The Profession of the Playwright: British Theatre, 1800-1900

This is the first book to examine the world of the playwright in nineteenth-century Britain. In a fascinating account of the frustrations and the rewards of dramatic authorship, Stephens offers a new perspective on the playwright's growing professional status, and uncovers fresh information on earnings, relationships with actors, managers, and publishers, and the struggle for copyright reform. Among the authors discussed are Planche, Fitzball, Boucicault, Pinero, Grundy, Gilbert, Tennyson, Jones and Shaw.

THE PROFESSION OF THE PLAYWRIGHT

THE PROFESSION OF THE PLAYWRIGHT British theatre 1800-igoo

JOHN RUSSELL STEPHENS Lecturer in English, University College of Swansea

The right of the University of Cambridge to print and sell all manner of books was granted by Henry VIII in 1534. The University has printed and published continuously since 1584.

CAMBRIDGE UNIVERSITY PRESS Cambridge New York Port Chester Melbourne Sydney

CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sao Paulo Cambridge University Press The Edinburgh Building, Cambridge CB2 2RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521259132 © Cambridge University Press 1992 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1992 This digitally printed first paperback version 2006 A catalogue record for this publication is available from the British Library Library of Congress Cataloguing in Publication data Stephens, John Russell. The profession of the playwright, British theatre 1800-1900 / John Russell Stephens. p. cm. Includes bibliographical references and indexes. ISBN 0 521 25913 4 1. Theater - Great Britain - History - 19th century. 2. Theater and society - Great Britain. 3. English drama - 19th century - History and criticism. 4. Drama — Publishing — Great Britain — History — 19th century. I. Title. PN2594.S75 1991 792'.092'241 - dc20 90-25605 CIP ISBN-13 978-0-521-25913-2 hardback ISBN-10 0-521-25913-4 hardback ISBN-13 978-0-521-03443-2 paperback ISBN-10 0-521-03443-4 paperback

for Morwenna Ann

Contents

Preface Acknowledgements List of abbreviations

page xi xv xvii

1

The smell of lamps and orange peel

2

' A devil of a trade'

25

3

The profit-sharing revolution

51

4

Piracy and the defence of dramatic property

84

5

Booksellers and dramatic publishing

116

6

From wings to centre stage

143

7

The new professionals

174

Appendixes Notes Bibliography Index of plays and playwrights General index

i

192 197 216 234 245

Preface

Dr Johnson's characteristically blunt assertion that 'No man but a blockhead ever wrote, except for money' is a convenient departure-point for a book on the profession of the playwright, since a large part of it is about money. Money is at the root of the idea of professionalism. The dramatist's sense of himself as a professional and of his chosen career as a profession is largely dependent upon the respect which he feels for his work and the respect which his work inspires in others, especially the actor and the manager. None of that makes any realistic sense if he is not paid the rate for the job. It will be apparent that the earnings' levels of dramatic authors are very closely linked to the economic health of the theatre, and I have tried throughout to give due weight to the varying economic condition of the theatre; but that is a topic in its own right and the present work does not pretend to be a detailed economic history of that kind. On the whole, authors' salaries run in parallel with, but at a lower level than, actors', though the top end of the latter's was distorted by competition amongst managements who were forced into offering absurdly high fees. This was not a feature of the remuneration of authors. At 50 guineas a performance during his first season at Drury Lane in 1804-5 a runaway (though short-lived) sensation like the 'Young Roscius', Master William Betty, was making as much in ten days as a dramatist like Frederick Reynolds made in total (including copyright) from a reasonably successful comedy. A somewhat less exceptional comparison might be made with John Philip Kemble's combined salary of £56 14s a week as actor and manager at Drury Lane in 1801-2, where the earnings

xii

Preface

for most of the actors at the same time fell into the range of between £10 and £20 a week. Near the bottom of the scale the gap between actor and author was much greater. Hack writers who grubbed away for 30 shillings a time (such as George Dibdin Pitt in the 1840s) made no more than the equivalent of one week's wages for a minor player. The most depressed period of authorial remuneration coincides with the low point of the theatre in the 1840s and early 1850s, when actors' salaries were also much reduced. The low level of dramatic earnings in general until the last few decades of the century is one of the main reasons for the furious productivity of so many nineteenth-century dramatists, especially the hacks who wrote for the minor theatres or for East End venues. The dramatic market was insatiable; and, in the attempt to achieve a decent income from their playwriting, authors were at the same time satisfying the constant demand from managers for new pieces at very short notice, perhaps as little as twentyfour hours. Although the long run later in the century reduced the demand for plays, its secondary consequence was that dramatists had more leisure to write their plays. And the money was so much better because not only was the theatre economically more healthy, but entrepreneurial dramatists like Boucicault and his successors exploited their ability to produce highly successful plays by insisting on sharing in the profits, thus opening the way for the playwright to compete on the same level as the novelist. Important though money was to the professional playwright, the working conditions of the nineteenth-century theatre involved several other considerations. Many of them are hinted at in Frederick Reynolds's mild caricature of the frustrations and hardships of the dramatic profession in the person of Vivid the playwright (quoted in the epigraph to the present work). To the list must be added the issues of copyright and publishing. Dramatic property had little formal protection from piracy and its relative security in terms of proper copyright protection was achieved only slowly, through a series of copyright law reforms over a period of more than fifty years. Just as vital to the profession was the incentive to publish, which was itself closely

Preface

xiii

dependent on adequate copyright protection, and furthermore to publish in durable as opposed to ephemeral form. Most of the dramatic texts of the century are available only in the flimsiest of acting editions and only towards the end of our period does dramatic publishing gain a degree of respectability through the interest of major publishing houses. Such improvements in the working life of the professional dramatist were essential for the respect for the playwright as an artist and as a professional in the theatre. The emergence of the author-director by the end of the century is the climax of a long struggle for recognition, a search for his own identity which is not imposed from above by the manager or imprinted upon him by the actor. It is when the playwright ceases to be a servant and becomes master of his own play that his true professionalism emerges. Professional dramatists have inhabited the theatre since Shakespeare's time. What is different about the nineteenthcentury stage is that more than any other it has come to be known as the actors' theatre — in the sense that audiences tended to be attracted to the theatre by a particular actor's name on the playbill rather than that of the playwright. In some ways it is the strength of the Victorian theatre. Some dramatists found that they liked the security attached to writing for a particular player whose talents and characteristics were well known and whose acceptance of his play was one of the surest guarantees of success. Indeed many wrote only to order, and were at a loss to do anything different. Equally, others considered the practice to be a humiliation of the artist and an unacceptable restriction on his freedom as a writer. Compared with the actor's, whose profession a star performer like Macready continued to regard as a poor and degrading art, the dramatist's status was, until late in the century, still lower. Analogies with the trade of the carpenter or shoemaker were common. Even W. S. Gilbert, who was partly responsible for its improved reputation in the second half of the century, denigrated playwriting as an intellectual activity, regarding it as requiring merely 'shrewdness of observation, a nimble brain, a faculty for expressing oneself concisely, [and] a sense of balance both in the construction of plots and sentences'. Nonetheless, in a

xiv

Preface

theatre which embraces so much diversity of talent in so many genres - from Reynolds and Tom Dibdin, through Fitzball, Moncrieff and Stirling to Boucicault, Robertson, Burnand and Albery, and eventually to Pinero, Jones, Wilde, and Shaw - it is proper to recognise the ever-growing professionalism with which many dramatists approached the writing of a play and sometimes also its staging. A hack writer (the vast majority of nineteenth-century dramatists) would always be a hack writer, but that didn't necessarily prevent him from having a sense of belonging to a writing community. At the top of the profession, especially at the end of the century, the playwright tended to be highly conscious of his role as an artist. External pressures on dramatists of all classes were enormous, by virtue of the often conflicting demands of managers, actors, actor-managers, stagecrew, box-office, audience, critics, and the sometimes suffocating limitations imposed by official censorship. Yet for the professional playwright it was expedient as well as pragmatic to acquire a respected, independent, functional identity, or as much of one as was possible in whatever theatrical niche he found himself placed. This book is an outline of that process.

Acknowledgements

I am indebted to the following institutions for permission to use extracts from copyright material: the Trustees of the British Museum (archives of Covent Garden Theatre, Sydney GrundyWilliam Archer correspondence, and letters of Henry Arthur Jones to Messrs Macmillan Ltd); the Theatre Museum, Covent Garden (archives of the Lyceum Theatre); and the Tennyson Research Centre, Lincoln (letters of Henry Irving and Frederick Macmillan to Hallam Tennyson), courtesy of Lincolnshire Library Service. Material quoted from the Lord Chamberlain's papers in the Public Record Office is in Crown copyright. It is a great pleasure to thank those individuals and institutions who have helped me in the writing of this book. This task is tinged with sadness, however, because Emeritus Professor Cecil Price, who shared with me information on his extensive collection of late eighteenth- and early nineteenth-century dramatic texts, died while this book was at the copy-editing stage. It is many years now since he first introduced me to Victorian theatre research, but he continued to take a keen interest in my work and for that, as well as for his model scholarship, and his friendship, I shall always be grateful. I am indebted to the following for advice, suggestions, and other practical assistance: Dr Russell Jackson of the Shakespeare Institute, Birmingham; Professor Peter Wearing of the Dept of English, University of Arizona; Dr J. D. Dawick, Palmerston North, New Zealand; my colleagues Dr James A. Davies and Mr Andrew Varney; the Curator and staff, Theatre Museum, Covent Garden (especially Anna Jackson and Andrew Kirk);

xvi

Acknowledgements

Susan Gates, Tennyson Research Centre, Lincoln; the staffs of the Library, University College of Swansea, Westminster Central Reference Library, and the Reading Room and MSS Students' Room of the British Library, in particular Mrs Sally Brown (Curator of Modern Literary MSS), who made arrangements for me to consult long runs of the Lord Chamberlain's plays; and the editorial staff at Cambridge University Press (Sarah Stanton and Victoria Cooper), and my copy-editor Chris Lyall Grant, for making this book freer of errors than it might have been. I record also my appreciation to the Senate and Council, University College of Swansea, for the grant of two terms' sabbatical leave during the early stages of my research. My small daughter Sarah deserves a special word of thanks for her continual reminders that there is life beyond the wordprocessor; but most of all I want to thank Ann, my wife, to whom this book is dedicated, for her generous support and encouragement.

Abbreviations

In addition to standard forms for periodical literature and DJVB (for Dictionary of National Biography), the following abbreviations have been employed throughout. Full details may be found in the bibliography. Burnand Dibdin Fitzball Genest Jones Macready Nicoll Pinero Planche Reynolds Shaw, I Shaw, II

Francis C. Burnand, Records and Reminiscences. 4th edn. 1905. Reminiscences of Thomas Dibdin. 2 vols. 1827. Edward Fitzball, Thirty-Five Tears of a Dramatic Author's Life. 2 vols. 1859. [John Genest], Some Account of the English Stage from the Restoration in 1660 to 1830. 10 vols. 1832. The Life and Letters of Henry Arthur Jones, ed. Doris A.Jones. 1930. The Diaries of William Charles Macready, 1833— 1851, ed. William Toynbee. 2 vols. 1912. Allardyce Nicoll, A History of English Drama, 1660-igoo. 6 vols. 1965-7. The Collected Letters of Sir Arthur Pinero, ed. J . P. Wearing. 1974. Recollections and Reflections by James Robinson Blanche. [ i g ] o i . The Life and Times of Frederick Reynolds. 2 vols. 1827. Bernard Shaw. Collected Letters i8j4-i8gj, ed. Dan H. Laurence. 1965. Bernard Shaw. Collected Letters i8g8-igio, ed. Dan H. Laurence. 1972. XVll

xviii 1832 Report 1866 Report 1878 Report

Abbreviations Report from the Select Committee on Dramatic Literature Report from the Select Committee on Theatrical Licenses and Regulations Report of Commission on Home and Colonial Copyright

In the text, references to plays are normally accompanied by a note of theatre and year of first performance. Names of theatres have been abbreviated as follows: Adel Ave

Brit

CG

Cob Com

Crit Crt Dal DL

EOH Gai Gar Glo

Grec Hay Lye Lyr

Olym

OC

Pav

PoW P'cess Roy SW

StJ

Sav

Shaft

Adelphi Avenue Britannia Theatre Royal, Covent Garden Coburg (= Victoria) Comedy Criterion Court Daly's Theatre Royal, Drury Lane English Opera House (= Lyceum) Gaiety Garrick Globe Grecian Theatre Royal, Haymarket Lyceum (= English Opera House) Lyric Olympic Opera Comique Pavilion Prince of Wales (Tottenham St) Princess's Royalty Sadler's Wells St James's Savoy Shaftesbury

Abbreviations

Stan Str Sur Ter

Vaud Vic

Wynd

XIX

Standard Strand Surrey Terry's Vaudeville Royal Victoria (= Coburg) (Old Vic) Wyndham's

All references to money are to the pre-decimal system of pounds, shillings, and pence ( £ s d ) , in which 12 (old) pence made one shilling (modern equivalent five pence), and twenty shillings one pound. A guinea was twenty-one shillings (or £1 is) (modern equivalent £1*05).

. . . hisfirstdifficulty consist [s] in pleasing Himself- his second difficulty in pleasing the Manager - his third, in pleasing the Actors — his fourth, in pleasing the Licenser — his fifth, in pleasing the Audience — his sixth, in pleasing the Newspapers', and, in addition to all these, the actors must please not to be taken ill, the weather must please not to be unfavourable, the opposing theatre must please not to put up strong bills; and then! - what then? - why then - 'Please to pay the bearer the small sum of * * *;' and, N. B. which sum is sometimes, par accident, not paid at all. Frederick Reynolds, A Playwright's Adventures, London [1831]

CHAPTER I

The smell of lamps and orange peel

Our image of the early nineteenth-century playwright is coloured by Dickens's 'MrJohnson' (alias Nicholas Nickleby), who in the space of twenty-four hours is expected to write a play designed 'to bring out the whole strength of the company', while contriving simultaneously 'to introduce a real pump and two washing-tubs' which the manager happens to have bought cheap at a sale the other day. Just the same as they do in London, says Mr Crummies, where '[t]hey look up some dresses and have a piece written to fit 'em'. While it is by no means the whole truth about a profession as diverse as that of the nineteenth-century dramatist, Dickens's fictional account had a secure basis in reality at the middle and lower reaches of the market in mid-century. Sam Wild, proprietor of one of the best-known portable theatres in the north of England, reckoned that 'there were always to be found authors prepared at short notice to write a new piece, or to adapt an old one to meet the capabilities of an establishment'. No more was necessary than 'to state what talent you had, your scenic resources, and the extent of your wardrobe, and they would get you a new piece out in a couple of days'.1 Few performers perhaps could have been quite as difficult to fit up with a part as Mr Crummles's daughter, 'the infant phenomenon'; but Nicholas Nickleby's task was rivalled if not exceeded in absurdity by Tom Dibdin's commission from David Morris of the Haymarket Theatre in the early 1820s to write a piece to suit a herd of reindeer and a diminutive family trio of singers, dancers, and fiddlers - the man shaped 'like an oil barrel', his wife with the dimensions of'a half anker', and a son 'about the height of a Dutch cheese'.2

