Women Writers Dramatized: A Calendar of Performances from Narrative Works Published in English to 1900 (Novels on Stage, V. 3)

WOMEN WRITERS DRAMATIZED

A Calendar of Performances from Narrative Works Published in English to 1900

H. PHILIP BOLTON

MANSELL London and New York

First published 2000 by Mansell Publishing, A Cassell imprint Wellington House, 125 Strand, London WC2R OBB, England 370 Lexington Avenue, New York, NY 10017-6550, USA © H. Philip Bolton 2000 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage or retrieval system, without permission in writing from the publishers or their appointed agents. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN 0-7201-2117-5 Library of Congress Cataloging-in-Publication Data Bolton, H. Philip Women writers dramatized: a calendar of performances from narrative works published in English to 1900/H. Philip Bolton. p. cm. — (Novels on stage; v. 3) Includes index. ISBN 0-7201-2117-5 (hb) 1. Theater—Great Britain—Calendars. 2. Fiction—Women authors— Adaptations—Chronology. 3. Women and literature—History—Chronology. 4. English drama—Chronology. I. Title. II. Series. PN2581.B64 1999 792.9'5'0941—dc21

Printed and bound in Great Britain by The Bath Press, Bath

99-040059

CONTENTS

Introduction Louisa May Alcott The Inheritance Little Men Little Women An Old Fashioned Girl

Rhoda Broughton Nancy (Sweet Nancy)

vii 1 1 1 2 1

Jane Austen Emma Lady Susan Love and Freindship [sic] Mansfield Park Northanger Abbey Persuasion Pride and Prejudice Sense and Sensibility

8 8 11 11 11 12 13 14 20

Aphra Behn The History of the Nun; or, The Fair Vow-Breaker (Isabella) Oroonoko; or, The Royal Slave

23 23 41

Mary Elizabeth Braddon Aurora Floyd The Captain of the Vulture The Cloven Foot Eleanor's Victory Henry Dunbar. The Story of an Outcast John Marchmont's Legacy Joshua Haggard's Daughter Lady Audley's Secret Run to Earth Sir Jasper's Tenant The Trail of the Serpent; or the Secret of the Heath Wyllard's Weird

57 58 61 62 63 63 64 65 65 71 72

Anne Bronte The Tenant of Wildfell Hall

74 74

Charlotte Bronte Jane Eyre

75 76

Emily Bronte Wuthering Heights

95 95

72 73

V

98 98

Frances Hodgson Burnett Editha's Burglar Esmeralda (Young Folks' Ways) A Lady of Quality That Lass O'Lowrie's. A Lancashire Story Little Lord Fauntleroy The Pretty Sister of Jose The Little Princess The Secret Garden

100 100 102 105 106 108 111 112 113

Agnes and Egerton Castle The Pride of Jennico

115 115

Marie Corelli The Sorrows of Satan; or The Strange Experience of one Geoffrey Tempest, Millionaire

116

Sophie Cottin Elizabeth; or, The Exile of Siberia

123 123

Maria S. Cummins The Lamplighter

126 126

Countess d'Aulnoy (D'Anois) The Bee and the Orange Tree The Benevolent Frog The Blue Bird Fair One with the Golden Locks Fortunio The Golden Branch Gracieuse and Percinet The Green Snake (Island of Jewels) The Hind in the Wood King of the Peacocks Once Upon a Time There Were Two Kings Prince Dorus Prince Sprite (Invisible Prince) Riquet with the Tuft The White Cat Yellow Dwarf

129 133 134 135 136 141 144 145 146 147 148 150 150 151 154 157 160

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CONTENTS Madame de Genlis Siege of Rochelle Zuma

168 168 169

Mademoiselle de la Force The Good Woman

171 171

Madame de Villeneuve Beauty and the Beast

172 172

Maria Edgeworth Row of Ballynavogue

195 196

Mrs. Edwards Archie Lovell Ought We to Visit Her?

198 198 198

George Eliot Adam Bede Daniel Deronda Middlemarch Mill on the Floss Silas Marner

200 200 201 201 202 203

Moths Signa Two Little Wooden Shoes Under Two Flags Wanda

232 236 236 237 239

Sydney Owensen, see Lady Morgan Jane Porter The Field of Forty Footsteps The Scottish Chiefs

240 240 244

Ann Radcliffe The Castles of Athlin and Dunbayne The Italian The Mysteries of Udolpho The Romance of the Forest A Sicilian Romance

249 249 250 250 251 251

Clara Reeve The Old English Baron

253 254

George Sand Little Fadette (Fanchon)

255 256

Mary Shelley Frankenstein; or The Modern Prometheus

264 264

Mrs. Frances Sheridan Eugenia and Adelaide The History of Nourjahad

307 307 307

Elizabeth Cleghorn Gaskell Cranford Lizzie Leigh Mary Barton Wives and Daughters

206 206 208 209 210

Mrs. S.C. Hall Lights and Shadows of Irish Life (Groves of Blarney) Stories of Irish Life (The Last Life) Tales of Woman's Trials The Whiteboy

211 212 213 213 213

Harriet Beecher Stowe Dred: A Tale of the Great Dismal Swamp Uncle Tom's Cabin

309 309 315

Lady Morgan Florence Macarthy

215 217

Elizabeth Phipps Train A Social Highwayman

388 388

Countess Murat Young and Handsome

218 218

Mrs. Frances Trollope The Widow Barnaby

389 391

Mrs. Amelia Alderson Opie Father and Daughter The Ruffian Boy

219 221 222

Mrs. Humphry Ward Eleanor

392 392

Susan Bogert Warner The Wide, Wide World

393 393

Mrs. Henry Wood East Lynne

394 394

Sources Consulted

418

Index of Proper Names

421

Baroness Emmuska Orczy The Emperor's Candlesticks The Scarlet Pimpernel

226 226 221

Ouida Chandos A Dog of Flanders Idalia

231 231 232 232

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INTRODUCTION

some degree arbitrary. The following, nevertheless, are the basic criteria: the "original" narrative work on which the drama is based must have been 1) written by a woman and 2) published in English before the end of 1900. Although the series title is Novels on Stage, dramatic derivatives of narrative works other than novels are included. In any case, the various national traditions of the distinction between the novel and romance vary: The French use the word "roman" for realistic as well as fantastic narratives, whereas the English-speaking scholar tends to distinguish between the romance and the novel. Some narrative works of prose fiction published in English before about 1750, and subsequently dramatized, are of course "romances" in the English literary-historical tradition. Sometimes included in the following lists are works that might well be called "romances," not novels. Frankenstein is probably the premiere example of a nonrealistic narrative that has been widely dramatized. Children's literature, too, often has the quality of the fantastic, and might well be properly classified as belonging to the genre of the romance in English. Nevertheless, romances or children's stories that were written by women and subsequently made into plays are referred to in the following records, even though they are not—in the English-speaking academic tradition—normally called "novels." Two important examples are Madame de Villeneuve' s Beauty and the Beast and Madame d' Aulnoy' s Yellow Dwarf. The original narrative may first have been published in a language other than English, and then translated into English. Indeed, as already suggested above, some of the most important parts of the records that follow concern plays based on children's stories first published in French by women inspired by Madame de Maintenon in the court of Louis XIV, and not long thereafter translated into English, after which they developed a currency quite sufficient to inspire numerous dramatic versions. Even here, however, the arbitrary nature of decisions to include references to dramas becomes apparent. For one of the major purveyors of dramatizations of children's stories that were originally French, but also came to be well known in English, was the bilingual playwright J. R. Planche, who actually read the original French versions in the course of preparing his English-

PRINCIPLES OF SELECTION Women Writers Dramatized is the third volume of Novels on Stage to appear in print. This series of reference works is comprised mainly of calendars of performances and also of bibliographies of publications of dramas based mostly on novels and occasionally on other narratives. These derivative dramas are primarily staged plays, but also include radio, television, and cinematic versions of stories that originally appeared in print. The primary field of survey has been the English-speaking and specifically British drama; nevertheless, Novels on Stage in general and Women Writers Dramatized in particular refer to narratives published in English but performed in other languages. Obviously, this particular volume differs in its principle of selection from the first two volumes—Dickens Dramatized and Scott Dramatized—in that this volume concerns dramatizations of works by more than one author. The Novels on Stage series would be—and is—most logically organized alphabetically by author. Indeed, the larger work (from which Dickens Dramatized, Scott Dramatized, and now Women Writers Dramatized are excerpted) is a display of records of performed dramas based on novels and stories by "original" authors beginning with Ainsworth and ending with Zola. If and when the whole (or at least the rest) of the series is published, it would be most useful to reference librarians were it to have a single organizing principle, specifically the alphabetic. Such an issue remains possible either in traditional book form or on line in computerized form. On the other hand, however, the needs of real contemporary and future historians and critics of the dramatic arts must also define the purpose of compilers of such reference works as these. In view of the fact that a large community of scholars is investigating contributions to literature and drama made by popular writers who happen to have been women, we have decided that the present volume, dedicated to dramatizations of about 150 works by about forty-five women, would be a potentially interesting and useful contribution, given the present direction of historical scholarship. Principles of Inclusion As will become plain to see, decisions about what to include and exclude from the present lists have been to

vii

INTRODUCTION husband, and that work has been dramatized, it has qualified for inclusion in the present lists. When a woman has re-written a work previously written by a man, I have included it in the present lists. These records are primarily references to works of drama in the English-speaking world, and especially in Great Britain. However, when works have been published in the United States, and/or derivative dramas performed in the United States, they have qualified for inclusion. In addition, Novels on Stage generally, and Women Writers Dramatized in particular include references to dramatizations on radio, television, and film—where, at least, I have encountered evidence of them. I have not searched as systematically for these performed versions of narratives as I have for stagings; I have, however, searched the records of the BBC TV fairly thoroughly, and therefore will have discovered most British dramatic productions of narratives originally by women. The larger and basically decentralized US broadcast media I have hardly attempted to study.

speaking extravaganzas—as for example those plays based on the stories of Madame d'Aulnoy, like "The White Cat" and "The Blue Bird." It could be argued that these should have been excluded because they really came directly from the French. Yet some of them came into the stream of English drama as actually performed upon the stage—before or after Planché—both directly from the French and through translations. The various stage versions inspired and reacted to each other as well as to the various print versions. It is therefore very difficult to know the lines of transmission from the published narrative to the performed drama. I have strongly tended to resolve such issues in favor of including the extravaganzas, burlesques, and pantomimes of narrative works that came onto the Englishspeaking stage after passing through a woman's hands at any point in any language. I have tended to err on the side of inclusion because so many of these children's stories dramatized have had such great importance in the history of the stage and—through the stage— on the sensibility of nineteenth century British and American writers, readers, dramatists and playgoers. These pantomimes, burlesques, and extravaganzas constitute an important element in Christmas festivities that developed around mid-century in England, that also flourished for a decade or two in New York at the middle of the nineteenth century, and that have yet to die away today in Great Britain. Omitting reference to them would have omitted records of some of the most interesting dramatizations of works by women. Ergo, when I have found and recognized them as such, I have included references to the creations and transmissions of French women writers of narratives whose influence has been very palpably felt upon the English stage. Nor was this true only for the writers of children's stories—as demonstrated by Georges Sand, whose La Petite Fadette became the English play "Fanchon." References to burlesques of derivative plays are included in the following records, even though their plots and characters may be only indirectly related to the derivative play and original novels. One may well argue that such unserious "spoofs" or unoriginal dramas (that were light hearted enough to begin with) need hardly be noted in the annals of dramatic history at all, and in any case do not duplicate the spirit or the letter of the "original" narrative. Yet the affectionate burlesque of a "serious" drama suggests a great deal about the appeal of both the first dramatic derivative and the original narrative. A burlesque often suggests evolutions as well as eddies in the ever-flowing current of popular taste. A burlesque is often the greatest testimonial to the popular appeal of the plot and characters of a published narrative. For such reasons, references to burlesques and extravaganzas appear in the following records. One example is "Moth-quitoes," which makes fun of the play "Moths," which derived from Ouida's novel. When a woman co-authored a work with her

Principles of Exclusion During the twentieth century the number and proportion of women writers has grown enormously even as the proportional importance in popular culture of the live stage has dwindled in relation to the cinema and television. I have, however, excluded from the present records any reference to dramatizations of novels and other tales published after 1901 by women. A great flowering of female authors has occurred during the twentieth century, and the works of these writers have been very widely staged and especially turned into television and cinematic dramas. These works, however, must be subjects for another reference volume than the present. Sometimes novels have been based upon plays. The research techniques employed to identify dramatizations have sometimes uncovered such "novelizations." These narratives based on "original" plays, however, have been somewhat arbitrarily excluded from the present records.

PRINCIPLES OF ARRANGEMENT The following lists constitute calendars of performances of plays and other dramas based on novels and other narratives. As calendars, they are of course basically arranged chronologically. Otherwise, the arrangements are alphabetical: first by the last name of the author of the "original" narrative; subsequently, with sections concerned with individual authors, by the first main words of the titles of the individual works. A glance at the Table of Contents will demonstrate the basic organization of the book.

viii

INTRODUCTION In other cases the difficulties are simply that some writers published only one or two works that never received widespread attention so that their authors never became widely known, or at least never achieved even the temporary immortality of posthumous reputation. Nevertheless, when I have encountered such cases I have included them in the following records. Only widespread but random searches through enormous collections of theatrical ephemerae and/or journalistic reviews could have turned up knowledge of certain of these dramatizations. The recognition that a familiar play, such as "Wallace," sometimes actually owed a good deal to Jane Porter's Scottish Chieftains (as well as to Sir Walter Scott) had to wait upon discovery of such an acknowledgment on a few of the playbills. Indeed, for minor authors like Miss Porter, Mrs. Hall, and Lady Morgan (Sydney Owenson), playbills often provide the best initial clues about the use by playwrights of original novels or other narratives by women. However, such collections of playbills are fragmentary, widely dispersed throughout the UK and US, and extensive but usually uncatalogued. Complete and reliably systematic searches through such largely uncatalogued collections for dramatizations of works by women writers are difficult if not impossible, and serendipity has had a strong influence upon the identification of the more obscure works. Therefore the resulting lists of derivative plays will necessarily be incomplete—more incomplete than those pertaining to dramas derived from the works of famous men like Dickens and Scott. It is my melancholy duty to warn scholars and historians with special knowledge of and interest in one or a few particular popular female writers of a previous era: you will doubtless sometimes be disappointed by omissions from the present work. I can only plead ars longa, vita breva.

COMPLETENESS Novels on Stage builds upon historical research done especially by Allardyce Nicoll and George C. D. Odell, who have respectively created standard records of the London and the New York stages. Also important for the London stage from 1890 to 1929 has been J. P. Wearing. For a complete list of books and articles of theatrical history used in the course of the preparation of this particular volume of Novels on Stage, see the "Sources Consulted" at the end of this volume. Some of the sections of Women Writers Dramatized are based upon and develop further work done by previous historians with interests in the dramatizations of the works of particular authors. The sections on Jane Austen builds upon work done by Andrew Wright; the section on Harriet Beecher Stowe builds upon work by Stephen Birdoff; the section on Mary Shelley's Frankenstein expands work done by Stephen Forry. These sections of Women Writers Dramatized should give something approaching representative selections of plays and films from the novels of those authors. It is important here to stress that such sections of Novels on Stage have been much more highly developed than others because of work by previous scholars. I have managed to supplement such earlier publications by consultations with archival material in the US and especially the UK. In cases where Women Writers Dramatized concerns works by canonical or well-known authors, such as Jane Austen, Mary Shelley, and Harriet Beecher Stowe, the selection of titles of derivative dramas for which to search was easy. The resulting lists should approach being representative. Women Writers Dramatized also contains references to works by authors about whom little—and in some cases virtually no—prior scholarly work has been done. Some sections of the present work—so far as I know—essentially constitute pioneer scholarship, and can aspire only to contribute to the beginning of the modern study of long-forgotten or largely ignored female writers like Frances Trollope and Rlioda Broughton, Sydney Owenson, and Jane Porter. Such heretofore extra-canonical novelists, writers of romances, and authors of fairy stories and children's stories present special difficulties. For example, the bibliography even for the relatively wellknown Aphra Behn has long been vexed and obscure. No references to writers such as Margaret Oliphant, Amelia Opie, or Jane Porter appear in Dictionary of National Biography. Jane Porter is not mentioned in the Bloomsbury Guide to Women's Literature. Names like Mrs. S. C. Hall and Lady Morgan, for example, are not even listed as such in the British Museum General Catalogue of Printed Books—despite the fact that these women wrote novels to which extant playbills explicitly refer as having supplied source stories for performances given during the early nineteenth century. In some cases—of course—such problems are the result of marriage and the change of names, which renders research difficult.

STRENGTHS AND WEAKNESSES These records of theatrical and other dramatic productions are strongest for the nineteenth century. This is true because the collections of playbills in Oxford, London, Edinburgh, as well as elsewhere throughout the United Kingdom, are much more extensive for the period 18001900 than for periods before or after. The records presented hereinafter are weaker for theatrical productions following 1900 than for those before that date. At about the turn of the twentieth century, the collections in the London Theatre Museum and the British Library become even more discontinuous and fragmentary than they are for earlier dates. Although the Billy Rose Collection of the New York Public Library (housed at Lincoln Center until very recently) has wonderful clippings and programmes from after 1900, the collection is difficult to use and not fully systematic. Materials have gone missing. The published catalogue often bears only the most

ix

INTRODUCTION indirect relationship to the actual collection. Most important, however, I have not focused my attentions there as much as I would like to do.1 Obviously, then, these records are highly incomplete. It is virtually impossible to discover all the dramatizations of all the novels and other narratives by a well-known, much-studied single author, such as Charles Dickens, or Walter Scott (the subjects of the first two volumes of Novels on Stage). It is even more difficult to discover any—much less all—dramatizations by a littleknown, little-studied authors like Sydney Owenson and Jane Porter. Despite all such disclaimers, however, the following records have some reasonable claim to aspire near to what the statisticians call a "stratified random sample" of English-speaking drama derivative from women's writing. The calendars of performance should give representative—though not complete—records for productions in two major urban settings, London and New York—at least for the period 1800-1900. I believe I have taken a sufficiently large sample of archival materials to be fairly likely to have come across major phenomena of women writers' works made into plays before 1901. I can say this with some degree of assurance because the research on which the following records are based has lasted for nearly twenty years, and has involved many visits to various archives in the United States and especially the United Kingdom. I am well aware of important archives that I have not yet visited, or that I have visited only a few times, and should ideally return to explore still further. However, specifically, the premiere collection of playbills in the United Kingdom is that housed in the British Library, where I have searched fairly systematically through about 85% of the bills derived from London productions prior to 1901. As London has usually been the theatrical capital of the English-speaking world, it is highly likely that any significant novel or other narrative in dramatic form would have come to my attention from the British Library collection of London-derived bills. I have also made wide searches through the records of provincial British productions housed in the British Library, moreover—though I have not come so near to exhausting those resources as I have with the London-derived materials. I have taken many tours through British archives from Aberdeen to Canterbury—though no one person could ever thumb through all the playbills that have been deposited on the shelves of local libraries. The New York stage prior to 1894 has been somewhat more thoroughly detailed in published records than has the London stage, thanks to the efforts of T.

Allston Brown and especially George C. D. Odell, whose fifteen-volume Annals of the New York Stage gives at least the title of—and often some details concerning—what must have been virtually every historically important production in New York up to 1894. These and other works of the theatrical history of New York make possible the tentative claim that if it were important, as a dramatization of a novel, I would know about it. Records of American "provincial" productions I am very much less likely to have encountered. There will doubtless be many hundreds—even thousands—of performances of "Uncle Tom's Cabin" plays, for example, from Texas to Maine and San Francisco to Boston, of which I remain ignorant. Finally, in all such works as the present, there is indeed the danger of bibliographical "ghosts"—or, in the present case, of production ghosts. It would not be profitable to speculate here on the processes by which these could make their way into the present handlists. For whatever reasons, however, I am sure that they will have come to exist, and I take full responsibility for them in advance.

POSSIBLE USES AND ABUSES OF THIS BOOK Uses Scholars wishing to trace the rise of female writers as a group may find materials here that will help them describe and explain the popular reception of women novelists and writers of other narratives such as children's stories. Many a doctoral or master's thesis on as-yet unstudied writers could take flight from the pages that follow. Many a paper or seminar presentation at a graduate seminar could come from or be supplemented by the records below. Moreover, the historical obscurity of many of these writers and their narratives and plays may or may not be deserved. In either case, however, the present work provides the material for a study in one motif of the popular culture of our ancestors: how women writers' works were plundered for the purposes of making stage entertainments. When the thefts occurred, they were generally not acknowledged—unless they involved a famous victim, like Harriet Beecher Stowe, or Charlotte Bronte. Thus has existed the hidden nature of the contributions of many women to the popular and sometimes literary culture of their own and later days. Scholars wishing to describe and understand the contemporary popular reception of a novel (or other narrative) may find value in the pages that follow. The basic factual records—or at least the approximation to and sample of the actual historical facts that appears in these calendars of performance—give certain basic outlines to the initial reception and commonly brief but sometimes sustained posterity of popular fictions written by women. First of all, one may consult the texts of the derivative plays themselves to help determine essential

1

I have not had the opportunity to use the collection of playbills housed at Harvard University. Instead, I have used Odell's Annals of the New York Stage, which relied heavily on that collection. X

INTRODUCTION do venture to suggest that the index to the following work, together with those to Dickens Dramatized and Scott Dramatized, may well together constitute research tools adequate to find the geographic locations and dramatic roles of many nineteenth century theatrical people at particular times in their careers. In other words, the data base on which the indexes of Novels on Stage are founded does—for at least some research purposes—probably fairly successfully achieve the status of a representative sample of theatrical activity in the nineteenth century. Finally, pedagogues wishing to find ways to make old materials newly exciting to young tastes may find the records of Women Writers Dramatized useful. The plays indicated may be given classroom or other academic readings or performances, in an attempt to make history live again. There is in any case the obvious classroom use of the cinematic versions of popular and classic novels of earlier eras. Where I have discovered the availability of video versions, I have so indicated.

elements of the dramatic skeletons upon which the narratives had been fleshed out. These plays themselves were often published, and these publications are listed. However, even when they were not published, in England the texts were submitted to the Lord Chamberlain's Examiner of Plays for license. Thus the actual plots, characters, scenes, and themes that appealed to audiences of the time of first publication are documented rather closely in almost every case. (By inspecting these texts, one learns that it was Topsy and Eva—as much as or even more than Uncle Tom and Aunt Chloe—who appealed to the contemporary play going part of the audience to Stowe's Uncle Tom's Cabin.} The relevant manuscript numbers appear wherever possible.2 Another historical use of these records would be to consider the calendars themselves as means to document aspects of the posterity of a published work of narrative art. Staged, broadcast, and film versions of novels have a kind of lifetime. That is, they arise after the book's first publication, grow by developing a popular following and enthusiasm, and then (sometimes slowly) die away. This whole process often takes more than a hundred years. Thus the lifetime of the dramatizations of a narrative gives an outline of one important aspect of its posterity. Evolutions of popular taste and sensibility become apparent to the student of this process. Scholars wishing to trace particular actors, musicians, scenic artists, costumers, producers, film companies, playhouses, and locations in the history of the British theatre may well find names for which they seek listed in the "Index of Proper" names, which contains over 4,000 terms of reference. (For the New York theatre, the extensive indexes to Odell's fifteen volumes will serve readers better than these volumes.) Of course the "data base" on which the indexes are founded is restricted to the names of places and personnel appearing only in dramatizations; casts of dramas originally in theatrical form are excluded. Only a small proportion of the plays produced during the eighteenth and nineteenth centuries were staged versions of works originally in narrative form. However, that percentage was often large enough—usually averaging about ten per cent, I should think—to make it likely that an actor or actress of any prominence or wide experience would have participated in the staging of a dramatization of many novels and other narratives. Therefore, it is likely that the names of many actors and actresses will appear here and there in the records that follow. Since—at least to my knowledge—there is no comprehensive index of nineteenth century playwrights, actors and actresses, etc., in the English-speaking world, I

Abuses In general, it would be a misinterpretation of the data presented here to reach very many if any "negative" conclusions. One should not conclude from an inspection of the records here that a play never played in a particular location because that location is not listed in the index to this volume, or because the location is given but the play does not appear in that town or city or theatre. It would not be reasonable to conclude that a particular actor never played in a particular play because the relevant name does not appear in the records that follow. It would be erroneous to conclude that certain theatrical, radio, television, or cinematic events did not occur because no record of them appears in any of the archives listed in the "Sources Consulted" section of this work. For, while my consultations with many of these archives have been extensive, in no case have they been exhaustive. Nor are the original documents themselves—usually playbills—complete records. Except for some of the largest and most general kinds of contrasts and comparisons—as for example between dramatizations of Uncle Tom's Cabin and Pride and Prejudice—narrowly distinguished comparative conclusions should not be drawn from the data presented hereinafter. This is true both because records have not accumulated in archives in any uniform way, and because my searches through those records have not been exhaustive. Only gross distinctions—as between novels widely dramatized and those seldom or never staged—should be drawn.

OBSERVATIONS AND CONCLUSIONS Observations The manuscripts and later typescripts, the "penny dreadful" publications, and the playbills, posters and

2

Scholars who wish to see manuscripts of the texts of unpublished plays should be able to order microfilm copies of them by the number—given in each relevant entry in the calendars of performance below.

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INTRODUCTION programs to which this volume refers are theatrical ephemerae pertaining to sub-literary plagiarisms. They are elements of the merely popular and even casual commercial culture of our ancestors. Modern scholars have had a longstanding preference for high culture over popular culture, and a romantic preference or "originality" over derivation. We therefore give high priority to criticism of original texts. Such materials as those presented in the pages that follow have been largely ignored by the modem literarycritical and even literary-historical establishments. This has been true if only because we all cannot study everything but must each select the kinds of facts to which we pay individual attention. Because we must choose, we read Oliver Twist instead of the text of "Oliver!" or the novel Jane Eyre instead of the play. The texts and productions described in Women Writers Dramatized are very frequently just the kinds of works that historians have understandably ignored. Nevertheless, the study of this particular group of refuse-heaps has bred the following realizations. First, the dominant idea and the legal definition of literary and theatrical ownership is not metaphysical but instead has evolved. We today—more than a century after the establishment of international copyright—assume without question that writers "own" what they create, regardless of the medium in which it is expressed. The battle for literary property rights was essentially decided in the nineteenth century. Yet the modern and contemporary view is not the only one possible—and not the only view to have been held in the western world. Ideas, phrases, images, characters, and plots have been the legal property of anyone—even their creators—only for a few hundred years. Certainly Shakespeare invaded the works of other writers like a monarch and was never sued nor often even reproached for his many appropriations of plot and character. In a later age, Thomas Southern (sometimes also "Southerne") used Aphra Behn's History of the Nun; or, the Fair VowBreaker without legal guilt in making his play "Isabella." Though bankrupt and in desperate need of money, Sir Walter Scott hardly protested the wholesale and lucrative piracy from his novels, which flooded the stages of England, Scotland, Ireland, Wales and the United States in the first half of the nineteenth century. Only after Scott's death did Charles Reade lament how the Great Unknown had been "swindled out of his charactsrs and plots by the dramatic pirates."3 Then came Charles Dickens and Charles Reade, whose works were thoroughly pilfered by hack playwrights, but who did protest such theft—until, eventually, the laws were changed. We today think unquestioningly of property rights in a novel; but those rights have existed for only a little more than a century, and they came into existence only as

entertainments in the print medium became profitable. Thus came the commercial reification of the products of that waking dreamer the novelist. Literature—especially in its popular manifestations—has come to be possessed by its creators. One motif in the evolution of phenomena that bred several relevant legal concepts of copyright is demonstrated in the pages that follow. The "Preface" and "Introduction" to J. R. Planche's Fairy Tales suggest the growing sense of the age that "authors" have legal rights in their creations-to control their features, profit from their exploitation, and claim a personal mention in their display.4 Characters, plots, and perhaps other more ineffable elements of fiction have now become the property of their first makers, both in translation from one language to another, and even when they pass from one medium to another. A second observation is that certain important nineteenth century novels were seldom or never made into plays. For example, despite her great literary value, her own interest in the theatre, as well as the inherently dramatic and theatrical qualities of her novels, Jane Austen's books were virtually never dramatized in her own lifetime. Similarly, Louisa May Alcott, Emily Bronte and Margaret Oliphant were not in their own eras celebrated by playmakers and playgoers. The complete absence of nineteenth century dramatizations of the works of Jane Austen, compared to the great theatrical enthusiasms for dramatic versions of other novels, and also compared especially to the substantial twentieth century enthusiasms both on stage and screen for these very same works, is indeed striking. The explanation for this sea-change in Austen's posterity cannot come in terms simply of Jane Austen's supposed lack of popularity during her lifetime, followed by her modern rediscovery. Nor can we say that her novels are not rather obviously potential theatre in their form and manner. Jane Austen did have recognition in literary and even in royal circles: Sir Walter Scott approved her novels; a copy of Emma was at least received with thanks by the Prince Regent.5 And yet these books never became plays in the nineteenth century. The works of other novelists with small, elite reading audiences were in fact dramatized: George Eliot is one good example; despite her objections to dramatization of her novels, several of them did find their way onto the stage in her lifetime. Moreover, a kind of drawing room comedy—with which Jane Austen's novels may be said to display some kinship—continued in performance at least in some of the "patent" theatres and

4

J. R. Planche, Fairy Tales. London: Routledge, 1855. 5

Penelope Hughes-Hallett, 'My Dear Cassandra': Jane Austen, letters to her sister, (London: Collins & Brown, 1990), p. 133.

3

Charles Reade, The Eighth Commandment. (London: Trubner, 1860), p. 212.

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INTRODUCTION their cultures and eras, noting for example that

especially the theatres royal during her day and well into the nineteenth century. We also cannot say that Jane Austen was not theatrical in her narrative manner or social taste, since the reverse is really true. Her scenes and dialogue are very dramatic. And, for example, Mansfield Park in fact concerns a theatrical subject. Indeed, Jane Austen herself attended the theatre when in London. For example, she reported in 1811 that

the play by Milne is much more a work of its decade than its author perhaps realized. Just as the musical First Impressions (1959) reeks of Lerner and Loewe, so Miss Elizabeth Bennet savors of Noel Coward (p. 433). He observes that the film version is a "Hollywood product through and through" — which indeed it is. Among his conclusions is that

We went to the Lyceum, and saw the Hypocrite, an old play taken from Moliere's Tartuffe, and were well entertained.6

perhaps most important for the would-be adapter, the closer the rendering to the words of Jane Austen the better (p. 439).

In 1814 she noted that Places are secured at Drury Lane for Saturday, but so great is the rage for seeing Kean that only a 3d and 4th row could be got; as it is in a front box however, I hope we shall do pretty well. Shylock. A good play for Fanny ...

This was indeed a diction too quiet, reserved, refined for the nineteenth century stage with its delight in melodramatic bombast projectable to newly large audiences. Wright's observations are trenchant; his information is seminal. Nowhere, however, does he note the difference between the enthusiasm of the nineteenth century stage for Jane Eyre or Uncle Tom's Cabin and its complete indifference to any of Jane Austen's novels—despite their much more dramatic structure, and consequent suitability to the stage, which our own age has demonstrated so richly. The absence of nineteenth century dramatizations of Jane Austen's novels is perhaps best explained in terms of the subject of her fiction. In the nineteenth century the great mass of theatrical productions came increasingly to be performed in the "minor" theatres in the UK—houses where the tastes of the great unwashed majority predominated. The enormous appeal of plays like "Rob Roy," "Uncle Tom's Cabin," "William Tell," etc., involved a solidarity with the down-trodden, the dispossessed. Such an appeal is completely lacking in the pages of Jane Austen. Louisa May Alcott shares with Jane Austen the distinction of being a novelist with theatrical interests and inclinations—as the amateur theatricals in Little Women demonstrate. Like Austen, Alcott was not dramatized in her own lifetime, but has been fairly widely staged and filmed during the twentieth century. There would seem to have been no stage versions of the March family licensed for production in England before 1900; by contrast, British playwrights produced numerous versions of Uncle Tom and Eliza. Jo's absence from the stage during an era when the theatre was dominated by London fashions by itself might, however, have indicated merely that Little Women is somehow very American in its appeal. Closer to its first home, however, the New York Stage also basically ignored Louisa May Alcott's story until 1912. Perhaps the infrequency with which the professional theatre mounted productions of "Little Women" plays may result from the general

She said that "we were quite satisfied with Kean" as Shylock.7 Clearly, Jane Austen had definite theatrical interests. The twentieth century theatre and film have demonstrated emphatically that her novels have theatrical and dramatic qualities. So it is something of a mystery why the w orks of this novelist were never dramatized in her own day. Andrew Wright's "Jane Austen Adapted"8 is an admirable study of dramatic as well as other versions of the novels, and has provided the basis of the lists that follow. Wright makes a number of acute observations, for example noting that it was never to be expected that any simplification of Jane Austen would convey the force of the original. Perhaps some authors are more difficult to render than others; perhaps, therefore, some authors—Jane A u s t e n a m o n g them—should stay at home " (p. 426). Some subtlety in the original narrative may have eluded effects possible for the nineteenth century dramatic hack who might otherwise have plundered Jane Austen's work. Wright observes that the dramatizations bear the stamp of

6

Ibid. , p. 87.

7

Ibid., p. 112.

