson, the pseudonym for the founding member of the Socialist League and Independent Labour Party, Edward Bibbins Aveling. (13) In the Olympic version, Achurch played Hester Prynne to Charrington's Arthur Dimmesdale. Her interpretation however was more enthusiastically received by the Era (9 Jun. 1888: 7) than by the Stage (8 Jun. 1888: 10), the latter considering that she "failed to get inside the character of Hester", her "wild postures, frantic shrieks ... [and] palpable artificiality" being contrary to the author's original heroine. Dramatic Notes however considered Achurch and Charrington "so excellent that [it] could not award the palm to either" (Howard 89). The true significance of this performance however was that in the audience was George Bernard Shaw watching Achurch act

for the very first time (Gibbs 82).

As remarked earlier, Achurch was not only involved with Charrington during this three-year period (1887-89) but also with two other parties, namely Farren and Conway and Beerbohm Tree. Achurch's engagement at the Strand as leading lady for the English Comedy Company of H. B. Conway and William Farren was brief indeed, amounting to three performances in the same role. Achurch first played Lady Teazle (to Farren's Sir Peter Teazle and Conway's Charles Surface) in a revival of R. B. Sheridan's comedy The School for Scandal for a matinee on 21 July 1887. This was repeated on 22 July for Conway's benefit, and again for a matinee at the Crystal Palace (her first appearance here) on 28 July. Achurch's performance elicited opposing reviews from the two leading theatrical newspapers. In the opinion of the Era (23 Jul. 1887: 13) Achurch's Lady Teazle was "one of the freshest and most fascinating impersonations of the part [seen] for some time". By contrast, the Stage (29 Jul. 1887: 15), who had praised Achurch's earlier impersonation of the heroine in Devil Caresfoot with Charrington, considered this latest attempt an "error in judgement". Achurch lacked "certain personal acquisitions" demanded by the character: "Her figure is too slight, her voice too plaintive, she is devoid of arch humour ... and does not know how to look good in the part". She had few equals as an emotional heroine but was unsuited to comedy.

Achurch played under the management of Beerbohm Tree at the very start of his venture as an actor-manager, acting in six plays of which three were major productions. She had originally joined Tree's company after a period of disengagement to understudy the role of the Russian princess, Claudia Morakoff, in William Outram Tristram's melodrama The Red Lamp at the Comedy Theatre (Era, 30 Apr. 1887: 2). (14) Her first full role under Tree however was Mary Potter, the blind heroine, in W. Sapte Junior's one-act domestic comedy The Step-Sister, the forepiece (introduced from 4 June) to The Red Lamp. In this role, Achurch earned universal praise for a refined, gentle and tender interpretation (Stage, 10 Jun 1887: 15; Era, 11 Jun. 1887: 14; Daily News, 7 Jun. 1887: 2; Graphic, 11 Jun. 1887: 622). When Tree eventually moved to the Haymarket with The Red Lamp (and The Ballad Monger now as forepiece) such was Achurch's improvement that the part of the Princess Claudia was taken temporarily by her during the three-week spell of illness of Tree's wife who resumed the role on 13 October, the hundredth performance of the play (Stage, 16 Sep. 1887: 15; Era, 24 Sep. 1887: 8; Stage, 30 Sep. 1887: 13; Standard, 11 Oct. 1887: 4).

Achurch was later engaged at the Haymarket to play the role of Alice Bellair to Tree's Heinrich Borgfeldt in the moderately successful Partners, Robert Buchanan's adaptation from Alphonse Daudet, from 5 January 1888, an interpretation praised by the Era (7 Jan. 1888: 8) and by other reviewers (Morning Post, 6 Jan. 1888: 5; Pall Mall Gazette, 6 Jan. 1888: 6; Standard, 6 Jan. 1888: 3). Although Partners ran for about eighty performances, Tree did not consider it a great success and swiftly introduced The Pompadour, a lavishly mounted portrayal of French society adapted from a German play of Albert Emil Brachvogel by W. G. Wills and Sydney Grundy that ran for exactly one hundred performances from 31 March 1888 (Beerbohm 33; Stage, 13 Jul. 1888: 10). In The Pompadour, Achurch played the ingenue role of Mathilde de Bouflers, a lady-in-waiting, to Tree's vagrant Narcisse Rameau. Her acting split the reviewers, (15) the negative comments identifying once more certain flaws in her delivery style. "Apleasing actress who would succeed still better if she would cultivate a less artificial and deliberate style of elocution" wrote the Daily News (2 Apr. 1888: 3). She "seemed unable to speak or move in a natural manner ... her performance was tedious and irritating", wrote the Standard (2 Apr. 1888: 2). The Stage (6 Apr. 1888: 10) spotting the same flaw commented on Achurch's "strange and artificial inflections she gives to her voice", but concluded, "In the quieter scenes Miss Achurch is at her best". By contrast the Morning Post (2 Apr. 1888: 6) remarked that as one of the young lovers (her opposite number played by Fred Terry in the role of Eugene Lambert) she was "earnest and natural". The Era (7 Apr. 1888: 14), who thought the play "a very brilliant spectacle" but an "indifferent production", also found the characters of Eugene and Mathilde the most interesting. Achurch, it concluded, is "one of the best of our emotional actresses ... [she] won the sympathetic admiration of all her saw and heard her".

Tree made subsequent alterations to the play that prompted further critical reviews. Of Achurch's later performance as Mathilde the Era (2 Jun. 1888: 9) was of the opinion that the part "could hardly be better played than Miss Achurch plays it at the Haymarket". As observed in its first-night review, the Stage (13 Apr. 1888: 10) however could see no improvement. Achurch had "not yet succeeded in being natural in voice or action", reiterating that "a little more freedom" in these respects would be beneficial. (16)

The immediate run-up to A Doll's House (from April 1889) was unremarkable, consisting of a handful of albeit successful performances at the Crystal Palace. These included two evening performances and one matinee of Shakespeare's The Merchant of Venice, and two evening performances of his Macbeth. In the former, Achurch played Portia to Charrington's Bassanio and Hermann Vezin's Shylock (Lloyd's Weekly, 14 Apr. 1889: 1). In the latter, she played Lady Macbeth to Charrington's Macduff and Vezin's Macbeth (Era, 20 Apr. 1889: 18). It is interesting to note, and somewhat ironic given what was to happen in less than two months time at the Novelty Theatre, that such was the quality of Charrington's acting, these performances did more to enhance his reputation than Achurch's. In the opinion of the Stage (3 May 1889: 11) Achurch's portrayal of Lady Macbeth "confirmed ... the opinion that she is an uneven actress, with an imperfect command of undoubted resources, especially of enunciation". As Portia, Dramatic Notes remarked on Achurch's "occasional indistinctiveness in delivery" but her interpretation was otherwise "interesting and artistic" (Howard 42), comments that are somewhat surprising given the number of times Achurch performed the same roles under Benson. Advance notices of Charrington's intention to take the Novelty for six nights for A Doll's House (originally planned for 15 June) appeared shortly before the second and last evening performance of Macbeth at the Crystal Palace on 18 May 1889 (Stage, 17 May 1889: 9).

The Charringtons' tour of the Antipodes was announced in mid-June (Stage, 14 Jun. 1889: 9) but A Doll's House continued for three weeks up to the end of the month. Its final performance was on Saturday 29 June, the day after their marriage, and just ten days after Achurch's divorce from Miller. On the 5 July 1889 (later than planned), the Charringtons left England not to return until March or April 1892.

Constructing a narrative of Achurch's theatrical career before Ibsen presents challenges that are absent in discussions on her post-Ibsen period. Thus although archival data and published material for the latter is abundant, data in the provincial archive for the period up to 1886, characterised as it is by provincial tours, is harder to retrieve. This presents a quite different context to the recovery of performances on the West End stage. Numerous accounts in books of theatrical anecdotes and reminiscences refer to Achurch's "genius" (Cumberland 209; Grein 21), a term used far more liberally then than is the case now. Such comments however were written by authors who recalled Achurch at the zenith of her dramatic powers.

The context of the novice Achurch of the pre-Ibsen 1880s however, is quite different. Unlike her second cousin, the actress Mary Collette (1871-1961), who truly came from a theatrical family comprising an actor father (Charles Collette) and an actress mother (Blanche Wilton), Achurch's situation was quite different. Her theatrical forbears (of a maternal line) were several generations removed, and although her aspiration to a life on stage was no less strong than her cousin Mary's, it was more problematic. As noted by the theatre historian Michael Booth, "Unless they [actresses] had theatrical parents, they could face extreme and uncomprehending parental hostility if they made their wishes known or tried to join a company" (113). This was Achurch's experience: "I longed to do something, and I felt that the only thing I could do was to act. My father was very averse to this at first, but finding that my heart was set on it, he gave way" (Pall Mall Gazette, 5 July 1889: 2). As for recollections of the early Janet Achurch, these are, unsurprisingly, extremely rare. It is fortunate indeed therefore that some from the Benson archive exist because no such documents have been left to posterity by Genevieve Ward, Sarah Thorne, or Beerbohm Tree. Achurch's Pall Mall Gazette interview (itself an invaluable source) highlights a further issue of relevance to the analysis and interpretation of her early period. Here she claimed to have played 200 roles since she first appeared on the stage, and there is no reason to doubt this. This study has positively identified sixty-eight unique roles of which more than one third have not been previously recorded.