2

The profession of the playwright

Dramatic authorship was never an easy profession and for much of the century provided neither security nor status. Yet one of the extraordinary features of the theatre is that, at the same time that it was execrated by those who thought it either sinful or had simply disgraced its heritage through being swamped by foreign adaptations and adulterated by performing animals, so many wanted desperately to write plays: 'to persevere' (as a contemporary says of Frederick Reynolds, one of the first professionals of the period) 'through all obstruction and discouragement, and be a dramatic author, or NOTHING'.3 Epitomised for James Planche by 'the smell of the lamps and the orange peel',4 the living theatre had a special magnetism. For all sorts of reasons it attracted a vast range of writers: most of the century's best-known poets from Coleridge, Byron, Shelley, Browning, and Tennyson down through lesser-known ones such as Felicia Hemans; major and minor novelists like Charlotte Smith, Bulwer Lytton, Charles Dickens, Wilkie Collins, Charles Reade, Robert Buchanan, Henry James, R. L. Stevenson, and Hall Caine; essayists like Charles Lamb and Mary Russell Mitford; periodical writers, journalists, dramatic critics, lawyers, surgeons, military men, clergymen, teachers, clerks, shopkeepers, printers, actors, stage managers and scene painters — and in unprecedented numbers. NicolPs Handlist records more than 700 dramatists for the period from 1800 to 1850 and that is by no means exhaustive. On that basis alone the drama was not dead, not even dying, but actually full of vibrant (if not literary) life even at its darkest period towards the middle of the century, when in response to the debilitated economic state of the theatre authors' fees fell to their lowest point. In the increasingly more optimistic climate of the second half of the century the number of dramatists more than quadrupled to around 3,200, though a high proportion, larger than in the earlier period, comprised single-play authors and the number was also inflated by an expanding body of writers active only in the provincial theatres, which had taken on new life. A more realistic picture of general dramatic activity would suggest that overall through the century the number of authors who wrote fairly regularly for the metropolitan and provincial theatres was not much above 10

The smell of lamps and orange peel per cent of the total, while those with outputs of more than fifteen to twenty plays apiece is much smaller again at somewhere between 3 and 4 per cent. The social origins of nineteenth-century playwrights tend to be reflected in the status of the theatres for which they wrote. On balance most East End dramatists came from lower down the social scale than did patent theatre writers or, later in the century, those who wrote for the major theatres within, say, a half-mile radius or so of Charing Cross. Yet the profession was a broad church, which afforded opportunities for writers from many walks of life. Some wrote merely for amusement or for publication rather than stage performance — the number of closet tragedies is remarkable, especially before 1850 - but there was room for the leisured gentleman-amateur, the poet or novelist testing his way, the strolling player turned hack writer, as much as for the dedicated professional playwright. The widest band was occupied by a great multitude of writers for whom dramatic authorship, dependent on individuals' circumstances, provided a greater or lesser proportion of their income, and who also followed other paid employment, often within the theatre itself or perhaps in one of the professions. In the first half of the century it is probably true to say that the number of female dramatists about matches their proportional involvement in the literary profession as a whole. The tradition established in the Restoration period by Aphra Behn — the first professional woman dramatist — and taken up by Susanna Centlivre and Hannah Cowley continues into the early nineteenth century with Elizabeth Inchbald and Joanna Baillie, though the latter's reputation was mainly literary rather than theatrical. While Mrs Inchbald is the only one at this period who could properly be considered a full-time professional writer for the stage, there were a number of other women playwrights who, having gained some reputation in literature, also wrote for the theatre and were granted honorary membership of the Dramatic Authors' Society.5 After 1850 there was no shortage of female dramatic authors, but the majority were amateurs and few achieved any special distinction. Many wrote only one play, or were known only in the provinces, and those who made it to

3

4

The profession of the playwright

London usually advanced no further than the afternoon matinee, which by the 1880s became established as one of the routes whereby a new dramatic author might have a trial before being accepted for the evening bills. Among the exceptions was Sarah Lane (widow of the former manager Samuel Lane), who energetically ran the Britannia and wrote a cluster of melodramas for her theatre in the 1870s and early 1880s. Invariably, those who made any sort of name for themselves (like Frances Hodgson Burnett, Mary Elizabeth Braddon, and the AngloAmerican Pearl Craigie) were predominantly novelists; and except for the last-named's The Ambassador (St J 1898), which ran for a whole season, their occasional excursions into the drama were little regarded in comparison to the dramatised versions of their novels. These were usually independently worked up for the stage by other hands, such as Colin Hazlewood, who produced one of the many versions of Miss Braddon's enormously successful Lady Audlefs Secret (Brit 1862). One feature of the world of the playwright stands out above all else: that the broadest avenue into dramatic authorship was through the theatre itself- as actor or stage manager, separately or in combination. It was the great leveller. The eponymous hero of Dickens's Nicholas Nickleby effects a rather swifter translation from raw, untried actor to house dramatist and leading player in Vincent Crummles's travelling company than would have been typical, but nevertheless the principle holds true. A lowly strolling player might indeed one day find himself writing plays not just for booths and fairs or minor provincial venues but for the London theatres. Acting or stage management were useful preparatory work as well as stimuli for writing, and it is no coincidence that many of the best-known and most successful dramatic authors served their apprenticeship in either or both of those arts. To know the theatre has always been the dramatist's first responsibility, and the majority of nineteenthcentury playwrights acquired their intimate knowledge of it from the inside. For many dramatists the theatre was a kind of self-perpetuating institution.6 George Colman junior emulated his father in

The smell of lamps and orange peel combining the art of playwriting with management of the Haymarket. Brothers Charles (junior) and Thomas Dibdin came from a theatrical family and the latter's son George Dibdin Pitt became a prolific writer, mainly for the East End theatres. Both Thomas Morton's sons (Thomas junior and John Maddison) elected to follow their father into the dramatic profession, as did Douglas Jerrold, whose own son William Blanchard continued the connexion. Joseph Ebsworth's wife Mary was also a playwright and his father-in-law was the pantomimist Robert Fairbrother. Likewise Fanny Kemble helped to sustain her family's strong theatrical tradition as actress (albeit reluctantly) and subsequently as playwright. In Tom Robertson's case, both parents were busy professional actors and provincial managers, while Edward Leman Blanchard, though he never acted himself, was the son of William Blanchard the comedian. Actor-dramatist-managers such as Charles James Mathews (who married Madame Vestris), and Edmund Yates were also sons of actors. In the East End, where the Conquest family had strong theatrical ties as actors and managers during the second half of the century, George Conquest wrote for the Grecian under the management of his father Benjamin and later on for the same theatre and the Surrey under his own. Throughout the century many of the best-known dramatists as well as the humblest followed the traditional route from acting into authorship. A number started out as actors with amateur companies. Although James Kenney began his working life in a London bank his real interest was acting with local amateurs, for whom he wrote his first piece, the farce Raising the Wind, the success of which led to its adoption by Covent Garden for performance in 1803. Thereafter Kenney wrote regularly for the two main patent theatres. James Robinson Planche had a similar kind of initiation. At first articled to a bookseller, he began his long theatrical career as an amateur, acting in private theatres. Like Kenney he wrote his own play, the burlesque Amoroso, King of Little Britain (1818), which, unexpectedly announced for the professional stage at Drury Lane without his prior knowledge, 'at once determined [his] future'.7 It proved to

5

6

The profession of the playwright

be his entry point into regular writing, first for the Adelphi, then for Covent Garden, Drury Lane, the Olympic, and the Haymarket5 in a varied and distinguished career embracing the theatre, antiquarianism, and heraldic office that lasted for more than fifty years. Such direct movement into the glories of writing for the patent theatres was not usually quite so easy, and a provincial starting-point was more common. Edward Stirling actually paid to act his first parts with an amateur group in London before becoming a strolling player and then, at the age of twenty-two tested out his abilities as a dramatic author on an 'easily pleased' audience of sailors and their girl-friends at Gravesend with an 'artfully rechristened' melodrama Tilbury Fort (1829), founded on Scott's Kenilworth? Dion Boucicault's long theatrical career began simultaneously and pseudonymously as actor and playwright in 1838. But it was his writing that first brought him to prominence with London Assurance (CG 1841) and Old Heads and Young Hearts (Hay

1844). He continued to act, often in his own plays, though it was eight years before he had another successful piece on his hands with The Corsican Brothers (P'cess 1852) and a further eight before he became properly established in Britain. His younger contemporary Tom Robertson was steeped in the theatre from the beginning, having started as a child actor, stage-hand and prompter in his parents' provincial companies. For more than a decade until i860, when he retired as an actor, Robertson's writing for the stage ran in parallel with his acting, prompting, and stage-managing career in London and the provinces. In contrast, Arthur Wing Pinero was expected to join his father in the legal profession, but threw it up to become a provincial player, while his contemporary R. C. Carton trained as an architect before succumbing to the same temptation. Both were sometime members of Irving's company during the mid- to late 1870s, but Pinero was the first to abandon acting once he became established as a professional playwright in the mid18808; Carton (who was a better actor) continued performing until he began writing in earnest for George Alexander at the St James's in the early 1890s. Against the usual trend, Henry J. Byron established himself

The smell of lamps and orange peel

7

first as a dramatist and then as a manager (at the Prince of Wales with Marie Wilton) before trying a successful experiment as actor. He already had more than ten years' experience of writing burlesques and extravaganzas before making an unscheduled debut as Sir Simon Simple - Edward Sothern had refused the part — in his own drama Not Such a Fool as He Looks (Glo 1869). Thereafter Byron, like so many of his colleagues, combined the two professions by continuing to act in his own pieces. Acting at whatever level, from 'walking gentleman' upwards, was a natural and useful accompaniment to or catalyst for dramatic writing. A large number remained in the acting profession, even very prolific authors like John Beer Johnstone, who is said to have written upwards of 200 dramas for the minor theatres. He was in middle-age before he wrote his first play and went on writing until he was nearly eighty, but spent his whole working life as a small-time actor. William Travers, who wrote for the East End theatres and was resident dramatist at the City of London in the 1860s, was also that theatre's leading player. Those like Edward Stirling, who continued to act even in a small way at the same time as being writers for the stage, found the continuing practice of actors' benefits useful supplements to their dramatic income.9 More unusually, Brandon Thomas came to dramatic authorship by way of journalism and parttime composition and performance of music-hall songs before joining the acting company ofjohn Hare and the Kendals at the St James's in 1879. While continuing to perform - Pinero considered him for casting in The Second Mrs Tanqueray — he wrote more than a dozen plays, including Charley's Aunt (Roy 1892), the farce which made him famous and brought him a considerable fortune. Yet although most actors-turned-dramatists were competent players, few of them could be said to have truly excelled in the acting profession. Sheridan Knowles, Robertson, and Pinero were useful, but never in any way outstanding, as actors. Indeed, it was suggested that Knowles's surprising popularity with audiences as an actor actually rested on the strength of his reputation as a dramatist. 10 Ben Webster and John Baldwin Buckstone were admittedly held in some regard in comic and

8

The profession of the playwright

character parts, but the playwright who came closest to excellence in acting was undoubtedly Dion Boucicault, whom Joseph Knight, writing of his performance as Conn in The Shaughraun (DL 1875), described as 'probably the best stage Irishman that has been seen'.11 As a general rule no great actor made even a mediocre playwright; but mediocre and middle-ranking actors sometimes made highly successful careers in dramatic authorship. The acting label was difficult to shed for those of humbler status who had come up through the ranks, such as Andrew Cherry. Having made his acting debut at the age of fourteen, he became a strolling player and eventually rose to provincial theatre management in charge of companies on the South Wales and western circuits. By degrees he achieved reasonable success as a patent theatre playwright, but Genest insisted on his origins by describing his best-known play The Soldier's Daughter (DL 1804) as 'written by Cherry the actor'.12 Nevertheless the metamorphosis of actors into prompters, stage managers or theatre managers and then into authors was common. Among them were John Fawcett, James Cross, Joseph Ebsworth, William Emden, William Oxberry, Thomas Longdon Greenwood, John Brougham, Thomas Hailes Lacy (who gave up writing when he went into business as theatrical publisher), and Robert Soutar, the comedian and sometime stage manager at the Gaiety under John Hollingshead. George Dibdin Pitt made his acting debut at the Surrey in 1827 an986, 3>484-

Notes to pages 147—137 13 14 15 16 17

219

Fitzball, 11, p. 361. The play was Auld Robin Gray (Sur 1858). 1832 Report, qq. 2,074, 1,984. Bunn, The Stage, m, pp. 157-62. Planche, pp. 266—7. Fitzball, 11, pp. 268, 217; Tom Taylor, 'Mr Phelps and The Fool's Revenge', The Theatre, 1 (Aug. 1878-Jan. 1879), 340. 18 Westland Marston, Our Recent Actors, p. 155. 19 Macready, 1, p. 227. 20 Murray, Robert William Elliston, p. 129. 21 Planche, p. 4. 22 Phelps had the additional merit of being a prompt reader of newly submitted MSS, which Tom Taylor described as 'gratifying as unusual' (Taylor, 'Mr Phelps and The Fool's Revenge', 339). 23 Scott, Drama of Yesterday, 11, p. 384. 24 See The Theatre (July—Dec. 1890), 98; William Archer, Theatrical 'World' ofi8gj (London, 1896), p. 364. 25 1866 Report, q. 4,180. 26 See Sydney Grundy, 'The Dramatic Ring', The Theatre (Aug.-Dec. ^79)^ 273-7. 27 John Hollingshead, Plain English (London, 1880), pp. 13-14. 28 Dated 29 Mar. 1879, Add. MS 45291, ff. 276-7; dated 1 Oct. 1880, Add. MS 45291, f. 281. Archer's first Ibsen adaptation was eventually performed as Quicksands; or, the Pillars of Society (Gai 1880). 29 Hollingshead, Gaiety Chronicles, p. 180. 30 Letter dated 10 Oct. 1891, The Theatre (July-Dec. 1891), 244. This was in response to criticism in S. J. Adair Fitzgerald, 'The Matinee Question', ibid., 157-60. 31 Archer, Theatrical'World' ofi8gj, p. 49. 32 Shaw, 1, p. 631. 33 Percy Fitzgerald,'Playwrighting As It Is', The Theatre (Aug.-Dec. ^79) ? 7534 1832 Report, qq. 2,482, 2,780. The play in question was his comedy The Golden Calf 35 1832 Report, q. 3,460. It played thirty nights during its first season. 36 Preface to Saints and Sinners, p. xii. Jones wrote a play to a manager's order only once: see below, p. 171. 37 George Vandenhoff, Leaves from an Actor's Note-book: or, Anecdotes of the Green Room and Stage, at Home and Abroad (London, 1860), pp. 47, 48. As at Drury Lane, there were two green-rooms, the second (of lower status) being usually reserved for the ballet company and chorus. Cf. also Planche, pp. 23-4. 38 Boaden, Life ofKemble, 11, p. 342; Vandenhoff, Leavesfrom an Actor's

220

Notes to pages 157-165

Note-book, pp. 259-60. Planche's piece ran for fifty-four nights. Peake, Memoirs of the Colman Family•,11, p. 302. Reynolds, II, p. 32; Dibdin, 1, p. 324. Macready, 1, pp. 488, 480-1; n, p. 194. Vandenhoff, Leaves from an Actor's Note-book, pp. 53, 54. Bancroft, Recollections, p. 187. The rehearsal period for Wives As They Were lasted from 15 Feb. to 4 Mar. (Boaden, Memoirs of Mrs Inchbald, 11, p. 9); Booth (ed.), Revels History of Drama VI, p. 112. 45 Reynolds, 1, p. 304. 46 Fitzball, 1, p. 177; 11, pp. 100-1. 47 Prefatory 'Remarks' by [George Daniel] to Jerrold, The Bride of Ludgate (Cumberland/Davidson edition, n. d.). He comments that '[t]he playwright must propitiate, flatter, and succumb to actorsV; Reynolds, 11, p. 124. 48 Boaden, Life of Kemble, 11, pp. 201—2. 49 Planche, p. 23. Andrew Ducrow was similarly dismissive with his 'Cut out the dialect and come to the 'osses.' 50 James Winston, Journal (29 Apr. 1823), P- 66. Dibdin felt badly treated, regarding himself as being in status second only to George Colman, jr. Later Winston commented that 'Twenty years ago Dibdin was a great man at Covent Garden' (15 May 1823, P- 67). 51 Dibdin, 11, p. 339. 52 Ibid., pp. 10, 15; Fitzball, 11, p. 225. There is a general discussion of the role of stage manager in 'carry [ing] through the discipline of the stage' in Boaden, Life of Kemble, 11, pp. 369-71. 53 Peake, Memoirs of the Colman Family, 11, p. 282. Cf. Boaden, Life of Kemble, 11, pp. 156—9. 54 Macready, 11, p. 96. 55 Letter from Mathews to Ben Webster, dated 5 Nov. 1844, quoted in Fawkes, Dion Boucicault, p. 57. 56 Notebook entry for June 1853, quoted in Elwin, Charles Reade, p. 75. 57 Taylor, 'Mr Phelps and The Fool's Revenge', 340, 342; Burnand, p. 398. 58 Bancroft, Mr & Mrs Bancroft, p. 97. 59 Bancroft, Recollections, p. 193. 60 Bancroft, Mr & Mrs Bancroft, pp. 96, 106. 61 William Archer, Real Conversations (London: William Heinemann, 1904), p. 114. 62 Ibid., p. 130. 63 Preface to Gilbert, Pygmalion and Galatea (London: Judd & Co., privately printed 1872), p. [iii]. Marie Litton apparently threatened to sue but wisely thought better of it.