8

Nineteenth Century Fiction (Dec. 1975), 421-

453.

xiii

INTRODUCTION perception that the book tells a children's story, and therefore was judged not to be commercially profitable. Children's theatre per se was not common—excepting Christmas-time pantomimes in England. However, there have been—especially in the twentieth century—a variety of stage versions of the book. In New York City in 1912, Marian De Forest's play from the novel ran for 186 performances—certainly a respectable number. Conservative arithmetic would indicate that at least 50,000 people would have seen this production alone. This play toured widely throughout the United States. Our British cousins did at last produce a stage version of the adventures of the March family, featuring Katherine Cornell as Jo, in 1919, at the New Theatre, in London. On the eve of the Blitz, during World War II, the Westminster theatre, London, did a Christmas time "Little Women." Right after the war, too, there was a production of "Little Women" in New York. Samuel French had published at least three separate versions of the play by 1971— a fact that suggests substantial amateur interest in producing "Little Women." So there has been, in the twentieth century, significant playmaking from Little Women. There was, as well, a silent picture in 1918, produced by William A. Brady, and directed by Harley Knowles. This was followed by George Cukor's well-known film, "Little Women," in 1933, with Katherine Hepburn, in black-and-white. The development of the color technology bred a second feature-length film of Alcott's novel, in 1948, with June Allyson, Peter Lawford, and Elizabeth Taylor. After that there have been three television versions-- in 1958, 1973, and 1978, as well as two animated versions. Counting films and plays, then, one can easily lay hands on about fifteen distinct performed versions of this dramatic novel. More than a dozen producers have viewed this particular novel as a kind of proto-play or film. After all, Louisa May Alcott's Little Women was written back in the days when the popular novel had intimate and sustained relationships with the staged play. Sir Walter Scott's novels on stage were an industry unto themselves. Charles Dickens' most famous novels, Oliver Twist and Nicholas Nickleby, were standard stage fare. So everyone in that day assumed an intimate relationship between the live stage and the printed page that we now may rediscover for ourselves by a kind of cultural archaeology. Louisa May Alcott evidently took for granted a unity of the several dramatic arts. Jo, the budding proto-novelist and heroine of Little Women, is learning her narrative trade, in the early pages of the novel, by arranging the production of a childish melodrama to be given in the March family living room on Christmas night. Indeed, the art of theatre was, in the middle nineteenth century, a deep and abiding cultural influence. So profound a part of our Victorian ancestor's life was the staged play that Alcott's March family even act out that

utterly untheatrical allegory, Bunyan's Pilgrim's Progress, which becomes a kind of controlling metaphor of the novel's plot. The March children are "Playing Pilgrims," (the title of Chapter I), which much more then than now connoted theatrically acting out the roles of pilgrims. People in Louisa May Alcott's day understood the world in theatrical terms-even when, as in the case of the Marches, they belonged to a social class that morally disapproved of stagecraft and were especially horrified by the actual conditions of the real, commercial theatre in which actresses were confused with prostitutes and immorality of various sorts was deemed all too frequent. No minister's daughter but the very most rebellious would ever have dreamed of going on the stage. The March girls are "still too young to go often to the theatre," and they therefore have properly indirect relations with the actual theatre of their day. Specifically, for example, Jo has "a pair of russet-leather boots given her by a friend, who knew a lady who knew an actor." (There's a respectable young girl's safe distance from the theater for you!) Meg works for the King family, where she catches "frequent glimpses of dainty ball-dresses and bouquets, [hears] ... lively gossip about theatres, concerts, sleighing parties and merry-making of all kinds, and [sees] ... money lavished on trifles which would have been precious to her." This improper world includes the theatre, travel, and the Moffats, too—they who lure Meg into making a foolish sexual display of herself, in a borrowed decolletage, jewelry, etc. Given all this ambivalence about things theatrical, references to the stage in the pages of Little Women are an even greater tribute than they otherwise would have been to the powerful metaphor that, as Jacques puts it in As You Like It, "All the world's a stage, and all the men and women merely players." If all the world was not in fact thought to be a stage—partly because the actual commercial theatre of the day was often deemed unrespectable in bourgeois conventions—the schoolroom or living room production was irresistible home entertainment in the era before the cinema and radio. The pages of Little Women are but one novelistic illustration of what was once the widespread truism. Jo thinks of her family as a troupe of non-travelling players, and takes alarm when her older sister Meg says "I don't mean to act any more after this time; I'm getting too old for such things." Jo responds, in alarm, "You won't stop, I know, as long as you can trail around in a white gown with your hair down, and wear gold-paper jewelry. You are the best actress we've got, and there'll be an end of everything if you quit the boards." Jo's juvenile purpose of preventing the family from growing up takes shape in many expressions, including this theatrical metaphor. Nor does the moralistic Mrs. March object to this way of thinking, as she condones playing

xiv

INTRODUCTION In her Autobiography, when she mentions her pleasures as a child, she refers only to books and not to the theatre. Her leisure-time pursuits were domestic and private, not public. She had indeed never even been to a dance until after her marriage. Though she passed her childhood in Glasgow and Liverpool, where there certainly were playhouses, she does not mention that she ever attended them; she lived instead in what she called "the most singularly secluded way."9 Her social seclusion sometimes expressed a somewhat moralistic sensibility that perhaps had its roots in puritannical aversion to the manipulation of appearances. As a young woman she went to London to see her brother, and visited the National Gallery where the painting of

pilgrims: "We are never too old for this, my dear, because it is a play we are playing all the time in one way or another. ... " One of the pleasures of the stage is, of course, "dressing up"- to use the March family's term for it. And Jo, of course, "played the male parts" in her own juvenile melodramas. Theatrical pretense makes allowable the expression of impulses that might otherwise be taboo. Cross-dressing was much more common on the nineteenth century stage than it is today, of course; and psychological analysis of sex-based roles was far less common then than now. So it would be dangerously anachronistic to make too much of Jo's impulse in wearing tights. But it was, at least, a way for Louisa May Alcott to express something of her heroine's rebellious reaction to the restrictive roles imposed upon women in upper-middle-class society in the English speaking world of the time. All these references to the stage in the pages of the novel positively invite the reader—and more even the original reader than today's reader—to think of Little Women as having manifold relations to the actual stage. It was little wonder, then, that with the growth of juvenile theatre, the novel would get acted out, as we have seen. It has been little wonder, in our own era, that these materials have furnished themselves up, as raw materials, to the craft of the film-maker. George Cukor, after all, had the example of Marion Deforest and half a dozen other playwrights from which to profit, or at least from which to take inspiration. Even if there was nothing specific in these potential inspirations—even if, that is, Cukor never saw a play based on Little Women—he knew, as any early film-maker must have, that novels are the stuff of which we make dramas for performance. Indeed, Sarah Y. Mason and Victor Heerman wrote two scripts for films from this novel—in 1933 and 1948. Clearly, they spied sentimental gold in these materials. But the commercial exploitation of this potential had to wait until the twentieth century. The obvious explanation for this lack of contemporary theatrical response to Little Women, Little Men, etc., is that Alcott and her work were "respectable" and the stage during her day was not. In other words, the novels appealed to people who would not attend the playhouses of the day, and did not appeal to those who were playgoers. When the playhouses became respectable, Little Women became a play. Yet Harriet Beecher Stowe's Uncle Tom's Cabin is far less theatrical in narrative manner than Alcott's Little Women, and Stowe was just as offended by the contemporary theatre as anyone could have been, and yet Uncle Tom's Cabin was extremely widely dramatized while Little Women and Little Men were not. Unlike Jane Austen and Louisa May Alcott—whose works waited until the twentieth century for dramatic derivatives—Mrs. Oliphant has been a virtually never-dramatized novelist. Her social milieu may help to explain why her books did not become plays. Her involvement with the contemporary theatre was minimal.

the young Redeemer with its elaborate crisped hair shocked me with a sense of profanity, but the old heads [of the Jews] I could believe in. Some analogous aversion to the vulgarization of the Shakespeare appears in her reports that she cannot recollect whether it was then or after, that an equally great disillusionment in the theatre befell me. The play was 'Twelfth Night,' and the lovely beginning of that play'That strain again! It had a dying fall' - was given by a body in white tights lying on a sofa and balancing a long leg as he spoke. The disgust, the disenchantment, the fury remain in my mind now. Once more I came tumbling down from my ideal and all my anticipations. Mrs. Charles Kean was Viola, and she was middle-aged and stout! I was more than disappointed, I was angry and disgusted and cast down. What was the good of anything if that was all that Shakespeare and the great Masters could come to?10 In general, she belonged to a culture of books and magazines (especially Blackwoods, to which she contributed, and later Cornhilt). She and her friends valued conversation. She certainly belonged to several respectable

9

"Autobiography," in Autobiography and Letters of Mrs. Margaret Oliphant. (Leicester: Leicester University, 1974), p. 16.

10 Ibid., p. 21.

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INTRODUCTION social sets during her lifetime which included clergymen; but she did not live in a society that indulged often in the pleasures of public much less professional performances. Mrs. Oliphant for example knew Mrs. S. C. Hall, the Irish novelist, and was invited to her parties with "literary people of the most prominent and conventional type, rather satisfying to the sense on the whole, as the sort of thing one expected." She knew for example the painter Rosa Bonheur, an Irish rebel named Gavan Duffy, assorted spiritualists, and an American lady novelist called Grace Greenwood. She traveled in circles that admitted bohemians from time to time but were not themselves bohemian. Her autobiography conveys a sense of fairly relaxed respectability. She once met Mrs. Browning. Mrs. Oliphant read George Eliot, Anthony Trollope, and Charlotte Bronte; she visited with a Biblical scholar and professor at Aberdeen.11 She remembers visiting Carlyle in Cheyne Row, and she became a friend of Mrs. Carlyle. Her life displays a kind of Victorian high seriousness that mostly excluded the frivolity of the playhouse. Theatre people were not generally in her set-though there were exceptions. She did for example encounter the famous actress Charlotte Cushman, who recited Kingsley's "The Sands of Dee" at a party in a voice "without any apparent tune in it, like the voice of a skipper at sea." Mrs. Oliphant found herself "rather afraid of the performer." Years later she met Miss Cushman in Paris, and remembered that she had not liked her on first meeting but liked her now, when the tragic actress "touched my heart with her evident deep knowledge of trouble and sorrow."12 In London at the Halls' house, she met a Mr. Lovell, a playwright whose work, "The Wife's Secret," struck her as "one of the most conventional and unreal possible."13 So she did go to the theatre occasionally; but in retrospect she mentions it only in passing, and only insofar as it bore on some other remembered event. She does admit, in one of her letters, that

miserable conventional fooling. The other plays were better; one a posthumous production of Lord Lytton's, very highflown and magnificent. It was, however, played to an empty house, which was very dismal, and made one very compassionate to the actors.14 Looking back, she remembered that, when she was living in Windsor, for the children, ... we began to have theatricals, which grew into more and more importance, till we used to play Shakespeare and Moliere in my little drawing-room, alternating with innocent versions of "Barbe Bleue," &c., but that in the earlier days. I never attempted any performance myself but once, that of Mrs. Hardcastle in "She Stoops to Conquer." Of course the great inspiration of these performances was Mr. Frank Tarver, an Eton master, an excellent amateur actor, who, as he very soon fell in love with Sara, made himself prime minister, or, at least, master of the revels, with great energy, and helped to keep up the circle of amusement.15 It wasn't the drama per se that Mrs. Oliphant eschewed or largely ignored; instead, it seems to have been the professional contemporary theatre. She met Tennyson fairly late in his life, in London, and remembered that in her presence the conversation had turned on the great poet's play "The Falcon" -now more forgotten, I think, than any of his others, though it seemed to me much the most effective of them. I said something about its beauty, and that I thought it just the kind of entertainment which a gracious prince might offer to his in retrospect guests; and he replied, with a sort of indignant sense of grievance, "And they tell me people won't go to see it."16

It is the time of theatres, as you know, and we went at that branch of pleasuring systematically, going to four plays, one the most idiotic performance I ever saw, the latter part being a burlesque of Faust intended to be funny, at which we all assisted with solemn countenances. I never was more ashamed of myself than I was of spending several hours of time and a good deal of money upon such

Mrs. Oliphant lived on one side of a kind offence between her own social world, and the world of the theatre.

11 Ibid., pp. 67-8.

14

Ibid., p. 272.

12

Ibid., p. 104.

15

Ibid., p. 119.

Ibid., p. 35-9.

16

Ibid.., p. 137.

13

xvi

INTRODUCTION Very soon after the appearance of her novel, Mrs. Stowe received a request from Asa Hutchinson that he be given the rights to dramatize the novel, and she replied,

When she attended a dinner party in the 1870s, she recalled, there were some actor-gentlemen of the party ... furtively regaled with beef after the lighter quips and fancies of the feast, and rather ignored in consequence by us finer people who had feasted on about twenty of the daintiest dishes in the world.17

I have considered your application and asked advice of my different friends, and the general sentiment of those whom I have consulted so far agrees with my own, that it would not be advisable to make that use of the work which you propose. It is thought, with the present state of theatrical performances in this country, that any attempt on the part of Christians to identify themselves with them will be productive of danger to the individual character, and to the general cause. If the barrier which now keeps young people of Christian families from theatrical entertainments is once broken down by the introduction of respectable and moral plays, they will then be open to all the temptations of those who are not such, as there will be, as the world now is, five bad plays to one good. However specious may be the idea of reforming dramatic entertainments, I fear it is wholly impracticable, and as a friend to you should hope that you would not run the risk of so dangerous an experiment. The world is not good enough yet for it to succeed. I preserve a very pleasant recollection of your family, and of the gratification I have derived from the exercise of your talents, and it gives me pleasure to number you among my friends.

Mrs. Oliphant knew someone who worked in the office of the licenser of plays, a Mr. Piggot, to speak to him-as she did indeed do about a particular play that she wished to read.18 But she seems to have viewed the theatre mainly from the point of view of the controlling upper classes, rather than that of the participating lower and bohemian classes. Mrs. Oliphant had an audience with the Queen in 1886, and she subsequently received a gift of a copy of the Queen's Journals in the Highlands. In 1890 she was in Jerusalem, as her letters describe. It seems fair to say that her life followed a vector toward the respectable, the establishmentarian, and the spiritual; such a journey generally did not include the stage in any prominent way. Only very seldom did she write either for the real stage or even the closet theatre of the mind. Only just at the end of her life, in 1897, did she dramatize a novel called "Esmond", and then only to learn that two other dramatized versions had appeared on stage-of which she evidently had not heard.19 Not a single title amongst her publications is a play. Moreover, The British Library General Catalogue of Printed Books to 1975 usually shows plays derivative from novels at the end of the listings of narrative publications for each author. Not a single such derivative play appears in the listings under "Margaret Oliphant." For such reasons she epitomizes the kind of nineteenth century novelists whose works were not dramatized. A third important point to make, by contrast, is that another kind of nineteenth century novel was more widely produced in dramatic versions than almost any play written originally for the stage. This category includes many of Scott's novels, many of Dickens's novels and stories, and one of Harriet Beecher Stowe' s. Although Mrs. Stowe had many of the same attitudes toward the theatre as Mrs. Oliphant, the public and theatrical response to one of her novels— Uncle Tom's Cabin —was completely different.

17

Ibid., p. 139.

18

Ibid., p. 273.

19

Ibid., p. 431. See Nicoll, History of English

Drama, (V, 628).

The novel was nevertheless dramatized without her permission (though not by Mr. Hutchinson). Mrs. Stowe did eventually see a production a derivative play and was not apparently pleased by what she witnessed.20 Indeed the vast theatrical and popular response to historical monuments such as Uncle Tom's Cabin is—from the point of view of literary history—something like the hidden part of an iceberg. Those of us who have been trained in some aspect of traditional, academic literary studies will certainly know, or at least know about, Harriet Beecher's Stowe's novel; we will not, in the main, however, know much about the hundreds and hundreds of separate productions of "Uncle Tom" plays. Evidence of them lies

20

See the plays for 1852-1853. The version that Mrs. Stowe saw was probably the one by Conway, and playing in Hartford, Connecticut at the time, but it originated in Boston. xvii

INTRODUCTION hidden below the published surface of history, in the dusty theatrical archives of several countries. However, one serious student, Birdoff, has understandably called this "the world's greatest hit."21 President Lincoln is said to have observed that the novel caused the American Civil War. This must have been even more true of the theatrical versions of the story than of the original novel. Something basic in the historically important antislavery novel communicated beyond the printed page, to the live performer and audience. Think whatever you please about the literary merit of Uncle Tom's Cabin; think whatever you like about the sentimental picture or overly harsh picture of slavery that the novel may give: this book had an enormous popular impact. That great appeal is resoundingly confirmed in the pages that follow.22 Nor is it just that Uncle Tom's Cabin has proved pre-eminently popular among novels composed by women; it has proved almost as popular as any other novel written by anyone during the nineteenth century. Only two novels—both of which got a head start on Uncle Tom's Cabin by having been published thirty years earlier— exceeded it in the number of dramatizations: Sir Walter Scott's Rob Roy (1817) and Guy Mannenng (1815) have been dramatized at least 1042 and 930 times respectively. These two books, without doubt, were the novels most celebrated on the nineteenth century stage by the ultimate popular compliment of imitation by staged production. By comparison, Mrs. Stowe's 1853 tale provoked about 580 dramatizations (in the same venues). Today we see on stage only the dramatic versions of Dickens' novels; but Dickens's most popular books, Oliver Twist (1837-39) and Nicholas Nickleby (1838-39), have bred only about 460 and 308 dramatic versions, respectively (at least for which evidence appears in the same records). Such merely numerical comparisons give somewhat distorted views of the theatrical posterities of these novels because, of course, those published earlier had longer opportunity to inspire the playmakers. A look at the average number of dramatizations per year makes plain that dramatizations of Uncle Tom's Cabin rival the most popular of all such plays— dramatizations of Rob Roy and Guy Mannenng.

Conclusions Figure 1 gives rough comparative measures of the popularity of important novels as indicated by the mere number of dramatic derivatives. Figure 2 makes rudimentary quantitative comparisons between the theatrical popularity of narratives by women writers.

21

Birdoff, Harry. The World's Greatest Hit—Uncle Tom's Cabin. New York: S. F. Vanni, 1947. 22

See the list of plays derivative from the novel and the introductory notes to that list.

These seven narratives account for more than 1,600 productions—or well over half of the dramatized narratives—in these present records. Chronologically earliest, and disguised in the form of plays by Thomas Southern, two narrative works by Aphra Behn—The History of the Nun; or, the Fair Vow-Breaker, and Oroonoko; or, the Royal Slave—regularly attracted popular attention for almost 200 years. Not only has Aphra Behn been largely forgotten as the author of narratives and plays by all but the most specialized scholars; her contribution to the history of theatre has also been partly obscured by Southern's borrowings. Beyond this kind of particular conclusion, the following pages may lead the historian to contemplate the relative "success" of various published narratives with their publics. The production records of dramatizations deliver the collective judgements of contemporary play-makers and playgoers. Over time, these indicate the judgments of both short and longer term posterity. We can tell, for instance, that in the popular imagination Jane Eyre has proven much more attractive to a broad segment of the public than Wuthering Heights—both on first publication, and during the subsequent century and a half. Such large-scale, broadbrush comparisons are possible to make with some assurance, based upon the data in the following pages.

POPULARITY OF SELECTED NOVELS AS ESTIMATED BY AVERAGE ANNUAL PRODUCTIONS OF DRAMATIZATIONS 1800-1900 Rob Roy 12.2 Guy Manner ing 10.8 Uncle Tom's Cabin 10 5 East Lynne 5.2 Oliver Twist 4.3 Nicholas Nickleby 3.4 Jane Eyre 1.5 Frankenstein 1.4 Plays based on Scott's Rob Roy and Guy Mannenng were the only dramatizations that have proved more popular than stage versions of Uncle Tom's Cabin. My only doubt or qualification in making this assertion must lie in the caution of noting that U.S. provincial productions by touring companies of "Uncle Tommers"—which are mostly not included in these records—may well have been so numerous as to tip the merely numerical scales in the direction of Uncle Tom's Cabin.23 Mary Shelley's novel of horror, Frankenstein, is

ants was a dramatization of 'Fortunee', a fairy-tale by Madame d'Aulnoy that appeared in her

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D'AULNOY

1058.

The scenery included, Act I, Scene 1, "Market-Cross and Dilapidated Mansion of Baron Dunover;" Scene 2, "Haunt of the Fairies;" Scene 3, "Distant View of the Palace of King Alfourite;" Scene 4, "Apartments in the Palace;" Scene 5, "Courtyard of the Palace, with Royal Stables and Gardens;" Act II, Scene 1, "Hall of Audience in the Palace of the Emperor Matapa;" Scene 2, "The Orange Walk;" Scene 3, "The River Side;" Scene 4, "Apartments in the Palace of King Alfourite;" and Scene 5, "The Royal Gardens and Treasure-Trove."

PLA Y: FORTUNIO AND THE SEVEN GIFTED MEN; OR, HARLEQUIN AND THE HORSE. PANTOMIME PLAYWRIGHT. UNKNOWN (MON) 8 MAY 1820 AT COBURG, LONDON NICOLL (IV, 463). 1059. PLAY: FORTUNIO [; OR, THE] AND HIS SEVEN GIFTED SERVANTS. A FAIRY EXTRAVAGANZA. 2 ACTS. 36 PP PLAYWRIGHT: J. R. PLANCHE; SCENERY BY MESSRS. MARSHALL, TELBIN, & DANSON; MACHINERY BY EDMUND BRAD WELL (MON) 17-22, 24-29 APR, 1, 2, 5, 6, 8-13, 15, 17, 18, 20, 22-26, 29, 30 MAY, 1, 3, 5-7, 8, 9, 13, 14 JUNE 1843 AT DRURY LANE, LONDON (ABOUT FORTY PERFORMANCES) BL BILLS (VOL 29) NICOLL (IV, 382) LC—ADD MS 42967 (FF 310-343B) LONDON: G. BERGER, 1843—DUODECIMO; LACY, VOL XIX; OCTAVO 1843 (SONGS); OCTAVO 1879 (IN EXTRAVAGANZAS); "FORTUNIO AND HIS SEVEN GIFTED SERVANTS," IN ENGLISH PLAYS OF THE NINETEENTH CENTURY: V: PANTOMIMES, EXTRAVAGANZAS AND BURLESQUES, ED MICHAEL R. BOOTH (OXFORD: CLARENDON, 1976), PP. 119&FF The ms in the Lord Chamberlain's papers is in 24 folios, each about 7" wide by 9" high. The first title page reads "Dairy Lane. 4/10/43 4/11/43 Fortunio ! & 2." A second title page reads "Fortunio & His seven gifted Servants. In Two Acts." "Dram pers" are Emperor Matapa, King Allswrite (?), Chamberlain to King, Chamberlain to Emperor, Lightfoot, Strongback, Comrade, Boisterer, Tippler, Gourmand, Marksman, Fine-Ear, Baron Turnover, Herald, Minister, Page to King, Citizen, The Drag, Emperor's Officer, Page to Emperor, Fairy Queen, Myrtina (Fortunio), Flirtina, Pertina, Princess Vindicta, Princess Volante, and Florida. Act 1st, Scene 1st is "A Market Cross;" Scene 2nd is "Fairies' Haunt;" Scene 3r4d is "Chamber in the Palace;" Scene 4th is "Court Yard." Act 2d, Scene 1st is "Hall of Audience in the Emperor's Palace;" Scene 2nd is "The Race Course;" Scene 3rd is "Banks of a River;" Scene Last is "Fortunio and his Servants Enter." The bills for 25 April were red-lettered in part. Baron Dunover by Morris Barnett; Hon. Miss Pertina (his eldest daughter) by Mrs. Newcombe; Hon. Miss Flirtina (his second daughter) by Miss Ellis; Hon. Miss Myrtina (his youngest daughter, assuming the Name and Anns of Fortunio) by Miss P. Horton; Herald by Mr. S. Jones; Strongback by Howell; Lightfoot by J. C. Smith; King Alfourite by Hudson; Tipple by Yarnold; et al.

1060. PLAY: FORTUNIO [AND HIS SEVEN GIFTED SERVANTS]. FAIRY EXTRAVAGANZA. 2 ACTS PLAYWRIGHT: ANON (THURS) 12, 14 OCT, 1, 8, 24 NOV 1843 AT DRURY LANE, LONDON BL BILLS (VOL 30) Baron Dunover by Horncastle; et al. 1061. PLAY: FORTUNIO AND HIS SEVEN GIFTED SERVANTS. FAIRY EXTRAVAGANZA PLAYWRIGHT: PLANCHE 16 APR, 21 JUNE 1844 AT PARK THEATRE, NYC (24 PERFORMANCES BY 21 JUNE) ODELL (V, 14) Mrs. Hunt as Fortunio, and Miss Phillips as Pertina; Mrs. Lovell as Flirtina; and Mrs. Hunt as Myrtina; Mrs. Knight as Fairy Favourable; as well as Miss King, Miss Caldwell, and Miss Rogers. The gifted servants were H. Hunt as Strongback; Crocker as Lightfoot; Freeland as Marksman, Gourlay as Fine Ear; King as Gourmand; Gallott as Tipple; Wilmot as Boisterer; Chippindale as King Alfourite; Mrs. Vernon as Vindicta; Bridges as the Prime Minister; Forbes as the Lord in Waiting; Georgina Kinlock as Florida; Mrs. Burrows as the Page; Stilt as the Dragon; Fisher as the Emperor Matapa; Gann as the Grand Chamberlain; Miss Flynn as Princess Volante. Odell reports that this "proved to be a very great success" and notes that "Fortunio" was soon at the Bowery and other theatres." 1062. PLAY: FORTUNIO PLAYWRIGHT: UNKNOWN 4 JULY 1844 AT BOWERY, NYC ODELL (V, 26). 1063. PLA Y: FORTUNIO PLAYWRIGHT: UNKNOWN 28 OCT 1844 AT PARK THEATRE, NYC ODELL (V, 90) Mrs. Skerrett as Fortunio (a part that Odell describes as "Mrs. Hunt's great character").

142

D'AULNOY afterwards Harlequin; Prince Fal de ral - a "Mr. Nobody;" Prime Minister; Messenger; The Seven Gifted Servants Strongback (afterwards Clown), Lightfoot (afterwards Sprite), Tippler, Boisterer, Fine ear, Gobblem, and Markmem (?); Sprites included Firefly, Firetail, Stargaze, Torchlight, Twinkle, Sparkle, The Pricess Alfourite afterwards Pantaloon, Princess Fal de ral, Messenger, Guards, Courtirs, &c., Pomposo, Pertina, Fortunio afterwards Columbine, Sunlight the Fairy Queen, and the Fairy Court. Scene 1st was "Mystic clouding spangler with stars. Six sprites." Scene 2nd was "Grand Hall of Audience in the Palace of the Emperor of No Man's Land." Scene is "A Front Sene. Wilds and brushwood—sign post grotesquely painted written on To the Dragons Haunt. Strong music." Scene 4th is "A most picturesque scene. A regular pantomime set—supposed leading from the Dragon's Haunt—across the centre a set piece with double escritoire work painted as a river." Scene 5th is "Exterior of Prince Fal de ral's palace." Scene 6th I "Interior of the Palace of Prince Fal de Ral." Scene 7th is "Entrance to the palace of the Emperor Alfourite." Scene last is "Fairy Palace—a brilliant assemblage of the Fairy Court on Horse Back—The Horse Comrade Mounted on a pedestal—Golden Wreaths from Horse to Horse—at the opening of the scene Columbine ruins and Mounts Comrade—Colored Fires lighted on the Tableau. The pantomime Characters grouped in the front—the Fairies keeping the wreaths in constant motions during the following chorus The Seven gifted men Are here gain Ready their sports to renew If you come every night You'll find them all right To their orders correct and true. One cheering smile before you go In praise of great Fortunio Fortunio Fortunio In praise of great Fortunio."

1064. PL4F: FORTUNIO PLAYWRIGHT: UNKNOWN 4 OCT 1845, 29 JUNE 1846 AT PARK THEATRE, NYC ODELL (V, 168, 185) With Mrs. Skerrett, De Walden, Fanny Gordon, Kate Horn, Mrs. Wilkins, and Mrs. Vernon. In June Mrs. Hunt "made her first appearance in two years."

1065. PLAY: FORTUNIO AND HIS GIFTED SERVANTS. PANTOMIME PLAYWRIGHT: UNKNOWN 12 DEC 1846 AT NORWICH NICOLL (IV, 463) LC—ADD MS 42998 (4) (FF 193-198) The ms in the Lord Chamberlain's plays is in a large, loose, hurried hand. They measure 7.5" wide by 12.5" high. There is no title page. The first page is dated "12/12/46" and "Norwich Th" is indicated. The first scene is "Demon's Cave;" the second is "Fairy Dell;" the third is "All a Fright's Palace;" the fourth is "Course at Newmarket;" the fifth begins with "Enter Strongback ... ;" the ms ends with "Pink Lights & End of Opening." 1066. PLA Y: FORTUNIO PLAYWRIGHT: UNKNOWN 7 AUG, 9 OCT 1848 AT BOWERY, NYC ODELL (V, 353, 448) With Miss Taylor. 1067. PLA Y: FORTUNIO PLAYWRIGHT: UNKNOWN AUG 1850 AT NIBLO'S GARDEN THEATRE, NYC ODELL (V, 569).

1069. PLAY: FORTUNIO PLAYWRIGHT: UNKNOWN MAR 1855 AT NATIONAL, NYC ODELL (VI, 374).

1068. PLA Y: FORTUNIO PLAYWRIGHT: UNKNOWN 1852 AT UNKNOWN THEATRE LC—ADD MS 52935 (V) The ms in the Lord Chamberlain's collection of plays is 30 folios of light blue paper, each measuring about 8" wide by 9.5" high. The hand is legible and the copy is fair, without amendments. The title page reads "1852 Mss. Received October 28/ License sent 29. W. B. D.I An Original/ Comic Pantomime/ expressly written for Mr. Batty entitled/ Fortunio/ and his Horse Comrade or; Harlequin and the Seven Gifted Men/ for/ Astley's Royal Amphitheatre." The "Characters" are Emperor Alfourite "an unfortunate

1070.

PLAY: FORTUNIO PLAYWRIGHT: UNKNOWN 14 MAR, APR 1856 AT BURTON'S, NYC ODELL (VI, 437-8). 1071.

PLAY: FORTUNIO PLAYWRIGHT: UNKNOWN

143

D'AULNOY 14 JUNE 1858 AT NATIONAL, NYC ODELL (VII, 51) H. F. Stone as Baron Dunover.

LE RAMEAU D'OR

1072. />Z^ 7: FORTUNIO PLAYWRIGHT: UNKNOWN 22 JUNE 1860 AT NEW BOWERY, NYC ODELL (VII, 245) With Fanny Herring.

THE GOLDEN BRANCH (1717) Says J. R. Planche. '"The Golden Branch' appeared in English, in a book entitled "The Diverting Works of the Countess d'Anois," London, 1717. It is one of the most elaborate and original of the series. The corresponding adventures of Torticoli and Trognon in the tower have an oriental air about them, and are agreeably contrasted by the pastoral scenes that follow their transformation."

1073. PLAY: LADY BELLE BELLE; OR, FORTUNIO AND HIS SEVEN MAGIC MEN. EXTRAVAGANZA PLAYWRIGHT: H. J. BYRON; MUSIC BY RIVIERE 26 DEC 1863 AT ADELPHI, LONDON LC—ADD MS 53028 (N); NICOLL (V, 296, 782) LACY The ms in the Lord Chamberlain's collection of plays is 38 folios of light blue paper, each measuring about 7" wide by 9" high. The copy is fair but the handwriting is occasionally hard to read. The title page says "Lady Belle, Belle or Fortunio & his/ Seven Magic Servants/ A comic fairy tale in one act/ by H. J. Byron Esq/ Licencers Copy/ Mr. B. Webster; New Royal Adelphi/ Strand/ 1863/ Received December 21/ License set 227 W. B. Donne." There is no list of characters Scene 1st is "Exterior of Count Collywabbles House." Scene 2nd is "The Palace of King Courtly." Scene 3rd is "Mutaypa's (?) Palace." Scene 4th is "The Race Course." Scene 5th is "King Courtly's Palace."

Published dramatizations:

Planche, J. R. The Golden Branch ... (Founded upon the Countess D 'A nois Story, 'Le Rameau D 'Or') by J. R. Planche ... Etc (1850). See also [Songs, Duets, Chorusses] 1847—Octavo. Planche, J. R. The Golden Branch. London: Lacy, nd—vol XIX. Planche, J. R. "The Golden Branch" in The Extravaganzas ofJ. R. PlanchQ, eds. Dillon & Croker, vol. Ill, pp. 181 &ff. London: Samuel French, 1879.

1074. PLAY: FORTUNIO PLAYWRIGHT: UNKNOWN; MUSIC DIRECTED BY FRANK A. HOWSON 3 JUNE 1872 AT UNION SQUARE THEATRE, NYC ODELL (IX, 203) William H. Crane as King Alforite; Nellie Allen, Jennie McClellan; H. E. Andrew; H. T. Allen; H. H Pratt; Charles H. Drew, A. W. Maflin; J. H Jones; Kate Heathcote; and E. Horn.

1076. PLAY: THE GOLDEN BRANCH. FAIRY EXTRAVAGANZA. 2 ACTS PLAYWRIGHT: ANON [AUTHOR OF "THE SLEEPING BEAUTY," "BEAUTY AND THE BEAST," "THE WHITE CAT," &C.—I.E., J. R. PLANCHE]; MUSIC BY R. HUGHES; DANCES BY OSCAR BYRNE; SCENERY BY W. BEVERLY AND J. MEADOWS; MACHINERY BY SLOMAN; ETAL (MON) 27-31 DEC 1847, (SAT) 1, 3-8, 10-15, 17-22, 24-29, 31 JAN, 1-5,7-12, 14-19, 21-26, 28, 29 FEE, 1-4, 6-11, 13-18, 20, 21 MARCH, 4, 6, 7 APRIL, 13 JULY 1848 AT LYCEUM, LONDON (ABOUT 77 PERFORMANCES) LC—ADD MS 43008 (FF 823-862B) BL BILLS (VOLS 149; 150, I; 168, 2; 360; 392); NICOLL (IV, 382; V, 44)

1075. PLAY: FORTUNIO PLAYWRIGHT: UNKNOWN; SCENERY BY BURRIDGE 23 APR 1883 AT COSMOPOLITAN, NYC ODELL (XII, 62) Odell notes that this revival had in the cast Adelaide Randall, Jennie Prince, William H. Fitzgerald, Lithgow James, and S. W. Keene. It featured a chorus of sixty beautiful young ladies.