A further observation from this study comes from calculating the total performance days for each of the main periods of Achurch's six-year apprenticeship. (17) Under Genevieve Ward (Achurch's first year in 1883), the number is 242, and under Sarah Thorne (Achurch's second year in 1884) 112, a number less than might have been anticipated from Achurch's own description of her one year with Thorne. In her Pall Mall Gazette interview, Achurch described the "very hard year with Mrs Sarah Thorne's company, doing three towns a week". The provincial archive must therefore be suspect, distorting the true picture, since no evidence was found in this study of the company doing "three towns in one week". Looking at the figures in a different light reveals also that the total number of roles played under Thorne (18) was nearly double those played under Ward (10), reflecting the greater repertoire of Thorne's touring company, or her greater use of a more experienced Achurch. By comparison, under Tree, Achurch's performance days amounted to 220, a figure derived from only six plays (and six new roles) but for much longer runs each. These figures compare with Dundas' 93 performance days and five roles, Benson's 90 performance days and ten roles, Farren & Conway's three performance days and one role, and Charrington's 147 performance days and 17 roles. Such figures are merely one method of exposing the performance dynamics of Achurch's early years.

As for an appraisal of Achurch the young actress, it is clear that within three years of taking to the stage her remarkable ability for roles of dramatic power was quickly recognised. It is also evident that her development as an actress over the six years up to A Doll's House was uneven, and it is likely that her experiences in this respect would have been fairly typical for actresses of her generation. Recurring faults were noted in her diction and elocution, and although some dramatic critics advised her to receive elocution lessons, it is not certain that she did so. (18)

Some clues as to Achurch's early acting ethos come from her own mouth in William Archer's book entitled Masks or Faces? Published in 1888, this attempted to "collect ... the views and experiences of 'actors of the highest order'". Although Achurch does not figure in all the chapters dedicated to a specific issue or question posed, what responses she made may briefly be recorded here. On the subject of shedding tears ('Sunt Lacrymae Rerum') Achurch reveals, "I have often cried bitterly while rehearsing a part and yet been dried-eyed on the first performance. Over-nervousness, I suppose, as in playing the part afterwards the tears have come back" (Archer 61, 202). As to the influence of personal life experiences ('The Life School') Achurch admitted, "It is impossible for me to help it. Everything that comes, or has ever come, into my own life, or under my observation, I find myself utilising; and in scenes of real personal suffering, I have had an under-consciousness of taking mental notes all the time. It is not a pleasant feeling" (Archer 101-02).

In Archer's consideration of blushing and pallor ('Nature's Cosmetics') i.e. those "outward manifestations of inward emotions" not under the control of the will, or impossible to simulate, the 'wanning' of the visage (as it is referred to), "is a common and even habitual accompaniment of imagined terror or kindred emotions". Afew were sceptical on this subject but Achurch was apparently amongst a majority of actors who admitted to having experienced this effect (Archer 123). Archer posed a further question regarding the coexistence of different lines of thought in the mind while acting ('The Brownies of the Brain'). To this Achurch replied "The only double line of thought I like to have on the stage is a mental criticism of my own performance ... but any thought that comes to my mind outside of my part

I always stamp out as quickly as possible" (Archer 156). Of the different phases of Achurch's early career before A Doll's House, the Thorne and Benson eras stand out as the most critical, but for different reasons. At a personal level, under Sarah Thorne was forged (by force of circumstances alone) the Achurch-Miller-Charrington triumvirate. This resulted in a shift of Achurch's allegiance from her husband Miller to Charrington, a decision that was to influence their respective destinies. In Charrington she chose a partner who not only shared her artistic and socialist ethos, but one who was to always put her career first at the expense of his own. At a professional level however, it must be suspected that what Achurch learned from Thorne was very important, and perhaps of greater significance than the impact of her personal circumstances.

By contrast, under Benson, Achurch was exposed to conditions that were to have even greater impact on the development of her dramatic powers, and not only as a result of the invaluable experience she gained in Shakespearean roles. Benson was an apostle of the Meiningen System of stage production that rejected the star performer approach, every actor being placed on an equal footing. Although Benson eventually adopted a more pragmatic attitude to this discipline, based on the realities of being a manager of a small touring company with limited resources (Toth 152-58), Achurch was exposed to arguably the most highly disciplined rehearsal environment of her apprenticeship years. "A great thing had been realised--greater things dawned on the horizon" wrote J. T. Grein in his cameo of Achurch (21). A great thing had indeed been realised, but greatness never dawned. Such was the tragedy of Janet Achurch.

JANET ACHURCH'S EARLY ROLES (1883-89)

The following list has been compiled from standard reference sources, provincial newspaper advertisements and reviews (in addition to those found in the Era and the Stage), books, playbills, and documents in the author's private collection. It shows first performance date (or earliest date found, a superscript T denoting a tour), theatre (London and suburbs assumed unless otherwise stated, Theatre Royal implied if the name is a town), play, author, role, and genre (with company in parentheses if known). A 'to' date given after the first date indicates a run of performances that in some cases is the best estimate available. Unknown data are represented by blank entries, uncertain data distinguished with question marks, and revivals indicated by a superscript asterisk ("*") after the play. Performances where Achurch and Charles Charrington acted together are indicated by a superscript cross ("+"), also after the play. Roles considered previously undocumented in all sources searched (that is where they are not explicitly named) are indicated by a superscript dagger ("[dagger]") after the first occurrence of the role. For provincial runs, a performance day of the week is indicated where it is known, and the week number if a stay was extended beyond the usual six days.

Notes

(1) The author wishes to thank Professor Vivien Gardner (School of Arts, Languages and Cultures, University of Manchester) for her valuable comments on earlier drafts of this essay.

(2) All theatres are in London except when otherwise described.

(3) The best include Scott (225), Parker (3-4), and Salmon (139-41).

(4) See also Ince, "A St Aubyn Miller Chronology".

(5) See also Ince, "The Charringtons Off the Stage", 175, and by the same author, "A Janet Achurch Chronology". The latter unpublished document offers detailed genealogical information on Achurch's ancestry, and on her immediate and wider family.

(6) This interview was later part reproduced in the Era (5 Oct. 1889: 10).

(7) Aide was an early proponent of "well-educated, high-principled girls" taking to the stage, suggesting that they "run no greater risks here [the theatre] than they do in any other arena where prudence and vigilance are needed". (See Aide, "The Actor's Calling").

(8) The accompanying 'certificate' presented to Genevieve Ward "on the expiration of her season at the Olympic Theatre, June 1883" may be found in her personal file at the V&A Theatre and Performance Archives, Blythe House, London. This is signed by the eleven members of her then company that included Janet Achurch.

(9) An advance notice of Achurch's engagement with Benson actually appeared some months earlier in the Stage (27 Mar. 1885: 7).

(10) See also Trewin 42-44.

(11) See also the Stage, 23 April 1886: 14.

(12) See also the Pall Mall Gazette (2 Sep. 1887: 3), an editorial comment, and the Era (3 Sep. 1887: 8), a letter from Charrington, on the eventful history of Devil Caresfoot.

(13) Charrington's attempt to clarify the situation over the two versions of the play may be found in his successive letters to the Era (12 May 1888: 9 and 2 June 1888: 8).

(14) In her biography of Beerbohm Tree, the historian Madeleine Bingham makes a number of incorrect statements regarding the cast of The Red Lamp. Firstly, Achurch was not in the original cast at the Comedy (37) but understudied the role of the Princess and acted in the forepiece. Secondly, Maud Tree (Mrs Beerbohm Tree) did not take over Achurch's part when the play was revived at the Haymarket on 15 September 1887 (38). The original role of the Princess Claudia was played at the Comedy by Lady Monckton (Morning Post, 21 Apr. 1887: 2; Standard, 21 Apr. 1887: 3; Daily News, 22 Apr. 1887: 3), a role Maud Tree took over at the Haymarket while the latter actress was on tour (Beerbohm 31; Era, 10 Sep. 1887: 8; Pall Mall Gazette, 16 Sep. 1887: 5).

(15) It is difficult to say whether some newspapers gave Achurch better reviews than others because no obvious pattern can be found. Nevertheless, such conflicts are suggestive of wider issues pertaining to the aesthetics of acting styles at the time which are perhaps deserving of more study.

(16) Some ten months later in April 1889, advertisements appeared stating that Achurch was to play the principal female role in Henry Arthur Jones' new play Wealth at the Haymarket (Stage, 5 Apr. 1889: 8; Era, 6 Apr. 1889: 10). This engagement however never materialised.

(17) A performance day is simply a day on which Achurch is known to have acted irrespective of how many performances she gave, or how many roles played.

(18) In a later interview with the Sketch (15 Mar. 1893: 426) Achurch remarked on having received instruction from Paul Marinetti, Dallas Glynn and Hermann Vezin but the time-frame of these associations is uncertain.

(19) Meg Merrilies is the dramatic adaption (of unknown authorship) in three acts of Daniel Terry from Sir Walter Scott's novel Guy Mannering, first played at Covent Garden in 1816. A playbill found in the Olympic Theatre folder of the University of Bristol (Mander and Mitchenson) Theatre Collection revealed that Ward produced it under the former title although it is often referred to as Guy Mannering. See reviews in the Stage (23 Feb. 1883: 11), Pall Mall Gazette (19 Feb. 1883: 4), Standard (19 Feb. 1883: 3) and Era (24 Feb. 1883: 4). Achurch receives no specific mention as Julia Mannering in these reviews however.

(20) The Jersey Weekly (8 Aug. 1885: 5) commented that although adapted by Hugh Willoughby, the Friday production of The House on the Marsh was actually the work of Charles Charrington.

(21) Lady Benson recalls the autocratic Miss Beale, head mistress of the Cheltenham Ladies' College, and the restrictions imposed on this performance so as not to offend the young ladies present (C. Benson 60-61).