39 40 41 42 43 44

Notes to pages 165-173

2 21

64 Dated 20 Feb. 1871, Albery, Works, 11, pp. 775-6. 65 Dated 3 Jan. 1872 and Dec. 1875, quoted in Pearson, Gilbert, pp. 4*, 4766 Edward Righton,' A Suppressed Burlesque - "The Happy Land"', The Theatre (Jan.-June 1896), 63. On the Lord Chamberlain's rather spectacular interference with this production, see Stephens, Censorship of English Drama, pp. 119-24. 67 Archer, Real Conversations, p. 130. 68 Robert Reece, 'Stage-Management', The Theatre (Aug.-Dec. 1879), 208, 209. 69 Wills, W. G. Wills, p. 124; Terry, Story of My Life, p. 141. 70 Hollingshead, Gaiety Chronicles, p. 259. 71 Pinero, pp. 80, 90. 72 Mrs Pat Campbell, My Life and Some Letters (Hutchinson & Co., n. d.), p. 69; Cyril Maude, Behind the Scenes (London; John Murray, 1927), p. 86. 73 William Archer, About the Theatre. Essays and Studies (London, 1886), p. 52. 74 Jones, The Shadow of Irving, p. 109. 75 William Archer, Theatrical 'World'for i8g4 (London, 1895), introduction, p. xvi. 76 See Henry Arthur Jones, 'The Actor Manager', Fortnightly Review, n. s. 48 (July 1890), 14-15. On his own venture into management, see above, p. 74. 77 Mason, George Alexander, pp. 43; 94-5. 78 Jones, pp. I3I.43779 Wilde, More Letters, p. 112. 80 Mason, George Alexander, pp. 122—3. Alexander's amiable reply (quoted p. 124) implies that he was simply unaware that such competitiveness existed between them. 81 Ibid., p. 79. 82 Jones, pp. 130-1. 83 See exchange of correspondence quoted ibid, pp. 162—7. Wyndham's secondary argument that the play would not be good boxoffice material was disproved by its 164 nights' run. 84 Cyril M a u d e , The Haymarket Theatre. Some Records and Reminiscences (London: Grant Richards, 1903), p. 212. (In a spirit of puckishness Shaw wrote the whole chapter on the vicissitudes of rehearsal himself.) 85 Shaw, 1, p. 743. For a discussion of the development of Shaw's career as author-director, see William A. Armstrong, 'George Bernard Shaw: The Playwright as Producer', Modern Drama, 8 (1965-6), 347-61.

222

Notes to pages 175-184 7

T H E NEW P R O F E S S I O N A L S

1 Planche, p. [138]. 2 On the early meetings of playwrights for reform, see Ernest Bradlee Watson, Sheridan to Robertson: A Study of the Nineteenth-Century London

Stage (Cambridge, Mass: Harvard University Press, 1926), pp. 467. The patent monopoly is fully treated in Watson Nicholson, The Struggle for a Free Stage in London (1906, reprinted New York:

Benjamin Blom, 1966). 3 1866 Report, q. 5,898. 4 Based on Leman Tertius Rede, The Road to the Stage, new edn (London, 1836), p. 71, which purports to be a complete membership list. (Errors in spelling and in the initials attached to some authors have been corrected.) 5 Planche, p. 139. 6 See above, pp. 128-9. 7 Rede, Road to the Stage pp. 72-3. See appendix 2, p. 195, for scales and the classification of provincial theatres. 8 1866 Report, q. 5,888; 1878 Report, p. [380]. 9 Add. MS 29642, f. 2 iv. 10 Letter dated 4 Dec. 1857, quoted in Cecil Howard, 'Some Letters', The Theatre (Jan.-June 1891), 30. 11 1866 Report, q. 5,873. 12 This information comes from Morton v. Copeland, Pollock (ed.), Revised Reports, c (1853-5), PP- &25~713 1866 Report, q. 5,876. 14 a Beckett, Reflections, p. 255. 15 Burnand, p. 236. 16 1878 Report, p. [378]. 17 Burnand, p. 299. 18 Report in 'Our Omnibus Box', The Theatre (Jan.-June 1883), 195-6. 19 Diary entry for 10 March 1870, quoted in Scott and Howard, Life ofE. L. Blanchard, 11, p. 380. 20 See Carter, Authors by Profession, p. 99. 21 Add. MS 56868, f. 8. 22 For sources for this paragraph, see Stephens, Censorship of English Drama, pp. 138-150. 23 Add. MS 56868, f. 54. 24 Shaw, 1, p. 812. 25 Add. MS 56869, f. 123. 26 Shattuck (ed.), Bulwer and Macready, p. 123.

Notes to pages 184-1g1

223

27 Pinero, p. 172. 28 Shaw, Our Theatres in the Nineties, m, p. 340. 29 Scott and Howard, Life of E. L. Blanchard, 1, p. 28; Era (28 June 1884), quoted in Albery, Works, 11, p. 851. 30 Bancroft, Mr & Mrs Bancroft, p. 152; Wills, W. G. Wills, p. 56. 31 Holroyd, Bernard Shaw, 1, p. 192. 32 Pinero, p. 148. 33 a Beckett, Reflections, pp. 266-7. 34 Licensing scripts for this year comprise twenty-two vols. (Add. MSS 55309-30). 35 Add. MS 53534. In the same volume Sydney Grundy's Sowing the Wind is a privately printed text. 36 Shaw, 11, p. 92. 37 New Review (July 1891), 89-96. This is the conclusion to Henry Arthur Jones's article with the same title, pp. 83-9. Richard A. Cordell, Henry Arthur Jones and the Modern Drama (1932, reprinted Port Washington: Kennikat Press, 1968), p. 143, describes Jones as 'the only important spokesman of his profession for the new drama' before Shaw. He combined 'the straightforward simplicity of the great eighteenth century stylists with the vigor and bluntness of a Carlyle'. Cf. also William Archer, 'What does the Public Wrant?', The Theatre (Jan.-June 1885), 271, who saw it as a hopeful sign 'that some of our leading playwrights', such as Jones and Grundy, 'should take to theorizing. Their utterances claim all attention.' 38 Fitzball, 11, p. 40. 39 Reynolds, 11, p. 366. 40 Shaw, 1, p. 448. 41 Peake, Memoirs of the Colman Family, 11, p. 375.

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Troubridge, St Vincent. The Benefit System in the British Theatre. London: Society for Theatre Research, 1967 'Fitzball and Elliston: or, How to Submit a Play in 1820', Theatre Notebook, 7 (i953)> 6 4~5 Vandenhoff, George. Leavesfrom an Actor's Note-book: or, Anecdotes of the Green Room and Stage, at Home and Abroad. London, 1860 Walsh, Townsend. The Career of Dion Boucicault. New York, 1915; reprinted New York: Benjamin Blom, 1967 Watson, Ernest Bradlee. Sheridan to Robertson: A Study of the Early Nineteenth-Century Stage. Cambridge, Mass: Harvard University Press, 1926 Wilde, Oscar. The Letters of Oscar Wilde, ed. Rupert Hart-Davis. London: Rupert Hart-Davis, 1962 More Letters of Oscar Wilde, ed. Rupert Hart-Davis. Oxford: Oxford University Press, 1987 Wills, Freeman. W. G. Wills. Dramatist and Painter. London, 1898 Winston, James. Drury Lane Journal. Selections from James Winston's Diaries 1819-182J, ed. Alfred L. Nelson and Gilbert B. Cross. London: Society for Theatre Research, 1974

Index ofplays and playwrights

This index includes (i) plays, operas, librettos - cross-referenced by author where known - play series, and play collections referred to in the text, notes, and appendixes; and (ii) playwrights, for whom birth and death dates are normally given. An * denotes those playwrights who also appear in the general index. £woNote, The (Peake), 34 Baillie, Joanna (1762-1851), 2, 120 a Beckett, Arthur William (1844-1909), Barnett, Charles Zachery (d. 1890 aet. 88), 128, 194 23,187 Barnett, Morris (1799-1856), 175, 2ion; a Beckett, Gilbert Abbott (1811-56), 92, The Bold Dragoons, 21 on 128; The King Incog., 128 Barrett,* Wilson (1846-1904), 8-9; The a Beckett, Gilbert Arthur (1837-91), 17 Daughters of Babylon, 9; The Sign of the Abbott, William (1799-1843), 175 Addison, Henry Robert (1805-76), 17, Cross, 9 Barrie, Sir James Matthew (1860-1937), 175,193 15, 69, 71; The Professor's Love Story, 71 Africans, The (Colman), 2oon Barth's Universal Stage, 128 Alasco (Shee), 2i7n Bartholomew Fair, 215n Albery, James (1838-89), xiv, 18, 23, Bauble Shop, The (Jones) , 1 7 1 143, 165, 185, 2i2n; earnings of, 62-4, Bayly, Thomas Haynes (1797-1839), 2O3n; Apple Blossoms, 63; Jacks and 129 Jills, 143; Tweedie's Rights, 63; Two Beaumarchais, Pierre-Augustin Caron Roses, 63-4, 2O5n; Two Thorns de (1732-99), 86; The Marriage of ( = Coquettes), 63 Figaro, 86 Alfonso, King of Castile (Lewis), 120 Beazley, Samuel (1786-1851), 17, 32, AH Pasha (Payne), 35 119,2oon Almar, George (b. 1802), 126, 128, 194; Becket (Tennyson), 69-71, 76, 2O7n, The Clerk ofClerkenwell, 2\$n 2i7n Ambassador, The (Graigie), 4 Amoroso, King of Little Britain (Planche), 5 Before Breakfast (Peake), 155 Begone Dull Care (Reynolds), 29 Apple Blossoms (Albery), 63 Behn, Aphra (1640-89), 2 Archer,* William (1856-1924), 15, n o , 112, 153, 154, 2i9n; Quicksands; or, the Bell's British Theatre, 124 Benefit of the Doubt, The (Pinero), 74 Pillars of Society, 2i9n Bernard, William Bayle (1807-75), 14, Armorel of Lyonesse (Besant), 106 17, 42, 175, 2i2n; Casco Bay, 42; No Arms and the Man (Shaw), 82, 137 Name, 100 Arnold,* Samuel James (1774-1852), Bertram; or, the Castle ofSt Aldsbrand 175 (Maturin), 120 Arrah-na-Pogue (Boucicault), 56, 57 Besant, Sir Walter (1836-1901), 106, Augier, Emile (1820-89), 103 154; Armorel ofLyonesse, 106 AuldRobin Gray (Fitzball), Black-Eyed Susan (Burnand), 60, 179 Aurora's Edge (Suter), 99

234

Index of plays and playwrights Black-Eyed Susan; or, All in the Downs

(Jerrold), 42-3 Blanchard, Edward Leman (1820-89), 5, 13, 14, 49, 65, 149, 178, 180, 185, 20311 Blot in the 'Scutcheon, A (Browning), 120—

i> 157 Blue Beard (Colman), 30 Boaden, Caroline (/?. 1825-39), X75 Boaden,* James (1762-1839), 159, 193; The Italian Monk, 159 Bold Dragoons, The (Barnett) ( = The Dragoons of Normandy), 21 on Boots at the Swan, The (Selby), 177

Boucicault, Dion (? 1820-90), xii, xiv, 6, 12, 21, 22, 23, 25, 49, 52-7, 58, 60, 61, 62, 66—7, 76, 80, 83, 104-6, 152, 158, 165, 179, 186, 188, 2O4n, 2O5n, 2i3n; as actor, 8, 54; at rehearsals, 162, 163, 164; estimate of plays published, 118; touring companies of, 55; Arrah-naPogue, 56, 57; The Colleen Bawn, 5 4 - 5 ,

56, 57, 104, 105, 152, 2O4n, 2i3n; The Corsican Brothers, 6; Formosa, 60; How She Loves Him, 56; London Assurance, 49; The Octoroon, 152, 2O4n, 2 i 3 n ; Old Heads and Young Hearts, 6, 49, 162; The Poor of Liverpool, 55, 56; The Poor of the London Streets, 55; The Poor of New York, 55; The Shaughraun, 8; The Streets of

London, 55, 56, 57, 152 Box and Cox (Morton), 57 Braddon,* Mary Elizabeth (1837-1915), 4 Breaking a Butterfly (Jones and Herman), in

Bride ofLudgate, The (Jerrold), 159, 22on British Theatre, The (ed. Inchbald), 124 Brooks, Charles William Shirley (181674), 13, 16,49, 7 8 Brother and Sister (Dimond), 87

Brothers, The (Wilks), 2i6n Brough, Robert Barnabas (1828-60), 11, 18, 22, 178, i98n Brough, William (1826-70), 11, 14, 18, 22, 178, i98n Brougham, John (1814-80), 8 Broughton, Frederick W. (1851-94), 16 Browning,* Robert (1812-89), 2, 45, 46-7, 120-1, 149, 150, 157, 2O3n, 2 i 5 n ; A Blot on the 'Scutcheon, 120-1,

157; Strafford, 47, 120, 2O3n, 2i5n Brutus; or, the Fall of Tarquin (Payne), 37

235

Buchanan, Robert Williams (1841— 1901), 2, 182; The New Don Quixote,

182 Buckingham, Leicester Silk (1825-67), 14, 151, i98n Buckstone,* John Baldwin (1802-79), 7> 9, 128, 129, 131, 175; estimate of plays published, 118; Luke the Labourer, 9

Bulwer, Edward George Lytton, see Lytton, Edward George Bulwer Bunn,* Alfred (1798-1860), 128 Burnand, Sir Francis Cowley (18361917), xiv, 11, 13, 16, 22-3, 24, 59, 60-1, 62, 66, 69, 83, 103, 130, 151, 158, 179, 186-7, 192, 2O5n, 2o8n, 2i2n; plays published, 118, 2i4n; Black-Eyed Susan, 60, 179; Dido, 60; Ixion, 60