144

D'AULNOY could not see the stuff they were made of. She wore a hat trimmed with white and scarlet feathers, and the pear called Peregrina, which is as big as a small pear, and of inestimable value, hanging from the agraffe of diamonds which looped up her hat. Her hair hung loose upon her shoulders and forehead: her neck was a little bare, and she worth a farthingale. She had upon her finger the king's large diamond, which it is pretended is the finest in Europe.—'Travels in Spain,' and 'Memoirs of the Court of Spain.'"

THE GOLDEN BRANCH ... (FOUNDED UPON THE COUNTESS D 'ANOIS STORY, 'LE RAMEA U D 'OR') BY J. R. PLANCHE ... ETC (1850); SEE ALSO [SONGS, DUETS, CHORUSSES] 1847—OCTAVO; SEE ALSO IN EXTRAVAGANZAS, III, NP: NP, 1879; LACY, VOL XIX The ms in the Lord Chamberlain's plays is in forty (40) folios each measuring about 7.5" wide by 9" high. A note on the front cover indicates that this is "for representation at the Royal Lyceum Theatre on the 27th December 1847." The ms gives the following dramatis personae'. King Brown, Prince Humpy, Quive (captain of the Guard), Princess Dumpy, Suivanta (?) Trausimenus, Humguffm, Quake, Benigranto (?), Mandragora, and Pastorella. Humguffm by Frank Matthews (or S. Smith); Mandragora by MacNamara; Blueruino by H. Marshall; Pastorella by Miss Marshall; King Brown by H. Hall; Prince Humpty by Miss Kathleeen Fitzwilliam; Suivanta by Madame Vestris; et al. Act I, Scene 1 is a "Cabalistic Cavern;" Scene 2 is "The Brown Study of King Brown;" Scene 3 is "A Room in the Round Tower;" Act 2, Scene 1 I "A Gallery in the Palace;" Scene 2 is a "Pastoral Landscape;" Scene 3 is "A Forest;" Scene 4 is a "Hall in Enchanter's Castle."

Published dramatizations: Planche, J. R. Graciosa and Percinet. London: S. G. Fairbrother & W. Strange, 1845—Duodecimo. Planche, J. R. Graciosa and Percinet; an Original Fairy Extravaganza in one act ... Founded on the Popular Nursery Tale by the Countess D'Aulney. 1850. Planche, J. R. Graciosa and Percinet. London: Lacy (vol XX). Planche, J. R. "Graciosa and Percinet" in The Extravaganzas ofJ. R. Planche, eds. Dillon & Croker, vol. II, pp. 297 & ff. London: Samuel French, 1879-Octavo.

1077. PLAT. THE GOLDEN BRANCH. BALLET PLAYWR1GHT.N/A 20 DEC 1875 AT TIVOLI, NYC ODELL(X, 91).

1078. PLAY: GRACIOSA AND PERCINET. GRAND MUSICAL FAIRY EXTRAVAGANZA. 1 ACT. 30 PP PLAYWRIGHT: ANON [BY THE AUTHOR OF "THE FAIR ONE WITH THE GOLDEN LOCKS," "THE DRAMA OF HOME," "FORTUNIO" ETC—I. E., J. R. PLANCHE] SCENERY BY G. MORRIS; MACHINERY BY W. ADAMS; DRESSES BY MISS CHERRY AND MR. BARNETT; APPONTMENTS BY T. IRELAND; MUSIC BY T. GERMAN REED (THURS) 26-28, 30, 31 DEC 1844, 1-4, 6-11, 13-18, 2025, 27-31 JAN, 1, 4, 7 FEE 1845 AT HAYMARKET, LONDON GRACIOSA AND PERCINET; AN ORIGINAL FAIRY EXTRA VAGANZA IN ONE ACT ... FOUNDED ON THE POPULAR NURSERY TALE BY THE COUNTESS D 'A ULNOY(1850); LONDON: S. G. FAIRBROTHER & W. STRANGE, 1845—DUODECIMO; LACY VOL XX; IN EXTRAVAGANZAS, II, 1879—OCTAVO NICOLL (IV, 382) LC—ADD MS 42980 (32) (FF 921-930) BL BILLS (VOLS 140, 2; 141, 1; 168, 1; 359) The ms in the Lord Chamberlain's papers is in 10 folios

GRACIOSA ET PERCINET

GRACIEUSE AND PERCINET Planche thinks that " this story bears ... internal evidence of being a coup d 'essai. It is slighter in plot, and the repetition of incident weakens the interest of what there is of it. Several English versions of it have been published under the title of "Graciosa and Percinet." In this very first story the effects of Madame d'Aulnoy's residence at the court of Madrid is to be seen. She tells us that Grognon 'determined to make her entree on horseback, because she had heard it was the custom of the Queens of Spain.' Madame d'Aulnoy was present at the entree of Marie d'Orleans, queen of Charles II. of Spain, into Madrid, January 13th, 1680. The Queen, she tells us, rode on a fine Andalusian horse, which the Marquis de Villa Mayna, her first gentleman, led by the reins. Her clothes were so richly embroidered that you

145

D'AULNOY ODELL (V, 294) "Recently revived," says Odell.

of loose, large fair hand. The ms title page is without notation other than the date "12/19/44." Title page verso is dated 18th? Dec. 1884, with the note that 'With the permission of the Right Honble the Lord Chamberlain, of Her Majesty's Household, this Extravaganza will be acted at the Theatre Royal, Haymarket, on Dec 26th." Scene 1 is a "Hall in the Castle of the duchess of Grognon;" Scene 2 is "Palace Gardens;" Scene 3 is "Court Yard of the Palace;" Scene 4 is "A Forest;" Scene 6 is unspecified as to location; Scene 7 is a "Prison." "Founded on the popular Nursery Tale by the Countess D'Aulnoy," says the title page. "Founded on the popular nursery tale, by the Countess D'Anois," says the playbill. King Uxorious by J. Bland; Lord Nimroddy by Caulfield; Percinent by Miss P. Horton; Princess Graciosa by Miss Julia Bennett; The Duchess Grognon by Mrs. Stanley; et al. The bill promotes scenery: "Gardens of the Royal Palace," when the music included "A Movement in Four flats." Also displayed were the "High Road to City, Chamber in the King's Palace," the "Tilt Yard of the Royal Palace, with the Lists set out for a Grand Tournament," a "Forest with Fancy Ball and Fete Champetre," "Battlements of the Chrystal [sic] Palace," a "Chamber in the Royal Palace," a "Landscape" at evening, and "The Chrystal Palace of Percinet at the bottom of the well." Very particularly promoted was a display of the scene-painter's art, and the piece was "To conclude with a Grand Moving Diorama; or, Pictorial Tour in Switzerland," which began with "Town and Lake of Zurich," and proceeded to "Tower of Wellenbug, the "Valey of Sihlbrucke," and a "grand panoramic view from the Albis, and snowy Chain of the Alps," as well as "Tell's Chapel on the Lake of Uri" and the "Vale of Hasli & Snowy Peaks of the Great Scheideck" with "Glaciers of Grindelward at Sunset" and "Moonlight on the JungFrau and Wengern Alps." Not excluded was the "Dungeon of Chillon" and "Lake Leman" and a "general view of Geneva."

1081. PLAY: GRACIOSA AND PERCINET PLAYWRIGHT: UNKNOWN 23 NOV 1847 AT OLYMPIC, NYC ODELL (V, 370-1) With Miss Taylor as Graciosa; Mrs. Timm as Percinet.

SERPENTIN VERT THE GREEN SNAKE (1855) (ISLAND OF JEWELS) Says J. R. Planche, "SERPENTIN VERT is a story that has been altogether neglected by English translators; and, substituted for it in 'The Collection,' we find 'Young and Handsome,' the 'Jeune et Belle' of Madame de Murat. 'Serpentin Vert,' which I could only render in English, 'Green Serpent,' is a singular story, and were it not for the incongruous and rather clumsy employment of mythological machinery in the working out of its denoument, might rank with the happiest of Madame d'Aulnoy's inspirations. We might tolerate Cupid, but Proserpine and the Infernal Regions are too much out of keeping with the rest of the picture, and there is something altogether "lame and impotent" in the conclusion. The idea of the effect produced by Love, although 'hidden in the hearts of the young people,' upon the Fairy Magotine, is poetical enough, but it does not harmonize with the subject. Madame de Beaumont has a story entitled 'Bellotte and Laidronette,' names which I presume she must have taken from this tale. 'Serpentin Vert' will be recognised perhaps by some of our readers as the foundation of my extravaganza, 'The Island of Jewels.' In the portrait of Madame d'Aulnoy, affixed to this volume, will be found a pictorial illustration of the bow of riband worn on the muff at that period, and mentioned at page 305."

1079. PLAY: GRACIOSA AND PERCINET PLAYWRIGHT: PLANCHE [ADAPTED BYW. K. NORTHALL] 15 SEPT, 6 OCT 1845 AT OLYMPIC, NYC ODELL(V, 208-9, 211) Nickinson as King Uxorious; Mary Taylor as Percinet; Conover as Lord Nimroddy; Everard as Nibletongue; Clark as Handyman; Levere as Safelock; Miss Clarke as Graciosa; Miss Roberts as the Fairy Crystallina; and Mrs. Deering as Duchess Gorgon.

Published dramatizations: Planche, J. R. The Island of Jewels: A ... Fairy Extravaganza in Two Acts [and in verse]. Founded on the Story "Serpentin Vert, " by the Countess D'Aulnoy]. London: NP: 1850.

1080. PLAY: GRACIOSA AND PERCINET PLAYWRIGHT: UNKNOWN FEE 1847 AT OLYMPIC, NYC

Planche, J. R. The Island of Jewels. Lacy's Acting Edition of Plays, Vol. 19. [1850].

146

D'AULNOY Act 1st, Scene 1st is "Grand Ball Room in Palace of Pharitale." Scene 2nd is "A lonely Tower." The scene "changes to a magnificent palace.' Act 2nd, Scene 1st is "Aqua Marine first Water Gate of the Palace Gardens in the Island of Jewels." The scene becomes a " Basaltic Cavern." Scene 3rd is "Rocky Pass, and foot of the Steel Mountain." Giligingerbread the Great, King of Pharitale, by Frank Matthews; Tinsellina, Queen of Pharitale, by Mrs. MacNamara; Princess Bellotta by Miss Kenworthy; Lady Fidelia by Madame Vestris; Prince Prettiphello by Miss Isabel Dickinson; Count Mereecho by Honner; Usher by Kerridge; Attendant by De Courcy; Fairy Benevolentia by Miss Martindale; Fairy Magoline by Miss E. Honner; et al. The scenery was of course especially featured.

Planche, J. R. "The Island of Jewels," in The Extravaganzas ofJ. R. Planchi, eds. Dillon & Croker, vol. IV, pp. 5 & ff. London: Samuel French, 1879--Octavo. Planche, J. R. "The Island of Jewels" in English Plays of the Nineteenth Century: Pantomimes,Extravaganzas and Burlesques, Vol 5, ed., Michael R. Booth. Oxford: Clarendon, 1976, pp. 202-46.

1082. PLAY: THE ISLAND OF [THE] JEWELS. FAIRY EXTRAVAGANZA. 2 ACTS PLA YWRIGHT: ANON ["AUTHOR OF THE GOLDEN BRANCH,' 'KING OF THE PEACOCKS,1 &C."—I.E., J. R. PLANCHE] (WED) 26-29, 31 DEC 1849, (TUES) 1-5, 7-12, 14-19, 21-26, 28-31 JAN, 1, 2, 4-9, 11-16, 18-23, 25-28 FEB, 1, 2,4-9, 11-16, 18-23 MAR, 1-6, 8-13, 15-20, 22-27, 29 APR, 2, 3, 4, 6-11, 14-18, 21, 24, 27-31 MAY, 1, 3-8, 10-15, 17 JUNE 1850 AT LYCEUM, LONDON (135 PERFORMANCES) BILLS IN BRITISH LIBRARY (VOLS 150, II; 151, I; 392); LARGE BILL/POSTER IN OXBODJJ PLANCHEST NICOLL (IV, 383) LC—ADD MS 43023 (31) (FF 943-982) PLANCHE, J. R. THE ISLAND OF JEWELS: A ... FAIRY EXTRAVAGANZA IN TWO ACTS [AND IN VERSE. FOUNDED ON THE STORY "SERPETIN VERT, " BY THE COUNTESSD 'A ULNOYJ. LONDON 1850. [SHELFMARK 11781.d. 26. (9.)]; ALSO LACK'S ACTING EDITION OF PLAYS, VOL. 19. [1850]; IN EXTRA VAGANZASIV, NP: NP, 1879—OCTAVO; SEE ALSO "THE ISLAND OF JEWELS" IN ENGLISH

1083. PLA Y: THE ISLAND OF JEWELS PLAYWRIGHT: UNKNOWN 26 JUNE TO 20 JULY & AUG 1850 AT NIBLO'S GARDEN THEATRE, NYC ODELL (V, 568) Nickinson as Giltgingerbread the Great; and Conover as Count Meriko; Sefton as Viscount Carbuncle; Miss Nickinson as Prince Prettiphello; Mrs. Vernon as Queen Tinsellina; Emma Taylor as Princess Bellotta; Miss J. Barton as Princess Laidronella; Mary Taylor as Lady Fidelia; Mrs. Conover as Fairy Benevolenta; Mrs. John Sefton as Fairy Magotine; and Miss Tayleure as California. Odell remarks that "I doubt if a more beautiful or more gifted aggregation of ladies was then procurable throughout the entire theatre-land of America."

LA BICHE AU BOIS

THE HIND IN THE WOOD (1855)

PLAYS OF THE NINETEENTH CENTURY: PANTOMIMES, EXTRAVAGANZAS AND

Says Planche, "This charming story was likewise most unaccountably discarded by the collectors; but as 'The Hind in the Forest,' two or three English versions have appeared in other publications, and it has been more than once dramatized. My own version was entitled The Prince of Happy Land, or the Fawn in the Forest;' The Hind in the wood,' as I have here translated it, is nearer to the original. Its commencement slightly reminds us of the Princesse Printaniere, but the story is a much more agreeable one."

BURLESQUES, VOL 5, ED MICHAEL R. BOOTH. (OXFORD: CLARENDON, 1976), PP. 202-46 The ms in the Lord Chamberlain's plays is 40 folios of fair copy on light blue paper—very legible. The title page reads "For representation at the Royal Lyceum Theatre on 26th Decemr 18497 Decer. 18th 1849. License returned. December 21.1849. / Island of Jewels. / In Two Acts." "Dram: Pers:" are King Pharitale; King Emerald; Prince Prettiphello; Count Merecca; Lord Carbuncle; Usher; Attendant; Serpent, Fairy Magotine; Fairy Benevolentia; Queen; Princess Bellotta; Priness Laidronetta; and Fidelia.

Published dramatizations: Planche, J. R. Prince of Happy Land

147

... A ... Fairy

D'AULNOY Extravaganza in two Acts [and in verse], Founded on the Countess D 'Aulnoy 's Popular Story "La Biche au Bois" London, 1852. Planche, J. R. Prince of Happy Land [1852];

followed by various songs, whose lyrics constitute the last pages of the ms. The cast from the bills included Felix by Miss Julia St George; The Grand Duke of Vert and Venison by Frank Matthews; Count Clever by Basil Baker; Signor Prospero by Honner; Fioretta by Madame Vestris, Scenery was of course much promoted on the bills for this production.

Fairbrother, nd

Planche, J. R. "Prince of Happy Land; or, the Fawn in the Forest," in The Extravaganzas of J. R. Planche, eds. Dillon & Croker, vol. IV, pp. 169 &ff. London: Samuel French, 1879.—Octavo.

1084. PLAY: [THE] PRINCE OF THE HAPPY LAND; OR, THE FAWN IN THE FOREST FAIRY EXTRAVAGANZA. 2 ACTS PLAYWRIGHT: ANON [J. R. PLANCHE]; MUSIC BY J. H. TULLY; MACHINERY BY H. SLOMAN; DRESSES BY SMITHYES ET AL\ DANCES AND ACTION BY OSCAR BYRN 26 DEC 1851, (THURS) 1-3, 5-10, 12-17, 19-24, 26-31 JAN, 2-7. 9-14, 16-21, 23-28FEB, (MON) 1-6, 8-13, 1520, 22-27 MARCH 1852 AT LYCEUM, LONDON (ABOUT 79 PERFORMANCES) BRITISH LIBRARY BILLS (VOLS 151, 2; 152, 1; 168, 2); LARGE BILL/POSTER IN OXBODJJ PLANCHEST NICOLL (V, 527) LC—ADD MS 43038A (FF 895-94IB) J.R. PLANCHE, PRINCE OF HAPPY LAND ... A ... FAIRY EXTRAVAGANZA IN TWO ACTS [AND IN VERSE], FOUNDED ON THE COUNTESS D'AULNOY'S POPULAR STORY "LA BICHE AU BOIS". LONDON, 1852 [SHELFMARK 11781.d.26.(17.)]; FAIRBROTHER, ND [1852]; IN EXTRAVAGANZAS, IV, 1879—OCTAVO The ms in the Lord Chamberlain's plays is in 47 folios of fair copy, each measuring about 7" wide by 9" high. The title page says "For representation at the Royal Lyceum Theatre on 26th December 1851." Also inscribed thereon is "License sent December 22 1851/ W.B.D." The "Characters" in the ms are Grand Duke, Prince Felix, Ambassador, Prospero, Couleur de Rose, Usher, Page, 1st Hunter, Black, Grand Duchess, Princess Desiderata, Princess Nigretta, Suivanta, Fairy Anan, and Fairy Cardbossa. Act I, Scene 1 was "Grotto and Founatin. Moonlight;" Scene 2 was "Boudoir of the Princess Desiderata in the Tower of Tapers;" Scene 3 was "A Glimpse of Happy Land;" Scene 4 "Black Gang China;" Act 2, Scene 1 was "A Wilderness;" Scene 2 was "Interior of a Hunting Lodge;" Scene 3 was "The Forest;" the whole seems to have ended with a transformation and a "finale,"

LA PRINCESS ROSETTE KING OF THE PEACOCKS (1855) Planche reports that this "was dramatized by me under ... [the title] of 'The King of the Peacocks.'"

Published dramatizations: Planche, J. R. The King of the Peacocks: an original fairy Extravaganza in two acts. London: S. G. Fairbrother, nd [ 1849?]. Planche, J. R. The King of the Peacocks. London: Lacy, nd—vol. xix. Planche, J. R. "The King of the Peacocks," in The Extravaganzas ofJ. R. Planchz, eds. Dillon & Croker, vol. Ill, pp. 261 & ff. London: Samuel French, 1879.

1085. PLAY: THE KING OF THE PEACOCKS. FAIRY EXTRAVAGANZA. 2 ACTS PLAYWRIGHT: ANON [J. R. PLANCHE]; MELODRAMATIC MUSIC BY E. FITZWILLIAM; BALLET MUSIC BY FRANK EAMES; DANCES AND ACTION BY OSCAR BYRNE; COSTUMES BY MRS. BAILEY, MISS NOWLAND ETAL; SCENERY BY W. BEVERLY AND GREY; ETAL (TUES) 26 DEC 1848, (MON) 29-31 JAN, 1-3 FEE 1849 AT LYCEUM, LONDON

148

D'AULNOY ODELL (V, 475) Argus by Miss Clarke; Florizel by Miss Phillips; Prince Jessamy by Levere; Poo-lee-ha-lee by Reynolds; Soyez Tranquille by Arnold; O'Don't Know Who by Nickinson; Princess Rosetta by Miss Roberts; Fairy Faithful by Miss C. Nickinson; Fretillon Miss I. Nickinson. Odell even identifies this as "founded on the Countess d'Alnoi's story."

BL BILLS (VOL 392); NICOLL (IV, 383) LC—ADD MS 43015 (FF 714-735B) J. R. PLANCHE, THE KING OF THE PEACOCKS: AN ORIGINAL FAIRY EXTRAVAGANZA, IN TWO ACTS. LONDON: S. G. FAIRBROTHER, ND [1849?] (SHELFMARK 11781. d. 26. 4); LACY, VOL. XIX; IN EXTRAVAGANZAS, III, NP: NP, 1879 The ms in the Lord Chamberlain's papers is 31 folios of fair copy on pages about 7" wide by 9" high. The title page of the ms says "For representation at the Royal Lyceum Theatre on 26th Dec. 1848," and is dated "Decemr21st 1848". The "Characters" include King Argus, King Florizel, Prince Jessamy, Poolee Fraulee, Cook, Ragonetto, Fly, Page, Sailor, Sea Serpent, Fretillon, Princess Rosetta, Baroness, Fairy Faithful, and Fairy Fickle. Act I, Scene I is "Pleasure Gardens of King Florizel;" Scene 2 is "The Old Original World's End;" Scene 3 is "Gates of the City and Palace of the King of the Peacocks;" Scene 4 is "Rosetta's Bower;" Scene 5 is "The Chinese Junk." Act II, Scene 1 is called "PointBlank;" Scene 2 is "Inside of the Hut;" Scene 3 is "Plume Chamber in the Palace of King Argus;" Scene 4 is "The Royal Kitchen;" Scene 5 is "Interior of the Hut" (again); Scene 6 is "A Prison." The title-page to the published edition named just above comments that this has been 'founded upon the Countess D'Anois' Story, 'La Princesse Rosette'." It notes also that this was "first performed at the Royal Lyceum Theatre, Tuesday, December 26th, 1848. "Founded on the Countess D'Alnoi's [sic—i.e., a conflation of "Countes D'Aulnoy" and "Countess D'Anois"] story, entiled "La Princesse Rosette," says the bill. The source story was apparently not to appear in English until 1855, when Planche's translation was published. Argus, the Brilliant-eyed, by Madame Vestris; Florizel the Fair by Miss Kathleen Fitzwilliam; Prince Jessamy by Miss J. Coleman; et al.

1088. PLAY: THE KING OF THE PEACOCKS. PANTOMIME PLAYWRIGHT: R. DAVE 26 DEC 1860 AT NEWCASTLE NICOLL (VI, 787) No ms seems to exist in the Lord Chamberlain's papers. 1089. PLAY: THE KING OF THE PEACOCKS; OR, HARLEQUIN TOM TIDDLER'S GROUND AND QUEEN BARLEY SUGAR. PANTOMIME PLA YWRIGHT: ALFRED HENRY FORRESTER 26 DEC 1871 AT SURREY, LONDON NICOLL (V, 371) LC—ADD MS 53103 (I) The ms in the Lord Chamberlain's collection of plays is on blue paper in 33 folios, each measuring about 8" wide by 13" high. The copy is fair and the handwriting is easy to read. The title page reads "To W. B. Donne, Esq., Weymouth Street/ 18717 License sent December 13. W. B. D./ The Pantomime/ of/ The King of the Peacocks/ or Harlequin/ Tom Tiddlers Ground/ and/ The Queen Barley Sugar/ and/ Comic Scenes/ From Mr. Shepherd/ Royal Surrey Theatre/ Blackfriars Road/ S. E." The Prologue begins with Clown and Burlesque squabbling. Sc 1 is "Isle of Sweets." Sc 2 is "Near the Palace of King Gold. Sc 3 is "Desolate View." Sc 4 is "The Animal Kingdom—Variety of Beasts & Birds." Sc 5th is "Garden and Kitchen of King Carrot." Sc 6th is "Mines of the Mineral Kingdom." Scene 7th is "A Dark Ravine." The Finale is "Prince's." There follows a "comic scene" on light blue paper, and a second "Comic Scene: Interior of a fashionable hotel" on darker blue paper. A third comic scene is "Bloater Fishmonger—Soup &Cabbage Jailors." The final comic scene begins at a Butcher's.

1086. PLA Y: THE KING OF THE PEACOCKS. SPECTACLE PLAYWRIGHT: PLANCHE 24 FEE 1849 AT BURTON'S, NYC ODELL(V, 441) This played for two days before it appeared at the Olympic.

1090. PLA Y: KING OF THE PEACOCKS AND THE PRETTY PRINCESS ROSETTA. PANTOMIME PLAYWRIGHT: UNKNOWN 20 JAN 1881 AT ROYAL OPERA HOUSE, TORQUAY NICOLL (V, 703) LC—ADD MS 53247 (K) The ms in the Lord Chamberlain's plays is 70 folios each about 6.5" wide and 8.5" high, of lined paper. The

1087. PLAY: THE KING OF THE PEACOCKS. FAIRY EXTRAVAGANZA. 2 ACTS PLAYWRIGHT: PLANCHE; SCENERY BY BENGOUGH AND CONOVER 26 FEE 1849 AT OLYMPIC, NYC (9 PERFORMANCES)

149

D'AULNOY

BRANCH; -ISLAND OF JEWELS: 'GOOD WOMAN IN THE WOOD,1 &C."—I.E., J. R. PLANCHE] (MON) 26-31 DEC 1853, 2-7, 9-14, 16-21, 23-28 JAN,

handwriting is hurried and sometimes hard to read. The cover page is black except for the sticker of licensure, which gives "The King of the Peacocks/ Pantomime; Royal Opera House/ Torquay/ January 20 1881." There is no list of characters. Scene 1 is "Flowerland." Scene 2 is "The Observatory." Scene 3 is "Gates of Peacock's." Scene 4 is "Landing Stage." Scene 5 is "Main deck of Jewelled Argosy." Scene 6 is "A Coral Cave." Scene 7 presents "Rosetta in Shell." Scene 8 is "Cottage by the Sea." Scene 9 is "The Royal Kitchen." H Scene 10 is "Same as 8."

6-11, 13-18, 20—25 FEE, 6-11, 13-18, 20-25, 27-31 MARCH, 1, 2, APR 1854 AT LYCEUM, LONDON BRITISH LIBRARY BILLS (VOLS 152, I; 360); LARGE BILL/POSTER IN OXBODJJ PLANCHEST NICOLL (V, 527) LC—ADD MS 52944 (O) PLANCHE, J.R. ONCE UPON A TIME THERE WERE TWO KINGS. AN ... EXTRAVAGANZA, IN TWO ACTS [AND IN VERSE]. FOUNDED ON THE COUTNESSD 'A ULNOY 'SSTORY OF 'LA PRINCESSE CARPILLON." ND [1854]—BL SHELFMARK 2304.d.l7; ALSO IN LACY; EXTRAVAGANZAS, IV, 1879—OCTAVO The ins in the Lord Chamberlain's collection of plays is 47 folios, each measuring a little less than 7" wide by 9" high, on various shades of blue paper. The copy is fair and the handwriting is clear, and neat—easy to read. Here and there printed/published passages have been pasted into the ins. The title page reads "For representation at the Royal Lyceum Theatre on 26th Decemb 1853./ Decer 17th 1853. Once upon a time/ there were/ Two Kings/ In Two Acts./1853/ mss received December 21/ License sent 22/ W.B.D." The "Characters" are as follow: King Periwigulus; Prince Brutus; Perfidius; Corin; Sublimus; Officer; Princess Carpillona; Pastora; Chloe; Phillis; Dandelina; and Fairy Amazona. Act 1st, Scene 1st is "The Port of Rantipolis, the capital City of the King of Rumntica." Scene 2nd is "Interior of a Pavilion." Then "Fairy waves wand. Scene changes to Scene 3rd. Brink of a Precipice." Then "Scene Changes to 4th. The Verdant Valley." Act 2nd Scene 1st is "The River Side." Scene 2nd is "A Wood." Scene 3rd I "A Room in the Palace." Scene 4th is "The Square before the Palace. A stage and faggots. Perfidius and others discovered completing the preparations." The last scene is nothing more than pasted-up printed copies of several "Airs" and "Songs." Periwigulus, the Proud, by J. Bland; Brutus the Crooked by Wright; et al.

LA PRINCESSE CARPILLON

ONCE UPON A TIME THERE WERE TWO KINGS (1850)

Planche says only, "a version of this story is to be found in 'The Collection.' It is one of the best in the book, but calls for no observation here."

Planche, J. R. Once Upon a Time there were Two Kings. An ... Extra\>aganza, in two acts [and in verse]. Founded on the Countess D 'Aulnoy 's story of 'La Princesse Carpi I Ion. " NP: np, nd [1854]. Planche, J. R. Once Upon a Time there were Two Kings. London: Lacy, nd Planche, J. R. "Once Upon a Time There were Two Kings," in The Extravaganzas of J. R. Planche, eds. Dillon & Croker, vol. IV, pp. 323 & ff. London: Samuel French, 1879.—octavo.

PRINCE DORUS

1092. PLAY: PRINCE DORUS; OR, THE ROMANCE OF THE ROSE. BURLESQUE. 1 ACT PLAYWRIGHT: UNKNOWN UNCONFIRMED PRODUCTION IN DEC 1850/JAN 26

1091. PLAY: ONCE UPON A TIME THERE WERE TWO KINGS. FAIRY EXTRAVAGANZA. 2 ACTS PLA YWRIGHT: ANON ["AUTHOR OF 'THE GOLDEN 150

D'AULNOY is literally a sprite, or goblin; but a goblin with us conveys the idea of something frightful, or at least mischievous in character; and I have therefore preferred the former title. 'The Invisible Prince' is not the name of this story, and it is the name of another fairy tale by Madame 1'Eveque; and though I felt justified in using it for the title of my extravaganza founded on 'Prince Lutin,' as the story had been popularized under that name in the nursery, I did not conceive myself authorized to retain it under the present circumstances, although certainly a more attractive one than the original. I have explained who Brioche, the puppet-showman, was, in a note to The Blue Bird' (page 65); but I may add here, that the two monkeys, Briscambille and Perceforet, which Leander buys of him, were named after a celebrated roll, and the hero of a popular romance. Briscambille, or Bruscambille, was a comic actor. He appears to have been a sort of French Joe Miller, as I find in the 'Dictionnaire Bibliographique, etc., des Livres Rares,' (Paris, 1790,) the f o l l o w i n g work; 'Facetieuses Paradoxes de Bruscambille, et autres discours comiques, le t o u t nouvellement tire de 1'escarcelle des ses imaginations; Rouen: Malliart, 1615.' 'Le Roman de Perceforet is a work of the 15th century. Perceforet is a name now generally given to a great hunter. The allusion to the bad faith and chicanery of the Normans, as I have shown, is not peculiar to Madame d'Aulnoy; but we may presume that the fact of her husband having been falsely accused of treason by two natives of that province had not disposed her to spare them; though, if not a native herself, her father was, we are told, connected with the first families in Normandy. I must plead guilty to the anachronism in the concluding verses. Madame d'Aulnoy could not, of course, have quoted Gray; but 'Heureux ceux qui sont ignorants,' must have recalled the well-known phrases, 'Ignorance is bliss,' to the reader, render it as I might.

DEC 1851 AT ROYAL OLYMPIC THEATRE, LONDON LC—ADD MS 43013 (FF 267 & F) The ms in the Lord Chamberlain's papers is in fair copy on folios slightly larger than modern A4. The title page says "License sent Decmber 23 1850/W.B.D." and "proposed day of representation Thursday 26th December / William Farren." Dramatis personae are King Fanfaron (the Great); Prince Dorus, Sir Clairvoyant, Count Coqueluche, Sir Carmine, Queen Fanfeelluche, Princess Mignonette, The Lady Eglantine, The Lady Julippina, The Lady Lillian, Fairy Bella, Fairy Graciosa, Fairy Furiosa, Sea nymphs, etc. Scene 1 is "Nursery in the Palace of Frangpani," Scene 2 is "An apartment in the Palace of Prince Dorus," Scene 3 is a "Picture Gallery in the Palace," Scene 4 is "An Apartment in the Palace," Scene 5/6 is "A Wood;" Scene 7 is "A Moonlight Lake;" Scene 8 is "Under Water;" Scene 9 is "Bottom of the Lake;" Scene 10 is "Enchanted Wood as before;" Scene 11 is "The Palace of Fire;" the whole ends with a "Tableau."

PRINCE LUTIN PRINCE SPRITE (INVISIBLE PRINCE) Planche says that this is also a general favourite, and has appeared in English as 'The Hobgoblin Prince,' 'Prince Elfin,' and 'The Invisible Prince.' As Lutin is not the proper name of the hero, but his quality, I have translated it Sprite; for Elfin it certainly is not. An elf is a fairy, which Leander himself disclaims being. ... He possesses no magic power over others; he is simply endowed with the faculty of rendering himself invisible, and of transporting himself with the speed of thought wherever he pleases. He is rendered ethereal. Shakespeare has described his very being— 'And I will purge thy mortal grossness, so That thou shall like an airy spirit go.' —Midsummer Night's Dream Titania herein makes exactly the same offer to the Athenian Clown that the Fairy Gentille does to Leander. Lutin

151

D'AULNOY Published dramatizations: Planche, J. R. Invisible Prince

"Founded on the Countess D'Anois' story of 'Prince Lutin,'" says the bill. This production began on Boxing Day, 1846. and lasted until late March 1847—a good long run by the standards of such holiday entertainments. Blouzabella by Mrs. Caulfield; the Infant Furibond by James Bland; Don Leander by Miss P. Horton; Marquis of Anysios by Braid; Count Palava Torquemova by Caulfield; Countess Cajola by Miss Carre; Countes Cabal by Miss Woulds; et al. Scenery was of course especially featured, and extensively advertised on the bills, including the following: a "Gallery in the Royal Castle of Allaquiz," a "Garden of an Old Hunting Lodge," "A Forest," "Sea Shore, and distant view of the Palace of Pleasure," the "Hall of Mirrors," a "Grotto in the Palace of Pleasure," with "Pose Plastique of Apollo." The greatest emphasis of all was given to the "The Camp of Furibond, The Palace of Pleasure." This was so successful that the Haymarket management chose to begin their next season, in October 1847, with "School for Scandal" and "Invisible Prince."