(22) Only the 'Duel' act of The Corsican Brothers was staged (Scarborough Gazette, 21 Oct. 1886: 3).

Works Cited

Aide, Charles Hamilton. "The Actor's Calling". Nineteenth Century 17 (1885): 521-26.

Archer, William. Masks or Faces? A Study in the Psychology of Acting. London: Longmans, Green, 1888.

Benson, Lady Constance. Mainly Players: Bensonian Memories. London: Thornton Butterworth, 1926.

Benson, Sir F. R. My Memoirs. London: Ernest Benn, 1930.

Beerbohm, Max. Herbert Beerbohm Tree: Some Memories of Him and of his Art collected by Max Beerbohm. London: Hutchinson, 1920.

Bingham, Madeleine. The Great Lover: The Life and Art of Herbert Beerbohm Tree. London: Hamish Hamilton, 1978.

Booth, Michael R. Theatre in the Victorian Age. Cambridge: Cambridge UP, 1991.

Cumberland, Gerald. Set Down in Malice. A Book of Reminiscences. London: Grant Richards, 1919.

Gibbs, A. M. A Bernard Shaw Chronology. Basingstoke: Palgrave, 2001.

Grein, J T. Cameos of Playwrights & Players, 1914-1922. London: Actor's Orphanage (privately printed), 1921.

Hammerton, J. A. (Ed.). The Actor's Art: Theatrical Reminiscences, Methods of Study and Advice to Aspirant, Specially contributed by leading actors of the Day. London: Redway, 1897.

Hodgkinson, J. L. and Rex Pogson. The Early Manchester Theatre. London: Anthony Blond, 1960.

Howard, Cecil (Ed.). Dramatic Notes: A Year-Book ofthe Stage. London: Strand Publishing, 1889.

Ince, Bernard. "A Janet Achurch Chronology". 2005. TS. Shelfmark PN2598.A348 FOLIO, V&A Theatre and Performance Archives, Blythe House, London.

Ince, Bernard. "The Charringtons Off The Stage". Theatre Notebook 60.3 (2006): 175.

Ince, Bernard. "A St Aubyn Miller Chronology". 2007. TS. Shelfmark PR5021.M451 FOLIO, V&A Theatre and Performance Archives, Blythe House, London.

Ince, Bernard. "After Janet: A Brief Biography of St Aubyn Miller, Actor and Dramatist". Theatre Notebook 61.2 (2007): 107-110.

Ince, Bernard. "An Early Pioneer of the New Drama: Charles Charrington, Actor- Manager and Fabian Socialist". Theatre Notebook 64.3 (2010): 130-159.

Morley, Malcolm. Margate and its Theatres 1730-1965. London: Museum Press, 1966.

Parker, John (Ed.). Who's Who in the Theatre. London: Pitman, 1912.

Procter, Richard Wright. Memorials of Manchester Streets. Manchester: Thomas Sutcliffe, 1874.

Salmon, Eric. "Achurch, Janet (1863-1916)". In Matthew, H. C. G. & Brian Harmson. Oxford Dictionary of National Biography, Vol. 1, Oxford: Oxford UP, 2004. Online edition, Jan 2011 [accessed 23 September 2012]. This contains corrections supplied by the author and is the most up-to-date biography available on Janet Achurch.

Scott, Clement (Ed.). The Theatre: A Monthly Review of the Drama, Music, and the Fine Arts. Vol. X (Jul-Dec), London: Carson & Comerford, 1887.

Shaw, George Bernard. Our Theatres in the Nineties. 3 vols. London: Constable, 1932. Swindells, T. Manchester Streets and Manchester Men. Manchester: J. E. Cornish, 1906.

Toth, John William. "The Actor-Manager Career of Sir Frank Robert Benson in Perspective: An Evaluation". Unpublished Ph.D. thesis, The Ohio State University, 1971.

Trewin, John Courtenay. Benson and the Bensonians. London: Barrie and Rockliff, 1960. Ward, Genevieve and Richard Whiteing. Both Sides of the Curtain. London: Cassell, 1918.

Table 1:

Date              Venue                Play

??-???-1882                            Camilla's
                                       Husband
06-Jan-1883-      Olympic              Betsy Baker
03-Mar-1883                            (forepiece to
                                       Forget-Me-Not)
17-Feb-1883       Olympic              Meg Merrilies;
(matinee)                              or, The Gypsy's
                                       Prophecy (19)
24-Feb-1883       Olympic              Nance Oldfield *
(matinee)
                                       Meg Merrilies

05-Mar-1883-      Olympic              Nance Oldfield
30-Mar-1883
                                       Forget-Me-Not

17-Mar-1883       Olympic              A Great Catch
(matinee)
31-Mar-1883-      Olympic              A Great Catch
13-Apr-1883
30-Apr-1883-      Olympic              The First Night;
09-Jun-1883                            or, The
                                       Debutante
                                       (forepiece to
                                       Rachel and The
                                       Queen's
                                       Favourite)
12-May-1883-      Olympic              Rachel
01-Jun-1883?                           (prologue only)
19-May-1883       Olympic              Forget-Me-Not
(matinee)
02-Jun-1883-      Olympic              The Queen's
30-Jun-1883                            Favourite
(Matinee 21-
Jun-1883)
09-Jun-1883-      Olympic              Dearest
30-Jun-1883                            Mamma
                                       (forepiece to The
                                       Queen's
                                       Favourite)
30-Jun-1883       Olympic              Nance Oldfield

17-Sep-1883-      Royal                Dearest
22-Sep-1883 (T)   Alexandra            Mamma
                  (Liverpool)          (forepiece
                                       Mon-Sat)
                                       The Queen's
                                       Favourite
                                       (Mon, Tue)
24-Sep-1883-      Sheffield            Dearest
29-Sep-1883 (T)                        Mamma
                                       (forepiece to
                                       Forget-Me-Not)
01-Oct-1883       Brighton             Dearest
06-Oct-1883 (T)                        Mamma
                                       (forepiece)
                                       The Queen's
                                       Favourite
                                       (Mon)
08-Oct-1883-      Cardiff              Forget-Me-Not
13-Oct-1883 (T)
                                       Dearest
                                       Mamma
                                       (afterpiece)
15-Oct-1883-      Manchester           The Queen's
20-Oct-1883 (T)                        Favourite
                                       (Mon,Wed,Fri)
                                       Rachel
                                       (Tue,Thu,Sat)
22-Oct-1883-      Prince of Wales      Rachel
27-Oct-1883 (T)   (Birmingham)         (Tue,Thu,Sat)
                                       The Queen's
                                       Favourite
                                       (Mon,Wed,Fri)
                                       Dearest
                                       Mamma
                                       (afterpiece)
29-Oct-1883-      Royalty              Forget-Me-Not
03-Nov-1883 (T)   (Chester)            (Mon,Tue,Fri)
                                       The Queen's
                                       Favourite
                                       (Wed)
                                       Rachel
                                       (Thu, Sat)
                                       Dearest
                                       Mamma
                                       (afterpiece)

05-Nov-1883-      Lyceum               Forget-Me-Not
10-Nov-1883 (T)   (Edinburgh)          (Mon-Wed)
                                       The Queen's
                                       Favourite
                                       (Thu-Sat)
                                       Dearest
                                       Mamma
                                       (afterpiece)
09-Nov-1883       Lyceum               Forget-Me-Not
                  (Edinburgh)
12-Nov-1883-17-   Gaiety               The Queen's
Nov-1883 (T)      (Glasgow)            Favourite
                                       (Mon-Thu)
                                       Forget-Me-Not
                                       (Fri)
                                       Rachel
                                       (Sat)
19-Nov-1883-24-   Belfast              Forget-Me-Not
Nov-1883 (T)                           (Mon-Wed)
                                       The Queen's
                                       Favourite
                                       (Thu-Sat)
26-Nov-1883-      Gaiety (Dublin)      Forget-Me-Not
01-Dec-1883 (T)                        (Mon,Thu)
                                       The Queen's
                                       Favourite
                                       (Tue,Fri)
                                       Rachel
                                       (Wed,Sat)
03-Dec-1883-      Opera House          Forget-Me-Not
07-Dec-1883 (T)   (Cork)

                                       The Queen's
                                       Favourite
02-Jan-1884-      Folkestone           Peter Wilkins;
04-Jan-1884 (T)   Town Hall            or, Harlequin,
                                       Harlokin and
                                       the Flying
                                       Islanders
14-Jan-1884-      Tunbridge Wells      Peter Wilkins
18-Jan-1884 (T)

31-Jan-1884       Granville Hall,      Peter Wilkins
02-Feb-1884 (T)   Ramsgate
03-Mar-1884-      Public Hall,         Peter Wilkins
08-Mar-1884 (T)   Croydon

10-Mar-1884-      New Cross            Peter Wilkins
12-Mar-1884 (T)   Hall, London

17-Mar-1884-      Public Hall,         Peter Wilkins
18-Mar-1884 (T)   Bexley Heath

24-Mar-1884-      Corn Exchange,       Peter Wilkins
26-Mar-1884 (T)   Bedford

31-Mar-1884-      Town Hall,           Peter Wilkins
02-Apr-1884 (T)   Oxford

14-Apr-1884-      Mechanics'           Peter Wilkins
15-Apr-1884 (T)   Institute,
                  Swindon
15-Apr-1884 -     Margate              The Queen's
20-May-1884 (T)                        Colours
                                       (Mon, Wed)
                                       Waiting for the
                                       Verdict
                                       (Sat, Tue)
                                       Husbands and
                                       Wives
                                       (forepiece)
                                       Heroes
                                       (Thu)
                                       Lady Audley's
                                       Secret
                                       Perfection; or,
                                       The Lady of
                                       Munster
28-Apr-1884-      Ryde                 Peter Wilkins
01-May-1884 (T)   (Isle of Wight)