Burnett, Frances Hodgson (1849-1924), 2 Bygmester Solness (Ibsen), see The Master Builder

Byron, George Gordon, Lord (17881824), 2> 88-9, 119, 145, 158; Marino Faliero, 88-9, 158 Byron, Henry James (1835-84), 6-7, 16, 64-5, 151, 158, 166, 178, i98n, 2i2n; as manager, 64; publishing, 134; Not Such a Fool as He Looks, 7; Our Boys, 64,

Cabinet, The (Dibdin), 157 Cabinet Minister, The (Pinero), 135, 2i4n Caine, Sir Thomas Henry Hall (1853— 1931), 2, 9, 106; The Christian, 106 Caius Gracchus (Knowles), 36, 119 Candida (Shaw), 113 Captain Brassbound's Conversion (Shaw), 113

Carleton, H. Guy (71856-1910), 151 Carr, Joseph W. Comyns (1849-1916), 68, 181, 2o6n; King Arthur, 68, 2o6n Carron Side; or, the Fete Champetre

(Planche), 35 Carton, Richard Claude ( = R. C. Critchett) (1856-1928), 6, 75, 154, 168, 183; Liberty Hall, 75, 168-9 Casco Bay (Bernard), 42 Case of Rebellious Susan, The (Jones), 133, 171-2

Caste (Robertson), 59, 60, 164 Catiline (Croly), 35 Cattermole, Revd Richard (c. 17951858), 121

236

Index ofplays and playwrights

Cenci, The (Shelley), 182 Centlivre, Susanna (1667-1723), 2 Chambers, Charles Haddon (18601921), 183; The Tyranny of Tears, 75 Chancery Suit (Peake), 34 Charles the Second (Payne), 34 Charles X (Planche), 35, 20m Charles XHth (Planche), 89-90 Charley's Aunt (Thomas), 7 Cherry, Andrew (1762-1812), 8, 18; The Soldier's Daughter, 8 Chinese Sorcerer, The (Dibdin), 160 Christian, The (Caine), 106 Clari; or, the Maid of Milan (Payne), 35 Clerical Error, A (Jones), 67 Clerk ofClerkenwell, The (Almar), 2i5n Cobb, James (1756-1818), 17 Coleridge, Samuel Taylor (1772-1834), 2, 30; Remorse, 30 Collection of Farces, A (ed. Inchbald), 124 Colleen Bawn, The (Boucicault), 54-5, 56, 57, 104, 105, 152, 2O4n, 2i3n Collins,* Wilkie (1824-89), 2, 16, 98, 100, 2i2n; (with Dickens) A Message from the Sea, 98 Colman, George (jr) (1762-1836), 4, 19, 20, 25, 28, 29, 30, 34, 119, 156, 157, 162, 191, 2oon, 22on; The Africans, 2oon; Blue Beard, 30; The Iron Chest, 162; John Bull, 28, 156 Colman, George (sr) (1732-94), 4 Conquest,* George (1858-1926), 5, 9, 188 Conquest, George Afugustus] (1837I OI 9 )>99 Cooper, Frederick Fox (1806—79), *99 n Coquettes, see Two Thorns Cornwall, Barry ( = Bryan Walter Procter) (1787-1874), 150 Corsican Brothers, The (Boucicault), 6 Cortez (Planche), 35 Courtney, John (1804-65), 95, 96; Old Joe and Young Joe, 95-6 Cowley, Hannah (1743—1809), 2 Coyne, Joseph Stirling (1803-68), 14, 22, 129, 131, 174, 175, 178, 179, i98n Craigie, Pearl Mary Theresa (John Oliver Hobbs') (1867-1906), 2; The Ambassador, 4 Cricket on the Hearth, The (Pitt), 50 Cricket on the Hearthy The (Smith), 2i6n Critic, The (Sheridan), 9

Croly, Revd George (1780-1860), 17, 34-5 Cross, James (d. c. 1810), 8 Crowe, Catherine Ann (1790-1872), 159-60; The Cruel Kindness, 159-60 Cruel Kindness, The (Crowe), 159—60 Crusaders, The (Jones), 74, 133 Crutch and Toothpick (Sims), 65 Cumberland, Richard (1732-1811), The Jew, 158; The Wheel of Fortune, 158 Cumberland's British Theatre, 126, Cumberland's Minor Theatre, 127, Cup, The (Tennyson), 71, 2i7n Dacre, Lady Barbarina (1768-1854), 175 Daisy's Escape (Pinero), 76 Daly, Augustin (1838-99), see general index Dance, Charles (1794-1863), 17, 22, 923, 129, 130, 135, 175; (with Planche) High, Low, Jack, and the Game, 216n Dancing Girl, The (Jones), 133 Daughters of Babylon, The (Barrett), 9 de la Ramee, Marie Louise ('Ouida') (1839-1908), 101 de Trueba, Cosia T. {ft. 1836), 175 Delays and Blunders (Reynolds), 28 Devil's Disciple, The (Shaw), 82-3, 106, 113

Didbin, Charles (1745-1814), 190 Dibdin, Charles Isaac Mungo (jr) (1768-1833), 5, 119, 190 Dibdin, Thomas John (1771-1841), xiv, 1,5, 11, 19, 20, 28-9, 41, 119, 150, 157, 160, 161, 175, 185, 190, 192, i97n, 2i8n, 22on; as editor, 124; aspires to dignity of patent houses authorship, 146, 147; victim of piracy, 87-8; plays published, 118; The Cabinet, 157; The Chinese Sorcerer, 160; Five Miles Off; or, the Finger Post, 29 Dickens,* Charles (1812-70), 1, 2, 4, 98, 157; The Lamplighter, 157; (wi th Collins) A Message from the Sea, 98 Dicks's British Drama, 131 Dicks's Standard Plays, 131 Dido (Burnand), 60 Dimond, William (? 1780-?! 836), 16, 35, 39, 87; Native Land, 35; The Seraglio, 35 Doll's House, A (Ibsen), 111 Doyle, Sir Arthur Conan (1859-1930), 71

Index ofplays and playwrights

237

Dragoons of Normandy, The, see The Bold Gay Lord Quex, The (Pinero), 182 Dragoons Ghosts (Ibsen), 182 Dramatist, The (Reynolds), 157 Gilbert, Sir William Schwenck (1836Drink (Reade), 52 1911), xiii, 16, 23, 24, 61-2, 101, 107Duchess de la Valliere, The (Lytton), 46, 162 9, 113, 131, 132, 134, 145, 151, 158, Duchess of Padua, The (Wilde), 81 179, 181, 183, 184, 187, i98n, 2o8n, Duel, The (Peake), 34 2i2n, 2i6n; his authority, 167-8; Dulcamara (Gilbert), 61 rehearsal techniques of, 164-6; Duncombe's British Theatre, 127 Dulcamara, 61; On Guard, 164; Original Duncombe's Edition, see Duncombe's British Plays, 1st Series, 216n; Original Plays, 2nd Series, 2 i6n; The Palace of Truth, Theatre 61; Pygmalion and Galatea, 62, 22on; Duncombe's Minor British Drama, 128 The Wedding March, 62; (with a Duncombe's New Acting Drama, see Beckett) The Happy Land, 165; (with Duncombe's British Theatre Sullivan) HMS Pinafore, 107, 108; Iolanthe, 108; The Mikado, 108, 109; East Lynne, 100 The Pirates of Penzance, 107-9 Ebsworth, Joseph (1788-1868), 5, 8, 17, Giovanni in London (Moncrieff), 85 193 Goethe, Johann Wolfgang von (1749Ebsworth, Mary Emma (1794-1881), 5 1832), 68 Emden,* William (d. 1871 aet. 71), 8 Gold (Reade), 99 Exile, The; or, the Deserts of Siberia Golden Calf, The (Jerrold), 2ign (Reynolds), 29 Gore, Mrs Catherine Grace Frances Extravaganzas (Planche), 118 (1799-1861), 150 Fairbrother's Edition, 130 Gosse,* Sir Edmund (1849-1928), I I 2 Falcon, The (Tennyson), 70, 2O7n, 2i6n Grattan, Thomas Colley (1792-1864), Fall of Jerusalem, The (Milman), 2i4n 193 Farley, Charles (1771-1859), 39-40 Graves, Clotilde Inez Mary (1863Farnie, Henry Brougham (d. 1889), 14, J932), 154 Greatest of These, The (Grundy), 75 193 Greenwood, Thomas Longdon (1806— Farrell, John (d. 1848 aet. 57), 175 Faust (Wills), 68, 2o6n 79)> 194 Grein, J[acob] T[homas] (1862-1935), Fawcett, John (1768/9-1837), 8 see general index First Step, The (Heinemann), 138 Grundy, Sydney (1848-1914), 15, 16, Fitzball, Edward (1792-1873), xiv, 12, 17, 24, 103, 154, 168, 186, 189, 190, 18-19,93, 127, 128, 129, 131, 144, 193, 223n; censorship of, 182; earnings H5> H7> i5°> *59> l 6 l > J75> i9°> of, 75, 2o8n; on conditions of 2O3n; as managers' reader, 149; authorship, 152-3, 2i2n; The Greatest published plays of, 118, 119; Auld of These, 75; A Marriage of Convenience, Robin Gray, 21 gn; The Innkeeper of 75; The Snowball, 153; Sowing the Wind, Abbeville, 127; Mary Melvyn; or, the 223n; (with Mackay) May and Marriage of Interest, 2i6n; The Pilot, December, 182; The Novel Reader, 182 127; Walter Tyrrel, 159 Five Miles Off; or, the Finger Post Guy Domville (James), 76, 143 (Dibdin), 29 Haggard,* H. Rider (1856-1925): She Fool's Revenge, The (Taylor), 163 dramatised, 106 Foresters, Robin Hood and Maid Marian, The (Tennyson), 109-10 Hall, Mrs Samuel Carter [Anna Maria] Formosa (Boucicault), 60 (1800-81), 129 Foscari, The (Mitford), 37, 38 Halliday, Andrew (1830/1-77), 14, 179 Francis the First (Kemble), 38, 40, 119, Hamilton, Henry (d. 1918), Moths, 101 120 Happy Land, The (Gilbert and a Beckett), French's Acting Edition, 217n 165

238

Index ofplays and playwrights

earnings of, 27-8, 29, 124; Lovers' Hardy*, Thomas (1840-1928), Vows, 158; The Wise Man of the East, dramatisation of Tess, 78, 21411 27; Wives As They Were, and Maids As Harris, Augustus Glossop (1825-73), 178 They Are, 28, 158, 22on Harris, Frank (1855-1931), Mr & Mrs Innkeeper of Abbeville, The (Fitzball), 127 Daventy, 2ogn Invincibles, The (Morton), 34 Harris,* Henry (/?. 1809-22), 31 Iolanthe (Gilbert and Sullivan), 108 Hazlewood, Colin Henry (1823-75), 2> Ion (Talfourd), 16 8, 14, 98, 99, 193; Lady Audley's Secret, Irish Ambassador,The (Kenney), 40 4 Iron Chest, The (Colman), 162 Heinemann,* William (1863-1920), The Ironmaster, The (Pinero), 182 First Step, 138; Summer Moths, 138 Irving, Laurence Sidney Brodribb Hemans, Felicia Dorothea (1793-1835), (1871-1914), 69, 73; Peter the Great, 69 2, 175 Italian Monk, The (Boaden), 159 Henry VIII (Shakespeare), 2o6n Ixion (Burnand), 60 Heraud, John Abraham (1799-1887), H> 151 Jack in the Water, 216n Herman,* Henry (1832-94), 77, i n ; Jacks and Jills (Albery), 143 (with Jones) Breaking a Butterfly, 111; James, Charles Stansfield (1832/3-68), The Silver King, 77, 135, 169 Hernani (Hugo), 2O2n 193 High, Low, Jack, and the Game (Planche James,* Henry (1843-1916), 2, 75-6, and Dance), 216n 143; Guy Domville, 76, 143 Hill, Isabel (/?. 1820-42), 175 Jerrold, Douglas William (1803-1857), HMS Pinafore (Gilbert and Sullivan), 5, 10, 13, 18, 32, 42-3, 48, 60, 122, 107, 108 126, 128, 150, 151, 155, 159, 175, 2O2n, 22on; on black market MSS, 89; Hoare, Prince (1755-1834), The Prize, 26 Black-Eyed Susan; or, All in the Downs, 'Hobbes, John Oliver', see Craigie, Pearl 42-3; The Bride of Ludgate, 159, 22on; Hobby Horse, The (Pinero), 81, 135, 167 The Golden Calf, 219n; Law and Lions, Holcroft, Thomas (1745-1809), 192; 43; More Frightened Than Hurt, 126; pirates The Marriage of Figaro, 86 Nell Gwyn; or, the Prologue, 128; The Holl, Henry (1811-84), 175, 193 Rent Day, 43, 89; St Cupid; or, Dorothy's Hollingshead,* John (1827-1904), 14 Fortune, 10 Home (Robertson), 60 Home, Sweet Home; or, the Labourer and his Jerrold, William Blanchard (1827-84), 5 Dog (Somerset), 2O4n Jew, The (Cumberland), 158 Honey Moon (Tobin), 148 John Bull (Colman), 28, 156 How She Loves Him (Boucicault), 56 John Duncombe's Edition, see Duncombe's Howard, Bronson (1842-1908), 104, British Theatre 106-7; Young Mrs Winthrop, 107 Johnson, H. T. (fl. 1888-98), 151 Hugo, Victor (1802-85), Hernani, 2O2n Johnstone, John Beer (1803-91), 7 Hunchback, The (Knowles), 44, 48, 92, Jones,* Henry Arthur (1851-1929), xiv, 121,122, 148, 176, 196 9, 18, 24, 53, 65, 67, 68, 78, 82, 104, i n , 113, 143, 151, 154, 155, 182, 183, Ibsen, Henrik (1828-1906), 15, 106, 137, 186, 189, 190, 191, 2i9n, 223n; 182, 190; copyrighting of, 106, 110earnings of, 18, 76-8, 81, 2o8n; 12; A Doll's House, 111; Ghosts, 182; failures of, 74-5; publishing history of, I 2 Little Eyolf 111, 2 i4n; The Master 3 ~5> I3^-7> I4;l~2'^ rehearsals of, Builder, 111, 21411 164, 168, 169, 171-2; The Bauble Shop, 171; The Case of Rebellious Susan, 133, Ideal Husband, An (Wilde), 79-80, 139 171-2; A Clerical Error, 67; The Importance of Being Earnest, The (Wilde), Crusaders, 74, 133; The Dancing Girl, 79-80, 81, 138, 139-40, 171, 172 133; Judah, 132, 133, 136; Michael and Inchbald, Elizabeth (1753-1821), 2, 19, his Lost Angel, 74, 133; The Middleman, 26, 158, 2i8n, 22on; as editor, 124;

Index of plays and playwrights

239

Laplanders, The (Dibdin), 141-2; Saints and Sinners, 132-3, 134-5, Laugh When You Can (Reynolds), 136; The Tempter, 189; (with Herman) Law and Lions (Jerrold), 43 Breaking a Butterfly, 111; The Silver Lee, Nelson (1806-72), 194, i98n King, 77, 135, 169 Lemon, Mark (1809-70), 131, 150, 178 Judah (Jones), 132, 133, 136 Levius, Barham (d. 1865 aet. 80), 175 Julian (Mitford), 37, 20m Lewis, Matthew Gregory ('Monk') 77, 20711, 2o8n; Representative Plays,