1846—Duodecimo.

Planche, J. R. Invisible Prince ... A ... . Fairy Extravaganza in one Act [and in verse], Founded on the Countess D'Aulnoy's Fairy Tale of'Prince Lutin." London. 1852. Planche, J. R. Invisible Prince. London: Lacy's Acting Edition of Plays, vol. [19?] 20 nd [1850]. Planche, J. R. "The Invisible Prince; or, the Island of Tranquil Delights," in The Extravaganzas ofJ. R. Planche, eds. Dillon & Croker, vol. Ill, pp. 109 & ff. London: Samuel French, 1879.

1093. PLAY: INVISIBLE PRINCE; OR, THE ISLAND OF TRANQUIL DELIGHTS. FAIRY EXTRAVAGANZA. ONE ACT PLAYWRIGHT: ANON [BY THE AUTHOR OF "FORTUNIO," &C—I.E. J. R. PLANCHE]; SCENERY PAINTED BY G. MORRIS; COSTUMES BY MISS CHERRY & MR BARNETT; PROPERTIES AND APPOINTMENTS BY T. IRELAND; "PARTIALLY ILLUSTRATED" BY ALFRED CROWQUILL; MUSIC BY T. G. REED (SAT) 26, 28-31 DEC 1846, 1,2,4-9, 11-16, 18-23,2530 JAN, 1-6, 8-13, 15-20, 22-27 FEE, 1-6, 8-13, 15-20, 22-24, 26, 27 MAR, (WED) 12, 21, 26, 31 MAY, 4, 7 JUNE, 31 JULY 1847 AT HAYMARKET, LONDON (83 PERFORMANCES) BL BILLS (VOLS 142, 2; 359) NICOLL (V, 382); BL CAT LC—ADD MS 42998 (34) (FF 1021-103 IB) PLANCHE, J. R. INVISIBLE PRINCE 1846—DUODECIMO; INVISIBLE PRINCE ... A ... . FAIRY EXTRAVAGANZA IN ONE ACT [AND IN VERSE], FOUNDED ON THE COUNTESS D'AULNOY'S FAIRY TALE OF 'PRINCE LUTIN." LONDON. 1852. (SHELFMARK 11781.d.26.(15.); see also LACY'S ACTING EDITION OF PLAYS, VOL. [19?] 20 (1850). (SHELFMARK 2304.d.23). The ms in the Lord Chamberlain's plays is in 11 folios of fair copy. The title page has only the dates 24/12/46 and 20/12/46." Verso says "Sir—With the permission of the Right Honble the Lord Chamberlain, of Her Majesty's Household, this Extravaganza will be acted at the Theatre Royal, Haymarket on Dec 26. Scene 1 is "Gallery in the Castle of [illegible];" Scene 2 is "A Garden of an Old Hunting Lodge;" Scene 3 is "Another part of the Forest;" then comes "The Hall of Mirrors " (not numbered); Scene 5 is a "Grotto—gardens;" Scene 6 is "Furibond's Pavillion;" etc.

1094. PLAY: THE INVISIBLE PRINCE; OR, THE ISLAND OF TRANQUIL DELIGHTS. EXTRAVAGANZA PLAYWRIGHT: PLANCHE 26 APR 1847 AT PARK THEATRE, NYC ODELL (V, 264, 266) Blowzabella by Miss Gordon; Infante Furibond by Fisher (and later by A. Andrews); Don Leander by Mrs. Hunt; Marquis of Anysidos by S. Pearson; Count Palava by A. Andrews; Don Moustachez by McDouall; Sambo by Anderson; Countess Cajola by Mrs. Burrows; Countess Cabal by Miss Hayden; Wink-i by Miss Cooke; Noodel by Miss Coombe; Fairy Gentilla by Miss Denim; Xquisitelittlepet by Miss K. Horn; Toxalototitletattle by Miss Miles; Itzaprettipetticoat by Miss Jones; and Apricotina by Mrs. Knight. Odell reports that "this bit of exquisite fooling ran well; it was given almost nightly as afterpiece to tragedy or comedy."

1095. PLAY: I N V I S I B L E P R I N C E . FAIRY EXTRAVAGANZA PLAYWRIGHT: ANON [J. R. PLANCHE] (SAT) 2, 4, 5, 26 OCT 1847 AT HAYMARKET, LONDON BL BILLS (VOL 142, 2) This revived a very successful production that had hardly died away even in the summer heat now past. Blouzabella by Mrs. Caulfield (again); The Infant Furibond by James Bland; Don Leander by Miss P. Horton; Xquisitelittlepet by Miss Julia Bennett; et al.

152

D'AULNOY

1096. PLAY: I N V I S I B L E EXTRAVAGANZA

PRINCE.

1103. PLAY: INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 17 JUNE 1858 AT NATIONAL, NYC ODELL (VII, 51) Maria Barton as Myrtina.

FAIRY

PLAYWRIGHT: PLANCHE 27 DEC 1847, 6 JAN, FEE 1848 AT OLYMPIC, NYC (10 PERFORMANCES BY 6 JAN) ODELL(V, 371) With Mary Taylor as Don Leander, Conover as Infante Furibond; Miss Roberts as Xquisitelittlepet; Miss Phillips as Apricotina; Mrs. Henry as Blousabella; Miss Mealing as the Fairy Gentilla.

1104. PLA Y: INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 11 JULY 1859 AT LAURA KEENE'S, NYC ODELL (VII, 133).

1097. PLAY: THE INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 2 SEPT 1848 AT BURTON'S, NYC ODELL (VI, 435) Johnston as Don Leander; Burton as the Infante Furibond; Jordan as Count Palava Torquemova; Miss Sinclair as Exquisitelittlepet; Mrs. G. Loder as Blousabella; Caroline Chapman as Apricotina.

1105. PLAY: INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 16 MAY 1860 AT LAURA KEENE'S, NYC ODELL (VII, 222) Mrs. John Wood as Don Leander; Joseph Jefferson as Furibond.

1098. PLAY: THE INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 6 NOV 1848 AT NATIONAL, NYC ODELL (V, 458) Burke as Don Leander.

1106. PL4Y: INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 20 JUNE 1860 AT NEW BOWERY, NYC ODELL (VII, 245) With Fanny Herring.

1099. PLAY: THE INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 14 NOV, DEC 1848 AT OLYMPIC, NYC ODELL (V, 472) Mary Gannon as Don Leander. Odell says that this had a "pretty, renewed run."

PLAY: INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 16-22 MAY 1861 AT WINTER GARDEN, NYC ODELL (VII, 319) With Joseph Jefferson.

1107.

1108. PLAY: INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 21 APR 1862 AT FOX'S OLYMPIC, NYC ODELL (VII, 417) With Fanny Herring and G. L. Fox.

1100. PLAY: THE INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 1 JAN 1850 AT OLYMPIC, NYC ODELL (VI, 557).

1109. PLAY: THE INVISIBLE PRINCE; OR, HARLEQUIN KING NOODLE. PANTOMIME PLAYWRIGHT: FRANK MAITLAND 26 DEC 1862 AT QUEENS THEATRE, MANCHESTER NICOLL (V, 805) No ms appears in the records of the Lord Chamberlain's plays.

1101. PLAY: INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 9 APR 1855 AT NATIONAL, NYC ODELL (VI, 375) Miss Hathaway as Don Leander; Fox as the Infant Furibond.

1102. PLAY: INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN SEPT 1857 AT OLYMPIC, NYC ODELL (VII, 67).

1110. PLA Y: THE INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 18 MAY 1863 AT FOX'S OLD BOWERY, NYC 153

LVAULNOY indicates "The Invisible Prince' Pantomime/Royal Opera House, Leicester/ January 7 1878." There is no list of characters. Several from the text are as follow: Father Time, the King, the Queen, Goldenheart, Prettypert, et al. Scene 1 is "Regions of Father Time." Scene 2 is "The King's Court Yard." Scene 3 is "Enchanted Forest." Scene 4 is "The Sunlit Vales of Fairy Land." Scene 5 is "Enter Fruzzoline." Scene 6 is "Deck of the Great Mogul." Scene 7 is "Island of Sweet Repose." Scene 8 is "Palace of the Princess." Scene 9 is "Garden of the Palace." Scene 10 is "The King's Camp by Moonlight.' Scene 11 is a "Glimpse of Fairyland." The whole ends with Clown proclaiming: "Yes! Here we are again!"

ODELL (VII, 493) With Fanny Herring and G. L. Fox. 1111. PLA Y: THE INVISBILE PRINCE PLAYWRIGHT: UNKNOWN 12 MAR 1866 AT CONWAY'S PARK THEATRE, BROOKLYN ODELL (VIII, 104) With Viola Barrett as Don Leander; Davidge as Infante Furibond; Annie Meeker as Xquisitelittlepet. 1112. PLAY: THE INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 4 JUNE 1866 AT FOX'S OLD BOWERY, NYC ODELL (VIII, 39) With Fanny Herring as Don Leander; Fox as Furibond; and Whalley as Lord Darnley.

1117. PLAY: INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 30 AUG 1878 AT THEATRE BRIGHTON, NYC ODELL (X, 692) With Belle Howitt, Julia Sheldon, Aggie Wood, Florence Stover, Hannah Birch, and W. P. Sheldon.

1113. PLAY: INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 4 JUNE 1866 AT WOOD'S MINSTREL HALL, NYC ODELL (VIII, 78) There do seem to have been two productions by this name in New York on 4th June 1866. 1114. PLAY: INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 20 MAY 1867 AT WORRELL SISTERS', NYC ODELL (VIII, 186).

1118. PLA Y: INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 21-26 APR 1879 AT VOLKSGARTEN, NYC ODELL (X, 656) With Mollie Williams, Ned French, George Mills, and Eveline Constantine.

1115. PLAY: INVISIBLE PRINCE PLAYWRIGHT: UNKNOWN 28 JULY 1870 AT HOOLEY'S, BROOKLYN ODELL (VIII, 672) Linda Edwin's Company at Hooley's.

RIQUETA LAHOUPE RIQUET WITH THE TUFT (1858) Says J. R. Planche, "Riquet a la Houpe is perhaps the least known of the eight Contes de ma Mere I 'Oye; but although it has not the attractive qualities which have occasioned the popularity of the others, it is an excellent story, with a valuable moral, though, strangely enough, the moralite with which it concludes takes no notice of it. The object of the story is evidently to show the superiority of mental to personal qualifications, and the power of the former not only to compensate for ugliness and deformity, but even to make one forget them. The concluding verses, however, point only to the fact that love can embellish its object, and turn even defects into beauties, passing over the more important one of the cause of the love itself. "Some writers have fancied the hero of this story to have been a person of distinction at the Court of

1116. PLAY: THE INVISIBLE PRINCE; OR, HARLEQUIN GOLDENHEART AND THE PRETTY PRINCESS DRAMONDUCKY. PANTOMIME PLAYWRIGHT: CHARLES MILLWARD 7 JAN 1878 AT OPERA HOUSE, LEICESTER NICOLL (V, 696) LC—ADD MS 53198 (B) The ms in the Lord Chamberlain's collection of plays is 79 folios of lined paper, each measuring about 6" wide by 7.75" high. There are three or four hands, but all are easy to read and the copy is fair throughout. The title page indicates "Pantomime/ Invisible Prince/ Harlequin Goldenheart. And the/ Pretty Princess Diamonducky/ By Chas. Mill ward/ Property of E. Gates/ Royal Opera House/ Leicester/ 77 & 78." The sticker of licensure

154

D'AULNOY note on the title page says "Unexceptionable—G. C. 9th Dec'r 1826." The request for G. Colman's permission to produce was dated 7 December. The characters are Mother Shipton, Riquet with the Tuft (afterwards Harlequin), Shipton's Cat (afterwards Pierrot), Lady Dowager Dorothy Marie Thistledown (afterwards Pantaloon), Ellen Star (afterwards Columbine), Elspeth Strathspey, and the Head-Cook (afterwards Clown). Scene 1 was Mother Shipton's Hut; Scene 2 is "An Apartment in the Castle of MacThistledown; Scene 3 is "A Wood" where Ellen Star and Sir Riquet enter and "he rescues her from a large serpent." No scene 4 appears. Scene 5 is "Sir Riquet's Castle." Scene 7 is "A Fanciful Bower, or Garden." Scene 10 is "Holyrood Chapel by Moonlight." Scene 20th and last is "The Bower of Pantomime."

Louis XIV, forgetting that, like the rest in the collection, it is a "histoire du temps passe." But, as Monsieur de Plancy remarks, "On voit souvent des allusion ou il n'y en a point;" and, as in the case of Le Chat Botte, the application may have been made to the man from the story. "Riquet a la Houpe is supposed to have inspired Madame de Villeneuve with the idea of the Beauty and the Beast. In my notice of that story, I shall have a word to say in refutation of that supposition. Riquet a la Houpe was the first of those fairy extravaganzas which the public have so kindly received during twenty years, at the Olympic, Covent Garden, Drury Lane, the Haymarket, and the Lyceum. It was written in conjunction with Mr. Charles Dance, and produced at the Olympic under Madame Vestris's management, December 26th, 1836."

1121. PLAY: RIQUET WITH THE TUFT. BURLETTA. 1 ACT PLAYWRIGHTS: J. R. PLANCHE & CHARLES DANCE; DRESSES BY MISSES IRELAND AND GLOVER; PROPERTIES BY MORRIS; MACHINERY BY MACKINTOSH; SCENERY BY TOMKINS AND HILLIARD; DIRECTED BY BYRNE (MON) 26 DEC 1836 AT OLYMPIC, LONDON PLANCHE, J. R. "RIQUET WITH THE TUFT," IN THE EXTRAVAGANZAS OF J. R. PLANCHE, VOL 1, EDS CROKER & TUCKER; LONDON: SAMUEL FRENCH, 1879, PP 205 & FF; LONDON: DICKS 888; ACTING NATIONAL DRAMA VOL. 1 LC—CAT ADD MSS 42938 (FF 750-774) NICOLL (IV, 152,380) The ms in the Lord Chamberlain's papers is 25 folios of fair copy on leaves measuring about 7" wide by 9" high. The first page says only "Olympic Theatre 14th ec. I836/ Ent/ Licensed." The title page says only "Riquet with the Tuft, a Fairy Burletta in One Act." The "'Dram Pers" are The Grand Duke, The Baron, Prince Finikin, Prince Riquet, Grand Chamberlain, Calenfine, Orson, Jack the Giant Killer, Champions, Officers, Heralds, Puss in Boots, Soldiers, Queen Mab, Great Duchess, Princess Esmeralda, Myrtilla, Mother Bunch, Cinderella, Beauty and Fairies, Ladies of the Court, etc. Scene 1st is "Fairy Land" with Queen Mab and Fairies. Scene 2nd is "The Gardens of the Palace of the Grand Duke of the Green Island." Scene 3 is "Grand Hall of Audience." Scene 4 is "A Romantic part of the Garden." Speaking of J. R. Planche, Nicoll says, "classical subjects occupied his attention for a few years and then in December 1836 at the Olympic came Riquet with the Tuft, derived from the French Feerie Folie Riquet a la Houppe. This was immediately successful ... ." Planche himself observes that the production of this piece

Published dramatizations: Blanchard., E. L. Riquet with the Tuft; or, Harlequin and Old Mother Shipton. London: Music Publishing, nd. Planche, J. R. "Riquet with the Tuft," in vol 1 The Extravaganaza ofJ. R. Planche, Esq., ed. By T. F. Dillon Croker & Stephen Tucker. London: Samuel French, 1879.

1119. PLAY: RIQUET WITH THE TUFT; OR, DEWDROP AND ROSEBUD. PANTOMIME PLAYWRIGHT: UNKNOWN (MON) 15 APR 1816 AT ROYAL AMPHITHEATRE, LONDON NICOLL (IV, 527) No reference to a text for this play appears in the Larpent

Catalogue; the play is probably therefore a revival of an earlier text. 1120. PLAY: HARLEQUIN AND MOTHER SHIPTON; OR, RIQUET WITH THE TUFT. PANTOMIME PLAYWRIGHT: CHARLES FARLEY (TUES) 26 DEC 1826 AT COVENT GARDEN, LONDON NICOLL (IV, 310) LC—ADD MS 42881 (12) (FF 554-569) 1826—OCTAVO The ms in the Lord Chamberlain's papers is in thirteen folios of 7.25" wide by 7.75" high. The copy is fair. A

155

D'AULNOY constituted "a turning point in the history of the extravaganza," noting that while "scores of other fairy stories had been successfully dramatised in various forms long previously ... all these ... were treated seriously, and presented to the public simply as 'Grand Spectacles' ..." By contrast, "The Folie Feerie" of the French stage was a vastly different affair; sparkling with wit, pregnant with satire, exquisite whim, and that delightful persiflage which is the especial charm of the French Fairy tales of the eighteenth century, the 'Contes de Fees,' of Perrault, of the Countess d'Aulnoy, &c., and of which the essence has entirely evaporated since their period. ... What a dulness to our spectacles—to the coarseness of even the best of our burlesques. I bought the piece, and lost no time in translating it as faithfully as possible, endeavouring, so far as the idioms of the two languages would permit, to preserve the poetry, grace, and piquancy of the dialogues. ... " Planche then reports how he waited some years before the actual production under Madame Vestris at the Olympic—see Extravaganzas, vol. l,p. 205 &ff. Myrtilla by Mrs. Honey; Captain of the Guard by Tully; Usher of the Green Rod by Kerridge; Green Dragon by Ireland; Prince Riquet with the Tuft by Charles Matthews; Prince Finikin by Mrs. Anderson; Valentine by Hughes; Orson by Ireland; Cinderella by Miss Crawford; Beauty by Miss Paris; The Beast by Ballantyne; Puss in Boots by Master Hitchinson; White Cat by Miss Kendall; et al.

might have remembered it from the context of Jack Sheppard plays. 1123. PLAY: RIQUET WITH THE TUFT; OR, HARLEQUIN AND OLD MOTHER SHIPTON. PANTOMIME PLAYWRIGHT: E. L. BLANCHARD; MUSIC BY C. HALL 26 DEC 1862 AT PRINCESS, LONDON LONDON: MUSIC PUBLISHING CO., ND LC—ADD MS 53018 (Y) NICOLL (V, 263) The ms in the Lord Chamberlain's plays is in 59 folios of fair copy. Each folio measures 8" wide by 9.5" high. The title page says only "Riquet with the Tuft or Harlequin Mother Shipton" and "Royal Princess Theatre/December 1862." There is no dramatis person ae. Scene 1 is "The Dropping Well of Knaresborough and Abode of Old Mother Shipton by Moonlight." Scene 2 is a "Mushroom Marsh on a Misty Morning." Scene 3 includes a ballet at "The Trysting Place of the Summer Fairies." Scene 4 is the "Presence Chamber in the King's Palace." Scene 5 is "The Enchanted Wood." Scene 6 is "Magic Kitchen of Prince Riquet." The Harlequinade includes several "Comic Scenes": The Green Park," and the "Playground at Do the Boys Hall" (perhaps a reference to Dickens's novel Nicholas Nickleby, whose popularity continued on the stage). The third comic scene was the "Exterior of a Station of the Underground Railway."

1122. PLAY: RIQUET WITH THE TUFT. BURLETTA PLA YWR1GHT: ANON; DRESSES BY MISS CHERRY AND MR. BARNETT; APPOINTMENTS BY T. IRELAND; MACHINERY BY ADAMS; DIRECTED BY OSCAR BYRNE; SCENERY BY GEORGE MORRIS (MON) 26-31 DEC 1842, (MON) 2-7, 9-14 JAN 1843 AT HAYMARKET, LONDON BL BILLS (VOL 138, 2; 139, 2) This was not apparently licensed per se and was therefore probably a revival of a version produced earlier. Myrtilla by Miss Mattley; Captain in the Guard by Gallott; Usher of the Green Rod by Clark; Bronze by Santer; Green by Bishop; Green Mantle by Ennis; Prince Riquet with the Tuft by Charles Mathews; Prince Finikin by Miss Charles. The scenery was especially featured, and included "Fairy Land," "Gardens of the Palace," "Hall of Audience," a "Grotto in the Palace Gardens," and the "Pavilion of Queen Mab." The whole ended with a "Christmas Gambol" and a series of "Very Animated Pictures." On one evening, Madame Vestris, as Princess Esmeralda, sang "Nix My Dolly Pals," which was said to be "from The Sleeping Beauty," although some people

1124. PLAY: DRAGON OF WANTLY; OR, OLD MOTHER SHIPTON. PANTOMIME PLAYWRIGHT: ANON [E. L. BLANCHARD] DEC 1870 AT DRURY LANE, LONDON ADD MSS 93091 (H) NICOLL (V, 264) The ins in the Lord Chamberlain's collection of plays is 57 folios measuring about 8" wide by 10" high, on lined paper, in a brown-bound book, in black ink, fairy copy, easy to read. Nicoll refers to an octavo publication. Mother Shipton is a major character, so that this may be in part derived from the Riquet materials, or may come from some other source. Nicoll cites several other "Dragon of Wantley" plays from the previous century, as well as an 1844 Birmingham production of a play with a similar title. This begins in the "Workshop of Time," and moves to the "Haunt of the Water Nymphs," and moves to "The Abode of Mother Shipton."

156

D'AULNOY Labourers; Genii—Fairy of the Wood; Miss Abigal Antique; Fairies; Landlady; Oysterwoman; et al. This was the Drury Lane Company resident at the Lyceum because Drury Lane Theatre had burned down .

LA CHATTE BLANCHE

THE WHITE CAT

1126. PLAY: THE WHITE CAT. PANTOMIME PLAYWRIGHT: UNKNOWN 26 JAN 1813 AT UNKNOWN THEATRE, EDINBURGH NICOLL (IV. 553) No reference to a play by this title appears in the the Larpent Catalogue; the play is therefore probably a revival of an earlier text.

Planche thought that "The White Cat" was "one of the best known, and most popular of all Madame d'Aulnoy's stories, and few collections of Fairy Tales are to be found without a version of it. In the present translation, however, will be found many interesting passages, illustrative of manners and customs of the period, which have been omitted by previous editors. The plot has a strong resemblance to part of that of Prince Ahmed and the Fairy Pari-Banou, in the Arabian Nights' Entertainments. Madame d'Aulnoy's story is, however, by far the best of the two."

1127. PLAY: THE WHITE CAT. A GRAND COMIC, ROMANTIC, OPERATIC MELO-DRAMATIC FAIRY EXTRAVAGANZA. 2 ACTS. 28 PP PLAYWRIGHT: J. R. PLANCHE; SCENERY BY GRIEVE, T. GRIEVE, AND W. GRIEVE; MECHANICAL CHANGES, DECORATIONS, AND APPOINTMENTS BY W. BRAD WELL; MACHINERY BY H. SLOMAN; DRESSES BY MISS GLOVER AND MISS RAYNER; MUSIC BY J. H. TULLY; ACTION AND DANCES BY OSCARA BYRNE (MON) 28-31 MAR, 1, 2, 4-9, 11-16, 18-23, 25-30 APR 1842 AT CO VENT GARDEN, LONDON BL BILLS (VOLS 126, 2; 371; 357) NICOLL (IV, 381,779) LC—ADD MS 42962 (FF 97-115B) PLANCHE, J. R. THE WHITE CAT, A ... FAIRY EXTRA VAGANZA, IN TWO ACTS [AND IN VERSE]. LONDON: S. G. FAIRBROTHER, ND [1848] [1877]—DUODECIMO—BL SHELFMARK 11781.d.25 (5.) The ms in the Lord Chamberlain's papers is 19 folios, each about 7" wide by 9" high, very fair copy. The title page says only "The White Cat, A Grand Romantic Fairy Extravaganza." The title page bears the date "3/25/42." A note dated March 23rd 1842 seeks Kemble's permission to produce. The "Dram Pers" are King, Prince Ruby (or, Prince Parago), Prince Topaz (or, Prince Precious), Prince Sapphire (or, Prince Placid), Minister, Jingo, 3 Pages, Princess Catarina, and the White Cat. I, i "The Presence Chamber of Wunsuponatyme, King of Neverminditsmamia;" following scene-changes are not numbered, but include transformations such as "the trees opening and discovering gates of a fairy palace" and the "Gates open—twelve hands appear, bearing torches." A "Banquet Hall in the Fairy Palace, brilliantly illuminated" follows. The finale of Act I features a "wooden Horse/his head held by the cat, richly trapped and harnessed to a Fairy Car." Act II, scene 1 is "In the palace of King Wunsuponatyme." Scene 2nd is "Enter

Published dramatizations: Planche, J. R. The White Cat, A ... Fairy Extravaganza, in Two Acts [and in verse]. London: S. G. Fairbrother. nd [1848] [1877]—Duodecimo. Planche. J. R. "The White Cat," in The Extravaganzas ofJ. R. Planche, eds Croker & Dillon, vol II, pp. 143 & ff. London: Samuel French, 1879. Unknown. The White Cat. London: Lacy, nd

1125. PLA Y: WHITE CAT; OR, HARLEQUIN IN FAIRY WOOD. HARLEQUIN [COMIC] PANTOMIME PLAYWRIGHT: KIRBY; ETAL (MON)23, 26-28,30, 31 DEC 1811, 1-4,6-11, 13-18, 20-25, 27-29, 31 JAN, 1, 3, 4, 6-8, 11, 15, 17, 20, 24 FEE, 2, 3, 5, 31 MAR, 1 APR 1812 AT LYCEUM, LONDON BL BILLS (VOL 12, HARRIS COLLECTION); NICOLL (IV, 553); LARPENT NO 1699; LARPENT MICROFICHE IN THE BL FICHE 254 / 357 The Catalogue of the Larpent Plays says that the application was received 17 December 1811, and that the MS contains only the songs. The title page of the ms says "The White Cat. Or Harlequin in Fairy Wood. A Comic Pantomime in one act. Theatre Royal Lyceum, Dec 18th 1811." The characters are Paladore, afterwards Harlequin,, Sir Toby Touchy —Pantaloon; Dionysius Dazzle, Esq.—Lover; Clown; Malignardo, an evil genii; Hussan; Landlord; Painter; Pyeman; China vendor; Soldiers; 157

D'AULNOY the White Cat." A subsequent scene (unnumbered) is at the "Gates of the Capital City of Neverminditsmamia." The whole finishes with a tableau. A program for 18 April 1842 is bound into the volume (no. 126, 2) containing mainly bills for 1841. It is bound out of order. However, posters in vol. 371 give the full run of performances. The posters say that this was "founded on that popular Nursery Tale." Wunsuponatyme by J. Bland; Prince Paragon by Madame Vestris; Prince Precious by Miss Murray; Prince Placid by Miss Lee; Count Coincide by G. Horncastle; Jingo by Harley; The White Cat by Miss Marshall; Herr Grimalkin by Master Marshall; et al.

LC—ADD MS 42998 (19) (FF 642-653) The ms in the Lord Chamberlain's plays is in 12 folios of fair copy, each measuring about 7"wide by 9" high. The title page identifies these materials as the "Pantomime Opening"—suggesting that this may have concluded with materials already licensed. Scene 1 is "The Regions of Decay with dissolving views of Anno Domini 1846;" subsequent scenes include "The Palace of Promise," "The White Cat's Forest with Lake at Back by Moonlight," from which "the Illuminated Palace of the White Cat rises". A scene in the "Interior of the White Cat's Castle" comes next, followed by "The Court of King Log."

1128. PLAY: THE WHITE CAT. FAIRY EXTRAVAGANZA. 2 ACTS PLAYWRIGHT: ANON; SCENERY BY THE GRIEVES, AS BEFORE (SEE ABOVE) (FRI) 23, 24, 26 SEPT, 5, 7 OCT 1842 AT COVENT GARDEN, LONDON BL BILLS (VOL 371) This performance was without Madame Vestris as Prince Paragon, though much of the rest of the cast was the same as before, in the previous season (see above). Now Prince Paragon by Miss Poole; et al.

1132. PLAY: WHITE CAT. ROMANTIC FAIRY EXTRAVAGANZA. 2 ACTS PLAYWRIGHT: ANON (THURS) 1 JAN 1846 AT THEATRE ROYAL, PLYMOUTH BL BILLS (VOL 263, 2) "As performed at the Theatre-Royal, Covent Garden," say the bills. Wunsuponatyme by W. Artaud; et al.

1129. PLAY:

THE

WHITE

CAT.

1133. PLAY: WHITE CAT. ROMANTIC FAIRY EXTRAVAGANZA. 2 ACTS PLAYWRIGHT: ANON (TUES) 2 MAY 1848 AT THEATRE ROYAL, BATH BL BILLS (VOL 182,2) Wunsuponatyme by Watkins; et al.

MUSICAL

EXTRAVAGANZA PLAYWRIGHT: UNKNOWN 9 MAR 1843 AT OLYMPIC, NYC ODELL (IV, 660, 662) Nickinson as Wunsuponatyme; Graham as Count Coincide; Mitchell as Jino; Miss Taylor as Prince Paragon; Miss Singleton as Prince Precious; Mrs. Loder as Prince Placid; Mrs. Everard as a Stage Page; Miss Clark as the White Cat (afterwards Princess Catarina).

1134. PLA Y: THE WHITE CAT PLAYWRIGHT: UNKNOWN 7 MAY 1855 AT NATIONAL, NYC ODELL (VI, 376) Taylor as Wansuponatyme; Miss Hathaway as Prince Paragon; Miss Hampton as Prince Precious; Miss Barton as Prince Placid; Hampton as Count Coincide; Fox as Jingo; P. Cline as as the Chamberlain; W. Wood as Herr Grimalkin; W. Chapman as Hecat; Miss Horton as Lady Palmyra; Miss Parker as the White Cat; Miss Brown as Daughter of King Allcakes.

1130. PLAY: WHITE CAT. GRAND ROMANTIC FAIRY EXTRAVAGANZA PLAYWRIGHT: ANON (SAT) 22, 24-28 APR, 2, 3, 6, 13 MAY 1843 AT THEATRE ROYAL, BATH BL BILLS (VOL 182, 1) "Founded on that popular Nursery Tale," says the bill. Wunsuponatyme by Charles Bland; Prince Paragon by Hooper; The White Cat by Miss Marshall; et al.

1135. PLA Y: THE WHITE CAT PLAYWRIGHT: UNKNOWN 28 MAR 1870 AT WOOD'S MUSEUM, NYC ODELL (VIII, 588) Fiske as Old Mother Hubbard; T. W. Keene as King Pippin; Theresa Wood as Jingo.

1131. PLAY: HARLEQUIN AND A HAPPY NEW YEAR! OR; THE WHITE CAT AND THE KING AND HIS THREE SONS. PANTOMIME PLAYWRIGHT: T. L. GREENWOOD 1846 AT SADLER'S WELLS, LONDON

1136. PLAY: THE WHITE CAT

158

D'AULNOY PLAYWRIGHT: HENRY S. LEIGH NOVEMBER 1875 AT UNKNOWN THEATRE LC—ADD MS 53154(0) The ms in the Lord Chamberlain's collection of plays is 144 folios, each measuring about 6.25" wide by 8.875" high. There are two bindings of this lined paper like two exercise books. In each binding is a section of pages tipped in that measure 4.5" wide by 7" high. The hand is crabbed and small, but legible. The copy is sometimes amended. The title page reads "November 18757 The White Cat./ A Fairy tale./ In a Prologue and Three Acts/ Adapted from the French by/ Henry S. Leigh./ The music selected from Various Composers." There is no list of characters, but some of the characters from the text are as follow: the Fairy Violente, the Fairy Blanchette, King Mignonette, Pimpernell, Little Jack Homer, Robin the Miller, Prince Faithful, . In Act 2 appear Vilipendos the Minister, as well as Rosafiera, Steel Heart, and Strong Arm. In Act Three appear Lightfoot, Tom Tucker, Swiggins, Hurricane, Fine-ear, et al. The Prologue is set on "The Black Rock." Act One is "The Farm and the Mills." There is a scene "In the Palace of Metapa," and another on "Windmill Hill." There's a scene called "The Owl's Roost." Act One ends with a "Ballet of Pearls and Turquoises." Act 2 is laid initially in "The Court of King Mignionette." But it moves soon enough to a "Royal Tent" in the "Land of the Birds." Act Three, Scene One is "The City of Joyeuse." This again is the "Court of Matapa". The words of the songs are collected at the end of the whole.

PLAYWRIGHT: UNKNOWN 12-17 DEC 1870 AT WOOD'S THEATRE, NYC ODELL (IX, 32) With Lottie Grant.