02-May-1884-      Undercliffe          Peter Wilkins
03-May-1884       Assembly
&                 Rooms, Ventnor
09-May-1884-      (Isle of Wight)
10-May-1884 (T)
19-May-1884       Margate              The Lady of
24-May-1884 (T)                        Munster
                                       (Mon)
                                       Heroes
                                       (Mon)

                                       The Rent Day *

                                       The Jersey Girl;
                                       or, Les Rouge
                                       Voleurs
                                       Lucille; or, The
                                       Story of the
                                       Heart
                                       Raymond and
                                       Agnes; or, The
                                       Bleeding Nun
10-Jun-1884 (T)   Margate              The Cross
                                       Roads of Life
                                       (Tue)
03-Jul-1884 (T)   Margate              Ticket-of-Leave
                                       Man
                                       Turn Him Out
25-Aug-1884-      Margate              Lady Dedlock's
27-Aug-1884 (T)                        Secret
                                       (Mon-Wed)
11-Sep-1884-      New Town Hall        The Ladies'
13-Sep-1884 (T)   (Dover)              Battle
                                       Lady Dedlock's
                                       Secret
15-Sep-1884-      Lecture Hall         Lady Dedlock's
17-Sep-1884 (T)   (Faversham)          Secret
                                       (Mon,Tue)
                                       The Ladies'
                                       Battle
                                       (Wed)
                                       Stage Struck
                                       (Wed, afterpiece)
26-Sep-1884 (T)   Margate              The Provoked
                                       Husband
29-Sep-1884       Margate              The
04-Oct-1884 (T)                        Honeymoon
                                       Waiting for the
                                       Verdict
                                       The Wages of
                                       Sin
                                       The Provoked
                                       Husband

                                       The Flowers of
                                       the Forest
                                       The Ladies'
                                       Battle
                                       The Workman
06-Oct-1884 -     Prince of Wales      Lady Dedlock's
11-Oct-1884 (T)   (Southampton)        Secret
                                       The Ladies'
                                       Battle (Thu)
13-Oct-1884-      Bath                 Lady Dedlock's
18-Oct-1884 (T)                        Secret
                                       The Ladies'
                                       Battle (Thu)
20-Oct-1884       Guildford            The Workman
24-Oct-1884 (T)   Borough Hall
                                       The Wages of
                                       Sin (Fri)
03-Nov-1884-      Pavilion             The Workman
05-Nov-1884       (Gravesend)
                                       The Wages of
                                       Sin
04-Dec-1884 (T)   Margate              Wrecked (+)
16-Dec-1884       Birmingham           In A Balcony
24-Dec-1884-      Goole                Called Back (+)
02-Jan-1885 (T)
                                       Heroes
                                       Wrecked
19-Jan-1885-      Burnley              The New
24-Jan-1885 (T)                        Magdalen (+)
02-Feb-1885-      Lecture Hall         The New
07-Feb-1885 (T)   (Derby)              Magdalen (+)
                                       (Mon)

                                       Wrecked (+) (Wed)
09-Feb-1885-      Alexandra            The New
14-Feb-1885 (T)   (Walsall)            Magdalen (+)
                                       A Soldier's
                                       Duty (+)
                                       Lady Audley's
                                       Secret (+)

16-Feb-1885-      West Bromwich        Husbands and
21-Feb-1885 (T)                        Wives
                                       (forepiece, exc.
                                       Sat)
                                       Called Back (+)

                                       A Soldier's
                                       Duty (+) (Sat)
23-Feb-1885-      Coventry             The New
28-Feb-1885 (T)                        Magdalen
                                       (Mon-Wed)
                                       Wrecked (Thu)
                                       British Born
                                       (Sat)
02-Mar-1885-      Public Hall          The New
07-Mar-1885 (T)   (Dudley)             Magdalen
09-Mar-1885-      Leicester            The New
14-Mar-1885 (T)                        Magdalen
16-Mar-1885-      Macclesfield         The New
21-Mar-1885 (T)                        Magdalen
23-Mar-1885-      Rotunda              Advice to
28-Mar-1885 (T)   (Liverpool)          Husbands
                                       (forepiece)
                                       British Born

06-Apr-1885-      Leamington           Macbeth
11-Apr-1885 (T)
13-Apr-1885-      Lincoln              The New
18-Apr-1885 (T)                        Magdalen
                                       British Born

20-Apr-1885-      Reading              Macbeth
25-Apr-1885 (T)                        (Mon-Thu)
                                       Hamlet (Fri)
                                       Macbeth (Sat)
27-Apr-1885-      Woolwich?
02-May-1885 (T)
04-May-1885-      Town Hall            Hamlet
09-May-1885 (T)   (Bedford)
                                       The School for
                                       Scandal
                                       Romeo and
                                       Juliet

                                       She Stoops to
                                       Conquer
                                       The Corsican
                                       Brothers
11-May-1885-      Cambridge            Othello
16-May-1885 (T)

25-May-1885-      Margate              The New
30-May-1885 (T)                        Magdalen
                                       Called Back

20-Jul-1885-      Jersey               The New
25-Jul-1885       (Week 1)             Magdalen
                                       Lady Audley's
                                       Secret
27-Jul-1885-      Jersey               Man and Wife (+)
01-Aug-1885       (Week 2)             (Mon)
                                       The House on
                                       the Marsh (+)
                                       (Fri)
03-Aug-1885-      Sarel Hall           The New
08-Aug-1885       (Guernsey)           Magdalen
                                       (Mon, Fri)
                                       Man and Wife (+)
                                       (Tue, Thu)

                                       Heroes (Wed)
31-Aug-1885-      Gaiety               Hamlet
05-Sep-1885 (T)   (Hastings)           (Mon,Wed,Fri)
                                       The Merchant
                                       of Venice
                                       (Tue, Thu)
                                       Still Waters Run
                                       Deep (Sat)
07-Sep-1885-      Eastbourne           Hamlet
12-Sep-1885 (T)                        (Mon, Fri)
                                       The Merchant
                                       of Venice (Tue)
                                       She Stoops to
                                       Conquer (Wed)
                                       The Rivals (Thu)
                                       Othello (Sat)

14-Sep-1885-      Public Hall
19-Sep-1885 (T)   (Reigate)?
21-Sep-1885-      Windsor              Hamlet (Mon)
26-Sep-1885 (T)
                                       The Rivals
                                       (Tue-Thu)
                                       The Merchant
                                       of Venice (Fri)
                                       Othello (Sat)
28-Sep-1885-      Town Hall
03-Oct-1885 (T)   (Winchester)?
12-Oct-1885-      Prince of Wales      Hamlet
17-Oct-1885 (T)   (Southampton,        (Mon)
                  Week 1)
                                       Priest or Painter
                                       (Tue)
                                       The School for
                                       Scandal (Wed)
                                       The Merchant
                                       of Venice (Fri)
                                       Macbeth (Sat)
19-Oct-1885-      Prince of Wales      Othello
24-Oct-1885 (T)   (Southampton,        (Mon, Sat)
                  Week 2)
                                       The Rivals
                                       (Tue)
                                       Macbeth
                                       (Wed)
                                       The School for
                                       Scandal
                                       (Thu)
26-Oct-1885-      Cheltenham           Hamlet
31-Nov-1885 (T)   (Week 1)             (Mon)
                                       Priest or Painter
                                       (Tue)
                                       The Corsican
                                       Brothers
                                       (Wed)
                                       The Rivals
                                       (Thu)
                                       The Merchant
                                       of Venice (Fri)

02-Nov-1885-      Cheltenham           Macbeth
07-Nov-1885 (T)   (Week 2)             (Mon, matinee
                                       at Ladies'
                                       College, no
                                       scenery or
                                       costumes) (21)
                                       Othello
                                       (Tue, Thu)
                                       Much Ado
                                       About Nothing
                                       (Fri)
                                       Priest or Painter
                                       (Sat, matinee at
                                       Ladies' College)
16-Nov-1885-      Town Hall            Othello
21-Nov-1885 (T)   (Oxford,             (Mon)
                  Week 1)
                                       Priest or Painter
                                       (Tue)
                                       Much Ado
                                       About Nothing
                                       (Wed)
                                       Money
                                       Hamlet
                                       (matinee)
23-Nov-1885-      Town Hall            The Lady of
28-Nov-1885 (T)   (Oxford,             Lyons (Tue)
                  Week 2)
                                       Othello (Wed)
30-Nov-1885-      New Corn             The Merchant
05-Dec-1885 (T)   Exchange             of Venice (Mon)
                  (Bedford)
                                       Much Ado
                                       About Nothing
                                       (Tue)
                                       The Lady of
                                       Lyons (Thu)
                                       The Rivals (Fri)
                                       Macbeth (Sat)
07-Dec-1885-      Bath                 Othello
12-Dec-1885 (T)                        (Mon)
                                       The Merchant
                                       of Venice (Wed)
                                       Much Ado
                                       About Nothing
                                       (Thu)
                                       Hamlet (Fri)
14-Dec-1885 -     Town Hall
19-Dec-1885       (Cirencester)?
11-Jan-1886-      Derby                The Unknown;
16-Jan-1886                            or, A River
                                       Mystery
05-Apr-1886-      Lecture Hall         The New
10-Apr-1886       (Chatham)            Magdalen (+)
15-Apr-1886       Vaudeville           The New
(matinee)                              Magdalen (+)
19-Apr-1886-      Lecture Hall         The House on
24-Apr-1886       (Chatham)            the Marsh (+)