Kemble, Frances Ann (Fanny) (180993), 5, 38, 40, 119; Francis the First, 38, 40,119, 120 Kenilworth; or, the Countess of Essex

(Dibdin), 87-8 Kenney, Charles Lamb (1821-81), 16, 178

Kenney, James (1780—1849), 5, 32, 401 » 9°> 1755 The Irish Ambassador, 40; Masaniello; or, the Dumb Girl ofPortici

(score by Auber), 40-1; Raising the Wind, 5 King Arthur (Carr), 68, 2o6n King Incog., The (a Beckett), 128 Kingdom, John (d. 1876), 16 Knights of the Round Table, The (Planche), 157 Knowles, James Sheridan (1784-1862), 7, 16, 21, 36, 44-5, 48, 49, 92, 148, 150, 155, 158, 175, 176, 192, 196, 201 n, 2O3n, 2i5n; as actor, 21, 158; earnings of, 36, 44-5, 48, 49; publishing history of, 119, 120, 121-2, 126, 131; Caius Gracchus, 36, 119; The Hunchback, 44, 48, 92, 121, 122, 148, 176, 196; Old Maids, 49, 158; The Rose of Arragon, 122; The Secretary, 122; Virginius, 36, 45, 119; The Wife; a Tale of Mantua, 121, 122, 176, 196, 2O3n; William Tell, 126, 176, 196 Kotzebue, August von (1761-1819), 27 Lacy, Michael Rophino (1795-1867), 16, 35, 128, 147; The Maid of Judah, 35 Lacy,* Thomas Hailes (1809-73), 8 Lacfs Acting Edition, 131, 134 Ladies' Battles, The (Reade), 163 Lady Audlefs Secret (Hazlewood), 4 Lady Audlefs Secret (Suter), 99 Lady of Lyons, The (Lytton), 47, 123 Lady Windermere's Fan (Wilde), 78-9, *37> J39> i44-5> l69> J7°> 2o8n Lamb, Charles (1775-1834), 2, 30 Lamplighter, The (Dickens), 157 Lane, Sarah (1822-99), 2> J 93

(17 75-1818), Alfonso, King of Castile,

120 Liberty Hall (Carton), 75, 168-9 Lights o} London, The (Sims), 65-6 Lion of the Desert, The (Somerset), 2O4n Little Eyolf (Ibsen), 111, 2 i4n Livius, Barham, see Levius, Barham Lofty Projects (Lunn), 34 London Acting Drama, The, 129 London Assurance (Boucicault), 49 London Theatre, The (ed. Dibdin), 124 Lords and Commons (Pinero), 80 Love (Knowles), 48 Lovell, George William (1804-78), 17, 45-6, 131; The Provost of Bruges, 45-6 Lover, Samuel (1797-1868), 17 Lovers' Vows (Inchbald), 158 Luke the Labourer (Buckstone), 9 Lunn, Joseph (1784-1863), 34, 90, 175; Lofty Projects, 34; Three Deep, 34 Lyons Mail, The (Reade), 73 Lythgoe, Joseph (dramatist? not traced), *75 Lytton,* Edward George Bulwer, 1st Baron (1803-73), 2, i49> J5O, i57> 162, 175, 184; earnings of, 45, 46, 479, 2O3n, 2i5n; financial comparison with novels, 48, 51; on copyright, 901, 128; publishing history of, 120, 1234, 131, 132; The Duchess de la Voiliere, 46, 162; The Lady of Lyons, 47, 123; Money, 48, 49, 123, 162; Not So Bad As We Seem, 2i5n; Richelieu, 47-8, 123; The Rightful Heir ( = The Sea Captain), 123; The Sea Captain, 48, 123 McArdle, John Francis (1842-83), 14 Mackay, Joseph Reilly (1850-89), 17; (with Grundy) May and December, 182; The Novel Reader, 182 Macmillan Uniform Edition, 134 Madame Sans Gine (Sardou), 72-3 Magistrate, The (Pinero), 77, 80, 114, 167 Maid Marian (Planche), 35, 39, 97 Maid of Judah, The (Lacy), 35 Major, Henry Archibald (1828-1902), 17

240

Index ofplays and playwrights

Man of Destiny, The (Shaw), 72 Mansfield, Richard (1854-1907), see general index Marino Faliero (Byron), 88-9, 158 Marriage of Convenience, A (Grundy), 75 Marriage of Figaro, The (Beaumarchais), 86 Marriage of Figaro, The (Holcroft), 86 Marshall, Francis Albert [Frank] (184089), 17,68, 151 Marston, John Westland (1619-90), 12, 14, 16, 150, 151, 178 Mary Melvyn; or, the Marriage of Interest (Fitzball),2i6n Masaniello; or, the Dumb Girl ofPortici (Kenney; score Auber), 40-1 Masks and Faces (Taylor and Reade), 49, I I 5 Mason of Buda, The (Planche), 92 Masqueraders, The (Jones), 169 Master Builder, The (Ibsen), i n , 2i4n Mathews,* Charles James (1803-78), 5, 178

Maturin, Charles Robert (1782-1824), 119, 120; Bertram; or, the Castle ofSt Aldsbrand, 120 May and December (Grundy and Mackay), 182 Mayhew, Edward (1813-68), 17 Merivale, Herman Cfharles] (1839-

plagiarism, 97-8; as editor, 124-5; a s victim of piracy, 85, 89; estimate of plays published, 118; Giovanni in London, 85; Nicholas Nickleby and Poor Smike, 97-8; Tom and Jerry; or, Life in London, 44; (ed.) Richardson's New Minor Drama, 125, 127 Money (Lytton), 48, 49, 123, 162 Moore, George (1852-1933), see general index More Frightened Than Hurt (Jerrold), 126 Morton, John Maddison (1811 —91), 5, 57, 129, 178; Box and Cox, 57 Morton, Thomas (?i 764—1838), 5, 16, 19-20, 26, 27, 86, 119, 144, 147, 155, 2O2n; as managers' reader, 148; earnings of, 28, 29, 34, 35, 38-9, 2O2n; on piracy, 2ion; The Invincibles, 34; The School for Grown Children, 35; Separation and Reparation, 34; Speed the Plough, 86; The Sublime and the Beautiful, 38; Town and Country, 28 Morton, Thomas (junior) (1803-79), 5, 178

Moths (Hamilton), 101 Mr & Mrs Daventry (Harris), 2ogn Mrs Warren's Profession (Shaw), 112, 182

Nance Oldfield (Reade and Stoker), 71 Native Land; or, the Return from Slavery (Dimond), 35 1906), 101-2, 103, 181 Naval Pillar, The (Dibdin), 2i8n Merritt, Paul (1848-95), 9, 188, 193 Nell Gwyn; or, the Prologue (Jerrold), 128 Message from the Sea, A (Dickens and Nervous Man, The (Selby), 177 Collins), 98 Michael and his Lost Angel (Jones), 74, 133 New Don Quixote, The (Buchanan), 182 New English Drama, The (ed. Oxberry), Middleman, The (Jones), 77, 2O7n, 2o8n 118 Mikado, The (Gilbert and Sullivan), 108, Newton, Henry Chance (1854-1931), 109 14 Miller's Modern Acting Drama, 128 Nicholas Nickleby and Poor Smike Millingen, John Gideon (1782-1862), (Moncrieff), 97-8 }7> J75> 193 No Name (Bernard), 100 Milman, Revd Henry Hart (1791Not So Bad As We Seem (Lytton), 2i5n 1868), 17, 119; The Fall of Jerusalem, Not Such a Fool as He Looks (Byron), 7 Notoriety (Reynolds), 159 Milner, Henry M. (/?. 1818-41), 119, Notorious Mrs Ebbsmith, The (Pinero), 182 !75> 192 Novel Reader, The (Grundy and Mackay), Mitford, Mary Russell (1787-1855), 2, 182 37-8, 148, 150, 175; The Foscari, 37, 38; Julian, 37, 20in; Rienzx, 148 O'Keeffe, John (1747-1833), 86-7, 119, Modern Theatre, The (ed. Inchbald), 124 2oon; The Son-in-Law, 2oon; The Young Moncrieff, William Thomas ( = W. T. Quaker, 2ion Thomas) (1794-1857), xiv, 15, 32, 44, Oberon (Planche), 35, 92-3 119, 128, 150, 175, 193; accused of

Index of plays and playwrights

241

Octoroon, The (Boucicault), 152, 20411, 21311

plays of, in Europe, 114; publishing history of, 134, 135-6, 137, 141, 2i7n;

Old Heads and Young Hearts (Boucicault),

The Benefit of the Doubt, 74; The Cabinet Minister, 135, 2 i 4 n ; Daisy's Escape, 76; The Gay Lord Quex, 182; The Hobby Horse, 8 1 , 135, 167; The Ironmaster, 182; Lords and Commons, 80; The

6, 49, 162 Old Joe and Young Joe (Courtney), 95-6 Old Maids (Knowles), 49, 158 On Guard (Gilbert), 164 Original Plays, 1st Series (Gilbert), 2i6n Original Plays, 2nd Series (Gilbert), 2i6n 'Ouida', see de la Ramee, Marie Louise Our American Cousin (Taylor), 57-8,

Magistrate, 77, 80, 114, 167; The Notorious Mrs Ebbsmith, 182; The Princess and the Butterfly, 170; The Profligate, 114, 135, 136; The Second

Mrs Tanqueray, 77, 137, 144, 167, 169, Our Boys (Byron), 64, 152 Ours (Robertson), 59 Oxberry, William Henry (1808-52), 8 Oxberrfs Edition, see The New English Drama

182, 2o8n; Social Plays, 141; The Squire, 101; Sweet Lavender, 114; The Times, 121, 135-6, 137; Two Can Play at That Game, 76 Pirates ofPenzance, The (Gilbert and

Palace of Truth, The (Gilbert), 61 Parker, Louis Napoleon (1852-1944),

Sullivan), 107-9 Pitt, George Dibdin (1799-1855), xii, 5, 8, 128, 175, 193; as acting manager, 2O4n; earnings of, 50, 2O4n; estimate of plays published, 118; The Cricket on

Oxenford, John (1812-77), *4> J6> 92, 129,178

.83

Parry, Thomas (1806-62), 175 Pattie's Universal Stage, see Barth's Universal Stage

Paul, Henry Howard (b. 1835), 193 Payne, John Howard (1791-1852), 87, 147, 2 ion; earnings of, 34, 35, 37; AH Pasha, 35; Brutus; or, the Fall of Tarquin, 37; Charles the Second, 34; Clari; or, the Maid of Milan, 35; The French Libertine, see Richelieu', Richelieu ( = The French Libertine), 37; Therese, the Orphan of Geneva, 87

Peake, Richard Brinsley (1792-1847), 32, 34, 90, 129, 147, 155, 175, 20m; The £100 Note, 34; Before Breakfast, 155; Chancery Suit, 34; The Duel, 34; The Ramsbottoms at Rheims, 2 0 m Peter the Great (Irving), 69

Pettitt, Henry Alfred (1848-93), 9 Philanderer, The (Shaw), 112 Philip van Artevelde (Taylor) , 1 2 1 Pillars of Society, The (Ibsen), i n , 153

Pilot, The (Fitzball), 127 Pinero, Sir Arthur Wing (1855-1934), xiv, 6, 7, 24, 53, 65, 74, 121, 142, 144, 154, 155, 158, 189, 2i4n; accused of plagiarism, 101; authority of, at rehearsals, 164, 166-7, I ^ 8 , 169-70, 173, 182, 183, 184, 185, 186, 191, 2o8n; earnings of, 76-7, 80-1, 82;

the Hearth, 50

Pizarro (Sheridan), 30 Planche, Elizabeth (ft. 1833-38), 129, 135 Planche, James Robinson (1796-1880), 2, 5, n , 12, 18, 20-1, 22, 23, 31, 32, 35~6> 39. 43, 49, i57> 160, 174, 175, 188, 190, i98n, 22on; as house author, 43, 147, 151; as managers' reader, 148; earnings of, 35-6, 39, 49; on novel dramatisations, 95; publishing history of, 118, 119, 129, 130, 216n; role of, in copyright reform, 89-90, 92, 127, 21 in; Amoroso, King of Little Britain, 5; Carron Side; or, the Fite Champetre, 35; Charles X, 35, 2 0 m ; Charles Xllth, 8 9 90; Cortez, 35; Extravaganzas, 118; The Knights of the Round Table, 157; Maid Marian, 35, 39, 97; The Mason ofBuda, 92; Oberon, 35, 9 2 - 3 ; The Two Figaros, 129; The Woman Never Vext, 35, 2 0 m ; (with Dance) High, Low, Jack, and the Game, 2 i 6 n Plays Pleasant and Unpleasant (Shaw), 112,

140 Pledge, The; or, Castillian Honour

(Kenney), 41 Pocock, Isaac (1782-1835), 118, 119, 147 Pollock, Walter Herries {ft. 1884-98), 181

242

Index ofplays and playwrights

Poole, John (1786-1872), 32, 34, 39, 90, 118, 128; The Scape Goat, 34; The Two Pages of Frederick the Great, 34 Poor of Liverpool, The (Boucicault), 55, 56 Poor of New York, The (Boucicault), 55 Poor of the London Streets, The (Boucicault), 55 Pride Shall Have a Fall (Croly), 35 Princess and the Butterfly, The (Pinero), 170 Prize, The (Hoare), 26 Professor's Love Story, The (Barrie), 71 Profligate, The (Pinero), 114, 135, 136 Promise of May, The (Tennyson), 2i7n Provost of Bruges, The (Lovell), 45-6 Put Yourself in His Place (= Free Labour) (Reade), 52 Pygmalion and Galatea (Gilbert), 62, 22on Queen Mary (Tennyson) 70, 76, 2O7n Quentin Durward, 215n Quicksands; or, the Pillars of Society (Archer), 2ign Quid pro Quo; or, the Day of Dreams (Gore), 150 Rage, The (Reynolds), 26 Raising the Wind (Kenney), 5 Ramsbottoms at Rheims, The (Peake), 20m Raymond, Richard John (fl. 1818-47), 175 Reade,* Charles (1814-84), 2, 51, 58, 71, 98—9, 102, 151, 181, 2O3n, 2O5n, 2i2n; earnings of, 49, 61; on rehearsals, 162-3; r ° l e °f> m copyright reform, 98-9; Drink, 52; Gold, 99; The Ladies' Battles, 163; The Lyons Mail, 73; Put Yourself in His Place (= Free Labour), 52; Shilly Shally, 2i2n; (with Stoker) Nance Oldfield, 71; (with Taylor) Masks and Faces, 49, 151 Rede, William Leman (1802-47), I 2 8 , 175 Reece, Robert (1838-91), 166 Reeve, Henry (1813-95), 17 Remorse (Coleridge), 30 Rent Day, The (Jerrold), 43, 89 Representative Plays (Jones), 141-2 Reynolds,* Frederick (1764-1841), xi, xii, xiv, 16, 19-20, 30-1, 119, 144, 147. 155. i57> J58-9> i9> 192, i99n; earnings of, 25, 26, 28-9; Begone Dull Care, 29; Delays and Blunders, 28; The Dramatist, 157; The Exile; or, the Deserts

of Siberia, 29; Laugh When You Can, i99n; Notoriety, 159; The Rage, 26; Werter, 158 Richards, Alfred Bate (1820-76), ig8n Richardson's New Minor Drama (ed. Moncrieff), 125, 127 Richelieu (Lytton), 47-8, 123 Richelieu (= The French Libertine) (Payne), 37 Richelieu in Love (Robinson), 2i7n Rienzi (Mitford), 148 Rightful Heir, The (= The Sea Captain) (Lytton), 123 Robert Macaire (Selby), 177 Roberts, George (b. 1832), 66, 194 Robertson, Thomas William (1829-71), xiv, 5, 6, 21-2, 63, 69, 144, 151, 158, 192, 198, 2O5n; bohemianism of, 11, 186; earnings of, 58-60, 2O5n; in rehearsal, 163-4; pirated in USA, 105, 21 on; Caste, 59, 60, 164; Home, 60; Ours, 59; School, 59; Society, 59, 164 Robespierre (Sardou), 73-4 Robinson, Emma (1814-90), 193; Richelieu in Love, 217n Rodwell, George Herbert Buonaparte (1800-52), 175, 21 in Rose of Arragon, The (Knowles), 122 Rowley, William (c. 1585-1626), 35 Saints and Sinners (Jones), 132-3, 134-5, 136 Salome (Wilde), 137-8, 182 Sardou, Victorien (1831-1908): earnings of, 69, 72-4, 103, 2O7n; Madame Sans Gene, 72-3; Robespierre, 73-4 Scape Goat, The (Poole), 34 School (Robertson), 59 School for Grown Children, A (Morton), 35 Scott,* Clement William (1841-1904), 13 Scribe, Auguste Eugene (1791-1861), 103 Sea Captain, The (Lytton), 48, 123 Second Mrs Tanqueray, The (Pinero), 77, 137, 144, 167, 169, 182, 2o8n Secretary, The (Knowles), 122 Selby, Charles (1801-63), 128, 175, 177; The Boots at the Swan, 177; The Nervous Man, 177; Robert Macaire, 177 Separation and Reparation (Morton), 34 Seraglio, The (Dimond), 35 Serle, Thomas James (1798-1889), 32, 128, 129, 148, 149, 174, 175