1137. PLA Y: THE WHITE CAT; OR, PRINCE LARDI-DARDI AND THE RADIANT ROSETTA. BURLESQUE PLAYWRIGHT: FRANCIS COWLEY BURNAND 26 DEC 1870 GLOBE, LONDON NICOLL (V, 289) LC—ADD MS 53091 (M) LONDON: LACY, ND The ms in the Lord Chamberlain's collection of plays is 52 folios of light blue, lined paper, each measuring about 7.25" wide by 9.25" high. The copy is fair and, though hasty, usually easy to read. The title page reads "The White Cat/ Burlesque/ 1870/ Globe Theatre/ Received December 24/ License sent 261W. B. Donne." There is no list of characters. The text gives various people, including Rose, Gardi Dardi, Grumpi, Humpi, the Queen, Cats, Huntsmen, White Cat, Bob, et al. Scene 1 of the Prologue is "Garden of the Palace belonging to the Fairy Snap Dragonetta." Scene 2 is "A hundred years have elapsed since the Prologue. Apartment in the castle of King Doldrum the Dawdler in the County of the Handy Dandies." Scene 3 is "Forest of the Katz Castle." Scene 4 is "Chamber in the Palace of King Dawdle." Scene 5 is "Ballroom in Katz Castle." 1138. PLAY: HARLEQUIN AND THE WHITE CAT PLAYWRIGHT: R. SOUTAR DEC 1870 NEW EAST LONDON THEATRE, LONDON LC—ADD MS 53091 (F) The ms in the Lord Chamberlain's plays is 24 folios on blue lined paper, each measuring about 7.5" wide by 13" high. There appear to be two hands—both legible and the copy is fair throughout. The title page gives "Harlequin & the White Cat/ to be licensed to Mr. Morris Abraham/ New East London Theatre. Read 20 Dec / 707 Received December 207 License sent 22 / W. B. Donne." The "Characters" are Deviletta, Blanchette, Cockatoo, Prince Prettyfellow, Daddy Hayrick, Mother Hayrick, Hyacintha, Picotte Pink, Fairy Heatherbell, King Matalia (?), King Minnyhammer, Queen Minnyhammer, Empty Pouch, Page, and slaves, guards, pages, etc. Scene 1st is "A Wild Sea Coast." Scene 2nd is "The Farm." Scene 3 is "Fairy Scene." The next is "The country of windmills." Then come "The Owl's Hole," and "The Red Chamber, of King Cockatoo." 1139. PLAY: THE WHITE CAT. PROLOGUE & 3 ACTS

1140. PLA Y: THE WHITE CAT. EXTRAVAGANZA PLAYWRIGHT: HENRY S. LEIGH 2 DEC 1875 AT QUEEN'S THEATRE, LONDON NICOLL (V, 454) No ms seems to be recorded in the Lord Chamberlain's plays; this is probably a reproduction of the version licensed earlier (see above). 1141. PLA Y: THE WHITE CAT. PANTOMIME PLAYWRIGHT: E. L. BLANCHARD 26 DEC 1877 AT DRURY LANE, LONDON NICOLL (V, 265) LC—ADD MS 53196 (F); LICENSE NO 247 The ms in the Lord Chamberlain's plays is 48 folios of various size, ranging from printed/published papers of the opening scene, which are about 5" wide by 9" high, to the handwritten pages of the "Comic Scenes," which are 8" wide by 12.5" high. The handwriting is various and the copy is fair. The title page says "The White Cat/ Pantomime & Comic Scenes/ Mr. F. B. Chatterton/ T. R. Drury Lane." The sticker of licensure says "'The White Cat'/ Pantomime/ Drury Lane/ 10 (?) December 1877."

A FAIRY TALE.

159

D'AULNOY Scene I is "Court-yard and Grand Porch of the Hunting Chateau and Country Palace of the Queen." Scene II is "Lake of the Water Lilies and Fairy Grove, by Moonlight." This scene ends with a Ballet and "Grand Tableau." Scene III is "Pathway Through the Wood of Enchantment." Scene IV is "The Cat's School of Cookery in the Wood." Scene V is "The Mother of Pearl Pavilion in Cat's Castle." Scene VI is "Interior of King Colorado's Palace." Scene VII is "The Tangled Brake." Scene VIII is "The Bridal Gifts of the Fairies." Then the "Comic Scenes" include the following: "Mansion and Nursery Grounds;" "The Landing Stage at Charing Cross Pier, with View of Railway Bridge in distance. Barges moored on river, and steamboats at anchor;" "A Marine Store Shop ... Large crane to work and the tap loft. Public House... .;" "Dairy Farm and Landscape" where a "Cattle Show and Dairy Show" take place.

Published dramatizations: Blanchard, E. L. 1875-octavo.

The Yellow Dwarf.

NP: np,

Planche, J. R. The Yellow Dwarf and the King of the Gold Mines. A New ... Extravaganza. [1855]. Planche, J. R. The Yellow Dwarf. In Lacy's Acting Edition of Plays, Vol. 17. London: Lacy, nd.. Planche, J. R. The Yellow Dwarf. London: Samuel French [late Lacy's], 1875—Octavo. Planche, J. R. "The Yellow Dwarf and the King of the Gold Mines," in The Extravaganzas of J. R. Planche, eds. Dillon & Croker, vol. V, pp. 35 & ff. London: Samuel French, 1879.—Octavo.

1142. PLA Y: THE WHITE CAT. PANTOMIME. 3 PARTS PLAYWRIGHT: J. HICKORY WOOD & ARTHUR P. COLLINS 26 DEC 1904 TO 4 MAR 1905 AT DRURY LANE, LONDON WEARING, THE LONDON STAGE: 1900-1909, VOL I, P 339 Fairy Asbestos by Harry Randall; Prince Plump by Fred Eastman; King Ivory by Johnny Danvers; Populo by Tom Woottwell; Cupid by Marie George; Princess Aurora by Jeannie Macdonald; Delicia by May Gurney; Prince Peerless by Queenie Leighton; Migonette by Gasco; et al. See Wearing for complete cast and reviews.

Shenton, J. W. The Yellow Dwarf; or, the Enchanted Steel Castle, and Harlequin the Fairy Gold Mines of The Coral Sea . Cheltenham: T. B. Shenton, nd [1876].

1143. PLAY: THE YELLOW DWARF; OR, HARLEQUIN KING OF THE GOLDEN MINES. PANTOMIME PLAYWRIGHT: CHARLES WESTMACOTT; STAGE BUSINESS BY GRIMALDI; MUSIC BY NICHOLSON; MACHINERY BY COPPING; DRESSES BY LEACH AND MRS CREEK; PROPERTIES BY BANNERS, FLOWERS, ET AL (MON) 22-27, 29-31 MAY, 2, 3, 5, 12,14,16,17,19,26 JUNE, (MON) 17, 18, 25, 26, 29 JULY, 15, 28 AUG 1820 AT SADLER'S WELLS, LONDON BL BILLS (VOL 165); NICOLL (IV, 557) This is not listed in the Larpent Catalogue. King of the Golden Mines (afterwards Harlequin) by Bologna; Azor (King of Persian, afterward Pantaloon) by Barnes; Allfair (Princess of Persia, afterwards Colombine) by Miss Vallancey; Grim (Esquire to the King of the Golden Mines, afterwards Clown, with a Song) by Grimaldi (especially featured in larger, boldfaced type); the Yellow Dwarf (Afterwards Yellow Harlequin) by Guerint; Ubrino by Young Grimaldi; et al. The scenery especially promoted included the following: City of the King of the Golden Mines; Magic Hall and Throne of the Yellow Dwarf; an Extensive Change to Chinese Pagodas, the Grand Coronation Procession.

LE NAIN JAUNE

YELLOW DWARF Says J. R. Planche, "LE NAIN JAUNE, the 'Yellow Dwarf,' is a more popular story, and though as tragical in its termination as The Ram,' has been more frequently presented to the English public in one shape or another, and especially in a dramatic form. The genius of Mr. Robson is, at the moment I write, illustrating it at the Olympic Theatre, in a most remarkable manner. This story is introduced by Madame d'Aulnoy in a novel called 'Don Ferdinand de Toledo.'" By this last remark, Planche means that the fairy tale itself is set into a longer and realistic work.

1144. PLAY: HARLEQUIN AND MOTHER BUNCH; OR,

160

D'AULNOY 1145. PLAT. THE YELLOW DWARF; OR, HARLEQUIN KNIGHT OF THE LION. PANTOMIME PLAYWRIGHT: UNKNOWN (MON) 29 JUNE 1829 AT VAUXHALL, LONDON NICOLL (V, 557) There seems to be no ms for this play in the Lord Chamberlain's papers.

THE YELLOW DWARF. PANTOMIME. 13 SCENES PLA YWRIGHT: ANON; MUSIC BY WARE; SCENERY BY PUGH, GRIEVE, T. GRIEVE, W. GRIEVE, HODGINS, SMITH. ET AL\ MACHINERY BY EDMUND SAUL; TRICKS, CHANGES AND TRANSFORMATION INVENTED BY BRADWELL; DESIGNED, PAINTED, AND DECORATED BY W. BRADWELL; DRESSES BY PALMER AND MISS EGAN 26, (THURS) 27 DEC 1821, 9 JAN 1822 AT CO VENT GARDEN, LONDON BL BILLS (VOL 355) LC—LARPENT CAT 2268; LC MICROFICHE 254 / 140. The ms is about 16 folios. The title page reads "1821-2. Harlequin and Mother Bunch; or, The Yellow Dwarf./ New Pantomime./ Theatre Royal Covent Garden/ 14th Dec. 1821." A note of request for permission to produce is dated 13 Dec. Licensed 14 December 1821 to John Fawcett at Covent Garden. "Principal Characters" are Mother Bunch, The Yellow Dwarf (afterwards Clown); The King of the Gold Mine (Afterwards Harlelquin); Guinea Pig; The Queen of Golconda (afterwards Pantaloon); and Princess All Fair (afterwards Columbine). Scene 1 begins with "Glee and Chorus./ King of the Gold Mines, cease to pine Princess All Fair shall be thine!" Scene 2 begins "Princess All Fair (to attendants.) To the Desert Fair strait I will repair; hasten the Cake of Millet to prepare." Scene 3rd begins with an "Air—Mother Bunch. By the twitching of my Humps, Princess All-Fair hither strumps (?)" Scene 4th begins "Guinea Pig Great Queen of the Ruby Rose, news I bring From your destined Son the Gold Mine King Who, boiling o'er with love for your daughter there, Vows this very day to wed the lovely All Fair." Scene 5th begins with "Mother Bunch Is it thus you keep your vows, Yellow Dwarfs betrothed spouse?" Scene 6th begins "Yellow Dwarf (to Gold Mine King) Traitor! Thy short-liv'd triumph's past. Prepare, this moment is thy last!" At this point the ms seems incomplete, and the next scene is ''Scene 11th," and then come "Scene 13th". The King of the Gold Mines by Ellar; Guinea Pig by J. S. Grimaldi; et al. Scenery especially featured included the Palace of the King of the Gold Mines, the Borders of the Sandy Desert; the Nuptial Hall; the Castle of Polished Steel; the View from Margate Pier; Outside of Westminster Hall; Blackheath near London; Johnny Gilpin's House, Cheapside, and the Bell, at Edmonton.

1146. PLAY: THE YELLOW DWARF; OR, THE KING OF THE GOLD MINES. BURLESQUE PLAYWRIGHT: ANON [GILBERT ABBOT A BECKETT]; SCENERY BY MACFARREN, CUTHBERT, NICHOLLS, MEADOWS, AND GORDON (MON) 26 DEC 1842, 24 JAN 1843 AT PRINCESS, LONDON BILL IN MY POSSESSION NICOLL (IV, 250) There seems to be no ms for this play in the Lord Chamberlain's papers. Fernando by Walton; Flusterinoby Oxberry; Shah Soojah Ben Ali by Smith; Ibrhim Akbar Khan by Honner; Beeswing by Miss E. Honner; The Yellow Dwarf by Salter; Gracioza by Madame Sala; Alfair by Mrs. Anderson; The Hag of the Desert by Miss Noel. The scenery included, in Act I, "Abode of Beeswing in the Clouds," and "Interior of the Palace of Queen Gracioza, in the Kingdom of Searchinthemapandfinditifyoucania," an "Avenue in the Forest," the "Glen and Retreat of the Yellow Dwarf," and the "Terrace and Gardens of the Palace." In Act II the scenery included a "View on the Sea Shore," "The Gates of the Steel Castle," a "Cavern in the Castle of the Yellow Dwarf," and the "Martial-Sea, at Sunset." 1147. PL4 Y: THE YELLOW DWARF; OR, THE KING OF THE GOLD MINES PLAYWRIGHT: GILBERT ABECKETT 29 JULY 1844 AT NIBLO'S GARDEN THEATRE, NYC ODELL (V, 76) Fernando by Fenno; Flusterino by Miss Clarke; the Yellow Dwarf by Nickinson; Shah Loojah BenAli by Dunn; Abrahim by Dennison; Hag of the Desert by Everard; Allfair by Miss Taylor; Graciosa by Mrs. Watts; Beeswing by Mrs. Hardwick. 1148. PLAY: THE YELLOW DWARF PLAYWRIGHT: UNKNOWN 7 OCT 1844 AT BOWERY, NYC ODELL (V, 106-7) Davenport as Ferdinand; Milner as the Dwarf; Mrs. Jackson as Allfair; Mrs. Hield as the Hag of the Desert. 161

D'AULNOY

1149.

1154.

PLA Y: THE YELLOW DWARF PLAYWRIGHT: UNKNOWN 14 OCT 1844 AT OLYMPIC, NYC ODELL(V, 121, 123) WithFenno, Miss Clarke, Dennison, Nickinson, Everard, Miss Taylor, and Mrs. Hardwick "in the parts they had filled at the Garden [Niblo's]," says Odell (see above). This opened the late-beginning fall season, through which it appeared intermittently.

PLAY: HARLEQUIN [AND THE] YELLOW DWARF; OR, THE ENCHANTED ORANGE TREE AND THE KING OF THE GOLDEN MINES. PANTOMIME PLA YWRIGHT: T. L. GREENWOOD (FRI) 26 DEC 1851 AT SADLER'S WELLS, LONDON LC—ADD MS 43038 B (FF 545-554) The ms is on ten folios of fair copy, each measuring about 7" wide by 9" high. The title pages shows "License sent December 18 1851, W.B.D." A large, loose hand gives "T.R. Sadler's Wells to be presented Friday Dec 26." There is no dramatis personae. Scene 1 is "Court of Revels in Old Style English Castle;" Scene 2 is "The Enchanted Orange Grove by Sunset;" a subsequent scene (3?) is "Palace of Desert Fairy in Region of Diamonds." The "Last Scene" is presumably in the same location. This looks to have been the transformation scene, and it is followed by "New Terminus of Great Northern Railway," and "Cheap Periodical Maker, London & French Assurance Offices;" "Nobody's House—number nix nowhere;" "Agricultural Instrument Depot," etc.

1150. PLA Y: THE YELLOW DWARF PLAYWRIGHT: UNKNOWN 29 AUG 1846 AT NEW GREENWICH, NYC ODELL (V, 223) With Chanfrau, W. B. Chapman, H. S. Chapman, and Julia Drake.

1151. PLAY: THE YELLOW DWARF; OR, HARLEQUIN AND THE SON OF THE SUNFLOWER. PANTOMIME PLAYWRIGHT: G. D. PITT 22 DEC 1847 AT BRITANNIA, HOXTON, LONDON NICOLL (IV, 375) LC—ADD MS 43008 (FF 759-776B) The ms in the Lord Chamberlain's Plays is in fair copy in 18 folios measuring about 7" wide by 9" high. The title page of the ms indicates "Britannia Saloon," and bears various dates, "22/12/47", "27 Dec 1847," etc. It clearly gives "by Geo Dibdin Pitt." The "Characters" including the following: Sir Palmede, Knight of the Silver Crest; Caprioski, his Squire; Guinen Gold, the Yellow Dwarf; Avaricio, a Miser; Devilino a Mischievous Spright; several "Fairies" and several "Women," including "ove the Maid of Sciros." Scene 1 is "The Isle of Sciros;" Scene 2 is "Gothic Hall in Avaricio's Castle;" Scene 3 is "The Orange Grove;" the whole ends with "Last Change."

1155. PLA Y: YELLOW DWARF AND THE KING OF THE GOLD MINES. FAIRY EXTRAVAGANZA PLAYWRIGHT: J. R. PLANCHE; SCENERY BY J. DAYES AND J. WILSON; MACHINEBY BY SUTHERLAND; DANCES BY MIL ANO; PROPERTIES BY T. EALLETT; COSTUMES BY DOMMETT AND MRS CURL; MUSIC SELECTED AND ARRANGED BY BARNARD (TUES) 26-30 DEC 1854, (MON) 1-5, 8-13, 15-20, 2227,29-31 JAN, 1-3, 5-10,12-17,19-24,26-28 FEB, 1-3, 5-10, 12-17, 19-24, 26-30 MAR, 9-14. 16-21, 23-28, 30 APR 1-5, (MON) 7-12, 14-19, 21-26 MAY 1855 AT OLYMPIC, LONDON BL BILLS (VOLS 168, 2; 380, 2); NICOLL (V, 527) LC—ADD MS 52,951 (L) PLANCHE, J. R. THE YELLOW DWARF AND THE KING OF THE GOLD MINES. A NEW EXTRAVAGANZA. [1855]. LACY'S ACTING EDITION OF PLAYS, VOL. 17. [SHELFMARK 2304. d. 21]; IN EXTRAVAGANZAS V, NP: NP, 1879—OCTAVO The ms in the Lord Chamberlain's collection of plays is 50 folios, each about 6.1" wide by 8" high of blue, thick, watermarked paper. The script is small and quite difficult to read, but fair copy with very few amendments. The title page says "The Yellow Dwarf/ An Extravaganza/ in One Act/ Royal Olympic Theatre/ December 1854." The sticker of licensure is missing but a note indicates that the ms was received 19 December and the license issued 21 December to the Royal Olympic Theatre. The dramatis personae include The King of all the Gold Mines, the King of Diamonds, the King of all the Twelfth

1152. PLA Y: THE YELLOW DWARF PLAYWRIGHT: UNKNOWN 25 JAN 1848 AT OLYMPIC, NYC ODELL (V, 372) For W. Conover's benefit; with Chanfrau.

1153. PLA Y: THE YELLOW DWARF PLAYWRIGHT: UNKNOWN 23 MAY 1850 AT NATIONAL, NYC ODELL (V, 549) Jefferson as Fernando; Mrs. Jefferson as Allfair; Burke as Flusterino.

162

D'AULNOY NICOLL (V, 850) There seems to have been no application for further license to produce this play—which may well have been a remounting of Planche's version (though the subtitle suggests otherwise.

Callers (?), The Khan of Currant Tartary, The Rajah of Jam Jelly, Prince Bonbon, The Yellow Dwarf, Chamberlain, Attendant, Monsters, Demons, Courtiers, Guards, The Queen, Princess Allfair, The Great Desert Fairy, Haridan, Mermaid, Nymphs, and Ladies of Court. Scene 1 is Illuminated Gardens; Sc 2 is Chamber in the Palace; Sc 3 is The Desert with Gigantic Orange Tree; Sc 4 is A Field of Nettles & Thistles —on side a Thatched Cottage; Sc 5 Interior of the Palace; Sc 6 The Steel Castle of the Yellow Dwarf & Enchanted Gardens; Sc 7 A Cavern; Sc 8 Another part of the Magic Grove, The Dwarfs Castle. Moonlight; Sc 9 Last Scene The Palace of Meliodorus, and Grand Tableau. "Founded on the Countess D'Aulnoy's Story," says the bill. Indulgentaby Mrs. Fitzallen; Princess Allfair by Miss E. Ormond; Baron Lowboy by J. H. White; Gam-Bogie (the Yellow Dwarf) by F. Robson; et al. The bills give the customary elaborate scenario for a holiday pantomime extravaganza. Some of the details follow: THE ROYAL NURSERY GROUNDS Illuminated for a Grand Fete al-Fresco given by the King of the Gold Mines to the Princess Allfair; CHAMBER OF THE QUEEN'S PALACE; THE GREEN SPOT in the DESERT; Nettlefield Cottage, Thistle Grove; COURT OF THE ARCHES; THE STEEL CASTLE and ENCHANTED GROVES of the YELLOW DWARF ... PALACE OF THE KING MELIODORUS, in THE OLYMPIC GOLD MINE!

1159. PLAY: THE YELLOW DWARF;OR,HARLEQUIN MELIODORUS, THE KING OF THE GOLD MINES AND THE GOOD FAIRIES OF THE GOLDEN GROVES. PANTOMIME PLAYWRIGHT: J. E. ROE 26 DEC 1868 AT BRIGHTON NICOLL (V, 814) No ms appears in the Lord Chamberlain's papers. 1160. PLA Y: YELLOW DWARF; OR, HARLEQUIN CUPID AND THE KING OF THE GOLD MINES. PANTOMIME PLAYWRIGHT: H.}. BYRON 27 DEC 1869 AT CO VENT GARDEN, LONDON BL BILLS (VOL 357) NICOLL (V, 297) LC—ADD MS 53081 (N) The copy in the Lord Chamberlain's papers in the British Library is typeset in 10 leaves, each about 5.5" wide by 17" high. Indeed, they are in the shape of posters—i.e., documents intended to be pasted to a post. The scenes given in the text are as follow: I, "CAVERN OF CORRUPTION," II, "LE BUREAU DE CUPIDON," III "GARDENS OF THE PALACE," IV "THE ABOVE OF THE DESERT FAIRY," V "ABODE OF ENCHANTMENT," VI "HALL IN THE PALACE," VII "ROYAL GARDENS," VIII "ROCKY PASS," and IX "STEEL CASTLE." King Kammomile the Kantankerus by Aynsley Cooke; His Queen by Mrs. Aynsley Cooke; Dulcimer by Miss Julia Mathews; et al. The scenery especially featured included "The Wicked Haunt of the Yellow Dwarf," "Le Bureau de Cupidon," "The Gardens of the Palace," "A Wild Ravine," "Haunt of the Houris," "The Palace," The Royal Gardens," a "Rocky Pass," "The Steel Castle," "The Dungeon in the Castle," "The Roses of Fairyland in the Dome of the Sweet Briar Fans," and in the Harlequinade itself "The Thames Embankment," "The Crystal Palace," "Cornhill," and "The Halls of Christmas."

1156. PLA Y: YELLOW DWARF! AND THE KING OF THE GOLDEN MINE. FAIRY EXTRAVAGANZA. 1 ACT PLAYWRIGHT: J. R. PLANCHE (MON) 10-13 SEPT 1855 AT THEATRE ROYAL, BIRMINGHAM BL BILLS (VOL 200) "Founded on the Countess D'Aulnoy's Story," says the bill. Gam-bogie by F. Robson; et al. 1157. PLAY: THE YELLOW DWARF. PANTOMIME PLAYWRIGHT: UNKNOWN 26 DEC 1860 AT SOUTHAMPTON NICOLL (V, 850) There seems to have been no application for further license to produce this play—which may well therefore have been a remounting of Planche's version.

1161. PLAY: THE YELLOW DWARF AND THE KING OF THE GOLD MINES. FAIRY EXTRAVAGANZA [PANTOMIME]. 1 ACT PLAYWRIGHTS: J. R. PLANCHE (?); [E. L. BLANCHARD AND T. L. GREENWOOD (?)] 24 DEC 1875 AT PRINCESS, LONDON

1158. PLAY: THE YELLOW DWARF; OR, HARLEQUIN KING OF THE GOLDEN MINES AND THE BEAUTIFUL MERMAID WITH THE GOLDEN HAIR PLAYWRIGHT: UNKNOWN 26 DEC 1865 AT AMPHITHEATRE, LIVERPOOL

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D'AULNOY LC—ADD MS 53157 (E) NICOLL (V, 264) THE COPY IN THE LORD CHAMBERLAIN'S PAPERS IN THE BRITISH LIBRARY IS FRENCH'S EDITION LONDON: SAMUEL FRENCH [LATE LACY'S], 1875—OCTAVO The copy submitted for license shows some amendments to the published text, which mentions the first performance at 1854 at the Royal Olympic, and gives the playwright as "the author of 'Fortunio,' The Camp at the Olympic,' The Golden Branch,' The Good Woman in the Wood,' and 'Once Upon a Time there were Two Kings.'" This was almost certainly J. R. Planche; so this is probably Planche's play —though it may have been revised by Greenwood and Blanchard. Nicoll gives the theatre as "Alex. Pal.," though he elsewhere indicates that this house did not open in London until 1889. It is probable that two productions of this pantomime occurred in the Christmas season 1875-6: one in London at the Princess, another in a provincial location at a Theatre called "Alexandra Palace" (see below). The situation is further complicated by the fact that the Catalogue of Additional Manuscripts shows three "Yellow Dwarf" plays submitted for license in December 1875: 53157 (E), 53157 (G), and 53158 (F). The second two are both alleged to be by "E. L. Blanchard and T. L Greenwood." The first is attributed in the catalogue to J. R. Planche.

"License Dec 8 76". The title page of the text submitted for license indicates that Shenton was "author of 'Puss in Boots,' and 'Beauty and the Beast;' and Adapter of'Little Jack Homer.'" Scene 1 was "King William's Statue, Imperial Gardens, Promendade;" 2 "The Orange Tree;" 3 "The Wilderness;" 4, "The Fairy Gold Mines;" 5 "The Wildeerness;" 6 'The Interior of the Palace;" 7 "A Grotto;" 8 "Steel Castle in the Enchanted Orange Groves;" and 9 was "The Grotto." Scene 10 was the transformation, at which point the text ends.

1164. PLAY: YELLOW DWARF. PANTOMIME PLAYWRIGHT: UNKNOWN 22 DEC 1876 AT TYNE, NEWCASTLE LC—ADD MS 53157(G) NICOLL (V, 771) The copy in the Lord Chamberlain's papers in the British Library is the version published by French, missing its cover. The records in Box 278 indicate that this was licensed for the Norwich Circuit; so this may be the play that Nicoll refers to. One ins—53158 (F)— has handwriting on it that could be interpreted as meaning "Alexandra Palace Pantomime." This information has been transmitted to the "Index" to the volume. 1165. PLAY: THE YELLOW DWARF. PANTOMIME PLAYWRIGHT: E. L. BLANCHARD & T. L. GREENWOOD (?) 24 DEC 1875 AT ALEXANDRA PALACE [PROVINCIAL LOCATION?] ADD MS 53158 (F) NICOLL (V, 264) This is the second play by this title and by these authors (allegedly) licensed for production in the Christinas season. I have some doubt about the location of the production, which is indicated in handwriting on the printed text and in the reference in Nicoll as being at the "Alexandra Palace." Because other bills in the binding are from provincial locations—such as Sheffield and Leeds—I venture to suggest that this one was also from outside London.

1162. PLAY: YELLOW DWARF. PANTOMIME PLAYWRIGHT: UNKNOWN 4 DEC 1876 AT GREENOCK NICOLL (V, 771) This play was possibly in Greenwich. 1163. PLAY: YELLOW DWARF; OR, THE ENCHANTED STEEL CASTLE, AND HARLEQUIN THE FAIRY GOLD MINES OF THE CORAL SEA. PANTOMIME PLAYWRIGHT: J. W. SHENTON; SCENERY BY GEORGE COLLIER; MACHINERY BY RICHARD BALDWIN; MUSIC BY SIDNEY WILLIAMS; COMIC SCENES AND TRICKS BY G. COLLIER; THE WHOLE DIRECTED BY FRANK KENYON; ETAL 8 DEC 1876 AT CHELTENHAM NICOLL (V, 771) SHENTON, J. W. THE YELLOW DWARF; OR, THE ENCHA NTED STEEL CA STLE, AND HARLEQ UIN THE FAIRY GOLD MINES OF THE CORAL SEA . CHELTENHAM: T. B. SHENTON, ND [1876] LC—ADD MS 53175 (I) The copy in the Lord Chamberlain's plays is a printed text measuring about 4.25" wide by 6.75 inches high, bound in rough brown paper. The title page says only

1166. PLA Y: YELLOW DWARF. PANTOMIME PLAYWRIGHT: R. REECE 6 DEC 1878 AT THEATRE ROYAL, MANCHESTER NICOLL (V, 771) LC—ADD MS 53210 (A); LICENSE NO 183 The text in the Lord Chamberlain's collection of plays is 11 folios each measuring about 8.6" wide by 27.5" high. This is a printed/published version without amendment. The title page reads "The Yellow Dwarf. A Pantomime by R. Reece, Esq." In hand is written "for Theatre

164

D'AULNOY LC—ADD MS 53227 (E); LICENSE NO 230 The ms in the Lord Chamberlain's plays is a printed/published copy in 10 folios, each oddly sized at about 5" wide and almost 27? high. The sticker of licensure indicates '"The Yellow Dwarf/ Pantomime/ H. M. Opera House (Aberdeen)/ December 17 1879." Scene 1 is "Cavern of Cairngorms." Scene 2 is "Fairy Scene." Scene 3is "Chamber." Scene 4 is "Exterior of the Palace of Erfurt." Scene 5 is not located, but begins with music. Scene 6 is a "Diamond Mine." Scene 7 is " Yellow Dwarfs Subterranean Home." Scene 8 is "Near the Palace of Erfurt." Scene 9 is "Dwarfs Bedchamber." Scene 10 is "Orange Tree."

Royal, Manchester, 1878." The sticker of licensure indicates "The Yellow Dwarf/ Theatre Royal/ Manchester/ December 6, 1878." The dramatis personae include Gambogee (The Yellow Dwarf), King Aureole (The King of the Gold Mines), King Sootee (A Hindu Monarch), Prince Kooh-i-noor, Prince Shin-Shin, and King Icicle, Tweedledum, Tweedledee, Spitfire, Blue Blazes, The Queen Rosinosey, Princess Allfair, Opaline, Blanc-de-Perle, Harridan, Cyrstalline, Fizzgig, Sparkle, and Wavelet. Scene I is Consulting Room of the Yellow Dwarf; II Portico and Exterior of Queen's Palace; III Interior of Palace; IV enter King; V The Royal Kitchen; VI The Orange Grove in the Valley of Palms; VII The Porcelain Boudoir; VIII The Siren's Cave; IX The Castle of the Yellow Dwarf (A Glittering Fortress), X (Repeat Sc. IV); XI Front Cloth—The Centre of the Earth.

1169. PLAY: THE YELLOW DWARF; OR, THE GOOD SOVEREIGN AND THE BAD YELLO BOY. EXTRAVAGANZA PLA YWR1GHT: FRANK HALL 29 MAR 1880 AT PHILHARMONIC, ISLINGTON NICOLL (V, 399) LC—ADD MS 53233 (E); LICENSE NO 57 The ms in the Lord Chamberlain's collection is 28 folios, each about 7" wide by 9" high. The handwriting is hasty, slanting, and difficult to read but fair copy and not amended. The title page indicates "Yellow Dwarf/ Philharmonic Theatre/ Mr. Frank Hall." The sticker of licensure gives '"The Yellow Dwarf' Extravaganza 1 Act/ Philharmonic/ March 29 1880." There is no list of characters. Scene 1 is "Garden in the Palace of King Bumberzung." Scene 2 is "Sea Shore in the Ground of the Dwarfs Castle by Sunset." Scene 3 is "Castle Gates. Sea Backing. Exterior of Dwarf s Home."

1167. PLAY: YELLOW DWARF.; OR, HARLEQUIN KING OF THE GOLD MINE, BRITANNIA AND THE DEMON ZULUS. EXTRAVAGANZA PLAYWRIGHT. G. W. BROWNE 14 APR 1879 AT YORK NICOLL (V, 282) LC—ADD MS 53216 (I); LICENSE NO 61 The ms in the Lord Chamberlain's plays is on 43 folios that each measure about 8.5" wide by 13" high. The text is in a fair, large hand and easy to read. Here and there are pasted onto the pages passages of printed/published text. The title page indicates ""The Yellow Dwarf or Harlelquin King of the Gold Mines, Britannia and the demon Zulus. A Pantomime/ adapted from Planche's Fairy Extravaganza, by/ George W. Browne/. Author of Thalia', 'Hearts & Homes', 'Filial Affection,'/ 'The Miser's Bride' &c. &c. &c./ F. S. Piggott, Esq./ Lord Chamberlain's Office/ St James Palace/ London." The sticker of licensure gives "The Yellow Dwarf/ or Extravaganza/Royal York/April 10 1879." Scene 1 is "Zululand. Interior of King Kelchcrayos Krall." Scene 2 is "Grand Square in the Capital of Rosyland/ Holiday makers discovered." Scene 3 is "Corridor in King Rosinoso's Palace." Scene 4 is "Zululand. The Giant Orange Tree in the Desert." Scene 5 is "Grove of Labamamia (?)." Scene 6 is "The Dwarfs Cottage Ornee—/built of Cobwebs." Scene 7 is "cut out." Scene 8 is "Grand Hall in King Rosinosi's Palace." The Finale is not located. Scene 9 is also not located. Scene 10 is "The Enchanted Grove of the Dwarfs Castle. Moonlight."

1170. PLAY: THE YELLOW DWARF. BURLESQUE [GRAND SPECTACULAR] EXTRAVAGANZA PLAYWRIGHTS: ROBERT REECE AND ALFRED THOMPSON; MUSIC BY A. MORA 30 DEC 1882, 3 FEE 1883 AT HER MAJESTY'S, HAYMARKET, LONDON BL BILLS (VOLS 344; 435) NICOLL (V, 549) Unfortunately, there seems to be no ms in the Lord Chamberlain's papers. " Aenea, The Flying Fairy," and "Jock & Jenny, The Baby Elephants from Burmah," were especially featured. Hymen by Miss Emma Chambers; Aureole by Miss Maria Linden; Gambogee (The Yellow Dwarf) by Master Charlie Ross; Sootiewayo by Julius Kealing; et al. The Scenery and incidents included, First Act, Scene I—Harridelle's Haunt, ... Scene 2—Portico of Queen Kokottina's Residence, ... Scene 3 The Palace of Queen Kokottina (in which a "Grand Ballet of Fans" was performed) ... Scene 4 The Royal Conservatory (where

1168. PLA Y: THE YELLOW DWARF. PANTOMIME PLAYWRIGHT: UNKNOWN 11 DEC 1879 AT HER MAJESTY'S, ABERDEEN NICOLL (V, 771)

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D'AULNOY an "American Song and Step Dance" was performed) ... Scene 5 The Princess' Schoolroom (where "The Dolls' Quadrille" was performed) ... Scene 6 The Orange Grove in the Valley of Vines (apparently ending with "The Marvellous Baby Elephants, Jock and Jenny, Jumbo's Twins") ... And "The Queen's Alarm and the Dwarfs Triumph. The Second Act began with Scene 1—The Magic Boudoir (featuring "The Infernal Furniture," "The Veil of Vapour, or Steam Curtain") ... Scene 2—The Basaltic Caves ... Scene 3—The Bronze Castle (featuring "The Renad Demon Troupe" performing their "Grand Ballet of Furies").. Scene 4—The Underground Line to the Golden Mines ... and finally, Scene 5 Beneath the Earth (with "The Realms of Gold, leading to Aureole's Treasure House").