21-Apr-1886       Lecture Hall         The New
                  (Chatham)            Magdalen (+)

26-Apr-1886-      Lecture Hall         East
01-May-1886       (Chatham)            Lynne (+)

31-May-1886-      Devonshire           Marlevale (+)
05-Jun-1886 (T)   Park                 (forepiece)
                  (Eastbourne)
                                       A Gay
                                       Husband (+)
                                       (Mon-Sat)
                                       Take Back the
                                       Heart (+)
                                       (afterpiece)
07-Jun-1886-      Canterbury           A Gay
09-Jun-1886 (T)                        Husband (+)
15-Jun-1886 (T)   Criterion            A Gay
(matinee)                              Husband (+)
                                       Take Back the
                                       Heart (+)
21-Jun-1886-      Prince of Wales      Marlevale (+)
26-Jun-1886 (T)   (Southampton)
                                       A Gay
                                       Husband (+)
                                       Take Back the
                                       Heart (+)
30-Aug-1886-      Coventry             Rachel (+)
04-Sep-1886 (T)
13-Sep-1886-      Leicester            Rachel (+)
18-Sep-1886 (T)
20-Sep-1886-      Shrewsbury           Rachel (+)
25-Sep-1886 (T)
27-Sep-1886-      Queen's              Rachel (+)
02-Oct-1886 (T)   (Dublin)
04-Oct-1886-      Prince of Wales      Rachel (+)
09-Oct-1886 (T)   (Salford)
11-Oct-1886-      Scarborough          The Day after
16-Oct-1886 (T)   (Week 1)             the Wedding (+)
                                       Rachel (+)

18-Oct-1886-      Scarborough          The New
23-Oct-1886 (T)   (Week 2)             Magdalen (+)
                                       A Lesson in
                                       Love (Thu)
                                       The Corsican
                                       Brothers22 (Thu)
                                       The Ticket-of-
                                       Leave Man (Sat)
25-Oct-1886-      Gaiety (Halifax)     Rachel (+)
30-Oct-1886 (T)
30-Oct-1886 (T)   Comedy               Rachel (+)
(matinee)         (Manchester)
01-Nov-1886-      Winter Gardens       Rachel (+)
06-Nov-1886 (T)   (Blackpool)          (Mon, Tue, Fri)

                                       The New
                                       Magdalen
                                       (Wed, Thu)
                                       The Corsican
                                       Brothers (Sat)
08-Nov-1886-      Belfast              Rachel (+)
13-Nov-1886 (T)
15-Nov-1886-      Lyceum               Rachel (+)
17-Nov-1886 (T)   (Stafford)
                                       The New
                                       Magdalen (+)
22-Nov-1886-      Gaiety               Rachel (+)
27-Nov-1886 (T)   (Burnley)
29-Nov-1886-      Court                Rachel (+)
04-Dec-1886 (T)   (Liverpool)
                                       Take Back the
                                       Heart (+)
                                       (afterpiece)

06-Dec-1886-      Comedy               Rachel (+)
11-Dec-1886 (T)   (Manchester)
                                       Frou-Frou
                                       (Achurch
                                       benefit perf. 9th
                                       Dec)
                                       Take Back the
                                       Heart (+)
                                       (afterpiece)
08-Jan-1887-      Adelphi              The Harbour
26-Mar-1887                            Lights
28-Mar-1887-      Edinburgh            Diplomacy
02-Apr-1887

04-Apr-1887-      Royalty              Diplomacy
09-Apr-1887       (Glasgow)

11-Apr-1887-      Edinburgh            Hazel Kirke (+)
19-Apr-1887
04-Jun-1887-      Comedy               The Step-Sister
16-Jul-1887                            (forepiece to The
                                       Red Lamp)
12-Jul-1887       Vaudeville           Devil
(matinee)                              Caresfoot (+)
21-Jul-1887       Strand               The School for
(matinee)                              Scandal *
23-Jul-1887       Strand               The School for
                                       Scandal
28-Jul-1887       Crystal Palace       The School for
(matinee)                              Scandal
06-Aug-1887-      Strand               Devil
20-Aug-1887                            Caresfoot (+)
15-Sep-1887-      Haymarket            The Red Lamp *
12-Oct-1887
20-Dec-1887       Vaudeville           Othello (+)
(matinee)
29-Dec-1887       Criterion            Wyllard's
(matinee)                              Weird (+)
05-Jan-1888-      Haymarket            Partners
24-Mar-1888
                                       Wet Paint
                                       (afterpiece)
31-Jan-1888       Prince of Wales'     Tares
(matinee)
31-Mar-1888-      Haymarket            The Pompadour
14-Jul-1888
23-May-1888       Strand               The Love
(matinee)                              Story (+)
26-May-1888-      Haymarket            A Compromising
14-Jul-1888                            Case (forepiece
                                       to The
                                       Pompadour)
05-Jun-1888       Olympic              The Scarlet
(matinee)                              Letter (+)
18-Feb-1889       Vaudeville           The Love
(matinee)                              Story (+) *
19-Feb-1889-
22-Feb-1889
26-Mar-1889       Crystal Palace       The Love
(matinee)                              Story (+)
13-Apr-1889       Crystal Palace       The Merchant
& 23-Apr-1889                          of Venice (+)
24-Apr-1889
(matinee)
27-Apr-1889 &     Crystal Palace       Macbeth (+)
18-May-1889
7-Jun-1889        Novelty              A Doll's
                                       House (+)

Date              Author               Role

??-???-1882       W Phillips           Lady Camilla
                                       Hailstone1 ([dagger])
06-Jan-1883-      J M Morton           Mrs Mouser
03-Mar-1883

17-Feb-1883       Adap. from           Julia
(matinee)         D Terry              Mannering ([dagger])

24-Feb-1883       C Reade              Sarah Oldfield
(matinee)
                  Adap. from           Julia Mannering
                  D Terry
05-Mar-1883-      C Reade              Sarah Oldfield
30-Mar-1883
                  H Merivale
                  F C Grove            Alice Verney
17-Mar-1883       H Aide               Lady Stanmore
(matinee)
31-Mar-1883-      H Aide               Lady Stanmore
13-Apr-1883
30-Apr-1883-      T Parry              Emilie
09-Jun-1883       (adap.)              Antoinette
                                       Rose (1)
12-May-1883-      S Grundy             Margaret
01-Jun-1883?                           Waters([dagger])
19-May-1883       H Merivale           Alice Verney
(matinee)         F C Grove
02-Jun-1883-      S Grundy             Lady
30-Jun-1883       (adap.)              Albermarle
(Matinee 21-
Jun-1883)
09-Jun-1883-      W Gordon             Mrs Louise
30-Jun-1883       (adap.)              Honeywood
30-Jun-1883       C Reade              Sarah Oldfield
17-Sep-1883-      W Gordon             Mrs Louise
22-Sep-1883 (T)   (adap.)              Honeywood
                  S Grundy             Queen Anne
                  (adap.)
24-Sep-1883-      W Gordon             Mrs Louise
29-Sep-1883 (T)   (adap.)              Honeywood
01-Oct-1883       W Gordon             Mrs Louise
06-Oct-1883 (T)   (adap.)              Honeywood
                  S Grundy             Queen Anne
                  (adap.)
08-Oct-1883-      H Merivale           Alice Verney
13-Oct-1883 (T)   F C Grove
                  W Gordon             Mrs Louise
                  (adap.)              Honeywood
15-Oct-1883-      S Grundy             Queen Anne
20-Oct-1883 (T)   (adap.)
                  S Grundy             Gladys Grant
22-Oct-1883-      S Grundy             Gladys Grant
27-Oct-1883 (T)
                  S Grundy             Queen Anne
                  (adap.)
                  W Gordon             Mrs Louise
                  (adap.)              Honeywood
29-Oct-1883-      H Merivale           Alice Verney
03-Nov-1883 (T)   F C Grove
                  S Grundy             Queen Anne
                  (adap.)
                  S Grundy             Gladys Grant
                  W Gordon             Mrs Louise
                  (adap.)              Honeywood
05-Nov-1883-      H Merivale           Alice Verney
10-Nov-1883 (T)   F C Grove
                  S Grundy             Queen Anne
                  (adap.)
                  W Gordon             Mrs Louise
                  (adap.)              Honeywood
09-Nov-1883       H Merivale           Alice Verney
                  F C Grove
12-Nov-1883-17-   S Grundy             Queen Anne
Nov-1883 (T)      (adap.)
                  H Merivale           Alice Verney
                  F C Grove
                  S Grundy             Gladys Grant
19-Nov-1883-24-   H Merivale           Alice Verney
Nov-1883 (T)      F C Grove
                  S Grundy             Queen Anne
                  (adap.)
26-Nov-1883-      H Merivale           Alice Verney
01-Dec-1883 (T)   F C Grove
                  S Grundy             Queen Anne
                  (adap.)
                  S Grundy             Gladys Grant
03-Dec-1883-      H Merivale           Alice Verney
07-Dec-1883 (T)   F C Grove
                  S Grundy             Queen Anne
                  (adap.)
02-Jan-1884-      G Thorne             Queen
04-Jan-1884 (T)   F G Palmer           Christmas
                  (adap.)
14-Jan-1884-      G Thorne             Queen
18-Jan-1884 (T)   F G Palmer           Christmas
                  (adap.)
31-Jan-1884       G Thorne             Queen
02-Feb-1884 (T)   F G Palmer           Christmas
                  (adap.)
03-Mar-1884-      G Thorne             Queen
08-Mar-1884 (T)   F G Palmer           Christmas
                  (adap.)
10-Mar-1884-      G Thorne             Queen
12-Mar-1884 (T)   F G Palmer           Christmas
                  (adap.)
17-Mar-1884-      G Thorne             Queen
18-Mar-1884 (T)   F G Palmer           Christmas
                  (adap.)
24-Mar-1884-      G Thorne             Queen
26-Mar-1884 (T)   F G Palmer           Christmas
                  (adap.)
31-Mar-1884-      G Thorne             Queen
02-Apr-1884 (T)   F G Palmer           Christmas
                  (adap.)
14-Apr-1884-      G Thorne             Queen
15-Apr-1884 (T)   F G Palmer           Christmas
                  (adap.)
15-Apr-1884 -     G Conquest &         Dora ([dagger])
20-May-1884 (T)   H Pettitt
                  C H Hazlewood        Martha
                                       Roseblade ([dagger])
                  I Pocock
                  C Edwards            Mary Mason ([dagger])
                  W E Suter            Lady Audley
                  (adap.)
                  T H Bayly            Kate O'Brien ([dagger])
28-Apr-1884-      G Thorne             Queen
01-May-1884 (T)   F G Palmer           Christmas
                  (adap.)
02-May-1884-      G Thorne             Queen
03-May-1884       F G Palmer           Christmas
&                 (adap.)
09-May-1884-
10-May-1884 (T)
19-May-1884       T H Bayly            Kate O'Brien
24-May-1884 (T)
                  C Edwardes           Mary Mason
                  D Jerrold            (unknown) ([dagger])
                  G D Pitt
                  B Bernard            Lucille ([dagger])
                  M G Lewis
10-Jun-1884 (T)   (adap. from          Louise
                  French)
03-Jul-1884 (T)   T Taylor             Sam
                                       Willoughby ([dagger])
                 T J Williams
25-Aug-1884-      J P Simpson          Esther
27-Aug-1884 (T)   (adap.)              Summerson
11-Sep-1884-      T W Robertson        Leonie de la
13-Sep-1884 (T)   (adap.)              Villegontier ([dagger])
                  J P Simpson          Esther
                  (adap.)              Summerson
15-Sep-1884-      J P Simpson          Esther
17-Sep-1884 (T)   (adap.)              Summerson
                  T W Robertson        Leonie de la
                  (adap.)              Villegontier
                  W Dimond
                  (adap.)
26-Sep-1884 (T)   Sir J Vanbrugh       Lady Grace ([dagger])
29-Sep-1884       J Tobin              Zamora
04-Oct-1884 (T)
                  C H Hazlewood        Martha
                                       Roseblade
                  F Harvey             Juliana ([dagger])
                  Sir J Vanbrugh       Lady Grace
                  J B Buckstone        Starlight Bess
                  T W Robertson        Leonie de la
                  (adap.)              Villegontier
                  E Towers             Rachel Westwood
06-Oct-1884 -     J P Simpson          Esther
11-Oct-1884 (T)   (adap.)              Summerson
                  T W Robertson        Leonie de la
                  (adap.)              Villegontier
13-Oct-1884-      J P Simpson          Esther
18-Oct-1884 (T)   (adap.)              Summerson
                  T W Robertson        Leonie de la
                  (adap.)              Villegontier
20-Oct-1884       E Towers             Rachel
24-Oct-1884 (T)                        Westwood
                  F Harvey             Juliana