Index ofplays and playwrights

243

Shakespeare, William, xiii, 12, 68, 117, Son-in-Law, The (O'Keeffe), gg 160; Henry VIII, 2o6n Soutar, Robert (182 7-1908), 8 Shaughraun, The (Boucicault), 8 Sowing the Wind (Grundy), 223n Shaw, George Bernard (1856-1950), xiv, Speed the Plough (Morton), 86 15, 71-2, 75, 81-3, 105, 106, 133, 143, Spry, Henry (d. 1904), 9 154, 182, 183, 184, 187, 189, 190, 191, Squire, The (Pinero), 101 20711, 20911, 21711; copyright of, 106, St Cupid; or, Dorothy's Fortune (Jerrold), 112-13; earnings of, 72, 82-3; 10 publishing history of, 134, 136, 137, Stevenson,* Robert Louis (1850-94), 2 140—1; rehearsals of, 164, 1707 172-3; Stirling, Edward (1807-94), xiv, 6, 7, 50, 22in; Arms and the Man, 82, 137; 55, 128, 188, 192, 193; Tilbury Fort, 6 Candida, 113; Captain Brassbound's Stoker, Bram (1858-1912) (with Reade), Conversion, 113; The Devil's Disciple, 82- Nance Oldfield, 71 3, 106, 113; The Man of Destiny, 72; Story of Waterloo, A (Doyle), 71 Mrs Warren's Profession, 112, 182; The Strafford (Browning), 47, 120, 2O3n, 2i5n Philanderer, 112; Plays Pleasant and Streets of London, The (Boucicault), 55, 56, Unpleasant, 112, 140; Widowers' Houses, 57, 152 136; You Never Can Tell, 112, 172 Sublime and the Beautiful, The (Morton), 38 She (Haggard): dramatisation of, 106 Summer Moths (Heinemann), 138 Shee, Sir Martin Archer (1769-1850), Suter, William E. (1811/12-82), Aurora's Alasco, 217n Edge, 99; Lady Audley's Secret, 99 Sheil, Richard Lalor (1791-1851), 16, Sweet Lavender (Pinero), 114 119 Shelley, Percy Bysshe (1792-1822), 2; Talfourd, Francis (1828-62), 13 The Cenci, 182 Talfourd, Thomas Noon (1795-1854), Sheridan, Richard Brinsley (1751-1816), 16, 121, 149; on copyright, 93-4, 95; 30; The Critic, 9; Pizarro, 30 Ion, 6 Skilly Shally (Reade), 2i2n Taylor, Sir Henry (1880-86), 17, 121; Sign of the Cross, The (Barrett), 9 Philip van Artevelde, 121 Silver King, The (Jones and Herman), 77, Taylor, Tom (1817-80), 13, 14, 16, 22, 23, 151, 178, 2i2n; earnings of, 49, i35> l 6 9 Simpson, John Palgrave (1807-87), 174, 57-8; on managers' readers, 149, 178, 179, i98n 2ign; rehearsals of, 163; The Fool's Sims, George R. (1847-1922), 11, 14, 23, Revenge, 163; Our American Cousin, 57-8; 192, 193; earnings of, 65-6, 80, 2o6n; 152; The Ticket-of-Leave Man, 58, 152; Crutch and Toothpick, 65; The Lights 0' (with Reade) Masks and Faces, 49, 151; London, 65—6 Two Loves and a Life, 49 Slave, The; or, the Blessings of Liberty Tempter, The (Jones), 189 (Somerset), 2O4n Tennyson,* Alfred, Lord (1809-92), 2; Smith, Albert Richard (1816-60), 14; copyright performances of, 109-10; The Cricket on the Hearth, 2i6n earnings of, 69-71, 76, 181; publishing Smith, Charlotte (1749-1806), 2; What history of, 132-3, 2i6n; Becket, 69-71, Is She?, 27 76, 2O7n, 2i6n; The Cup, 71, 2i6n; The Snowball, The (Grundy), 153 Falcon, 70, 2O7n, 2i6n; The Foresters, Soane, George (1790-1860), 119 Robin Hood and Maid Marian, 109-1 o; Social Plays (Pinero), 141 The Promise of May, 2i6n; Queen Mary, Society (Robertson), 59, 164 70, 76, 2O7n Soldier's Daughter, The (Cherry), 8 Tess (Hardy), 78, 2i4n Somerset, Charles (ft. 1827-53), 5°5 Thackeray, Thomas James (1796-1877), Home, Sweet Home; or, the Labourer and 175 His Dog, 2O4n; The Lion of the Desert, Therese, the Orphan of Geneva (Payne), 87 2O4n; The Slave; or, the Blessings of Thomas, Brandon (1857-1914), 7; Liberty, Charley's Aunt, 7

244

Index ofplays and playwrights

Three Deep (Lunn), 34 Ticket-of-Leave Man, The (Taylor), 58, 152 Tilbury Fort (Stirling), 6 Times, The (Pinero), 121, 135-6, 137 Tobin, John (1770-1804), Honey Moon, 148 Tom and Jerry; or, Life in London

(Moncrieff), 44 Tomlins, Frederick Guest (1804-67), 14, 17, 151, io.8n Town and Country (Morton), 28 Travers, William (d. 1880), 7 Tristram, W. Outram ifl. 1886-95), 154 Tweedie's Rights (Albery), 63 Two Can Play at That Game (Pinero), 76 Two Figaros, The (Planche), 129 Two Loves and a Life (Taylor and Reade), 49 Two Pages of Frederick the Great, The

(Poole), 3 4 Two Roses (Albery), 63-4, 2O5n Two Thorns ( = Coquettes) (Albery), 63 Tyranny of Tears, The (Chambers), 75 Vezin, Hermann (1829-1910), 12 Virginius (Knowles), 36, 45, 119 Voss, Richard (1851-1918), 151 Wade, Thomas (1805-75), ! 75 Walker, John (fl. 1825-34), 192 Walter Tyrrel (Fitzball), 159 Webster,* Benjamin Nottingham (17981882), 7,9, 129, 131, 175; (ed.) Webster's Acting National Drama, 129 Webster's Acting National Drama, (ed. Webster), 129 Wedding March, The (Gilbert), 62 Werter (Reynolds), 158 What Is She? (Smith), 27 Wheel of Fortune, The (Cumberland), 158 Widowers' Houses (Shaw), 136 Wife, The; a Tale of Mantua (Knowles),

121,122, 176, 196, Wife's Stratagem, The (Poole), 39 Wigan, Horace (? 1818-85), see general index Wilde, Oscar Fingal O'Flahertie Wills (1854-1900), xiv, 15, 144-5, 182, 2O7n, 2O9n, 2i3n; at rehearsals, 16971, 173; earnings of, 78-80, 81; publishing history of, 137-40, 141, 2i8n; The Duchess of Padua, 81; An Ideal Husband, 79-80, 139; The Importance of Being Earnest, 79-80, 81, 138, 139-40, 171, 172; Lady Windermere's Fan, 78-9, 137,139, 144-5, l^9, I7°> 2o8n; Salome, 137-8, 182; A Woman of No Importance, 79, 138, 169 Wilks, Thomas Egerton (1812-54), The Brothers, 2i6n William Tell (Knowles), 126, 176, 196 Williams, Montagu Stephen (1835-92), 16 Wills,* William Gorman (1828-91), 12, 17, 68, 69, 144, 151, 166, 186, 2o6n, 2i2n; Faust, 68, 2o6n Wilson, Mrs Cornwall B. (1797-1846), 175 Wise Man of the East, The (Inchbald), 27 Wives As They Were, and Maids As They Are (Inchbald), 28, 158, 22on Woman Never Vext, The (Planche), 35, 20m

Woman of No Importance, A (Wilde), 79, 138,169 Wordsworth,* William (1770-1850), 30 Wyndham, Sir Charles (1837-1914), see general index Yates, Edmund Hodgson (1831/2-19), 5, 14

You Never Can Tell (Shaw), 112, 172 Young Mrs Winthrop (Howard), 107 Young Quaker, The (O'Keeffe), 2ion

General index

Those entries marked by * are also entered in the index of plays and playwrights, above. Aberdeen, University of, 76 acting, amateur, 5, 6, 132, 137, 2i7n acting manager: duties of, compared with stage manager, 160-1 actor-manager: ascendancy of, 167-8; authors working with, 168-72; encouragement of new writers, 151-2; see also under individual names actors: assumed superiority of, over authors, 156-7; 162-3; indiscipline of, 159, 160; plays written for, xiii, 154, 155, 156-7, 168; salaries of, xi-xii, 9, 21, 30,

Athenaeum, The, 14, 189 Athenaeum Club, 11 Atlanta theatre, 107 Austen, Jane: Emma, 120 Australia: British plays in, 80, 166 Austria, 114 Author, The, 78 author-director, xiii, 162-73, I 9 I > 22m Avenue Theatre, 74, 82 Aynesworth, Alan (actor), 172

31

ADC, see Amateur Dramatic Club Adelphi Theatre, 6, 9, 14, 41, 44, 50, 54, 87, 127, 152, 177, 195; as chief competitor of patent theatres, 31, 43; its library purchased, 131 Alexander, George (actor-manager), 6, 67, 74, 75, 76, 78-9, Ho, 151, 152. 153-4, 167, 168, 169, 170, 2O7n, 2o8n, 22m

All the Year Round, 98 Amateur Dramatic Club, Cambridge, 16 American Copyright Act: effects of, 114, 132,134 American Dramatists' Club, 104 Anderson, James (manager), 149 Anderson, Mary (actress), 62 Appleyards (publisher), 118 Archer,* William, 15, 74, 75, 134, 165, 167, 181, 182, 190; English Dramatists of To-Day, 132 Army Accounts Office, 17 Arnold, Matthew, 181 Arnold,* Samuel (manager), 2ion Arundel Club, 10, 12-13 Astley's Theatre, 30, 146

Baker, W. H. (publisher), 136 Baltimore: theatre in, 107; publishing in 122 Bancroft, Marie (Lady) (actormanager), 59, 64, 69, 105, 163, 164, 186; see also Wilton, Marie Bancroft, Sir Squire (actor-manager), 59, 64, 69, 105, 163, 186 bankruptcy: of managers, 31, 38, 40, 41; of playwrights, 22, 29, 2O4n, 2O9n, 213n; of publishers, 121-2, 125, 126 Barker and Son (publisher), 118 Barnsley theatre: copyrighting at, 107 Barrett, Lawrence (actor), 123 Barrett,* Wilson (actor-manager): advises aspirant playwrights, 18, 104, 151; negotiations with playwrights, 65-6, 67, 2o6n; on American copyright law, 104 Barth (publisher), 128 Bartley, George (stage manager), 44 Bateman, Mrs (manager), 2O7n Bath, Theatre Royal, 88, 158, 195 Bayswater, Victoria Hall, see Bijou Theatre Beardsley, Aubrey, 138 Belfast: theatre at, 36

245

246

General index

Bell, John (publisher), 120 benefit system: for actors, 7, 21, 47; for playwrights, 25-7, 32, 37, 2O3n, 2ion Bentley, Richard (publisher), 48 Berger, G. (publisher), 129, 2i6n Berlin, 81, 2i4n; theatre in, 114 Berne Convention, 114 Bernhardt, Sarah (actress), 2i7n Besant,* Walter: dramatisation of Armorel ofLyonesse, 106

Betty, Master William ('Young Roscius'), xi Bijou Theatre (Bayswater): copyrighting at, 113 Blackburn theatre, 12 Blackfriars, 129 Blanchard, William (comedian), 5 Boaden,* James, 28, 32, 146-7 Board of Health, 22 Bodley Head (publisher), see Lane, John bohemianism, 10, 12, 186 Boston: publishing in, 136, 141; theatre in, 80, 104, 107, 109, 167 Boucicault, Agnes (actress), 54 Bow Street, Covent Garden: publishing firms in, 89, 118, 119, 127, 130 Bower Saloon: author payments at, 50 Braddon,* Mary: copyright infringements on Aurora's Edge and Lady Audlefs Secret, 99 Bradford, 18 Bradshaw's Descriptive Railway Guides, 14

Braham, John (manager): copyright judgement against, 92 Brighton theatre, 76, 195 Bristol theatre, 195 Britannia Press, 125, 2i5n; see also Dolby, Thomas Britannia Theatre, 4, 8, 14, 17, 49-50, 54> 67> 98

Brompton Road, 12 Brown, Ford Madox, 12 Browning, Robert (sr) ,121 Browning,* Robert: Bells and Pomegranates, 121

Buckingham Palace, 10 Buckstone,* John Baldwin (actormanager), 57, 58, 62, 151, 160, 165 Bulwer's Act, see Dramatic Copyright Act (1833) Bunn,* Alfred, 11, 21, 32, 46, 88, 148, 161; special author terms of, 45 Bunn, Mrs Alfred (actress), 88