Cable Street, Liverpool." The Sticker of Licensure reads "'The Yellow Dwarf Pantomime/ Shakespeare, Liverpool/December 24, 1888." The "Characters Presented" are "Queen, Allfair, Coquette, Prince Meliodorus, Tiger Tops, Orange Bitters, Prince Paudheen O Rafferty, Rham Jham, Sir George, Sir Sawney, Sir Denis, Sir James, The Chamberlain, Fairy Kindheart, Philip, Phlop, Haggarina, and Two Rampant Red Lions." Scene I is "The Royal Garden Party and Fancy Fair." Scene II is "The Swamp and Magic Orange Tree." Scene III is "The Queen's Boudoir." Scene IV is "The Palace Gardens." Scene V is "The Stalactite Grotto." Scene VI is "The Steel Castle in the Orange Groves." Next comes the "Grand Tableau," which in turn is followed by Scene VII "The Dwarfs Divan." Scene VIII is "Throne Room in the Palace of King Meliodorus." Scene IX is "The Valley of the Palms." The "Finale" is a "Change to the Grand Transformation Scene, The Bird of Music."

1171.

PLAY: YELLOW DWARF PLAYWRIGHT. UNKNOWN 14-19 SEPT 1885 AT MINER'S, BOWERY, NYC ODELL (XIII, 100) With Bunell, Leopold, the Gormans, Dick Hume, Kate Victoria and Ada Melrose.

1175.

PLAY: THE YELLOW DWARF. PANTOMIME PLAYWRIGHT: GEORGE CONQUEST & H. SPRY 26 DEC 1897 AT SURREY, LONDON NICOLL (V, 323) LC—ADD MSS 53649 (Q) The typescript in the Lord Chamberlain's papers is 75 folios, each about 8.5" wide by 10.25" high. The typescript is readily legible, and here and there passages have been pasted to the backs of pages. The title page reads "Lord Chamberlain's Copy of 'The Yellow Dwarf/ Pantomime/ 1897-8/ To be produced at the Surrey Theatre under the management of/ Mr. George Conquest on December 26th 1897." The sticker of licensure indicates "Yellow Dwarf/ Surrey SE/ 31.12.97" Scene 1 is "The Stronghold of the Giant Gobblem." Scene II opens with a "Policemen's Chorus" (in printed form pasted onto the back of the last page of scene I, and therefore almost certainly a "crib" from another play). Scene 2nd is "In the City of Somewhere. Public Square prepared to celebrate the jubilee of the King." Scene 3rd is "interior of Widow's Hut." Scene 4th is "Outside the Hut." Scene 5th is "Orange Tree in the Desert." Then the scene changes to the "Orange Pyramids." Scene 6th is "Outside the Royal Palace." Scene 7th is "In the Palace." Scene 8th is "Front Scene: Enter Fairy Aquarina." Scene 9th is "The Haunted Caves of th Giant." Scene 10th is "On the Road to the Pool." Scene 11th is "In the Valley of the Fairy Pool." Scene 12th is "Room in the Palace."

1172. PLAY: YELLOW DWARF PLAYWRIGHT: UNKNOWN 14-19 SEPT 1885 AT MINER'S, EIGHTH AVENUE, NYC ODELL (XIII, 100). 1173.

PLA Y: THE YELLOW DWARF PLAYWRIGHT: UNKNOWN 31 OCT-5 NOV 1887 AT LONDON THEATRE, NYC ODELL (XIII, 515) With Jessie Villers, Minnie Ross, Jeffreys Pendy, Kate Nicholls, and Pendy. 1174.

PLAY: THE YELLOW DWARF. PANTOMIME PLAYWRIGHT: T. F. DOYLE; SCENERY BY H. P. HALL, F. WOODFORD, J. O'RORKE, ETAL.\ MUSIC BY FRED. WRIGHT 6 DEC 1888 AT SHAKESPEARE THEATRE, LIVERPOOL NICOLL(V, 771,789, 850) LC—ADD MS 53420 (F)—LICENSE NO 348 The text in the Lord Chamberlain's collection of plays is a pink-bound published/printed version in 43 pages. The title and cover pages both read "The Yellow Dwarf/ Written expressly for this Theatre/ by T. F. Doyle/ Author of 'King Witner,' 'Cinderella,' 'Whittington,' etc. Produced under the direction of G. W. Harris. Saturday. December 22nd/1888-9. Fraser& White, 18,

1176. PLAY: THE YELLOW DWARF. PANTOMIME PLAYWRIGHT: J. H. WOOLFE 31 DEC 1897 AT SHAKESPEARE THEATRE, LIVERPOOL

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D'AULNOY NICOLL(V, 771,824, 850) LC—ADD MS 53649 (J) The text in the Lord Chamberlain's collection of plays is 9 leaves of an add size: each measuring 6.375" wide by 23.5" high. This is a printed text. The sticker of licensure gives "The Yellow Dwarf/ Shakespeare/ Liverpool/31.12.97." The first page gives a list of characters, including the following: Queen Penelope; Princes Alfair; Prince Orlando ; The Yellow [Dwarf]; King Blarney of Bally Bluff; King Koppenob of Carolina; Gadadout; Twister; Twirler; Trippit; Sir Vivian; Sir Malachi; Sir Andrew; Sir Morgan; Cassandra; Rhoda; Alma; Huldah; Alecto; Tisiphone; The Two Red Lions; and Robin Goodfellow. The "Synopsis of Scenery is Scene 1, "The Gardens of the Queen's Court;" Scene 2 "The Orange Swamp;" Scene 3 "The Queen's Boudoir;" Scene 4 "The Valley of Palms;" Scene 5 "The Grotto of Alecto; Scene 6 The Enchanted Castle of Steel; Scene 7 "The Dwarfs Divan;" and Scene 8 "The Palace of Prince Orlando."

1177. PLAY: THE YELLOW DWARF; OR HARLEQUIN FAIRY THE THREE WISHES. PANTOMIME PLAYWRIGHT: JOHN HENDERSON 30 DEC 1898 AT WEST PIER, BRIGHTON NICOLL(V, 771) LC—ADD MS 53677 (N); LICENSE NO 314 The text in the Lord Chamberlain's collection of plays is a printed/published version, with a brightly colored cover featuring the Yellow Dward himself, on which the sticker of licensure says '"Yellow Dwarf/ Panto/ West Pier Brighton/ 30.12.98." The title page says "Gus Hart's Comical, Emotional, Musical, Mystical, Fairy-Play Pantomime/ The Yellow Dwarf/ and/ Harlequin Fairy and the Three Wishes/ by/ John Henderson; author of 'Queen of Hearts,' 'Robin Hood,' 'House that Jack Built,' etc. etc./ Brighton: The Southern Publishing Company, Limited/ 3400." Scene I is "Hall in the Manor of Discontent." Scene II "Rose Arbour of Castle Dangerous." Scene III is "The Tangled Wood and Toadstool Glen." Scene IV is "The Pinnacle of the World in Cloudland." Scene V is "Omdurman and Khartoum." Scene VI is "Rose Arbour as Before." Scene VII is "The Mystic Shrine in Castle Dangerous." Scene VIII is "The Dungeons of Castle Dangerous." Scene IX is "The Rose Arbour as Before." Scene X is "The Battlements of Castle Dangerous."

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MADAME DE GENLIS (1746-1830)

Stephanie Felicite Brulart de Genlis wrote in French; some of her publications in French appeared in Great Britain, and several were translated into English very quickly after their appearance in French in Great Britain.

1835—octavo BL SHELFMARK 11778. e. 3. (7.) Ball, Edward. [Siege of Rochelle} in Buncombe's British Theatre, vol 47—BL SHELFMARK 2304. a. 24;

SELECT PUBLICATIONS The English-language single issues that appear in the British Library General Catalogue of Printed Books to 1975 are as follow: Adelaide and Theodore; or, Letters on Education (1783); The Affecting History of the Duchess of C** (1820?)—contained in Adelaide and Theodore', Inhuman Husband; or, the ad narrative of the Duchess of C—. (1830); The Age of Chivalry; or, the Friendship of Other Times—see infra Les Chevaliers du cynge; Alphonsine; or, Maternal affection. A novel (1807); A Selection from the Annals of Virtue Containing the most important and interesting anecdotes from the histories of Spain, Portugal, China, Japan, and America, with some account of the manners, customs, arts and sciences of France. (1794); Placide, a Spanish Tale (1817); The Castle of Kolmeras (1804); The Brazier; or, Mutual Gratitude (1819)—in The History of Isaac Jenkins', The Knights of the Swan; or, the Court of Charlemagne (1796); The Age of Chivalry; or, the Friendship of other times ... A bridged and selected from the Knights of the Swan (1799); Jane of France. An historical novel (1816); The Rival Mothers, or calumny (1800); The New Era; or, Adventures ofJulien Delmour (1819); Petrarch and Laura (1820); Sainclair; or, the Victim of the arts and sciences (1808); The Siege of Rochelle; or, the Christian Heroine (1808); Tales of the Castle; or, stories of instruction and delight (1785); Rash Vows (1199); The Young Exiles (nd); Zuma; or, the Tree ofheatlh (1818)—to which is added The Fair Pauline, Zeneida, The Reeds of the Tiber, and the Widow ofLuzi; The History ofCeiclia, or the beautiful nun (1804); The Old Castle; or, the Forty Knights and the fair penitent. A romance (1810?).

Ball, Edward. [Siege of Rochelle] in Lacy's Acting Edition of Plays, vol. 95—BL SHELFMARK 2304. g. 13.

1178. PLAY: SIEGE OF ROCHELLE. OPERA PLAYWRIGHT: ANON [EDWARD FITZBALL]; MUSIC BY BALFE (THURS) 29-31 OCT, 2-7, 9-14, 16-21, 23-28, 30 NOV, 1-5, 7-12, 14-19, 21-23, 26, 28-31 DEC 1835, 1, 2, 4, 18, 21, 25, 28 JAN, 1, 5, 25 FEE, 5, 12, 17 MAR, 5 MAY, 7, 14, 21 JUNE, 11 JULY 1836 AT DRURY LANE, LONDON (ABOUT 71 PERFORMANCES) BL BILLS (VOL 25) LC—ADD MS 42931 (FF 408-438) NICOLL(IV, 314) The ins in the Lord Chamberlain's plays is 31 folios each 7.5" wide by 9.5" high. The copy is fair and clean. The title page reads "Allowed 23 Sept 1835. G. C. [George Colman], Ent. Clara or The Siege of Rochelle (an opera in 2 acts)." A note on the title page dated Sept 16th 1835 seeks permission to produce. The "Dram: Pers:" were Count de Rosenberg, Marquis de Valmour, Montalban, Azina (a Monk), Michel (Servant to the Count), Corporal Schwartz, an Orderly, a Peasant, the Princess Euphemia, Clara, Marcella (wife to Michel), and Cynthia. Act I, Scene 1st is "Mill and Farmhouse with distant view of Rochelle. Soldiers discovered, drinking. A sentinel." Scene 2 is "View Near the High Road. Entr Clara with a Basket." Scene 3 is "Interior of a Monastery, enter Clara." Act 2, Scene 1, is "Hall of the Chateau of the Princess Cynthia, vassals &c. discovered." Scene 2nd is "Gardens of the Palace, Enter Clara, followed by Valmour." Scene 3rd is "Interior of Hermitage, enter Azino." Scene Last is "Interior of Rochelle. A Guard discovered. Enter Azino, leading on Clara, in the habit of a Sister of Charity." This was "founded on the celebrated novel by Madame de Genlis," says the bill. So far as I have yet been able to determine, this novel was not translated into English. Count de Rosemberg by Seguin; Marquis de Valmour by

LA SIEGE DE LA ROCHELLE; OU LE MALHEUR ET LA CONSCIENCE (1808?) SIEGE OF ROCHELLE (1808) Published dramatizations: Ball, Edward. Songs, Duets, Trios, Choruses ... In the new opera of Siege of Rochelle, founded on the popular work by Madame de Genlis, etc. 168

DE GENLIS BL BILLS (VOL 27) Count de Rosemberg by Stretton; Marquis di Valmont by Franks; Clara by Miss Romer; Macella by Miss Poole; et al.

Wilson; Montalban by Giubellei; Michel by H. Phillips; Corporal Schwartz by Henry; Azino by Bedford; Clara by Miss Shirreff; Euphemia by Mrs. Vining; Cynthia by Mrs. Newcombe; Marcella by Miss Fanny Healy; et al. The bills give fairly elaborate details about the production, including the scenery and music. On 14 November the management announced the intention to produce "The Jewess" as a kind of companion piece to "Siege of Rochelle." On 5 March "Siege of Rochelle" shares a red-printed bill with "Chevy Chase," a grand chivalric entertainment. Drury Lane found this opera sufficiently successful to open the following 1836 season with it-see below.

1183. PLAY: THE SIEGE OF ROCHELLE PLAYWRIGHT: UNKNOWN 7, 28 JUNE 1841 AT NIBLO'S GARDEN THEATRE, NYC ODELL (IV, 520) With Bishop, Plumer, Chippindale, and Julia Wallack. 1184. PLAY: SIEGE OF ROCHELLE. OPERA PLAYWRIGHT: UNKNOWN; MUSIC BY BALFE 30 SEPT 1843 AT DRURY LANE, LONDON BL BILLS (VOL 30) Count de Rosemberg by Stretton; Marquis de Valmour by Templeton; Clara by Miss Rainforth; Ephemia by Miss Somerville; et al. On the back of this handbill is an advertisement for a production of "Sam Weller; or, the Pickwickians," at the "New Strand Theatre."

1179. PLAY: SIEGE OF ROCHELLE. OPERA PLAYWRIGHT: UNKNOWN; MUSIC BY BALFE (SAT) 8, 11, 13, 15, 18, 27 OCT, 1 NOV 1836, 1 FEE 1837 AT DRURY LANE, LONDON BLBILLS (VOL 26,1) Count de Rosemberg by Seguin; Marquis de Valmour by Wilson; Montalban by Giubellei; Michel by M. W. Balfe; Coporal Schwartz by Henry; Azino by Bedford; Clara by Miss Shirreff; Euphemia by Mrs. Vining; Cynthia by Miss Somerville; and Marcella by Miss Forde. This is the complete cast. The opera appeared again on 26th October 1837 at Drury Lane (see below).

ZUMA (1818)

1180. PLA Y: SIEGE OF ROCHELLE. OPERA PLA YWR1GHT: UNKNOWN; MUSIC BY BALFE (THURS) 26 OCT, 1, 8, 15,21 NOV 1837,20 JAN 1838 AT DRURY LANE, LONDON BL BILLS (VOL 26, II) Count de Rosemberg by Sequin; Clara by Miss Romer; et al.

A play entitled "Zuma" had been published in 1800 in English; it was a translation of a play by by Le Fevre.84 However, Zuma, or the Tree of Health*5 was a narrative of some fifty pages, which begins with a description of the conflict between the Spaniards and the Indians in the Americas. The characters include Count de Cinchon, Beatrice, Mirvan, Zuma, et al. The bark of the Quinquina tree has medicinal powers.

1181. PLA Y: THE SIEGE OF ROCHELLE. OPERA PLA YWRIGHT: ANON; MUSIC BY BALFE 30 MAR, 1, 28 MAY 1838 AT PARK THEATRE, NYC ODELL (IV, 204, 205, 206) Rosemberg by Richings; Valmour by Jones; Montalban by Hughes; Michael by Brough; Schwartz by Povey; Azuro by Hayden; Clara by Mine. Caradori Allan; Euphemia by Miss Cushman; Cynthia by Mrs. Durie; Marcella by Mrs. Hughes. Odell reports that the 1 May production was a mere scene for Mrs. Hughes' benefit.

Published dramatizations: Dibdin, Thomas J. Zuma; or The Tree of Health. London: John Miller, 1818—Octavo

84

T. Rodd, trans, Zuma. (London: np, 1800)—Octavo.

1182. PLA Y: SIEGE OF ROCHELLE. OPERA PLA YWRIGHT: ANON; MUSIC BY BALFE (WED) 26,29 DEC 1838 AT DRURY LANE, LONDON

85

(London: Henry Colburn, 1818)—bound together with "The Fair Pauline," "Zeneida," "The Reeds of the Tiber," and "The Widow of Luzi."

169

DE GENLIS 1185. PLA Y: ZUMA; OR, THE TREE OF HEALTH. OPERA PLAYWRIGHT: THOMAS J. DIBDIN; MUSIC BY BISHOP AND BRAHAM (SAT) 21, 24, 28 FEE, 3, 7, 10, MAR 1818 AT COVENT GARDEN, LONDON LARPENTNO2011; 113 (MON) 30 JAN. 1818 BL BILLS (VOL 95) LONDON: JOHN MILLER, OCTAVO —1818 (BL SHELFMARK 11779. g. 30. NICOLL (IV, 301); BL CAT LC—LARPENT CAT; LARPENT FICHE IN THE BL F254/ 5927 1 The Catalogue of the Larpent Plays says "Application Jan 27, 1818, John Fawcett, C. G. Prod. Feb. 21." The microfiche copy has a title page as "Zuma; or, The Tree of Health. An Opera in Three Acts. Theatre Royal Covent Garden January 30th 1818. The first pages are additional songs for insertion. Dramatis Personae are Carlo di Chincona [Viceroy of Lima] Garcin and Gonzalo, his officers; Doctor Bonoz; Picquillo [a young Spaniard]; Sancho [a Valet in the Palace]; Caesar [a Black Servant]; Mirvan [husband of Zuma]; Orian the Vice-Queen; Beatrice, her Duenna; Clara and Inisilla, attendants on the Vice Queen; Zuma, Wife of Mirvan; Chincilla, beloved by Picquillo, Spanish Ladies; Female Indians; et al. The bills make no mention of a narrative source. Act I, Scene 1, "A Romantic Valley surrounded by mountains;" Scene 2 is "An Apartment in the Viceroy's Palace." Scene 3 is "Moonlight, a beautiful pavilion in a spacious garden." Act 2, Scene 1 is "A rocky pass ... The mouth of a Cave, near which is a large, moveable stone." Scene 2nd is "A ... boundary of the Palace garden—near the centre is the decayed entrance to the shaft of a deserted gold mine, dilapidated steps at the mouth of it." Scene 3 is a "Gallery in the Palace." Scene 4 is "An elegant Boudoir;—the door, half-opened, shews a magnificent staircase." Carlo di Chincona by Abbott; Doctor Bonoro by Fawcett; Picquillo by Listen; Sancho by Denning; Caesar by Blanchard; Ximeo by Chapman; Azan by J. Isaacs; Mirvan by Braham; Zamora by Miss Boden; Zegro by Comer; Guatimosin by Penn; Orian by Miss Foote; Beatrice by Mrs. Davenport; Clara by Mrs. Sterling; Inisilla by Miss Matthews; Chinchilla by Mrs. Garrick; etal.

Chinchiilla; Miss Johnson as Oriana; Mrs. Parker as Zoro; and Mrs. Baldwin as Beatrice. 1187. PLA Y: ZUMA; OR, THE TREE OF HEALTH PLAYWRIGHT: UNKNOWN 1823 AT PARK THEATRE, NYC ODELL (III, 57, 65) With Mrs. Holman.

1186. PLAY: ZUMA. OPERATIC ROMANCE PLAYWRIGHT: DIBDIN 3, 8 FEE 1819 AT NEW YORK THEATRE, NYC ODELL (II, 529) Robertson as Carlo di Conchona; Kilner as Dr. Bonoro; Barnes as Picquillo; Pritchard as Azan; Howard as Mirvan; Mrs. Holman as Zuma; Miss Leesugg as

170

MADEMOISELLE DE LA FORCE (1650-1724) 1188. PLAY: GOOD WOMAN IN THE WOOD. FAIRY EXTRAVAGANZA. 2 ACTS PLA YWRIGHT: ANON [I.E., J. R. PLANCHE]; MUSIC BY J. H. TULLY; DANCES BY MONS. PETIT; DRESSES BY BROWN AND MISS BURT; SCENERY BY BEVERLY(?); ETAL (TUBS) 28-31 DEC 1852, 1,3-8, 10-15, 17-22,24-29,31 JAN, 1-5, 7, 8, 10-12, 14-19, 21-26, 28 FEB, 1-5, 7-12 MARCH 18-22, 25, 27, 29 APR, 1, 2 MAY 1853 AT LYCEUM, LONDON BRITISH LIBRARY BILLS (VOLS 152, 1; 168, 2); LARGE BILL/POSTER IN OXBODJJ PLANCHEST LC—ADD MS 52936 (Y) The ms in the Lord Chamberlain's collection of plays is 46 folios each measuring about 7" wide by 9" high. The copy is fair and the hand is legible. The title page says "For representation at the Royal/ Lyceum Theatre on 27th Decemr 18527 22th Decemr 20 1852. The Good Woman in the Wood./ In two Acts./ Mss received December 22/1852/License sent 23/W.B. D." A second title page says "Songs &c in 'The Good Woman in the Wood.'" A little later come the "Dram: Pers:" who are King, Prince Sylvan, Finfin, Ratsbane, Aladdin, Eavesdrop, Queen, Dame, Lirrette, Myrtis, and Fairy. Act 1st, Scene 1st is "Cottage and Garden." Scene 2nd is "A Room in a Palace." Scene 3rd is "Interior of House." Act 2, Scene 1st is "Boundary of Bloomland." In the course of this scene there is a transformation to "The Cabinet de Fees." Scene 3rd is "Palace of the King." Scene 4th is "A Prison Court." King Brutus by Frank Matthews; Dame Goldenheart by Madame Vestris; The Fairy Fragrant by Miss Martindale; etal. This production received a negative review in the Morning Chronicle that Matthews partially reprinted in a broadside attack on Angus Reach, who had so criticised the production.

Says J. R. Planche, "CHARLOTTE ROSE DE LA FORCE was the daughter of Francois de Caumont, Marquis de CastelMoron, and grand-daughter of Jacques de Caumont, Due de la Force, whose escape from the massacre of St Bartholomew is celebrated in the Henriade of Voltaire, and who afterwards greatly signalized himself by his exploits during the reign of Henry IV, and Louis XIII. She was born in the Castle of Casenove, near Bazas, in Guienne, about 1650, and died in Paris in 1724. Her mother, Marguerite de Vicof, was Dame de Casenove, and daughter of the baron de Castelnau. Mademoiselle de la Force would therefore appear to be maternally connected with Madame de Murat. She is said to have been married, in 1687, to Charles de Brion; but that marriage was declared null and void ten days afterwards. She was author of several memoirs and romances, and of an Epistle, in verse, to Madame de Maintenon; but is best known by her fairy tales, Contes des Contes, though only one of them has, to my knowledge, appeared previously in English. That one is— ['Fairer than a Fairy.']."86

LA BONNE FEMME THE GOOD WOMAN Says J. R. Planche, "La Bonne Femme is far superior to Plus Belle que Fee. It is indeed worthy of Madame d'Aulnoy, and I cannot account for its never having previously met with a translator. It will be recognized by playgoers as the foundation of my Fairy Extravaganza, The Good Woman in the Wood, in which form the dramatic incidents of this charming story were first introduced to a London public. As we are bound, after the author's declaration, to consider it an original story, we need not trouble ourselves to hunt after its source. The other original fairy tales—Percinet, Tourbillon, Vert et Blue, Le Pays des Delices, and La Puissance d'Amour—bear no comparison to the two I have selected.87

86

J. R. Planche, ed. & trans., Four and Twenty Fairy Tales, selected from those ofPerrault, and other Popular Writers (Lonon: Routledge, 1858), p. 531 87

Planche, ibid., p. 533.

Ill

MADAME DEVILLENEUVE (17??-1755) LA BELLE ET LA BETE

Madame de Villeneuve, it ought never to be printed without the acknowledgment that it is simply an abridgment of her composition, adapted to the use of juvenile readers by Madame de Beaumont "88 Some modern scholars locate the source of "Beauty and the Beast" stories in Straparola's Piacevoli Notti (1550). At least two transmitters of the tale in narrative form, however, were French women: Madame de Villeneuve and Madame Le Prince de Beaumont. Thus, like so many fairy stories and tales from Mother Goose, "Beauty and the Beast" in a sense has more than one "original" "author." The dramatic derivatives from the tales of the Beauty and her Beast thus undoubtedly belong in the present volume. Any decision in the present work to file these records under either Madame de Villeneuve or Madame Le Prince de must, however, to some degree be arbitrary. Planche reports that the story was published in 1740, and records as well that a Mr. Dunlop says "it is an expansion of and adoption from Riquet a la Houpe. I think this is one of those hasty conclusions of which we are all occasionally guilty. I cannot, for my part, see any resemblance between the two stories. In Riquet, an ugly and deformed prince wins the hand of a lovely princess—the usual triumph of mind over matter; but in Beauty and the Beast, the suitor is not merely a repulsive man, but a monster of the most horrible and tremendous description, and who is specially prohibited from availing himself of those mental powers which might in the slightest degree affect the judgment of the lady. Pity and gratitude are the motives which influence Beauty to sacrifice her own happiness to ensure that of the Beast. In the other case, admiration of the talent of Riquet renders the Princess gradually blind to the defects of his person. LeMouton of Madame d'Aulnoy offers infinitely more points of resemblance. The transformation of the King into a ram by a jealous and vindictive fairy, and the permission given by him to Merveilleuse to visit her family, on her solemnly promising to return by a stated period, are features too obvious to be overlooked. The despair of the Ram in consequence of her not fulfilling her promise on the last occasion, is also like that of the Monster; but Madame de Villeneuve has avoided the tragical catastrophe; and notwithstanding the similarity

BEAUTY AND THE BEAST (1740) Planche reports that Madame de Villeneuve, born "Gabrielle Susanne Barbot, [was the] 'daughter of a gentleman of Rochelle,' and widow of Monsieur de Gallon, Seigneur de Villeneuve, Lieutenant-Colonel of Infantry. [She] died at Paris in the house of Crebillon, the tragic writer, Dec. 29th, 1755." No reference to her appears in the Bloomsbury Guide to Women's Literature. SELECT PUBLICATIONS In addition to La Belle et la Bete in Cabinet des fees, Madame de Villeneuve published Le Phenix conjugal (1733), La Jardiniere de Vincennes (1753), La Jeune americaine (1740-1741), Le Beau-frere suppose (1752), Le Juge prevenu (1754), and Anecdotes de la cour d'Alphonse XI (\~I55). Posthumous works include Miles de Marsanges (1757), Le temps et la patience (1768), Les Contes de cette annee (1765), and Contes de Mme de Villeneuve (1765). Planche notes that "Thousands of English readers have no doubt been all their lives under the impression that they knew nearly by heart the story of Beauty and the Beast; and though few, alas! May have taken the trouble to inquire who was the author of it, those who have, imagine themselves indebted for it to Madame Leprince de Beaumont. Nay, there are many, no doubt, in France who are under the same belief, for "La Belle et la Bete, par Madame Leprince de Beaumont," is without a word of explanation, at this moment circulating as a portion of the French Railway Library, and was published, with various other stories, in a small edition of Contes des Fees only last year, under her name, by a bookseller on the Quai des Augustins, Paris. It is only those who have read the original story by Madame de Villeneuve, either in the Contes Marins, or in the Cabinet des Fees, who will not be surprised to find that Madame de Beaumont has merely the merit of having cut this admirable work down to the smallest comprehensible dimensions, and made a pretty little nursery tale of one of the most ingeniously constructed stories in the whole catalogue of fairy chronicles. The story of the Beast is but alluded to in a few words, and that of the real parents of Beauty altogether omitted. It is no answer to say that the version of Madame de Beaumont is an agreeable story, that the moral is preserved, and that there are portions of the original tale which required alteration or omisson. In justice to

88

Perrault, Charles et al. Four and Twenty Fairy Tales selected from those of Perrault, and other popular writers. With illustrations by Godwin, Corbould, and Harvey. London: Routledge, 1858, pp. 520 & ff.

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DE VILLENEUVE

Figure 6 Dramatic versions of "Beauty and the Beast" per decade. I have pointed out, Beauty and the Beast, taken as a whole, deserves all the praise that those who are best acquainted with it have unanimously accorded to it."89 In his 1858 Four and Twenty Fairy Tales, Planche includes a "Story of Beauty and the Beast" that is a substantial work of almost precisely 100 pages, and about 40,000 words. He goes on to report that "It was published in 1740." Planche also notes that "it is a curious circumstance that the Gatta Cennerentola of Basile, and the Gennan version of Cinderella, both commence with the departure of the father on a journey, and the requests of his daughters corresponding exactly in their general character with those in Beauty and the Beast, while we find nothing of the sort in Perrault's Cendrillon. I infer from this that the Italian and German writers have mixed two old stories together, and that Madame de Villeneuve's is founded on one of them ." There had been an opera on the basic subject of a monstrous male beloved of a beautiful woman—i.e., "Zemire et Azor," performed in Paris in 1771. This was translated into English and performed in London in 1776. However, by 1812, when the Surrey Theatre, in

89

London, produced a "Beauty and the Beast" play, its bills alleged that the source was "the admired Fairy Tale," and not the preceeding opera. A play that is very slightly similar in materials to—but not derived in plot or character from—the "Beauty and the Beast" story is subtitled "Harlequin Prince Progress and the Little Fairy Happiness." See add ms53103(N). A second play that is not really a dramatization of the Fairy Tale is "Beauty or the Beast," a farce by John Oxenford on 2 November 1863 at Drury Lane. Published dramatizations: Boswell, Laurence. Beauty and the Beast. London: Nick Herne Books, nd [ca 1996] Collier, Sir George. Selima & Azor, A Persian Tale, in three parts, as performed at the Theatre-Royal in Drury Lane. NP: np, 1784. [SHELFMARK 643. E. 13. (5.)] See also Songs, Duets, Trios &C. In the Dramatic Romance of Selima and Azor. NP:np, 1776 [British Library Shelfmark 161. f. 38]. Green, Frank & Callender, Romaine. Beauty and the Beast. Sheffield: John Drake, 1883.

Op cit. 173

DE VILLENEUVE The Catalogue of the Larpent Plays in the Huntington Library indicates that the application for license to produce was filed 2 Dec. 1776, by Richard Brinsley Sheridan, and that this ms "lacks Act I, Scene I, and most of Scene 2; many alterations." The ms in the Lord Chamberlain's plays (Larpent collection) has a title page that says "Selima & Azor Act 2 D. Lane Dec 2nd 1776." A note dated 2 December 1776 requests permission to produce. Though no page of dramatis personae appears, the characters are Ali, Scander, Azor, Selima, Fatima, and Lesbia. This material of the opera itself was published several times, including in 1777, and 1806. See also a second issue of the Airs, Duets, Trios, &c &c in ... Selima and Azor (1815), pp. 19.

McCardle, JolmF. Grand Christmas Pantomime Beauty and the Beast. Book of Words and Programme of Characters, Scenery, and Incidents. E. Burton: Liverpool, 1875-6. Planche, J. R. Beauty and the Beast. A Grand, Comic, Romantic, Operatic, Melo-Dramatic, Fairy Extravaganza in two acts. London: S. G. Fairbrother, nd. Planche, J. R. Beauty and the Beast . NP: np, 1841—8vo. Songs, Duets, Chorusses); Duodecimo 1841; Planche, J. R. Beauty and the Beast. In Dicks no 1017. London: Dicks, nd.; Planche, J. R. Beauty and the Beast. In Lacy, vol. XIX, London. Lacy, nd.

1190. PLAY: ZEMIRE E AZOR. OPERA. 3 ACTS PLA YWRIGHT: MARMONTEL [TRANS BY VERAZZI] 23 FEE 1779 AT HAYMARKET, LONDON LARPENT CAT; LARPENT NO 469 "Application Feb. 22, 1779, Thomas Harris and Richard Brinsley Sheridan," says the Catalogue of the Larpent Plays. The ms in the Lord Chamberlain's collection (British Library microfiche 253 / 1288) has a title page with "Zemia e Azore" on it, and nothing more. On a second folio, a note from "Harris [&?] Sheridan" to "W. Larpent" requests permission to produce the "piece." Atto Primo, Scena 1 is "Palazzo incantato, Sandro e Ali." Scena 2 is "Azor, e Detti." Scena 3 is "Camera nella casa di Sandro." Scena 4 is "Sandro, Ali, e Dette." Scena 5 is "Sandro, Ali, Zemira." Scene 6 is "Ali solo." Scena 8 is "Sandro, Ali." Atto 2, Scena 1 is "Gran sala nel palazzo di Azor." Scene 2 is "Ali, Zemira." Scena 3 is "Azor senza mostrarsi, e Dette." Scene 4 is "Zemira, schieva di Genjie ... ." Scena 5 is "Zemia, ed Azor." Scena 6 is "Azor, e Zemira nel Teatro." Scena 6 is "Azor, ed Genj della musica, e del ballo."v Atto 3, Scena 1 is "Camera nella casa di Sandro." Scena 3 is "Parte del Giardino di Azor." Scene 4 is just "Zemira." Scena 5 is "Palazzo incantato." Scena ultima is "Sandro, Lesbia, Fatima, Ali & Detti."

Planche, J. R. Beauty and the Beast. In vol II, The Extravaganzas ofJ. R. Planche. eds Croker & Tucker. London: Samuel French 1879, pp. 107 & f f — 8vo. Shenton, J. W. Beauty and the Beast; or, Rustifum, The Knave, The Children of the Wave, and The Charm of the Fairy Roses. T. B. Shenton: Cheltenham, nd [ 1875?] Wood, J. Hickory & Collins, Arthur. The Sleeping Beauty and the Beast, A Grand Christmas Pantomime in English Plays of the Nineteenth Century, vol. V, ed Michael R. Booth. Oxford: Clarendon, 1976.