03-Nov-1884-      E Towers             Rachel
05-Nov-1884                            Westwood
                  F Harvey             Juliana
04-Dec-1884 (T)   W E Sprange          Ruth
16-Dec-1884       R Browning           (producer for
                                       Browning
                                       Society)
24-Dec-1884-      Adap. from           Pauline March
02-Jan-1885 (T)   H Conway
                  C Edwardes           Mary Mason
                  W E Sprange          Ruth
19-Jan-1885-      W Collins            Mercy Merrick
24-Jan-1885 (T)
02-Feb-1885-      W Collins            Mercy Merrick
07-Feb-1885 (T)
                  W E Sprange          Ruth
09-Feb-1885-      W Collins            Mercy Merrick
14-Feb-1885 (T)
                  H C Eric             (unknown) ([dagger])
                  H Dundas             Lady Audley
                  (adap.)
16-Feb-1885-      I Pocock
21-Feb-1885 (T)
                  Adap. from           Pauline March
                  H Conway
                  H C Eric             (unknown)
23-Feb-1885-      W Collins            Mercy Merrick
28-Feb-1885 (T)
                  W E Sprange          Ruth
                  P Merritt            Mary Hope ([dagger])
                  H Pettit
02-Mar-1885-      W Collins            Mercy Merrick
07-Mar-1885 (T)
09-Mar-1885-      W Collins            Mercy Merrick
14-Mar-1885 (T)
16-Mar-1885-      W Collins            Mercy Merrick
21-Mar-1885 (T)
23-Mar-1885-      C S Lancaster
28-Mar-1885 (T)
                  P Meritt &           Mary Hope
                  H Pettitt
06-Apr-1885-      Shakespeare          Lady Macbeth
11-Apr-1885 (T)
13-Apr-1885-      W Collins            Mercy Merrick
18-Apr-1885 (T)
                  P Meritt &           Mary Hope
                  H Pettitt
20-Apr-1885-      Shakespeare          Lady Macbeth
25-Apr-1885 (T)
                  Shakespeare          Queen Gertrude
                  Shakespeare          Lady Macbeth
27-Apr-1885-
02-May-1885 (T)
04-May-1885-      Shakespeare          Queen Gertrude
09-May-1885 (T)
                  R B Sheridan         Lady Teazle?
                  Shakespeare
                  O Goldsmith
                  D Boucicault         Emilie de
                  (adap.)              Lesparre ([dagger])
11-May-1885-      Shakespeare          Emilia
16-May-1885 (T)
25-May-1885-      W Collins            Mercy Merrick
30-May-1885 (T)
                  H Conway             Pauline March
                  (adap.)
20-Jul-1885-      W Collins            Mercy Merrick
25-Jul-1885
                  H Dundas             Lady Audley
                  (adap.)
27-Jul-1885-      D James (adap.)      Anne Silvester ([dagger])
01-Aug-1885
                  H Willoughby         Sarah Gooch ([dagger])
                  (adap.)20

03-Aug-1885-      W Piper              Mercy Merrick
08-Aug-1885       (adap.)
                  D James (adap.)      Anne Silvester
                  C Edwardes           (unknown)
31-Aug-1885-      Shakespeare          Queen Gertrude
05-Sep-1885 (T)
                  Shakespeare          Portia
                  T Taylor             Mrs Mildmay or
                  (adap.)              Mrs Sternhold1
07-Sep-1885-      Shakespeare          Queen Gertrude
12-Sep-1885 (T)
                  Shakespeare          Portia
                  O Goldsmith
                  R B Sheridan         Lydia Languish
                  Shakespeare          Desdemona
14-Sep-1885-
19-Sep-1885 (T)
21-Sep-1885-      Shakespeare          Queen Gertrude
26-Sep-1885 (T)
                  R B Sheridan         Lydia Languish
                  Shakespeare          Portia
                  Shakespeare          Desdemona
28-Sep-1885-
03-Oct-1885 (T)
12-Oct-1885-      Shakespeare          Queen Gertrude
17-Oct-1885 (T)
                  W Poel               Mrs Vervain or
                  (adap.)              Florida? ([dagger])
                  R B Sheridan         Lady Teazle?
                  Shakespeare          Portia
                  Shakespeare          Lady Macbeth
19-Oct-1885-      Shakespeare          Desdemona
24-Oct-1885 (T)
                  R B Sheridan         Lydia Languish
                  Shakespeare          Lady Macbeth
                  R B Sheridan         Lady Teazle?
26-Oct-1885-      Shakespeare          Queen Gertrude
31-Nov-1885 (T)
                  W Poel (adap.)       Mrs Vervain or
                                       Florida?
                  D Boucicault         Emilie de
                  (adap.)              Lesparre
                  R B Sheridan         Lydia Languish
                  Shakespeare          Portia
02-Nov-1885-      Shakespeare          Lady Macbeth
07-Nov-1885 (T)
                  Shakespeare          Desdemona
                  Shakespeare          Beatrice
                  W Poel (adap.)       Mrs Vervain or
                                       Florida?
16-Nov-1885-      Shakespeare          Desdemona
21-Nov-1885 (T)
                  W Poel               Mrs Vervain or
                  (adap.)              Florida?
                  Shakespeare          Beatrice
                  E Bulwer-Lytton
                  Shakespeare          Queen Gertrude
23-Nov-1885-      E Bulwer-Lytton      Pauline
28-Nov-1885 (T)
                  Shakespeare          Desdemona
30-Nov-1885-      Shakespeare          Portia
05-Dec-1885 (T)
                  Shakespeare          Beatrice
                  E Bulwer-Lytton      Pauline
                  R B Sheridan         Lydia Languish
                  Shakespeare          Lady Macbeth
07-Dec-1885-      Shakespeare          Desdemona
12-Dec-1885 (T)
                  Shakespeare          Portia
                  Shakespeare          Beatrice
                  Shakespeare          Queen Gertrude
14-Dec-1885 -
19-Dec-1885
11-Jan-1886-      J A Stevens          Bessie
16-Jan-1886                            Merrybright ([dagger])
05-Apr-1886-      W Collins            Mercy Merrick
10-Apr-1886
15-Apr-1886       W Collins            Mercy Merrick
(matinee)
19-Apr-1886-      Florence             Sarah
24-Apr-1886       Warden               Gooch
21-Apr-1886       W Collins            Mercy Merrick
                                       (Achurch
                                       benefit)
26-Apr-1886-      Ellen Wood           Lady Isobel
01-May-1886       (Mrs Henry           Carlyle &
                  Wood)                Madame Vine ([dagger])
31-May-1886-      C Searle             (unknown) ([dagger])
05-Jun-1886 (T)
                  Adap. from O         Clemence de
                  Feuillet             Fauvry
                  ? Lurline            Mrs Archly ([dagger])
                  & R Deslandes
07-Jun-1886-      Adap. from O         Clemence de
09-Jun-1886 (T)   Feuillet             Fauvry
15-Jun-1886 (T)   Adap. from O         Clemence de
(matinee)         Feuillet             Fauvry
                  ? Lurline            Mrs Archly
                  & R Deslandes
21-Jun-1886-      C Searle
26-Jun-1886 (T)
                  Adap. from O         Clemence de
                  Feuillet             Fauvry
                  ? Lurline            Mrs Archly
                  & R Deslandes
30-Aug-1886-      S Grundy             Rachel
04-Sep-1886 (T)                        Dunbar/Mrs
                                       Athelstan
13-Sep-1886-      S Grundy             Rachel Dunbar/
18-Sep-1886 (T)                        Mrs Athelstan
20-Sep-1886-      S Grundy             Rachel Dunbar/
25-Sep-1886 (T)                        Mrs Athelstan
27-Sep-1886-      S Grundy             Rachel Dunbar/
02-Oct-1886 (T)                        Mrs Athelstan
04-Oct-1886-      S Grundy             Rachel Dunbar/
09-Oct-1886 (T)                        Mrs Athelstan
11-Oct-1886-      Marie T Kemble
16-Oct-1886 (T)
                  S Grundy             Rachel Dunbar/
                                       Mrs Athelstan
18-Oct-1886-      W Collins            Mercy Merrick
23-Oct-1886 (T)
                  C Cheltham           Edith? ([dagger])
                  D Boucicault         Emilie de
                  (adap.)              Lesparre
                  T Taylor             Sam Willoughby
25-Oct-1886-      S Grundy             Rachel Dunbar
30-Oct-1886 (T)
30-Oct-1886 (T)   S Grundy             Rachel Dunbar
(matinee)
01-Nov-1886-      S Grundy             Rachel Dunbar
06-Nov-1886 (T)
                  W Collins            Mercy Merrick
                  D Boucicault         Emilie de
                  (adap.)              Lesparre
08-Nov-1886-      S Grundy             Rachel Dunbar
13-Nov-1886 (T)
15-Nov-1886-      S Grundy             Rachel Dunbar
17-Nov-1886 (T)
                  W Collins            Mercy Merrick