Caine,* Hall: copyrights version of The Christian, 106 Calcutta: publishing in, 122 Cambridge, University of, 22 Campbell, Mrs Patrick (actress), 78, 167 Canada, 2O7n; copyright in, 2i3n Cape Town, Theatre Royal, 63 Carlton Club, 11 Carlyle, Thomas, 223n Carr, George C. (prompter), 87 Cassell (publishers): Red Library series, 124 Catherine St, Strand, 125, 2i5n Cattermole, George, 149 censorship: by actors, 172; by government, xiv, 68, 112-13, 137-8, 181-3, 190, i98n, 2i7n, 22m Chambers (publisher), 14 Chancery, Court of, 87, 99 Chapman and Hall (publisher), 97, 123, 215n; for Dramatic Authors' Society, 129 Chapman, John Kemble (manager), 33 Chappie, C. (publisher), 118, 119 Charing Cross, 3, 184 Charing Cross Road, 24 Charleston theatre, 107 Chatto and Windus (publisher), 2i6n Cheapside, 2i5n Chelmsford theatre, 195 Chelsea, 187 Chiswick Press, see Whittingham and Co. Christiana, 2i4n City of London Theatre, 7, 8, 33 Civil Service, 17, 22, 153 Clark, J. W: co-founder, ADC, 16 Coburg Theatre, 8, 9, 33, 41, 42, 85, 87, 146, 21 on, 2i6n; see also Victoria Theatre Collins,* Wilkie: Mo Name dramatised, 100, 2i2n; (with Dickens) A Message from the Sea, 98

Colonial Office, 17 Comedy Theatre, 71, 74, 2O7n Common Pleas, Court of, 95, 99, i97n Commons, House of, 90, 91, 93, 103, 2i2n

Congress, American: legislation on copyright, 104, 114 Conquest, Benjamin (manager), 55 Conquest,* George (manager), 49, 95-6, 98-9 Constable (publisher), 121

General index Cooke, T. P. (actor), 43, 20211 Copenhagen, 21411 Copyright Acts: (of 1709), 84, 96; (of 1842), 95, 96, 98, 177, 21 in; (of 1911), 95, 115; see also Dramatic Copyright Act Copyright Amendment Bill (1852), 102, 103, 2i2n copyright, xi, xii, xiii, 21, 34, 35, 43, 46, 58,67, 117, 126, 131, 174, 175, 178,

247

Daily News, 14, 22, 101, n o , 113 Daily Telegraph, 14

Daly,* Augustin (manager), 80-1, 167,

Daniel, George (critic), 126 Davidge, George Bolwell (manager), 33, 41,85 Davidson, G. H. (publisher), 125 Day, George, 187 de la Ramee, Marie Louise ('Ouida'): Moths plagiarised, 101 181, 183, 191, i99n, 20in, 2O4n, 2i3n; De Witt (publisher), 123 enforcement of, in provinces, 87, 89Delafield, Charles (manager): 90, 91-2, 93; forced sale of, 21, 86, 87; hoarding of, by theatres, 86-7; prosecuted for piracy, 105-6 legislation on, 84, 90-91, 102, 114; low Denmark, n o Devonshire House, Piccadilly: value of, 21, 122, 139; on performance at, 2i5n dramatisations of novels, 97-100; Dickens,* Charles, 11, 149, 157, 186, protection of, for songs and librettos, 92-3; Royal Commission on, 100, 179, 215n; The Cricket on the Hearth 180; see also copyright performance; dramatised, 2i6n; Nicholas Nickleby, 1, copyright, international 4, 16, 97-8, 103; (with Collins) A copyright performance, 102, 105-13, Message from the Sea, 98 2i3n; origins of, 102, 105 Dickens, Ethel, see Miss Dickens' Type copyright, international, 102, 108-10, Writing Office 113, 181, 213n, 214n; Berne Dicks, John (publisher), 116, 123, 131; Convention on, 114; defects in, 102-3, Reynolds News, 131 104; in USA, 102, 103-6 Dolby, Thomas (publisher), 116, 125; Cornhill Magazine, 16

Cosmopolitan Club, 10 Court Theatre, 18, 62, 67, 77, 164, 165 Covent Garden: connexions of, with printing and publishing, 129 Covent Garden, Theatre Royal, 5, 6, 10, 11, 16, 20, 21, 26, 27, 28, 29, 30, 31, 33. 34> 35> 36> 38> 39> 4 a " I > 43> 44. 45. 46, 47, 48, 49, 86, 87, 92, 120, 143, 144, 146, 147, 148, 151, 155, 156, 157, 158, 159, 161, 162, 176, 184, 187, 196, 2oon, 2O2n, 21 in, 22on; see also theatres, patent; monopoly, patent theatre Coventry theatre, 195 Creswick, William (manager), 60 Criterion Theatre, 63, 64, 69, 133, 171 'Crummies, Mr', see Dickens, Nicholas Nickleby

Cumberland, John (publisher), 92, 116, 117, 125, 128; charges fees, 93; fee amnesty by, 126-7 D'Almaine and Co. (publisher), 21 in D'Oyly Carte, Richard (manager), 107, 108-9

Dolby's Parliamentary Register, 125

Dover Street, 120 Dowson, Ernest, 138 Dowton, William (actor), 160 drama, closet, 3, 30, 35, 116, 2i4n dramatic agents, 89, 180, 187 Dramatic Authors' Society, 14, 22, 57, 91, 129, 130, 174-81, 211 n; demise of, 179-81; exclusivity of, 11-12; honorary members of, 3; membership lists of, 175, 178; publishing activities of, 91, 93, 128-9 Dramatic Copyright Act (1833), 90, 93, 127, 175, 177,21m 'Dramatic Repository', Gt Russell St, see Barker and Son Drury Lane, Theatre Royal, xi, 5, 6, 8, 14, 17, 18, 20, 30, 31-2, 33, 36, 37, 38, 39, 40, 41, 43, 45, 46, 60, 64, 85, 87, 88, 89, 99, 121, 122, 143, 144, 146, 147, 148, 149, 150, 151, 157, 158, 159, 160, 162, 196, i97n, 2oon, 2O2n, 2ign; see also theatres, patent; monopoly, patent theatre Dublin: publishing at, 129; theatre at, 56, 195; see also Ireland

248

General index

Ducrow, Andrew (acrobat, manager), 22cm Duff, James (manager), 108-9 Duncombe, John (publisher), 116, 125, 126, 128, 130 Duncombe & Co., see Duncombe, John Dunn, William (DL treasurer), 43, 2O2n East Anglia: theatres in, 92 East India Company, 17 Edinburgh, 88, 129; Theatre Royal, 12, 17> 89-90, 195 Egan, Pierce: Life in London, 43 Elephant and Castle Theatre: low rates at, 66; copyright performances at, 106 Eliot, George: earnings from Middlemarch, 51

Elizabeth I, Queen, 88 Elliston, Robert William (manager), 20, 31, 32, 36, 42, 149, 158, 160, i99n, 2oon, 20in, 21 on; astuteness of, 150-1; generosity of, to authors, 41; pirates dramas, 85, 88-9 Emden,* William (stage manager), 177,

France, theatre in: adaptations from, 67, 102-3, IO4> I]t4> J8i> 186, 2O9n, 2i2n; rehearsals in, 165; system of author remuneration in, 54, 2O3n French, Samuel (publisher), 116, 118, 123, 125, 130, 131, 135, 2i7n Frohman, Charles (manager), 81 Froude, J. A., 181 Gaiety Theatre, 8, 106, n o , 151, 153, 2I n 9 Gale, Minna (actress), 81 Garrick Club, 10,11 Garrick, David (actor-manager), 12 Garrick St, 130, 187 Garrick Theatre, 24, 75, 182, 184 Germany, n o , 114 Gladstone, William Ewart: supports copyright reform, 94 Glasgow: theatre in, 57; Theatre Royal, 12

Globe Theatre, 7, 182, 2i7n Glossop,J. (manager), 41 Gosse,* Edmund: as actor, 111 Graphic, 22

Emmet, Robert: play about, banned, 68 English Opera House, 87, 146, 155, 195, 21 on; see also Lyceum Theatre English, Mr (dramatic agent), 187 Era, 14,66, n o , 114, 178 Examiner of Plays, 20, 134, 148, 161, 182; see also censorship Examiners of Criminal Law Accounts, 17 Exeter theatre, 195 Fairbrother, Robert (pantomimist), 5 Fairbrother, Samuel Glover (publisher), 129-30, 2i6n Farren, William (actor), 159 Fawcett, John (actor), 156 Fearman, William (publisher), 118, 119 Field, R. M. (manager), 135, 167 Finland, n o Fitzroy Square, 187 Fitzroy Theatre, 128 Fonblanque, Albany, 149 Forbes, Capt John (theatre proprietor): defence of patent monopoly, 43, 40, 147, 2oon Forster, John, 149, 162; as business manager for Lytton, 215n Fox, Douglas (dramatic agent), 180 Fox, W.J., 149

Gravesend theatre, 6 Great Russell St, 118 Grecian Theatre, 5, 9, 17, 49, 50, 55, 67, 95. 99 green-room: hazards for authors in, 1558, 159, 160; origin and function of, 155,2i9n Grein,* J. T. (manager), 136, 182, i98n Grimsby theatre, 12 'Grundy, Mrs', 172 Haggard,* H. Rider: copyrights dramatisation of She, 106 Haldane, Amy, 111 Hamilton, Clayton: edits Pinero and Jones, 141 Hardy,* Thomas, 183; Desperate Remedies, 52; Far From the Madding Crowd, 101

Hare, John (actor-manager), 7, 24, 70, I5J> 165 Harley, John (actor), 151 Harris,* Henry (manager), 20, 31, 36, 87, 147 Harris, Thomas (manager), 27; generosity of, to authors, 28, 31, 147 Harrison, Frederick (manager), 74, 78, 172

General index Harrow Weald, 187 Hartnell,J. (publisher), 118 Harvard, University of, 135 Haymarket, Theatre Royal, 1, 5, 6, 7, 9, 17, 20, 22, 27, 29, 32, 34, 48, 49, 57, 59—60, 61-2, 75, 79, 80, 85, 86, i n , !23, 133, 138, 143, 146, 150, 151, 152, 155, 159, 162, 163, 169, 184, 20011, 21 on, 2i3n; see also theatres, patent; monopoly, patent theatre Hazlitt, William: The Spirit of the Age, 44 Heinemann,* William (publisher), i n , 112, 121, 135, 137, 138, 2i7n Henrietta St, Covent Garden: publisher at, 128 Heralds, College of, ig8n Herbert, G. (publisher), 127, 2i5n Herman,* Henry: as business manager, 2o6n Hogg, Wentworth (publisher), 2i7n Hollingshead,* John (manager), 8, 14, 22,53,56,61, 151, 153 Holywell St, 130 Horace: quoted, 190 Howard, Cecil, 136 Hull theatre, 75, 195 Hungary, n o Hurst and Blackett (publishers), 52 Huxley, Thomas, 181 Ilfracombe, 134 Illustrated London News, 14, 151 Illustrated Times, 16

Incledon, Charles (actor, singer), 157 Independent Theatre Society, 136, 182, 19811 International Copyright Act (1886), 114 Ireland: piracy in, 91 Irving, Henry (actor-manager), 6, 64, 76, 77, 123, 151, 155, 168, i98n, 2o6n, 217n; author payments of, 69-74; commissioning payments of, 68 Islington, Grand Theatre, 182 James,* Henry: quoted, 9 Jarman, Frances Eleanor (actress), 176 Johnson, Samuel: quoted, xi Jones,* Henry Arthur: The Renascence of the English Drama, 190

Kean, Edmund (actor), 30, 37 Kelly, Maria (actress), 2ion

249

Kemble, Charles (actor-manager), 35, 161

Kemble, John Philip (actor-manager), xi, 26, 30, 146, 161, 162 Kemble, Stephen (manager), 151 Kendal, William and Madge (actormanagers), 7, 70, 151 Kenneth, William (dramatic agent), 89, 21m

Kensington, 186, 187 Kilburn Town Hall: copyrighting at, 106 King St, Covent Garden: Dramatic Authors' Society offices at, 178 Knight, Joseph, 8, 134, 2O5n; advises Albery, 62-3 Lackington and Allen (publishers), 118 Lacy,* Thomas Hailes, 22, 116, 117, 123, 125, 128, 129, 130-1, 134, 178-9, 2i4n; copyright injunction against, 99, 2i2n

Ladbroke Hall: copyrighting at, 106 Ladies' Type-Writing Association, 189 Lamb, Hon. George: initiates copyright legislation, 90 Lane, John (publisher), 137-8 Lane, Samuel (manager), 4, 8, 98 Leeds theatre, 9, 56 Leeson, Dan: touring company of, 2O4n Lever, Charles: fleeced by publishers, 52 Lewis, W. T. (actor), 157 Limbird,J. (publisher), 2i5n Lincoln's Inn Fields, 17 Little, Brown, & Co. (publisher), 141 Little Queen St, 126 Litton, Marie (manager), 22on Liverpool: theatre in, 56, 113, 195; Theatre Royal, 12 London, see under names of theatres, streets and districts London Journal of History, 14

London, University of, 22 Longmans (Longman, Hurst, Rees, and Orme) (publisher), 19,86, 116, 119, 120,

124

Lord Chamberlain, 20, 68, 94, 106, 113, 137, 146, 147, 148, 161, 182, i98n, 22in; play collection of, 188, 189 Lord Chamberlain's Office, 88, 181, 182, 184, 187, 188; see also censorship Lowndes,John (publisher), 118, 119, 127,2ion

25°

General index

Ludgate Hill, 129 Lyceum Theatre, 62, 68-74, 76, 78, 10910, 113, 123, 133, 146, 151, 155, 19711, 2o6n, 21711 Lyric Theatre, 8 Lytton,* Edward George Bulwer, 1st Baron: as novelist, 46, 48, 51, 123, 124 Macaulay, Lord: speech on copyright, 94-5 Mackenzie, R. Shelton, 122 Macmillan and Co. (publisher), 132-3, 134-5, J3^> l&l-> 2i6n; see also Macmillan, Sir Frederick Macmillan, Sir Frederick (publisher), 109, 112, 137 Macready, William Charles (actormanager), xiii, 21, 121, 148-9, 150, 155, 157, 161, 168, 184, 186, i98n, 201 n, 2O3n, 21 in; as negotiator for authors, 36, 45-6, 47, 48, 119; his rehearsals, 161-2 Mahon, Viscount: supports copyright reform, 94, 103 Manchester, 15; theatre in, 56, 57, 195; Theatre Royal, 178 Manners, Lord, 100 Manning, Cardinal, 181 Mansfield, Mrs Richard, 82 Mansfield,* Richard (actor, producer), 82, 108, 2ogn Mansion House, 50 Marbury, Elisabeth (dramatic agent), 81,2O7n, 2O9n, 2i3n Margate, 186 Marylebone Theatre, 49; copyrighting at, 106 Mathews,* Charles (actor and manager), 44, 48, 49, 86, 87, 155, 156, 162, 168 Mathews, Elkin (publisher), 137, 138 matinee performances, 4, 73, 76, n o , i n , 153-5, J 8 2 Maude, Cyril (actor and manager), 167, 172 Melbourne, Lord: denigrates playwrights, 10 Middle Row, Holborn, 126 Miller, John (Bow Street) (publisher), 118,2i6n

Miller, John (Henrietta St) (publisher), 128-9, 176, 196, 2i6n Miss Dickens' Type Writing Office, 189

Mitford, Dr George, 2O2n monopoly, patent theatre, 84, 145-6; effect of deregulation of, 151, 175, 184, 222n Montague, H. J. (manager), 63, 2O5n Moore, George, 83 Moore, Thomas, 149 Morning Advertiser, 14 Morning Chronicle, 22 Morning Star, 14 Morris v. Kelly, 21 on

Morris, David (manager), 1, 17, 32, 34, 85, 86, 155, i97n, 2oon Morris, William, 12, 74, 140 Morton v. Copeland, 222n