1189. PLAY: SELIMA AND AZOR. DRAMATIC ROMANCE. 3 ACTS. 39 PP PLAYWRIGHT: SIR G. COLLIER 5 DEC 1776 AT DRURY LANE, LONDON NICOLL (III, 27, 245, 379) SIR GEORGE COLLIER, SELIMA & AZOR, A PERSIAN TALE, IN THREE PARTS, AS PERFORMED AT THE THEATRE-ROYAL IN DRURY LANE. [IN VERSE]. 1784. [SHELFMARK643. E. 13. (5.)] SEE ALSO SONGS, DUETS, TRIOS &C. IN THE DRAMA TIC ROMANCE OF SELIMA AND AZOR PP. 22 1776. [SHELFMARK 161. f. 38] LARPENT CAT; LARPENT NO 421; MICROFICHE IN BRITISH LIBRARY (MICROFICHE NO F 2537 191)

1191. PLAY: ZEMIRE ET AZOR. OPERA PLA YWRIGHT: LIBRETTIST UNKNOWN; MUSIC BY ANDRE GRETRY 1794 IN USA EDWARD ROTHSTEIN, "BEAUTY AND BEAST IN AGE OF MOTELS," THE ARTS IN NEW YORK TIMES (22 FEE 1992): 13 "Though Andre Gretry's opera 'Zemire et Azor' was given its first American performances in 1794, its revival in a new production by the Houston Grand Opera in the

174

DE VILLENEUVE Wortham Theatre Center on Thursday night had no real precedent," says Rothstein.

significant for the distinction that so many of its members were later to achieve: Kemble, Davidge, Le Clercq, T. P. Cooke. The bill advertises "THE FOLLOWING NEW SCENERY. Act I. Scene 1.—Persian Sea Port, descent of the Cloud King with his attendant Genii, Storm & Destruction of the Merchant Vessels. Scene 2—Persian Antichamber. Scene 3—Pavilion of Pleasures in the Palace of Scanderbeg, Grand Bridal Procession of the Cloud King over the Mountains, with Nuptial Presents, Military Band &c. To claim the Hand of Zelima. Scene 4.—Interior of Turkish Cottage. Scene 5—Enchanted Wood. Scene 6—Interior of the Magic Palace of the Beast, PANDEAN CONCERT AND DANCE OF SATYRS. The Plucking of the Rose, and Appearance of the Beast Act II. Scene I.—The Cloud King's Luminous Palace, & Splendid Symbolical Illustrations, Incantation of his Attendant Genii. Scene 2.—Adam Hassan's Residence. Scene 3.—Beauty's Boudoir in the Magic Palace of Prince Azor, the Power of Beauty. Scene 4.—The Cottage as before. Scene 5.—Rocky View, Promontory and Grotto, Despair of the Beast and Love of Beauty, —its Change to THE FEAST OF ROSES. Principal Dancers—Mons. & Madame Le Clercq. Defeat of the Cloud King, and Union of Beauty and the Beast. " This is the complete scenario, with the eccentric italic print faithfully reproduced. Capitalization, variation in font and size, and boldfaced types are not reproduced here. This opened on a bill with "Love in the Village" and "Mary the Maid of the Inn," which was "based on a Popular Poem of Southey."

1192. PLA Y: BEAUTY AND THE BEAST MELODRAMA PLAYWRIGHT: ANON (WED) 22, 23, 24 APR 1812 AT SURREY, LONDON BL BILLS (VOL 310); NICOLL (IV, 431) There does not seem to be a ms extant in the Larpent plays. "The plot, Interest, and Incidents, are taken from the admired fairy tale," says the bill. 1193. PLA Y: SELIMA AND AZOR; OR, BEAUTY AND THE BEAST ORIENTAL FAIRY TALE PLAYWRIGHT: ANON [SIR G. COLLIER?] (MON) 3 MAY 1819 AT THEATRE ROYAL, BATH BL BILLS (VOL 179, 1) Azor by Leoni Lee; Scander by Bedford; Ali by Green; Selima by Miss Tree. 1194. PLA Y: BEAUTY AND THE BEAST; OR, THE MAGIC ROSE. MELODRAMA. 2 ACTS PLAYWRIGHT: ANON; SCENERY BY MESS. SERRES, MORRIS, AND SCRUTON; DRESSES BY SMITHERS AND MESSDAMES CROSS, FOLLET, ET AL; PROPERTIES BY KELLY; MACHINERY BY NALL; DANCES BY LE CLERCQ; DIRECTED BY T. P. COOKE (MON) 29, 30 NOV, 2-4, 6, 9 DEC 1819 AT COBURG, LONDON WEST, GLOBE BL BILLS (VOL 174); NICOLL (IV, 428; IV, 431); SPEAIGHT No play by this title appears in the Larpent Catalogue. This may perhaps have been due to the fact that "Zemire e Azor" had alread been licensed, and this was "Founded on a celebrated Fairy legend, the grand ballet of Zemire and Azor, and M. G. Lewis's Cloud King in the Tales of Wonder" as the bill says. This play became a toy theatre, and the premiere student of that phenomenon, Speaight, gives the two publishers, West and Globe. Azor, '"a Persian Prince, Transformed into the Beast," by T. P. Cooke; The Cloud King, "in Love with Zelima" by H. Kemble; Osmyn and Ismale "twoyoung Emirs, Suitors to Elmira and Nourayda" by Messrs. Cartlich and Hobbs; Thunder by Higman; Lightening [sic] by Gibbon; Whirlwind by Randal; Hailstorm by Bishop; Scanderbeg by Huntley; Jumbo, "a Black Slave, in the Service of the Merchant, "" by Harwood; Adam Hassan, "an old Gardener"byDavidge;Zelima, "Surnamed Beauty"by Miss Smithson; Elmira and Nourayda, "her Sisters" by Misses Watson and Webster; Gulista, "Peri of the Rose, Protectress of Azor" by Mrs. Lambe; et al. The cast is

1195. PLA Y: BEAUTY AND THE BEAST; OR, HARLEQUIN AND THE MAGIC ROSE. PANTOMIME. 15 SCENES PLAYWRIGHT: ANON (WED) 26-29, 31 DEC 1821, 1-5, 7-12, 14-19, 21-26, 28-31 JAN, 1,2,4-9, 11-16,19, 21, 23, 25, 26, 28 FEE, 2 MARCH, (MON) 14 OCT 1822 AT ADELPHI, LONDON BRITISH LIBRARY BILLS (VOL 169) NICOLL (IV, 431); LARPENT NO 121; MICROFICHE IN THE BRITISH LIBRARY (MICROFICHE NO 254 / 30) The ms in the Lord Chamberlain's plays (Larpent collection) has a title page that reads, "Beauty and the Beast or Harlequin and the Magic Rose a Comic Pantomime Adelphi Theatre, Strand." The Characters are Carasco, a ruined merchant, afterwards Pantaloon; Gambado Bellowshead, afterwards Clown, his Servant; Alfred, the beautiful Prince transformed into a beast on account of his vanity, afterwards Harlequin; Rat tat - Postman; Boatmen, Jews, Servants, &c. &c. Vanite, Envietta, the Merchant's daughters; Beauty, afterwards Columbine; and

175

DE VILLENEUVE (his slave), Zemire, Lesbia, and Fatima (Scander's daughters), The Genius Rosadella (Protectress of Azor), Nigromant (A Magician & enemy of Azor), Saygarah, Ulin, and Maimouna (Hags of Darkness), as well as Sprites, Hags, &c. &c. The bill says that this is "founded upon the Fairy Tale of The Beauty and the Beast;" Nicoll reports that this was "adapted from Zemire etAzorT Azor by Wilson; Scander by Morley; Ali by G. Penson; Fatima by Miss Cawse; Lesbia by Miss H. Cawse; Zemira by Miss Inverarity; Nigromant by Evans; et al. The scenery included The Forbidden Island, The Illuminated Palace of Azor, The Splendid Hall of the Magic Rose, the Enchanted Ell of the Idol Teraph, Scander's House on the Persian Gulph, a Chamber in Scander's [Leander?] House, a Superb Apartment in Azor's Palace, in which is seen the Magic Mirror, the Royal Gardens of Azor, The Grand Hall of Audience, Prince Azor seated on a Splendid Throne. The Covent Garden Theatre was in a collective mood favoring romantic otherness, and the companion piece was "Neuha's Cave; or, The South Sea Mutineers," which also featured fabulous romantic scenery.

Moonbeam, a fairy. Scene 1st is "Pantomime Business." Scene 2 is "Moonbeam." Scene 3 is "Music & Pantomime business." Scene 4 is "Music & Pantomime business. Scene 5 is "Moonbeam." Scenes 6-9 are "Music & Pantomime." A short speech constitutes scene 10, and Scenes 11-13 are simply "Music and Pantomime." Carasco by Daly; et al—at least in the October 1822 revival. 1196. PLAY: HARLEQUIN AND THE MAJICK ROSE; OR, BEAUTY AND THE BEAST PANTOMIME PLAYWRIGHT: FARLEY; MUSIC BY WATSON, BISHOP, WARE, AND W. GOODWIN; SCENERY BY GRIEVE, PUGH, T. & W. GRIEVE; DRESSES BY PALMER AND MISS EGAN (OPENING MON) 26, 27, (THURS) 29 DEC 1825, 2-7, 9-14, 16-22(7), 24-28, 31 JAN, 3 FEE 1826 AT CO VENT GARDEN, LONDON BILLS IN OXBODJJ; BL BILLS (VOLS 96; 100) LC—ADD MS 42874 (9) FF 505-519 "Founded on a popular fairy tale," says the bill. Prince Azor by Ellar; Scander by Barnes; Chichicoo by J. S. Grimaldi; Turlebrock by E. Parsloe; Genie of the Rose by Master Longhurst; Ugalina by Henry; et al. The scenery included an "Indian Temple in Ruins," a "Dark Wood, and Enchanted Palace of Azor," the "Villa and Orange Grove," "A Panoramick Aerial Voyage," "A View of Constantinople," "St Petersburgh, and Grand Square," "Amsterdam by Moonlight," "Dover Cliffs," "Ramsgate Pier, and London Bridge," "A Roll down Greenwich Hill," "Covent Garden Market at Night," "Bartholomew Fair," and "The Palace of Roses."

1198. PLAY: THE MAGIC ROSE; OR, BEAUTY AND THE BEAST GRAND EASTERN FAIRY TALE. 2 ACTS PLAYWRIGHT: ANON; MUSIC BY AUBER; SCENERY BY JONES; MACHINERY BY WILMORE (FRI) 21, 22, 26, 27, 31 MAR, 2, 7, 9, 11, 24 APR, 1 MAY 1834 AT THEATRE ROYAL, EDINBURGH BILLS IN NLS The Monster, afterwards Prince Azor, by Hudson; Scander by Barrett; Ali by Murray; Agramant the Magician by Roberts; Rosadora, the Spirit of the Magic Rose, by Mrs. Elliot; Fatima by Mrs. Hudson; Lesbia by Miss Newton; Zelma, surnamed Beauty, by Miss Ballin. The scenery included "A View of the Coast of the Enchanted Island," an "Aerial Vision of the Splendid Palace of Prinze Azor," "The Magnificient Hall of Lanthoras," "The Blasted Heath—and Gigantic Teraph, or Mystic Head" (which seems to terminate in the Transformation Scene), followed by "Exterior of Scander's Cottage," "Zelma's Apartment in the Cottage of Scander," "The Magnificent Chamber of the Magic Mirror," "A Tableau Vivant of Scander and his Daughters," "The Dark and Romantic Valley of Despair," and "The Golden Bowers of Rosadora, the Spirit of the Magic Rose."

1197. PLA Y: AZOR AND ZEMIRA; OR, THE MAGIC ROSE. 3 ACTS. OPERA PLAYWRIGHT: W. BALL; MUSIC BY SPOHR; LIBRETTO BY J. J. IHLEC; MUSIC FOR ENGLISH VERSION ARRANGED BY SIR G. SMART; SCENERY BY T. GRIEVE, W. GRIEVE, & E. FINLEY; MACHINERY BY SAUL; DRESSES BY HEAD AND MISS ABBOTT; OPERA DIRECTED BY FARLEY (TUES) 5, 7, 9, 14, 16, 19, 21, 23, 26, 28, 30 APR, 4, 6, 10, 12, 14 MAY 1831 AT COVENT GARDEN, LONDON BL BILLS (VOLS 104, 1; 355) NICOLL (IV, 428) LC 22 FEE 1831 AS "THE MAGIC ROSE; OR, BEAUTY AND THE BEAST, A GRAND OPERA IN THREE ACTS"—ADD MS 42909 (FF 156 & ff) The manuscript is in good condition, and gives the dramatis persona as Azor (a young Prince transformed into a monster), Scander (A Merchant of Ormus), Ali

1199. PLAY: BEAUTY AND THE BEAST [A GRAND ROMANTIC FAIRY] EXTRAVAGANZA. 2 ACTS PLAYWRIGHT: ANON [J. R. PLANCHE]; MUSIC BY J. H. TULLY; ACTION AND DANCES BY OSCAR BYRNE; SCENERY BY GRIEVE, T. GRIEVE & W.

176

DE VILLENEUVE Wallack as the Beast; Mrs. Herbert as Beauty; C. Hill as Aldgate Pump; Gates as Quill; Mrs. Hill as Queen of the Roses. In May Mrs. Booth was Beauty; Wallack was the Beast. Odell, who sees this as an "eccentric drama," reports that this "enjoyed a long run—for those bad times." He also reports that another play by this title had appeared five days earlier at the Olympic Theatre, NYC.

GRIEVE; DRESSES BY MESDAMES GLOVER AND RAYNER; MACHINERY BY H. SLOMAN (MON) 12-17, 19-24, 26-30 APR, 1, 3-8, 10-15, 17-22, 24-29, 31 MAY, (MON) 1, 3 JUNE, (MON) 6, 7, 8, (FRI) 10, 14, 17, 21, 24 SEPT 1841 AT COVENT GARDEN, LONDON BL BILLS (VOLS 126, 2; 168, 1; 357; 371); NICOLL (IV, 381) LC ON 10 APR 1841—ADD MS 42958 (FF 99-119b) OCTAVO 1841 (SONGS, DUETS, CHORUSSES); DUODECIMO 1841; DICKS 1017; LACY VOL XIX; OCTAVTO 1879 (INEXTRAVAGANZAS, II] A letter presented with the manuscript, dated 6 April 1841, indicates that this was to be presented at Covent Garden. The Dramatis Personae ofthe ms. indicates the following characters: Sir Aldgate Pump, John Quill, Beast, Cad, Queen of the Roses, Beauty, Marrygolda, Dressalinda, and Zephyr. The ms. is very fair copy. This was "founded on a [the] nursery tale," say the bills. Monday, 1 June was the 44th performance of the Extravaganza, which was having a long stage-life. Madame Vestris as Beauty, W. Harrison as The Beast, alias Prince Azor; J. Bland as Sir Aldgate Pump; Harley as John Quill; Miss Rainforth as Dressalinda; Miss Grant as Marrygolda; Miss Lee as Queen of the Roses. The scenery included the following: The House of Roses, A Forest (Snow Scene), Enchanted Gardens of the Palace of the Beast, a Saloon in the Beast's Palace, Beauty's Dream, Beauty's Boudoir in the Palace of the Beast, a Grotto in the Gardens of the Palace, the Throne Room in the Palace of the Prince, and the Last Gathering of the Roses round the State Carriage of the Queen of the Roses.

1202. PLA Y: BEAUTY AND THE BEAST PLAYWRIGHT: UNKNOWN OCT 1843 AT OLYMPIC, NYC ODELL (V, 44) Odell notes this as a "revival from the previous season." Indeed, see above. 1203. PLA Y: BEAUTY AND THE BEAST PLAYWRIGHT: UNKNOWN SEPT 1844 AT NIBLO'S GARDEN THEATRE, NYC ODELL (V, 77) Mitchell as John Quill; Miss Taylor as Beauty; Dunn as the Beast. 1204. PLAY: BEAUTY AND THE BEAST PLAYWRIGHT: UNKNOWN 21 OCT 1844 AT BOWERY, NYC ODELL (V, 107) Mrs. Jackson as Beauty; Davenport as the Beast; Vache as Sir Aldgate Pump. 1205. PLA Y: BEAUTY AND THE BEAST PLAYWRIGHT: UNKNOWN 14 JUNE 1845 AT CHATHAM, NYC ODELL (V, 118) Mrs. Booth as Beauty.

1200. PLAY: BEAUTY AND THE BEAST. COMIC, ROMANTIC, OPERATIC, MELO-DRAMATIC FAIRY EXTRAVAGANZA PLA YWRIGHT: UNKNOWN; MUSIC BY H. C. TIMM & ALPERS 23 JAN TO 7 FEE, MAR 1843 AT OLYMPIC, NYC (14 CONSECUTIVE NIGHTS IN ITS FIRST RUN) ODELL (IV, 659, 660) Mrs. Timm as Beauty; Walcot as the Beast; Nickinson as Croton Pump, Esq.; Mitchell as John Quill; Miss Taylor as Dressylinda; Mrs. Mossop as Marygolda; Miss Clarke as Queen of the Roses; Miss Singleton as Zephyr; and Master Wood Black as Cupid. A competing New York version of "Beauty and the Beast" opened only a few days later at the Bowery—see below

1206. PLAY: BEAUTY AND THE BEAST FAIRY EXTRAVAGANZA PLAYWRIGHT: PLANCHE (SAT) 3,6, 7, 10, 14 JAN 1846 AT THEATRE ROYAL, BATH BL BILLS (VOL 182,2) Beauty by Miss Anna Cruise; The Beast by W. H. Reeves;

etal. 1207. PLAY: BEAUTY AND THE BEAST FAIRY EXTRAVAGANZA PLAYWRIGHT: PLANCHE (THURS) 4 MAR 1847 AT THEATRE ROYAL, BATH BL BILLS (VOL 182, 2)

1201. PLAY: BEAUTY AND THE BEAST PLAYWRIGHT: UNKNOWN 28 JAN, 22 MAY 1843 AT BOWERY, NYC ODELL (IV, 631) 177

DE VILLENEUVE 1212. PLA Y: BEAUTY AND THE BEAST; OR, HARLEQUIN PRINCE AZOR, THE QUEEN OF THE ROSES, AND KING OF THE THORNS. [A GRAND COMIC CHRISTMAS] PANTOMIME PLAYWRIGHT: C. STANFIELD JAMES (MON) 29-31 DEC 1851, 1-3, 5-10, 16-21 JAN 1852 AT QUEEN'S THEATRE, LONDON BL BILLS (VOL 381) LC—ADD MS 43038 (A) (9) (FF 292-324b) NICOLL (V, 433) The ms in the Lord Chamberlain's papers is fair copy in a loose, large hand. The first leaf indicates that the license was sent on 5 December 1851. Some of the scenes indicated for presentation are as follow: "Scene 1, Realms of the Thorn King, a dark, mazy labyrinth overgrown with weeds ... ," "The Shadow Swamp in the Valley of Desolation," "The Kingdom of Roses and Lake of lilies in the Golden Gardens of Delight," "Scene 5, An Apartment in the Mansion of Aldennan Mack-turtle," "Scene 6, The Frozen Forest ... icicles hanging from the trees ... ," and "Scene 8, "Macturtles Mansion as before." These are then followed by a series of "Comic Scenes", including for example, "A Bower of Golden Leaves," an "Australian Gold-Digging Company," "Interior of the Great Exhibition," and "Two-to-one Pawnbroker." Beauty (afterwards Columbine) by Miss C. Gibson; et al.

Beauty by Madame Vestris; also with John Quill and Charles Mathews; et al.

1208. PLAY: BEAUTY AND THE BEAST PLAYWRIGHT: UNKNOWN 17 MAR 1849 AT BURTON'S, NYC ODELL(V, 441) Burton as Aldgate Pump. 1209. PLAY: BEAUTY AND THE BEAST FAIRY EXTRAVAGANZA. 2 ACTS. 28 PP PLAYWRIGHT: ANON [J. R. PLANCHE] [THE AUTHOR OF 'THE GOLDEN BRANCH,1 THE KING

OF THE PEACOCKS; &c.]

(THURS) 1-3, 5-10, 12-17, 19-21, 23, 24 NOV 1849 AT LYCEUM, LONDON BILL IN BRITISH LIBRARY (VOL 150, II) J. R. PLANCHE, BEAUTY AND THE BEAST A GRAND, COMIC, ROMANTIC, OPERATIC, MELODRAMA TIC, FAIR Y EXTRA VA GANZA IN TWO A CTS. (LONDON: S. G. FAIRBROTHER, ND) This play was not apparently re-licensed for this production. The title page of the undated publication by Planche, indicated above, says that this was "as revived by the Royal Lyceum Theatre on Wednesday, October 31st, 1849." Beauty by Madame Vestris; The Beast by Rafter; Sir Aldgate Pump by Frank Matthews, John Quilt by Harley; Cad by Kerridge; Dressallinda by Miss Martindale; Marrygolda by Miss Julia Glover; Queen of Roses by Miss Kenworth; and Zephyr by Miss Clair; et al. The scenery was of course especially promoted: THE HOUSE OF ROSES, PARLOUR IN 'PUMP'S FOLLY,' BRIXTON, A FOREST (SNOW SCENE), ENCHANTED ABODE OF THE BEAST . . BEAUTY'S BOUDOIR, . . GARDENS OF THE SILVER FOUNTAIN, etc.

1213. PLAY: BEAUTY AND THE BEAST; OR, CLOUD KING AND THE MAGIC ROSE. OPERATIC SPECTACLE. PLAYWRIGHT: ANON (MON) 28-31 MAR, 1, 2, 4-9, 11-13, 15, 16 APR 1853 AT VICTORIA, LONDON BL BILLS (VOL 391,2) Lisbia the Lovely by Miss Laporte; et al. 1214. PLAY: BEAUTY AND THE BEAST PLAYWRIGHT: UNKNOWN JUNE 1853 AT WILLIAMSBURG, BROOKLYN ODELL (VI, 276).

1210. PLAY: BEAUTY AND THE BEAST PLAYWRIGHT: UNKNOWN 19 JULY 1850 AT BROOKLYN MUSEUM, BROOKLYN ODELL (V, 596) Mrs. Jefferson as Beauty; Bowers as the Beast.

1215. PLAY: BEAUTY AND THE BEAST FAIRY EXTRAVAGANZA. 2 ACTS PLAYWRIGHT: ANON [PLANCHE—MY INFERENCE] (MON) 12-17, 19-24, 26-30 JUNE, 1 MAY, (MON) 2-7 OCT 1854 AT SURREY, LONDON BL BILLS (VOL 390, 2); NICOLL (V, 646) No ms appears in the Lord Chamberlain's collection of plays; so it was not, apparently, relicensed and was therefore probably a re-production of a play that already

1211. PLAY: BEAUTY AND THE BEAST PLAYWRIGHT: UNKNOWN 25 NOV1850 AT BROOKLYN MUSEUM, BROOKLYN ODELL (VI, 102) With Mary Taylor.

178

DE VILLENEUVE conspicuous." Scene 7 is "Grove by Moonlight." Scene 8 is "Region of Roses. Temple of Enchantment." The 1st comic scene begins the harlequinade, which includes depictions of a Linen Draper's Shop, a Railway Booking Office, a Stationer's Shop, a Soap Manufacturer's Shop, etc. There is no dramatis personae\ however the characters include Goody, Bunch, Mother Goose, the Merchant, Beauty, Zemira, Fatima, the Beast and Prince. This was produced under Phelps's management, and seems to have been a kind of first version of the story by Greenwood, and a precedent for the later collaboration with Blanchard—see below. Princess Theatre, 1874. The script, however, nowhere mentions Greenwood.

had permission. Sir Aldgate Pump by Oliver Summer; Beauty by Miss Julia St George; The Beast by St Albyn; et al. 1216. PLA Y: BEAUTY AND THE BEAST PLAYWRIGHT: UNKNOWN 10 DEC 1855, APR 1856 AT BROADWAY, NYC ODELL (VI, 426, 497) Mary Marsh was Beauty; Miss Louise Marsh was the Beast; Carrie was Aldgate Pump; Master George Washington was Marsh John Quill; Miss H. Brooks was Dressalinda; Salome was Queen of the Roses; and Cora Ames was Zephyr. 1217. PL4Y: BEAUTY AND THE BEAST PANTOMIME PLAYWRIGHT: UNKNOWN 26 DEC 1857 AT PRINCESS. LEEDS NICOLL (V, 827) There is no ms in the Lord Chamberlain's collection for this production, which was apparently therefore a remounting of a script already licensed.

1219. PLAY: BEAUTY AND THE BEAST PLAYWRIGHT: UNKNOWN 21 APR 1860 AT WINTER GARDEN, NYC ODELL (VII, 215) With Caroline Chapman as Beauty. 1220.

1218. PLAY: HARLEQUIN [AND] BEAUTY AND THE BEAST; OR, LITTLE GOODY TWO-SHOES AND MOTHER BUNCH'S BOOKCASE IN BABYLAND. PANTOMIME PLAYWRIGHT: T. L. GREENWOOD (TUES) 29 DEC 1857, 5, 16, 18, 23, 25, 26, 27, 28, 29 JAN, I. 2, 6, 8, 9, 10, 11, 12. 13 FEB 1858 AT SADLER'S WELLS, LONDON BL BILLS (VOL 386, 2); NICOLL (V, 393, 688, 794, 834) LC—ADD MS 52970 (L) The ms in the Lord Chamberlain's papers appears in very good condition at present, and is separately bound. The 35 pages measure about 8" wide by 10" high, and are fair copy, easily legible. The title page is "Harlequin Beauty and the Beast or Little Good Two Shoes and Mother Bunch's Bookcase in Baby Land." Printed stamp in the lower right-hand corner says "Theatre Royal Sadlers Wells/ December 19th 1857 for Representation Boxing Night Dec 26." Scene 1st is "Mother Bunch's Bookcase in Baby Land. Scene a kind of library illustrating the best known Fairy Taes as Curtain Rises Mother's Bunch [sic] Glass Shipton Hubbard are discovered with brooms stirring up contents of Cauldron Inscribed 'Mother Bunch's Infant Food.'" Scene 2nd is "The Many Storied Tower of Fairy Tales n the Land of Legendary Lore." Scene 3rd is "Court Yard & Exterior of Merchant's Dwelling." Scene 4 is "The Snow Forest in the Beasts [sic jKingdom." Scene 5 is "Interior of Beasts Palace." Scene 6 is "Interior of Merchant's House. Merchant asleep. Clock

PLAYWRIGHT: UNKNOWN 13 JUNE 1860 AT NIBLO'S GARDEN THEATRE, NYC ODELL (VII, 252) With Polly Davenport, A. H. Davenport, Davidge, Mark Smith, Mary Wells, and Rose France.

PLAY: BEAUTY EXTRAVAGANZA

AND

THE

BEAST.

1221. PLA Y: BEAUTY AND THE BEAST; OR, HARLEQUIN SNOW KING AND THE FAIRY OF THE FLORAL ISLES. PANTOMIME PLAYWRIGHT: W. B. SHAW 26 DEC 1860 AT PRINCE'S, GLASGOW NICOLL (V, 816, 827) No ms. for this particular production appears in the Lord Chamberlain's collection. 1222. PLAY: BEAUTY AND THE BEAST PANTOMIME. PLA YWRJGHT: THOMAS CHAMBERS 26 DEC 1861 AT MANCHESTER NICOLL (V, 783) No ms. for this particular production appears in the Lord Chamberlain's collection. 1223. PLA Y: HARLEQUIN BEAUTY AND THE BEAST; OR, THE GNOME QUEEN AND THE GOOD FAIRY. PANTOMIME PLAYWRIGHT: H.J.BYRON DEC 1862, 10 JAN, (TUES) 3, 5, 7 FEB 1863 AT

COVENT GARDEN, LONDON 179

DE VILLENEUVE 26 DEC 1866 AT UNKNOWN THEATRE, BRIGHTON NICOLL (V, 814) This was not apparently re-licensed.

BILLS IN BOXES AN BILL IN PLANCHEST AT OXBODJJ; NICOLL (V, 296) LC—ADD MS 53018 (K) The ms in the Lord Chamberlain's plays is in 43 folios on light blue paper measuring about 8" wide by 13" high. The comic scenes inserted after the transformation are on white paper, measuring about 7" wide by 9" high. The title page indicates that this was received by the Examiner of Plays on 18 (?) December and the license sent on 19th. The title page indicates that this was a script for the "Royal Engish Opera/ Covent Garden," and it identifies the play as a "New Comic Christinas Pantomime entitled Beauty and the Beast." The "proposed night of first representation" was to be "Friday Dec 26th 1862." There is is page of dramatis personae. Scene 1st was "The Regions of the Gnome Kingdom;" and subsequent scenes (some not numbered) were "A Fairy Dell," "A Thick Wood," "A Corridor opening on to a conservatory," the "Exterior of Squire's Suburban Villa," the "Interior of Beast's Palace," the "Interior of Squire's Domicile," "Gardens at the Beast's Palace," and then the "Comic Scenes," which included a "Curiosity Shop," a "Cheesemongers," a "Bootmakers," the "Exterior of a Farm House," etc. Brutina by C. Fenton; The Fairy Sunshine by Miss Eliza Arden; Bright Eyes and Blue Eyes by Misses Dring and Taylor; Prince Perfect and the Beast by Mrs. Aynsley Cooke; Muddlehead by F. Payne; et al.

1228. PLA Y: BEAUTY AND THE BEAST; OR, HARLEQUIN AND OLD MOTHER BUNCH. PANTOMIME PLAYWRIGHT: E. L. BLANCHARD 27 DEC 1869 AT DRURY LANE, LONDON NICOLL (V, 264) OCTAVO 1869 LC—ADD MS 53081 (L) The copy submitted to the Lord Chamberlain's Inspector of Plays is in a brown cover, with a cut-out of a printed woodcut pasted on, showing a creature that looks like a bear from the waist up, holding his hat in his paw, with his tongue lolling out, approaching a beautiful young woman. Above the two figures were originally published the words "Beauty and the Beast." Between the two figures has been written the following: "T.R.D.L. Pantomime 1869-70." Within the brown cover is a blue cover, identifying this as a "Pantomime 1869-70/Lord Chamberlain's Copy/ received December 20/ License sent 21/W. B.Donne." Next, pasted onto the blue paper (8" wide by 12.5" high) are twelve pages cut from a published text of a play. They seem to have been cut from a published version of " Azor and Zemira." There are eight scenes given in this printed form. Then follow fifteen or sixteen smaller pages in fair script, measuring about 7" wide by 9" high. The finale of this section of the text occurs in "The Fortunate Islands," where we find an "assemblage of the Peris" and a "Welcome the Return of the Banished One" by Zemia (amended to "Zemla"), and the "Harlequinade." The Harlequinade itself is then given in handwritten form. Presumably, this was a kind of precedent for the later "Beauty and the Beast" that Blanchard co-authored with T. L. Greenwood for the Princess Theatre, London, in 1874 (see below). Unfortunately, there are no British Library playbills for Drury Lane Theatre for this date. To make matters worse, there may be a discrepancy between Nicoll's index volume and his list in volume 5. The index shows only this Drury Lane production in 1869. Confusion may result from the fact that there was also a burlesque of "Beauty and the Beast," at least licensed for production in 1869 at the New Royalty Theatre (see below).

1224. PLA Y: BEAUTY AND THE BEAST PLAYWRIGHT: UNKNOWN 17 OCT 1862 AT NEW BOWERY, NYC ODELL (VII, 496) With Ada Webb as Beauty. 1225. PLA Y: BEAUTY AND THE BEAST PLAYWRIGHT: UNKNOWN 21 SEPT 1863 AT PARK THEATRE, BROOKLYN ODELL (VII, 613) With Mary Shaw, Mrs. G. F. Tyrrell, Miss Burnett, Kate Singleton, Frank Rea, Lennox, Andrews, et al. Odell reports that this had a long run. 1226. PLAY: BEAUTY AND THE BEAST PLAYWRIGHT: UNKNOWN 21 SEPT 1866 AT BROADWAY, NYC ODELL (VIII, 181) With Mrs. Gomersal as Beauty.

1229. PLAY: BEAUTY AND THE BEAST; OR, NO ROSE WITHOUT A THORN PLAYWRIGHT: E. L. BLANCHARD(?)—BL CATALOGUER'S ATTRIBUTION] DEC 1869 AT NEW ROYALTY THEATRE, LONDON NICOLL, (VI—INDEX ONLY) ADD MS 53079 (Q)

1227. PLAY: BEAUTY AND THE BEAST PANTOMIME PLAYWRIGHT: J. E. ROE 180

DE VILLENEUVE Burlesques of "Beauty and the Beast" had begun to flower. See also below, Princess Theatre.

The typescript catalogue in the British Library's mansucript room gives E.L. Blanchard as the author, though the ms. does not show a playwright. The manuscript would seem to be missing its title page; however, a hand other than that of the scribe who made the copy (whose first folio is much amended) indicates that the ms was received September 29, 1869 and the license issued 30th Sept. The signature "W. B. Donne" follows. The manuscript is in 70 folios, each measuring about 7" wide by 9.5" high. The Examiner of Plays gave as item no. 15 "Beauty and the Beast," a "Burlesque" licensed to the New Royalty Theatre. Nicoll, however, does not show this play in 1869, but instead in 1874. There may well be a mistake in the printing of Nicoll's records. This play may seems to be a burlesque of other materials. Unfortunately, the British Library bills do not include any for this period at the Royalty.