22-Nov-1886-      S Grundy             Rachel Dunbar
27-Nov-1886 (T)
29-Nov-1886-      S Grundy             Rachel Dunbar
04-Dec-1886 (T)
                                       Mrs Archly
06-Dec-1886-      S Grundy             Rachel Dunbar
11-Dec-1886 (T)
                  Adap. from           Gilberte ([dagger])
                  L Halevy
                  H Meilhac
                                       Mrs Archly
08-Jan-1887-      G R Sims &           Lina Nelson
26-Mar-1887       H Pettitt
28-Mar-1887-      B C Stephenson       Dora
02-Apr-1887       & C Scott
                  (adap.)
04-Apr-1887-      B C Stephenson       Dora
09-Apr-1887       & C Scott
                  (adap.)
11-Apr-1887-      S Mackay             Hazel
19-Apr-1887
04-Jun-1887-      W Sapte jnr.         Mary Potter
16-Jul-1887
12-Jul-1887       C H Chambers         Angela
(matinee)         J S Little (adap.)   Caresfoot
21-Jul-1887       R B Sheridan         Lady Teazle
(matinee)
23-Jul-1887       R B Sheridan         Lady Teazle

28-Jul-1887       R B Sheridan         Lady Teazle
(matinee)
06-Aug-1887-      C H Chambers         Angela
20-Aug-1887       J S Little (adap.)   Caresfoot
15-Sep-1887-      W O Tristram         Princess Claudia
12-Oct-1887                            Morakoff
20-Dec-1887       Shakespeare          Desdemona
(matinee)
29-Dec-1887       H Lobb (adap.)       Marie Prevol
(matinee)                              (prologue)
                                       Dora Delmaine
                                       (play)
05-Jan-1888-      R Buchanan           Alice Bellair
24-Mar-1888       (adap.)
                  F Hay                (unknown) ([dagger])
31-Jan-1888       Mrs Oscar            Margaret Gyde
(matinee)         Beringer
31-Mar-1888-      W G Wills            Mathilde de
14-Jul-1888       S Grundy             Bouflers
23-May-1888       P Leclercq           Madeline Borth
(matinee)
26-May-1888-      Mrs T E Smale        Lady Lena
14-Jul-1888       (adap.)              Stewart
05-Jun-1888       A Nelson             Hester Prynne
(matinee)         (adap.)
18-Feb-1889       P Leclercq           Madeline Borth
(matinee)
19-Feb-1889-
22-Feb-1889
26-Mar-1889       P Leclercq           Madeline Borth
(matinee)
13-Apr-1889       Shakespeare          Portia
& 23-Apr-1889
24-Apr-1889
(matinee)
27-Apr-1889 &     Shakespeare          Lady Macbeth
18-May-1889
7-Jun-1889        H Ibsen              Nora
                  (W Archer trans.)
Date              Genre (Co.)

??-???-1882       Drama
                  (charity event)
06-Jan-1883-      Farce
03-Mar-1883       (Genevieve
                  Ward)
17-Feb-1883       Drama
(matinee)         (Ward)

24-Feb-1883       Comedy (Ward)
(matinee)
                  Drama

05-Mar-1883-      Comedy (Ward)
30-Mar-1883
                  Comedietta
17-Mar-1883       Comedy (Ward)
(matinee)
31-Mar-1883-      Comedy
13-Apr-1883       (Ward)
30-Apr-1883-      Farce
09-Jun-1883       (Ward)
12-May-1883-      Drama
01-Jun-1883?      (Ward)
19-May-1883       Comedietta
(matinee)         (Ward)
02-Jun-1883-      Comedy (Ward)
30-Jun-1883
(Matinee 21-
Jun-1883)
09-Jun-1883-      Comedietta
30-Jun-1883       (Ward)
30-Jun-1883       Comedy
                  (Ward benefit
                  prior to her
                  farewell
                  provincial tour)
17-Sep-1883-      Comedietta
22-Sep-1883 (T)   (Ward)
                  Comedy
24-Sep-1883-      Comedietta
29-Sep-1883 (T)   (Ward)
01-Oct-1883       Comedietta
06-Oct-1883 (T)   (Ward)
                  Comedy
08-Oct-1883-      Comedy
13-Oct-1883 (T)   (Ward)
                  Comedietta
15-Oct-1883-      Comedy
20-Oct-1883 (T)   (Ward)
                  Drama
22-Oct-1883-      Drama
27-Oct-1883 (T)   (Ward)
                  Comedy
                  Comedietta
29-Oct-1883-      Comedietta
03-Nov-1883 (T)   (Ward)
                  Comedy
                  Drama
                  Comedietta
05-Nov-1883-      Comedietta
10-Nov-1883 (T)   (Ward)
                  Comedy
                  Comedietta
09-Nov-1883       Comedietta
                  (Ward benefit)
12-Nov-1883-17-   Comedy
Nov-1883 (T)      (Ward)
                  Comedietta
                  Drama
19-Nov-1883-24-   Comedietta
Nov-1883 (T)      (Ward)
                  Comedy
26-Nov-1883-      Comedietta
01-Dec-1883 (T)   (Ward)
                  Comedy
                  Drama
03-Dec-1883-      Comedietta
07-Dec-1883 (T)   (End of Ward
                  tour)
                  Comedy
02-Jan-1884-      Pantomime
04-Jan-1884 (T)   (Sarah Thorne)
14-Jan-1884-      Pantomime
18-Jan-1884 (T)   (Sarah Thorne)
31-Jan-1884       Pantomime
02-Feb-1884 (T)   (Thorne)
03-Mar-1884-      Pantomime
08-Mar-1884 (T)   (Thorne)
10-Mar-1884-      Pantomime
12-Mar-1884 (T)   (Thorne)
17-Mar-1884-      Pantomime
18-Mar-1884 (T)   (Thorne)
24-Mar-1884-      Pantomime
26-Mar-1884 (T)   (Thorne)
31-Mar-1884-      Pantomime
02-Apr-1884 (T)   (Thorne)
14-Apr-1884-      Pantomime
15-Apr-1884 (T)   (Thorne)
15-Apr-1884 -     Drama
20-May-1884 (T)   (Thorne)
                  Drama
                  Farce
                  Comedy
                  Drama
                  Comedy
28-Apr-1884-      Pantomime
01-May-1884 (T)   (Thorne)
02-May-1884-      Pantomime
03-May-1884       (Thorne)
&
09-May-1884-
10-May-1884 (T)
19-May-1884       Comedy
24-May-1884 (T)   (Thorne)
                  Comedy
                  Domestic
                  Drama
                  Melodrama
                  Drama
                  Drama
10-Jun-1884 (T)   Drama
                  (Thorne)
03-Jul-1884 (T)   Drama
                  (Dundas
                  farewell benefit)
                  Farce
25-Aug-1884-      Drama
27-Aug-1884 (T)   (Thorne)
11-Sep-1884-      Comedy
13-Sep-1884 (T)   (Thorne)
                  Drama
15-Sep-1884-      Drama
17-Sep-1884 (T)   (Thorne)
                  Comedy
                  Farce
26-Sep-1884 (T)   Comedy
                  (Thorne benefit)
29-Sep-1884       Comedy
04-Oct-1884 (T)   (Thorne)
                  Farce
                  Drama
                  Comedy
                  Drama
                  Comedy
                  Drama
06-Oct-1884 -     Drama
11-Oct-1884 (T)   (Thorne)
                  Comedy
13-Oct-1884-      Drama
18-Oct-1884 (T)   (Thorne)
                  Comedy
20-Oct-1884       Drama (Thorne)
24-Oct-1884 (T)
                  Drama
03-Nov-1884-      Drama
05-Nov-1884       (Thorne)
                  Drama
04-Dec-1884 (T)   Drama (Thorne)
16-Dec-1884       Play
24-Dec-1884-      Drama
02-Jan-1885 (T)   (Henry Dundas)
                  Comedy
                  Drama
19-Jan-1885-      Drama
24-Jan-1885 (T)   (Dundas)
02-Feb-1885-      Drama
07-Feb-1885 (T)   (Dundas)
                  Drama
09-Feb-1885-      Drama
14-Feb-1885 (T)   (Dundas)
                  Military
                  Comedy
                  Drama
16-Feb-1885-      Farce
21-Feb-1885 (T)   (Dundas)
                  Drama
                  Military
                  Comedy
23-Feb-1885-      Drama
28-Feb-1885 (T)   (Dundas)
                  Drama
                  Drama
02-Mar-1885-      Drama
07-Mar-1885 (T)   (Dundas)
09-Mar-1885-      Drama
14-Mar-1885 (T)   (Dundas)
16-Mar-1885-      Drama
21-Mar-1885 (T)   (Dundas)
23-Mar-1885-      Comedietta
28-Mar-1885 (T)   (Dundas)
                  Drama
06-Apr-1885-      Tragedy
11-Apr-1885 (T)   (Benson)
13-Apr-1885-      Drama
18-Apr-1885 (T)   (Dundas)
                  Drama
20-Apr-1885-      Tragedy
25-Apr-1885 (T)   (Benson)
                  Tragedy
                  Tragedy
27-Apr-1885-      (Dundas)
02-May-1885 (T)
04-May-1885-      Tragedy
09-May-1885 (T)   (Benson)
                  Comedy
                  Tragi-Comedy
                  Comedy
                  Drama
11-May-1885-      Tragedy
16-May-1885 (T)   (Benson, end of
                  prior tour)
25-May-1885-      Drama
30-May-1885 (T)   (Dundas)
                  Drama
20-Jul-1885-      Drama
25-Jul-1885       (Dundas)
                  Comedy
27-Jul-1885-      Drama
01-Aug-1885       (Dundas)
                  Romantic
                  Drama
03-Aug-1885-      Drama
08-Aug-1885       (Dundas)
                  Drama
                  Military
                  Comedy
31-Aug-1885-      Tragedy
05-Sep-1885 (T)   (Benson)
                  Tragi-Comedy
                  Comedy