Mowbray, Tom, 2O5n Moxon, Edward (publisher), 2i6n; as prestige publisher, 120-2; supports copyright reform, 94 Munden, Joseph (actor), 156 Murray, John (publisher), 88, 116, 119, 120,123, 2i4n Murray, William (manager): cheats Planche, 89-90, 21 in music hall, 184 Napoleon, 72 Napoleonic war: effect of, on theatres, 41 New Review, 189, 190

New York: theatre in, 54, 57, 80, 81, 104, 105, 107, 108, 109, 165, 167, 2O5n, 2i3n; publishing in, 119, 135 North Shields: theatre at, 195; copyrighting at, 107 Norway, n o , i n , 2i4n Norwegian Consul: as actor, 111 Norwich, 18, 127; theatre in, 195; Theatre Royal, 92 novel: comparisons of, with drama, 51, 117; copyright defence of, 98-100, 101-2; cost of, 120; dramatisations of, 4, 97-100, 101-2; financial superiority of, 48; terms for, 215n Novelty Theatre: copyrighting at, 106 Old Vic, see Coburg and Victoria theatres 'Old Wilds', see Wild, Sam Oliver, Patty (manager), 60, 2O5n Olympic Theatre, 6, 14, 17, 21, 22, 41, 42, 50, 53, 57, 58, 85, 146, 148, 163, 195, 196 opera, 24, 46; copyright on, 92-3, 107-9;

General index fashionableness of, 35; remuneration of, 29, 35-6 Opera Gomique, 106, 108 Osbaldiston, David (manager), 42, 46-7, 87, 2O3n Osgood and Mcllvaine (publisher), 137 'Ouida', see de la Ramee, Marie Louise Oxford St, 120 Paignton, Royal Bijou Theatre: copyrighting at, 107-8 Pall Mall, 119 Palmer, John (actor), 159 Palmer, Albert Marshman (manager), 81, 2ogn pantomime, 14, 31, 39, 49, 50, 65 Paris, 81, 114, 129, 137, 149; theatre in, 103; see also France Paternoster Row, Blackfriars: publishing firms at, 124, 129 Pattie (publisher), 128 Pavilion Theatre, 8, 43, 50 Peacock, Thomas Love: adaptation of Maid Marian, 97 Peel, Sir Robert: copyright amendment of, 95 Phelps, Samuel (actor-manager), 23, 151,163, 2ign Philadelphia theatre, 213n Phillips, Richard (publisher), 120 Phoenix Insurance Company, 17 Piccadilly, 119, 2i5n Pigott, Edward F. Smyth (Examiner of Plays); on Ibsen, 182; on Salome, 21 jn piracy, dramatic, 43, 44, 134; black market MSS, 89; methods of, 85-6; of French authors, 102-3; of novels, 97100, 101-2, 115; of operas, 107, 108-9; prosecution for, 105-6 Place, Francis: on Covent Garden accounts, 31 playwrights: as actors, 2, 3, 4-9, 17, 19, 21, 54, 76, 77, 157, 158, 168; as author-directors, xiii, 162-73, I 9 I 5 a s critics, 14-15, 16, 17-18; as editors, 19, 29, 124-5, I295 a s house dramatists, 7, 8, 14, 17, 22, 35, 42, 50, 68, 96, 103, 150-1; as readers of plays, 18, 20, 21, 29, 148-9; as stage managers, 4, 6, 21, 29, 161, 164; at rehearsal, 139, 157, 158-67, 169-73; bankruptcy of, 22, 29, 2O9n; club life of, 10-13, i98n; earnings of, xi, xii, 9,

251

23, 24, 25-9, 30, 32-50, 52-83, 2O3n; estimated numbers of, 2-3; greenroom experiences of, 155-8, 159, 160; improvements in status of, xiii, xiv, 9-10, 11-12,91, 120, 121, 131, 133, 134, 140, 141-2, 144-5, x^4> x ^7, T74> 185-7, T 89-91; low status of, xiii, 2, 10, 22-3, 32, 40-1, 50, 66, 96, 145, 156, 158-9; occupational origins of, 2, 4-8, 9, 11, 12, 13-18, 23; proportion of women as, 3-4, 193; writing for actors, xiii, 154, 155, 156-7, 168; writing for animals, 1, 32, 50; writing to order, xii, 1, 50, 151, 171, 186 Poole, Thomas, 30 Portsmouth theatre, 195 Prague theatre, 114 Preston, Theatre Royal, 105 Price, Stephen (manager), 31-2 Prince of Wales Theatre, 7, 10, 56, 105, 163; Robertson's plays at, 59, 105 Princess's Theatre, 6, 52, 55, 56, 65, 77, i n , 152, i98n Privy Council, Education Dept of, 16, 17 prompter, 17, 157, 161 publishing, dramatic, xii-iii, 191; copyright law as discouragement to, 85, 86, 89, 93, 94, 97, 100, 104, 105, 109, 110, 111—12; copyright reform as encouragement to, 113-14, 115, 132, 134; Dramatic Author's Society activities in, 128-9, 176, 180; estimates of author rates of, 117-18; in provinces, 88, 129, 134; in series form, 124, 125-31, 2i5n, 2i6n, 2i7n; of legitimate drama, 116, 117, 118-24, 2i6n; prices of play-texts, 119-20, 121, 123-4, I26> 128, 129, 130, 135, 137, 138; re-emergence of quality in, 13242; see also under names of individual publishers Punch, 10, 13, 14, 16, 22 Queen's Theatre, 87, 99, 2ion Queensberry, Marquess of, 79 railway system: effects of spread of, 185 Ramsgate, 18, 187 Re-Union Club, 10 Reade v. Conquest, 98-9, 2i2n Reade,* Charles: as novelist, 61; defends copyright in novels and plays, 98-9; injunctions granted to, 99; Ifs Never

252

General index

Reade,* Charles (cont.) Too Late To Mend, 99; on foreign adaptations, 102; Put Yourself in His Place, 52

Reading gaol, 80 Redford, George Alexander (Examiner of Plays), 182 Referee, 15

Regent's Park, 172, 186 Regent's Park Road, 12 Reynolds,* Frederick: A Playwright's Adventures, xii; quoted, xx Richards, Grant (publisher), 140-1 Richardson, Thomas (publisher) ,127 Ridgway, James (publisher), 119 Righton, Edward (actor and stage manager), 165 Robbins, Elizabeth (actress), i n Robertson, Henry (Secretary, CG committee), 37, 38, 40 Robertson, Sir Johnston Forbes (actor and manager), 77, 78 Roebuck, Capt (manager), 2o6n Rossetti, Dante Gabriel, 12 Routledge, George (publisher), 122-3; Poets for the People, 123; Railway Library, 123; Knebworth Edition (of

Lytton), 123-4 Royal General Theatrical Fund, 130, 174 royalty system, 58-65, 70-4, 75, 76, 778, 79-80, 82 Royalty Theatre, 7, 15, 60, 65, 136, 179, 182 Russia, 110 Sadler's Wells Theatre, 41, 42, 49, 87, 126,151, 163, i98n, 2i5n Saturday Review, 15, 82, 133, 190

Saunders and Otley (publisher), 123 Savage Club, 10, 11, 14, 59 Savoy Theatre, 24, 108, 168 Scott,* Clement, 13, 17, 114, 151, 182, 189, 190 Scott, Sir Walter, 149; as victim of piracy, 97, 98; Kenilworth, 6, 87 Scott, Walter (publisher), 137 Shaftesbury Theatre, 77, 2O7n Shannon, Charles Hazlewood (book designer), 139 Shaw, Mrs G. B., 187, 189 Sheffield theatre: copyrighting at, 107 Shelley Society: stages The Cenci, 182

Shepherd (manager), 60, 95 Shepherd v. Conquest (1856): copyright judgement in, 95-6 Sherwood, Gilbert and Piper (publisher): for Dramatic Authors' Society, 129 Simpkin and Marshall (publisher), 118, 127 Smith, W. (publisher), 118, 119 Smithers and Co. (publisher), see Smithers, Leonard Smithers, Leonard (publisher), 138-9, 2i8n Society of Authors, 78, 174, 181, 182-3 Soho Theatre, 17 Somerset House, Audit Office, 17 Sothern, Edward (actor), 7, 56, 59 South Africa, see Cape Town South Shields theatre, 195; copyrighting at, 113 St James's Theatre, 4, 6, 7, 60, 69, 70, 75, 76, 77, 78, 79, 92, 101, 137, 138, 139, 143, 144, 152, 167, 168, 169, 170, 171,182, 184, 2i6n St John's Wood, 186 St Paul's, 129 stage manager: duties of, compared with acting manager, 160—1 stagerighting, see copyright performance Stationers' Hall, 96, 98, 100, 102 Stetson, John (manager), 108-9 Stevenson,* Robert Louis: earnings from novels, 52; Treasure Island, 52

stock companies, 185 Stodart, Robert (publisher), 118 Stoker,* Bram, 69, n o Storace, Mme (singer), 157 Storace, Stephen (composer), 26 Strand, The, 130, 2i5n Strand Theatre, 97, 153, 155, 172, 177, I99n

Strange, William (publisher), 129-30 Suffolk, 186 Suffolk Court, Pall Mall, 129 Sullivan, Barry (actor), 123 Sullivan, Sir Arthur, 61, 62 Surrey Theatre, 5, 8, 9, 18, 29, 41, 42, 43, 49, 50, 60, 87, 88, 95, 96, 146, 150, 188, 195, 2i9n Svengali, 172 Swinburne, Algernon Charles, 12 Symonds, Arthur, 138

General index Tadema, Sir Lawrence Alma, R.A., 186 Tait, John (publisher), 134 Talfourd,* Sir Thomas Noon (Serjeant): his copyright bill, 93—4 Talfourd's Act, see Copyright Act (1842) Telbin, William (set designer), 80 telegraphy, 187 Temple Bar, 16 Temple Bar, Holborn, 120 Tennyson,* Alfred, Lord: Idylls of the King, 68; Locksley Hall Sixty Tears After, Tennyson, Hallam, 70, n o , Terry, Ellen (actress), 82, 113, 134, 166, 173

Terry's Theatre, 121 Thackeray, William Makepeace, 11 Theatre, The, 15, 23, 108, 180, 188, 189 theatre: attractions of, xii, 2, 13, 19, 2 3 4, 29-30; financial debility of, xii, 2, 25, 3°-2, 32-4, 37-8, 39-4i> 42, 48; first nights at, 13, 76, 143, 144, 150, 2i8n; licensing of, and safety at, 184; long runs in, xii, 23, 44, 58, 59, 60, 61, 63, 64, 65, 74, 146, 152, 185; reasons for decline of, 2, 31, 43, 48; renewed prosperity of, xii, 23-4, 53, 66, 67, 80, 83, 143, 184, 185 theatre, provincial, 2, 3, 4, 6, 8, 18, 27, 43, 44, 56, 57, 63, 64, 66, 75, 76, 79, 85, 87, 88, 89, 90, 91-2, 105, 107, 108, 113, 117, 158-9, 176, 177-8, 179, 185, 195, 196, 207n, 2O9n, 21 in; see also theatres, booth; touring companies Theatre Regulation Act (1843), 84, 151 theatres, booth, 1, 4, 6, 50, 117, 176 theatres, East End, xii, 3, 5, 7, 22, 52, 55, 184; authors' rates at, 49-50, 66-7; see also under names of theatres theatres, minor, 7, 8, 9, 117, 127, 184; as nurseries for playwrights, 150-1; authors' rates at, 41-4, 49-50; competition of, with patent theatres, 25, 31, 33, 41, 43, 150; rehearsals at, 158; see also under names of theatres theatres, patent: attraction of, to authors, 146; author rates at, 26-30, 32-41, 176—7; encourage new authors, 33, 147, 149-50; financial constraints of, 31-2, 39-41, 146; monopoly of, 3 1 2, 40, 45, 84, 90, 94, 145-6, 151, 175, 184, 222n; piracy at, 85, 88-9; rehearsals at, 158-9; resistance of, to

253

new plays, 146-7; see also Covent Garden; Drury Lane; Haymarket theatres; monopoly, patent theatre theatres, portable, see theatres, booth Theatrical Beefsteak Club, Covent Garden, 11 Theatrical Syndicate (USA), 81 Thomas, Moy (critic), n o Times, The, 14, 22, 95, 101 Tinsley, William (publisher), 52; gains injunction, 2i2n; injunction against, 99 Toole, J. L. (actor-manager), 168 touring companies, 55, 63, 64, 79, 176, 179,185, 2O4n, 2O7n, 2ogn Townshend, Charlotte Payne, see Shaw, Mrs G. B. tragedy: author rates for, 36-8, 44-7, 48; publication of, 119, 120, 121 Tree, Ellen (actress), 176 Tree, Sir Herbert Beerbohm (actormanager), i n , 151-2, 168, 169, 171 Trinity College, Cambridge, 16 Trollope, Anthony: profit-sharing system of, 51; member of Royal Commission, 10; Ralph the Heir, 2i2n Twain, Mark, 188; Tom Sawyer, 188 typewriter: utility of, 139, 187, 188, 189 typewriting agencies, 189 Tyson (DL employee), 87 United States, 53, 54, 58, 77, 80, 81, 82, 83, 112, 135, I4I, 159, I66-7, J 86, 188, 2ogn, 2i4n, 2i6n; copyright law in, 103-4, I O 9J income from American fees, 63, 64, 2o6n, 2O7n; need for copyright agreement with, 103, 106; parasitic on the British stage, 102, 104; piracy in, 44, 104-5, 107—9, 21411; touring in, 73, 107, 2O7n Unity Club, 11 Unwin, T. Fisher (publisher), 112 Vandenhoff, George (actor), 157 Vandenhoff, John (actor), 123, 159, Vaudeville Theatre, 18, 63, 143 Vestris, Lucy ('Madame'), 5, 17, 48, 49, 85, 129, 148, 151, 156, 162, 168 Victoria Theatre, 146, 199n, 216n; see also Coburg Theatre Victoria, Queen, 10, 2O7n Vining, George (manager), 56, 57

254

General index

Wales, South: theatre in, 8 Walkley, A. B. (critic), 190 Wallack's Theatre (New York), 20511 Waller, Lewis (actor-manager), 168 Weber, Carl Maria von, 92, 20m Webster and Go. (publisher): for Dramatic Author's Society, 129 Webster,* Benjamin Nottingham (manager), 48, 49, 54, 150, 151 Weekly Despatch, 14 Wellington St, Strand, 130 West Hartlepool theatre: copyrighting at, 107 Westminster Review, 190 Whittingham and Arliss (publisher), 124, 2i7n Whittingham, Charles (publisher), 134; see also Whittingham and Arliss Wigan,* Horace (manager), 53, 57, 58 Wild, Sam, 1, 50, 176, 2O4n Wilkins, William (manager), 92 Wilkinson, Tate (manager), 85 Willard, E. S., 2O7n

Wills,* William Gorman: earnings as novelist, 52; The Three Watches, 52 Wilmott, John (prompter), 157 Wilton, Marie, 7; see also Bancroft, Marie Windsor Castle: performances at, 10, Winston, James, 20, 31, 87, 160, i98n, 22on; as Secretary, Garrick Club, 11 Wood, Mrs Henry: East Lynne, 100 Wood, Mrs John (actor-manager), 168 Wooldridge, Miss A. (agent), 2ogn Wordsworth,* William: campaigns for copyright reform, 93 World, The, 15 Wyatt, W. H. (publisher), 120 Wyndham, Charles, 63, 67, 74, 79, 133, 171, 22m York theatre, 85, 195 Young Roscius, see Betty, Master William Zola, Emile, 52