07-Sep-1885-      Tragedy
12-Sep-1885 (T)   (Benson)
                  Tragi-Comedy
                  Comedy
                  Comedy
                  Tragedy
14-Sep-1885-      (Benson)
19-Sep-1885 (T)
21-Sep-1885-      Tragedy
26-Sep-1885 (T)   (Benson)
                  Comedy
                  Tragi-Comedy
                  Tragedy
28-Sep-1885-      (Benson)
03-Oct-1885 (T)
12-Oct-1885-      Tragedy
17-Oct-1885 (T)   (Benson)
                  Comedy
                  Comedy
                  Tragi-Comedy
                  Tragedy
19-Oct-1885-      Tragedy
24-Oct-1885 (T)   (Benson)
                  Comedy
                  Tragedy
                  Comedy
26-Oct-1885-      Tragedy
31-Nov-1885 (T)   (Benson)
                  Comedy
                  Drama
                  Comedy
                  Tragi-Comedy
02-Nov-1885-      Tragedy
07-Nov-1885 (T)   (Benson)
                  Tragedy
                  Comedy
                  Comedy
16-Nov-1885-      Tragedy
21-Nov-1885 (T)   (Benson)
                  Comedy
                  Comedy
                  Drama
                  Tragedy
23-Nov-1885-      Melodrama
28-Nov-1885 (T)   (Benson)
                  Tragedy
30-Nov-1885-      Tragi-Comedy
05-Dec-1885 (T)   (Benson)
                  Comedy
                  Melodrama
                  Comedy
                  Tragedy
07-Dec-1885-      Tragedy
12-Dec-1885 (T)   (Benson)
                  Tragi-Comedy
                  Comedy
                  Tragedy
14-Dec-1885 -     (Benson)
19-Dec-1885
11-Jan-1886-      Drama
16-Jan-1886       (J B
                  Mulhollhand)
05-Apr-1886-      Drama
10-Apr-1886       (Charrington)
15-Apr-1886       Drama
(matinee)         (Charrington)
19-Apr-1886-      Romantic
24-Apr-1886       Melodrama
                  (Charrington)
21-Apr-1886       Drama
                  (Charrington)

26-Apr-1886-      Drama
01-May-1886       (Charrington)

31-May-1886-      Comedietta
05-Jun-1886 (T)   (Charrington)
                  Drama
                  Costume Play
07-Jun-1886-      Drama
09-Jun-1886 (T)   (Charrington)
15-Jun-1886 (T)   Drama
(matinee)         (Charrington)
                  Costume Play
21-Jun-1886-      Comedietta
26-Jun-1886 (T)   (Charrington)
                  Drama
                  Costume Play
30-Aug-1886-      Drama
04-Sep-1886 (T)   (Charrington)
13-Sep-1886-      Drama
18-Sep-1886 (T)   (Charrington)
20-Sep-1886-      Drama
25-Sep-1886 (T)   (Charrington)
27-Sep-1886-      Drama
02-Oct-1886 (T)   (Charrington)
04-Oct-1886-      Drama
09-Oct-1886 (T)   (Charrington)
11-Oct-1886-      Farce
16-Oct-1886 (T)   (Charrington)
                  Drama
18-Oct-1886-      Drama

23-Oct-1886 (T)   (Charrington)
                  Comedy
                  Drama
                  Drama
25-Oct-1886-      Drama
30-Oct-1886 (T)   (Charrington)
30-Oct-1886 (T)   Drama
(matinee)         (Charrington)
01-Nov-1886-      Drama
06-Nov-1886 (T)   (Charrington)
                  Drama
                  Drama
08-Nov-1886-      Drama
13-Nov-1886 (T)   (Charrington)
15-Nov-1886-      Drama
17-Nov-1886 (T)   (Charrington)
                  Drama
22-Nov-1886-      Drama
27-Nov-1886 (T)   (Charrington)
29-Nov-1886-      Drama
04-Dec-1886 (T)   (Charrington)
                  Costume Play
06-Dec-1886-      Drama
11-Dec-1886 (T)   (Charrington)
                  Comedy
                  Costume Play
08-Jan-1887-      Melodrama
26-Mar-1887       (A & S Gatti)
28-Mar-1887-      Comedy
02-Apr-1887
04-Apr-1887-      Comedy
09-Apr-1887
11-Apr-1887-      Drama
19-Apr-1887
04-Jun-1887-      Domestic
16-Jul-1887       Comedy
                  (Beerbohm Tree)
12-Jul-1887       Drama
(matinee)         (Charrington)
21-Jul-1887       Comedy (Farren
(matinee)         & Conway)
23-Jul-1887       Comedy (Farren
                  & Conway)
28-Jul-1887       Comedy (Farren
(matinee)         & Conway)
06-Aug-1887-      Drama
20-Aug-1887       (Charrington)
15-Sep-1887-      Drama
12-Oct-1887       (Tree)
20-Dec-1887       Tragedy
(matinee)         (Charrington)
29-Dec-1887       Comedy Drama
(matinee)         (Charrington)
05-Jan-1888-      Comedy Drama
24-Mar-1888       (Tree)
                  Comedietta
31-Jan-1888       Drama
(matinee)         (Mrs Kendal)
31-Mar-1888-      Drama
14-Jul-1888       (Tree)
23-May-1888       Drama (Carlotta
(matinee)         Leclercq)
26-May-1888-      Comedietta
14-Jul-1888       (Tree)
05-Jun-1888       Drama
(matinee)         (Charrington)
18-Feb-1889       Drama
(matinee)         (Charrington)
19-Feb-1889-
22-Feb-1889
26-Mar-1889       Drama
(matinee)         (Charrington)
13-Apr-1889       Tragi-Comedy
& 23-Apr-1889     (Charrington)
24-Apr-1889
(matinee)
27-Apr-1889 &     Tragedy
18-May-1889       (Charrington)
7-Jun-1889        Drama
                  (Charrington)
COPYRIGHT 2013 The Society for Theatre Research
No portion of this article can be reproduced without the express written permission from the copyright holder.
Copyright 2013 Gale, Cengage Learning. All rights reserved.

Article Details
Printer friendly Cite/link Email Feedback
Author:Ince, Bernard
Publication:Theatre Notebook
Article Type:Biography
Geographic Code:4EUUK
Date:Jun 1, 2013
Words:12714
Previous Article:The Making of the West End Stage: Marriage, Management and the Mapping of Gender in London, 1830-1870.
Next Article:New Researchers' Network.
Topics:

Terms of use | Privacy policy | Copyright © 2018 Farlex, Inc. | Feedback | For webmasters