1235. PLAY: BEAUTY AND THE BEAST, GOG AND MAGOG; OR, THE BUTTERFLY PRINCE OF THE REALMS OF FLOWERS. [COMEDY] PANTOMIME PLAYWRIGHT: E. L. BLANCHARD & T. L. GREENWOOD 23 DEC 1874 AT PRINCESS, LONDON LC—ADD MS 53144 (C) NICOLL (V, 264); FROW, OH, YES IT IS, P. 123 The ms is 47 folios of variant size. The first 40 are fair copy in several hands; the second set is actually printed on poster-sized papers. There is no indication of authorship. Scene 1, "Interior of Guildhall ... by moonlight. Shields and monument to old house. Gog and Magog discovered with large leaves and hatchments attached to their well known weapons. As curtain rises bell strikes 6, when up to 6 more figures advance at the last stroke;" Scene 2 is a continuation of Scene 1" After Time bus & Exit of Time, Gog, and Magog;" Scene III is "The Kingdom of Flowers (Moonlight music for opening);" Scene 4 is "Courtyard of Merchant's Country House;" Scene 5 is "Beast's Palace;" followed by a "Scene after Beast's Palace"— all of which ends with the Transformation Scene. (The numbering of the scenes is very casual.) Then begins the printed text on papers approximately 6.5 "wide by 25" high. Scene 1, "Cave of the Dragon and Home of the Cow;" Scene 2, "Butterfly's Ball & Grasshopper's Feast;" Scene 3, "Leicester Hospital at Warwick;" Scene 4, "Kitchen in Warwick Castle;" Scene 5, "Hall in Warwick Castle;" Scene 7 'To Banbury Town;" Scene 8, "Banbury Cross;" and Scene 9, "The Mystic Land of Fancy."

1230. PLA Y: BEAUTY AND THE BEAST PLA YWRIGHT: UNKNOWN 31 JAN 1869 AT MRS CONWAY'S, BROOKLYN ODELL (VIII, 662) For the benefit of Jennie Carroll. 1231. PLA Y: BEAUTY AND THE BEAST; OR, HARLEQUIN MOTHER GUM AND THE LOVE ENCHANTED ROSES. PANTOMIME PLAYWRIGHT: JOHN CHURCHILL BRENNAN 21 DEC 1871 AT GREENWICH, LONDON NICOLL (V, 274) No ms appears in the Lord Chamberlain's collection for this particular production. See below, however, in Chester in 1874 and in St Helens in 1875 for later productions of this play by Brennan and for a ms copy (St Helens).

1236. PLAY: BEAUTY AND THE BEAST; PLAYWRIGHT: JOHN CHURCHIL BRENAN 1874 AT THEATRE, CHESTER REFERENCE ON ADD MS 53159 (A), F2 See below for another production of this play in Lancashire in 1875, and for a ms play. This present production seems not to have been specifically licensed.

1232. PL4Y: BEAUTY AND THE BEAST PLAYWRIGHT: UNKNOWN 8 JAN 1872 AT WOOD'S THEATRE, NYC ODELL (IX, 159). 1233. PLAY: BEAUTY AND THE BEAST PLA YWIUGHT: UNKNOWN 29 JAN 1874 AT HOOLEY'S, NYC ODELL (IX, 500).

1237. PLAY: BEAUTY AND THE BEAST PLAYWRIGHT: UNKNOWN 1 FEE 1875 AT , NYC ODELL (IX, 626).

1234. PLA Y: BEAUTY AND THE BEAST. BURLESQUE PLAYWRIGHT: C. H. HAZEL WOOD 11 MAY 1874 AT BRITANNIA, HOXTON. LONDON NICOLL (V, 797)

1238. PLA Y: BEAUTY AND THE BEAST PANTOMIME PLAYWRIGHT: H. B. FARNIE fPOSSIBLY BY BRENAN?]

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DE VILLENEUVE 22 DEC 1875 AT THEATRE ROYAL, MANCHESTER NICOLL (V, 646) LC—ADD MS 53158 (E) The play in the British Library holdings of the Lord Chamberlain's collection is fair copy made by Geo. E. James, the prompter, with a hand-drawn cover in black, blue, and red ink in folio pages, with a few written on both sides. The "Characters" consume four complete pages, and include "Dividendinci," "Nuptialinci," "Cupid," "Baron Contango," "The Hon Bab," "The Hon Mab," "Beauty," "Prince Azor," "Copper-bottom," "The Beast," "The Rose," "The Peach," "The Leek," etc.

The ms is fifteen folios measuring about 8" wide by 12.5" high. Though the index indicates that this was connected with the "Chester Th.," a note on the 2nd folio indicates that this "played last season Theatre Chester." So this would seem to have been a belated submission for license, or a re-submission for new license of some slight variation on the earlier production. At the lower righthand corner of F 2 are the words "Additional matter by E. F. [illegible] Davis, Stage Manager, St Helens." This would seem to be the grounds on which Nicoll located the production in St Helens. Scene 1 is "Abode of the ... [illegible];" Scene 2 is "Mother Gum's School in Nowhereland;" Scene 3 is "Beautiful Rosieland," Scene 4 is "Konsol's Villa," Scene 6 is "Such a Dark Wood," Scene 7 is "Inside Konsol's House," with the whole ending with a transformation scene.

1239. PLA Y: BEAUTY AND THE BEAST OR, HARLEQUIN, PRINCE AMOR, THE WICKED WEEDS, AND THE ENCHANTED FLOWERS OF LOVE.. GRAND CHRISTMAS PANTOMIME PLAYWRIGHT: JOHN F. MCARDLE 24 DEC 1875 AT THEATRE, LIVERPOOL NICOLL (V, 646) LC—ADD MS 53157 (I) ANON. GRAND CHRISTMAS PANTOMIME BEA UTY AND THE BEAST BOOK OF WORDS AND PROGRAMME OF CHARACTERS, SCENERY, AND INCIDENTS. E. BURTON: LIVERPOOL, 1875-6. The version in the Lord Chamberlain's papers is a bluecovered penny dreadful, giving the compete text, and showing McCardle as the author of "new songs and specialities." The British Library typescript catalogue gives "J. F. McCardle" as the playwright. Aconite by B. Henry; Belladonna by J. Sullivan; Poppy by Staveley; Toad-stool by Henderson; Amaranth by Miss Annie Temple; Amaryllis by Miss Denton; Sir Gooseberry Tart by Harry Symons; Miss Cranberry Tart by Arthur Rich; Miss Cherry Tart, or Beauty, by Miss Ada Luxmore; Prince Amor, alias the Beast, by Edward Towers; et al. The programme of scenery and incidents included "The Gloomy Glade," an "Apartment at Sir Gooseberry Tart's," "A Dreary Landscape by the Sad Sea Waves," a "Rosary in the Beast's Gardens," "At Sir Gooseberry Tart's," "A Rocky Ravine near the Beast's Palace," the "Grand Hall in the Beast's Palace," "The Merchant's Home," "Beauty's Conservatoire," a "Chamber at Sir Gooseberry's," a "Grotto in the Beast's Garden," and "The Grand Transformation Scene."

1241. PLAY: BEAUTY AND THE BEAST; OR, RUSTIFUM, THE KNAVE, THE CHILDREN OF THE WAVE, AND THE CHARM OF THE FAIRY ROSES. CHRISTMAS PANTOMIME PLAYWRIGHT: J. W. SHENTON (OPENING) 27, 30 DEC 1875 AT THEATRE, CHELTENHAM NICOLL (V, 646) LC—ADD MS 53157 (P) J. W. SHENTON, BEA UTY AND THE BEAST; OR, RUSTIFUM, THE KNAVE, THE CHILDREN OF THE WA VE, AND THE CHARM OF THE FAIRY ROSES. T. B. SHENTON: CHELTENHAM, ND [1875?] The copy submitted to the Lord Chamberlain for licensure is a purple-covered printed/published version of the play. It opens in "The Abode of the Magician" in a version that is very much orientalized, probably under the continuing influence of the popularity of the Arabian Nights. 1242. PLAY: BEAUTY AND THE BEAST. PANTOMIME PLA YWRIGHT: UNKNOWN 12 DEC 1876 AT UNKNOWN THEATRE, WORCESTER NICOLL (V, 646) LC—cat add mss 53176 (H)—?. 1243. PLAY: BEAUTY AND THE BEAST. PANTOMIME PLAYWRIGHT: UNKNOWN 6 JAN 1877 AT UNKNOWN THEATRE, LEICESTER NICOLL (V, 646) LC—CAT ADD MS 53180 (J).

1240. PLA Y: BEAUTY AND THE BEAST; OR, HARLEQUIN OLD MOTHER GUM AND THE LOVE -ENCHANTED ROSES. PANTOMIME PLAYWRIGHT: JOHN CHURCHILL BRENAN 24 DEC 1875 AT ST HELEN'S, LANCASHIRE NICOLL (V, 646) LC—CAT ADD MS 53159(A)

1244. PLAY: BEAUTY AND THE BEAST. PANTOMIME 182

DE VILLENEUVE Wicked Fairies," and Scene 3 is the "Kitchen in Grumbleno's House." Scene 4 is "Deck of the Timbertoes" (a ship), while scene 5 is a "Dreary Forest," and 6 is in "The Enchanted Garden of Roses." Scene 7 is the "Exterior of Grumblino's House," and 8 is "An Enchanted Glade." The finale is a "Grand Transformation," and the final words of the ms are a note indicating that "The Comic scenes are to be forwarded immediately.

PLAYWRIGHT: UNKNOWN 6 FEE 1877 AT UNKNOWN THEATRE, GREENOCK [GREENWICH?] NICOLL (V, 646) LC—ADD MS 53194 (K); LICENSE NO 215 The ms in the Lord Chamberlain's plays simply gives a few additional scenes to material that had become standardized. Ten folio pages appear in the binding, with two blank. Nicoll and the record of licensure pasted to the back of the last folio give "Greenock" as the location; the index to this volume gives "Greenwich." Either is possible.

1247. PLAY: BEAUTY AND THE BEAST. PANTOMIME PLAYWRIGHT: UNKNOWN 22 DEC 1879 AT THEATRE, BLACKBURN NICOLL (V, 646) No ms for this production appears in the Lord Chamberlain's collection.

1245. PLAY: BEAUTY AND THE BEAST. PANTOMIME PLAYWRIGHT: UNKNOWN 19 DEC 1877 AT THEATRE ROYAL, BRISTOL NICOLL (V, 646) ADD MS 53196 (K); LICENSE NO 242 The ms in the Lord Chamberlain's plays is in 33 folios each with printed text pasted onto leaves measuring about 8" wide by 10.5" high. The sticker indicating issue of license is dated 19 December 1877 for the "New Royal, Bristol." Scene I is in the "Haunt of the Gnome Queen on the Borders of the Desert (Sunset)." Scene II is in "The Land of the Lotos Eaters and Haven of Fair Rest on the Undiscovered Streams." Scene III is the "Home of Kafoozalum." Scene IV is in 'The Snowy Waste." Scene V is in the "Enchanted Garden of Roses." Scene VI is "The Merchant's House, on the eve of an impending Wash," while VII is the "Haunted Glade in the Black Forest" at night during a storm. Scene VIII is laid in the "Interior of the Beast's Palace," and IX is without scenic notes but comes after a "Barbaric Ballet" in the Beast's palace. Scene X is "Home Again!" Finally, "Scene Last" is "Stalactite Grotto by the Waters of Oblivion."

1248. PLAY: BEAUTY AND THE BEAST. PANTOMIME PLAYWRIGHT: R. [W.?] WALDEN 24 DEC 1879 AT PARK, CAMDEN, LONDON NICOLL (V, 610) LC—ADD MS 53228 (K); LICENSE NO 255 The ms is 28 folios, each about 8" wide by 12.5" high, in several fair hands, with very few emendations. A slip pasted to the first page shows the license as having been issued on 20 December 1879. "Park Theatre" appears on the cover page. The characters were Vulcan, Prince (afterwards Beast), Spirit, Sir Temple Bar, Gelatine, Erusina, Beauty, Prince Gog, Timothy, Servant, and the Fairy Queen. The first scene is "Vulcan's Smith," followed by Scene II, "Interior of House," and scenes 3, 4 and 5 without notes but at the Beast's palace. Scene 6 is "The Beast's Garden", and Scene 7 is "At Sir Temple Bar's. This ends with the transformation, and a note that the "Comic Scenes" have been "already licensed" and are the "same as Standard Pantomime produced Dec. 26 77 in 'Enchanted Prince.'" This shows that the harlequinade itself could be appended to various materials.

1246. PLAY: BEAUTY AND THE BEAST. PANTOMIME PLA YWRIGHT: FRANK W. GREENE 26 DEC 1877 AT PAVILION, LONDON NICOLL (V, 391) LC—ADD MS 53196 (A)—LICENSE NO 252 The blue-paper title page clear gives Frank Green as the author, with the license issued to "Morris Abrahams, Pavilion Theatre." The license was issued 17 December. The ms is 35 FF of very fair copy on lightly lined paper measuring 8" wide by 13" high. The characters include Prince Azor (afterwards the Beast), Perfect, Grumbleno, Robbero, Dr. Pill Boxus Baroness Grubleno, Beauty, et al. There are groups of Wicked and Good Fairies. Scene 1 is "The Land of Rhyme and Reason," where ignorance is discovered. Scene 2 is "The Home of the

1249. PLA Y: BEAUTY AND THE BEAST. PANTOMIME PLAYWRIGHT: UNKNOWN 24 DEC 1881 AT THEATRE ROYAL, BIRMINGHAM NICOLL (V, 646) LC—ADD MS 53265 (S); LICENSE NO 274 The ms in the Lord Chamberlain's Plays is a typeset copy "Printed at the Theatre Royalting [sic] Office. The sticker on the title page of the ms says "Beauty and the Beast, Pantomime, Birmingham, Royal, Birmingham, December 24 1887." The Characters in the Opening are Spirit of Spite by Mr. Grouse; Nightshade by Miss Georgia Edmunds; Queen of Blushrose by Miss Ruby Stuart; Prince Pleasant by John

183

DE VILLENEUVE pages pasted up onto the various folios, as well as handwritten copy. The sticker of licensure was dated 15 December, but handwriting on the cover indicates a production by the Queens, Manchester, on 21 December. It shows "Written by John F. McCardle, Liverpool." Scene I is "The Gloomy Glade of the Wicked Witch Aconite and the Deadly Nightshades;" Scene II begins as "Aconite waves Omnes off and L., as Will-o'-the-Wisp Leads on Prince Amor." Scene III is "Sir Gooseberry Tarts 'Umble lOme." Scene IV is "On Board the Saucy Sally;" while Scene V is "Up in a Balloon." Scene VI is a "Chamber at Sir Gooseberry's." VII is "Rosary in the Beast's Garden, with Statues Ranged Round." VIII is "Sir Gooseberry's Chamber" again. IX is "Near the Beast's Palace." X is a "Grand Hall in the Beast's Palace." XII is "Beauty's Conservatoire in the Palace of the Beast." Then comes the "Grand Transformation, after which "Scene 14" is a "Fishmonger and Tailors" and "Scene 15" is a "Clock Tower of Noted Building."

Child; Beauty by Miss Phyllis White; et al. The Characters in the Harlequinade are Harlequin by Harold; Columbine by Miss Louie Elliot; Pantaloon by T. Cummings; and Clown by F.W. Newham; et al. The scenario includes Home of Nightshade in the Wilderness of Weeds, The Garden of Sir Gobleton Gobble's House, Merchant's Stables, Deck of a Ship, Hall of the Beast's Castle, a Grand Ballet of Flowers in the Beast's Bower of Roses, and the Kitchen of Sir Gobleton's House. In the harlequinade the scenes included The Garden, Hall of Splendour in the Beast's Castle, and (finally) a Landscape with a Distant View of the Castle. 1250. PLAY: BEAUTY AND THE BE AST. GRAND FAIRY EXTRAVAGANZA AND PANTOMIME PLAYWRIGHT: JOHN F. M'ARDLE; LIBRETTO BY JOHN F. M'ARDLE 10 JAN 1882 AT THEATRE ROYAL, NEWCASTLE LC—ADD MSS 53266 (D); LICENSE NO 266 The sticker on the front cover of the ms in the Lord Chamberlain's collection of plays indicates that the license was issued on 10 January. The ms is a printed copy produced by James Turnbull & Son's [sic] of Newcastle. This copy is replete with advertisements for Newcastle goods and obviously services printed with the local audience in mind. Nicoll seems to have missed this one. The characters include Prince Amor (afterwards Beast) by Miss Frances Smythe; Beast by Chas. F. Blight; Sir Gooseberry Tart by J. H. Rogers; Beauty by Miss Annie Poole; et al. A group of Demons and a group of Fairies supplemented the cast. In the Harlequinade Clown was by R. Tabra; Pantaloon by T. Wardhaugh, and Harlequina by Miss Carrie Anderson; et al. The scenes included a "Gloomy Glade of the Wicked Witch," "Baronial Hall of Sir Goosebery Tart," a "Grand Panorama," the "Valley of Fungi," "The Beast's Garden," the "Exterior of Sir Gooseberry's House," a "Rocky Ravine," the "Grand Hall—the Beast's Palace," "Sir Gooseberry's Mansion," "Beauty's Convervatoire," a "Chamber in Sir Gooseberry's House," a "Grotto in the Beast's Garden," and finally "The Glorious Transformation."

1252. PLAY: BEAUTY AND THE BEAST. PANTOMIME PLAYWRIGHTS: FRED J. STIMSON & F. SEYMOUR; MUSIC BY J. F. MCARDLE 1882 AT PRINCE OF WALES, LIVERPOOL NICOLL (V, 818). 1253. PLAY: BEAUTY AND THE BEAST. MARIONETTE SHOW PLAYWRIGHT: UNKNOWN JAN 1883 AT MINER'S, NYC ODELL (XII, 125, 127) This was "John and Louisa Till's Marionettes," reports Odell. 1254. PLA Y: BEAUTY AND THE BEAST. PLA YWR1GHT: J. F. MCARDLE & F. J. STIMSON 26 DEC 1883 AT PRINCE OF WALES, LIVERPOOL NICOLL (V, 647, 804, 827). LC—ADD MS 53308 (Q); LICENSE NO 283 The ms in the Lord Chamberlain's plays is bound in a damaged black faux leather, with the License sticker affixed to the outside cover, dated 26 Dec. 1883. The booklet containing the play measures about 6.5" wide by 8" high, and contains 32 numbered folios, of which 28 have text, much of which in turn is pasted-up cut-outs from a printed/published version. Handwriting on the first page of the text indicates the authors. Scene 1 is "The Bulrush Glen and Haunt of Will-o'- the Wisp," Scene 2 is "Baronial Hall of Sir Gooseberry Tart;" Scene 3 is "Lime Street Station;" Scene 4 is "The Rose Garden;" Scene 5 is "Sir Gooseberry's WashHouse;" Scene 6 is "A Rocky Ravine;" Scene 7 is "Grand Hall in the Beast's Palace;" Scene 8 is "House of Sir

1251. PLA Y: BEAUTY AND THE BEAST. PANTOMIME PLAYWRIGHT: JOHN F. MCARDLE 21 DEC 1882 AT QUEENS THEATRE, MANCHESTER NICOLL (V, 647) LC—ADD MS 53284 (N); LICENSE NO 256 The ms in the Lord Chamberlain's papers is 39 folios that are loose from the original binding. It measures about 7.25" wide by 9" high, and consists of printed

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DE VILLENEUVE Scene I is "The Spider's Web;" Scene II is "Haunt of the Firefly;" Scene III is "Baron Hotcross Bun's Library;" Scene IV is in a "Railway Station." The description of Scene V is obscure. Scene VI is a "Bed of Roses;" Scene VII is in the "Baron's Kitchen;" Scene 8 seems to be the transformation scene, here called the "Crossing Scene." Scene IX is "The Beast's Palace." Scene X is "The 'all of X Bunn Castle." Scene XI is "Beauty's Bower." Scene XII is "The 'all of X Bunn Castle" again. XIII is an "Antique Chamber in Beast's Castle."

Gooseberry Tart;" Scene 9 is "Beauty's Conservatoire in the Palace of the Beast;" Scene 10 is "Sir Gooseberry Tart's Library;" Scene 11 is "Grotto in Beast's Garden;" the printed text concludes with a "Grand Transformation," which seems to have resulted in the transportation of the play to Brighton, for which there is a pastel line-drawing. 1255. PLAY: BEAUTY AND THE BEAST. MARIONETTE SHOW PLAYWRIGHT: UNKNOWN NOV 1883 AT MINER'S, NYC ODELL (XII, 325).

1258. PLA Y: BEAUTY AND THE BEAST. PANTOMIME PLAYWRIGHT: J. T. DENNY 24 DEC 1884 AT MARYLEBONE, LONDON NICOLL (V, 342) LC—ADD MS 53330 (J); LICENSE NO 297 The ms in the Lord Chamberlain's papers is a printed/published version in 16 leaves, with no amendments. The cover is printed "Marylebone Theatre/Christmas, 1884-85." Also printed on the cover is "Specially written and constructed for this theatre by J. T. Denny" and in handwriting is indicated that it was "to be performed on 24 Dec." The scenes are as follow: Stonehenge by Moonlight; Baronial Hall; Realms of Eternal Snow and Ice; Groves of Oranges and Lemons; Exterior of Baron's Hall; Wine Cellars in the Beast's Palace; Grand Saloon in the Beast's Palace; The Baron's Hall; Beauty's Garden; Exterior of the Baron's Hall; a Grotto near Beast's Palace, and the Transformation. The characters were Baron von Tartsicum, Misses Cranberry, Bilberry, and Cherry (or Beauty), as well as Prince Amour, The Beast, Amaranth (Fairy Queen), Mephystopholia (a Demon); et al.

1256. PLA Y: BEAUTY AND THE BEAST. PANTOMIME PLAYWRIGHTS: FRANK GREEN & E. ROMAINE CALLENDER 10 JAN 1884 AT THEATRE ROYAL, SHEFFIELD NICOLL (V, 647) LC—ADD MS 53309 (M); LICENSE NO 13 FRANK GREEN & ROMAINE CALLENDER, BEA UTY AND THE BEAST (SHEFFIELD: JOHN DRAKE, 1883) The ms in the Lord Chamberlain's plays is a published/printed version in 38 folios. The sticker on the damaged title pageindicates that the play was licensed to the Royal, Sheffield, on 10 January 1884. Scene 1 is "Sheffield in Ye Olden Tyme." Scene II is "Maligno's Haunt." Scene III is "Hall in the House of Sir Killamarsh Wadsley." Scene IV is "Home of the Fairy Snowflakes." Scene V is "The Beast's Rose Garden." Scene VI is "Kitchen in Sir Killamarsh Wadsley's House." Scene VII is "On the Road to the Beast's Castle." Scene VIII is "Gardens of the Beast's Palace." Scene IX is "Chamber in the Beast's Palace." Scene X is "Exterior of the Beast's Palace." Scene XI is "Corridor in the Castle." Then follows the "Grand Transformation Scene," succeeded by a "Pursuit of Pleasure.

1259. PLAY: BEAUTY AND THE BEAST. PANTOMIME PLAYWRIGHT: UNKNOWN 9 DEC 1887 AT PRINCE'S, MANCHESTER NICOLL (V, 647) LC—ADD MS 53389 (J); LICENSE NO 239 The ms in the Lord Chamberlain's plays is about 26 folios in a bound notebook of lined paper. Each is a pasted-up cut-out of a page from a published/printed version. The sticker on the cover page indicates that this was licensed to the Prince's, Manchester on 9 December 1887. The "Immortals" are Nightshade, Queen Rose, Moss Rose, Blush Rose, Wild Rose, White Rose, Weeda, Fungus, an Foxglove. The "Mortals" are Baron IreBroughton, Hon. Victoria Regina, Hon. Jubilee Jane, Beauty, Pertiboy, Belle, Tootsie Wootsie, John, Captain Rover, Prince Azor, Lord Hurry Scurry, Digital Dexterity, Lord Dashitall, Lord Ohisay, Lord Deahboy, Buffer, and Puffer.

1257. PLAY: BEAUTY AND THE BEAST; OR, THE MAID AND THE SPIDER WHO SAT DOWN BESIDE HER AND THE BEAST TURNED INTO A KING. PANTOMIME PLAYWRIGHT. HARRY F. MCCLELLAND 16 DEC 1884 AT THEATRE ROYAL, BLACKBURN NICOLL (V, 647) LC—ADD MS 53329 (J); LICENSE NO 281 The ms in the Lord Chamberlain's collection is 62 folios, fair copy, bound in black, faux leather, with leaves measuring about 7" wide by 9" high. The sticker on the front cover indicates that the license for production was issued on 16 December 1884. The inside front cover gives the full title (as above) and shows McClelland as the playwright.

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DE VILLENEUVE BY HICKS; ETAL 26 DEC 1890, 17 FEE 1891 AT DRURY LANE, LONDON BILLS IN OXBODJJ NICOLL (V, 634, 825); WEARING, THE LONDON STAGE 1890-1899, VOL I, P 84 LC—ADD MS 53465 (F); LICENSE NO 275 OCTAVO 1890 The copy in the Lord Chamberlain's papers is 6" x 9" volume printed and bound in a soft cover. The cover was illustrated in two colors (green and maroon) with images of Beauty (above left) and the Beast (below right) kneeling at her feet. The whole was identified as the "Book of Words" and sold for one shilling. Numerous advertisements in blue ink open and close the substantial paperback. Sarah Jane and Mary Anne (The Merchant's Daughters) by Herbert Campbell and Harry Nichols in Dame roles; Beauty by Miss Belle Bilton (Lady Dunlo); Mr. Lombarde Streete by Dan Leno; Montmorency by Charles Wallace; Maxwelton by J. Griffiths; Sheepshead by F. Griffiths; Old Bogey by George Temple; Envy, Hatred, Malice, Slander, and Lying by "The Original Leopold Troupe; King Courage by Miss Vesta Tilley; the Beast by John D1 Auban; Private Block by Fred Walton; Vivandiere by Miss Retta Walton; McSkipper by Tom Pleon; King of Diamonds by Miss Florence Paltzer; The Fairy Chamberlain by Miss Emma d'Auban; the King's Chamberlain by Miss Ethel Salisbury; Field Marshal Baton by Miss Nichols; Major-General Plume by Miss Violet Ellicott; Lieutenant-Colonel Filbert by Miss Benton; Major Key by Miss Mabel Coates; Captain Jinks by Miss Violet Granville; Lieutenant Wright by Miss Daisy Baldry; Ensign Flagg by Miss Moore; Field Marshaless Baton by Miss Cissy St George; LieutenantGeneral Shrimp by Master Coleman; Postman by Terriss. Clearly, the hilarity of cross-dressing was a major feature of this production. A synposis of the scenery included three tableaux in Scene I, "Pandemonium:" "The Weird Witches, Bogey's Inferno," and "The Palace of the Diamond Prince." Scene II was "Interior of Lombarde Streete's House." Scene III was "The Royal Palace." Scene IV was "Outside the Royal Palace." Scene V was "Exterior of Lombarde Streete's House, leading to Grand Panorama: The Merchant's Home—Road to the Docks—Roadside Inn—Turnpike Gate—The Seashore." Then came Scene VI, "The Docks;" VII, "Ante-room in the Palace;" VIII, "Amidships;" IX, "The Wreck;" X, "The Rose Garden in Bud;" XI, "The Rose Garden in Bloom;" XII, "A Room in Lombarde Street's House;" XIII, "Grand Hall in the Beast's Palace;" XIV, "Beauty's Boudoir in the Beast's Palace;" XV, "Lombarde Streete's Lodgings;" XVI, "The Beast's Garden," and XVII "(Transformation.) Grand Banqueting Hall in the Royal Palace. Procession of Viands. For the Royal Wedding Breakfast and 'Beauty's

Scene I is "Valley of the Deadly Nightshade." Scene II is "Exterior of the Baron's Ancestral Hall." Scene III is "The Baron's Stables." Scene IV is "The Quay." Scene V is "Corridor in the Beast's Palace." Scene VI is "A Glade in Winter." Scene VII is "The Garden of Roses." Scene VIII is "The Baron's Kitchen." Scene IX is "The Palace of the Beast." Scene X is "On the Road to the Palace." 1260. PLAY: BEAUTY AND THE BEAST. PANTOMIME PLAYWRIGHT: J. T. DENNY 22 DEC 1888 AT SADLER'S WELLS, LONDON NICOLL (V, 342) Presumably, this was a further development of the 1884 Marylebone pantomime by Denny. In any case, no ms for this production appears in the Lord Chamberlain's plays. 1261. PLAY: BEAUTY AND THE BEAST. COMEDIETTA PLAYWRIGHT: UNKNOWN 18 FEE 1889 AT UNKNOWN THEATRE, SWANSEA NICOLL (V, 647).

1262. PLA Y: BEAUTY AND THE BEAST. PANTOMIME PLA Y WRIGHT: PERCY MILTON 23 DEC 1889 AT THEATRE ROYAL, PRESTON NICOLL (V, 647) LC—ADD MS 53442 (I)-; LICENSE NO 276 The ms in the Lord Chamberlain's plays is on 50 folios of lined ledger paper, measuring about 8" wide by 12.5" high. The title page gives "Percy Milton" as the playwright. The sticker on the cover show the license as having been issued on 19 December. A note on the cover reports "at Theatre Royal—Preston/December 23rd/89." This is fair copy, only very occasionally amended. Scene 1 is "The Witches Retreat;" Scene 2 is "The Village;" Scene 3 is "On the road;" Scene 4 is "Railway Station," Scene 5 is "Exterior of the Beast's Palace;" Scene 6 is "The Wash House;" Scene 7 is "On the Road;" Scene 8 is "Garden of the Beast's Palace;" Scene 9 is "Library of Grizzletoe Hall;" Scene 10 is "Palace of the Beast;" Scene 11 is non-specific. 1263. PLAY: BEAUTY AND THE BEAST PANTOMIME PLAYWRIGHT: WILLIAM YARDLEY AND AUGUSTUS HARRIS; MUSIC BY P. BUCALOSSI; SCENERY BY CAENY, RYAN, KAUTSKY & PERKINS; COSTUMES AND ACCESSORIES BY EDEL AND RUSSELL; BALLETS BY JOHN D'AUBAN; DRESSES BY AUGUSTE AND CIE., J. A. HARRISON, M. LANDOLFF, MISS PALMER, & MRS ATKINS; MACHINERY BY FARRELL; PROPERTIES

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DE VILLENEUVE 1269. PLAY: BEAUTY AND THE BEAST. BURLESQUE PLAYWRIGHT: WALTER STRATFORD; MUSIC BY THE REV. L. E. GODDARD 25 JAN 1894 AT THEATRE, BUCKINGHAM NICOLL (V, 585) No ms is mentioned in the Catalogue of Additional Manuscripts, which suggests that this was the production of a play from a script earlier licensed. Note the involvement of clergy in matters theatrical.

Bride Cake.'" As if all of this was not elaborate and precise enough—or because it was too detailed—a note to the first page of the text announces that "this libretto is subject to alteration from time to time for the introduction of topical allusions, &c., &c." Finally, the publication is richly illustrated with fine line drawings that show the details of costume, which were fanciful and elaborate in the extreme.

1264. PLAY: BEAUTY AND THE BEAST BURLESQUE PLAYWRIGHT: UNKNOWN 12 OCT 1891 AT SADLER'S WELLS, LONDON NICOLL (V, 647) This does not seem to have been re-licensed, and may therefore have been a re-production of old materials..

1270. PLA Y: BEAUTY AND THE BEAST PLAYWRIGHT: UNKNOWN 3 MAY 1894 AT ASTORIA, LONG ISLAND ODELL (XV, 834) This was an amateur production by the "children of the Sunday School of St. John's," reports Odell.

1265. PLAY: BEAUTY AND THE BEAST. PANTOMIME PLAYWRIGHT: UNKNOWN 26 DEC 1891 AT TYNE, NEWCASTLE NICOLL (V, 827) This does not seem to have been re-licensed, and was therefore probably a re-working of tried materials.

1271. PLAY: BEAUTY AND THE BEAST. PANTOMIME PLAYWRIGHT: UNKNOWN 10 DEC 1894 AT GRAND, GLASGOW NICOLL (V, 647) LC Despite Nicoll's reference to the Lord Chamberlain, no ms for this production appears in the Catalogue of Additional Manuscripts in the British Library.

1266. PLAY: BEAUTY AND THE BEAST. PANTOMIME. PLA YWR1GHT: LYRICS AND LIBRETTO BY HARRY F. MCCLELLAND (TUES) 26 JAN 1892 AT GAIETY, LONDON BL BILLS (VOL 343) Beauty by Miss Madge Rockingham.

1272. PLAY: BEAUTY AND THE BEAST. PANTOMIME PLA YWRIGHT: GEORGE THORNE AND F. GROVER PALMER 26 DEC 1895 AT ALEXANDRA, SHEFFIELD NICOLL (V, 647) LC—ADD MS 53588 (0); LICENSE NO 346 The ms in the Lord Chamberlain's papers is a printed/published version specifically produced for the Alexandra Theatre, Sheffield. It is in 39 pages. The sticker on the front cover indicates that the play was licensed on 26 Dec. 1895. No dramatis personae or cast list appears, but some of the characters are as follow: Aconite, Henbane, Hemlock, Hellebore, Tea Rose, Moss Rose, and Blush Rose, the Queen (of the Roses?), Beauty, Beast, et al. The scenario is as follows: "The Dell of Deadly Nightshades;" "The New Parliament of Roses;" "The Alderman's House at Pitsmoor;" "A Wood in a Snow Storm;" "The Beast's Castle and Garden;" "The Alderman's Cottage;" "The Beast's Saloon;" "Sheffield's Glory;" "Beauty's Boudoir;" "The Beast's Palace of Varieties, (Limited);" "The Grotto in Beast's Garden;" "The Farm;" and the "Grand Transformation."

1267. PLAY: BEAUTY AND THE BEAST. BURLESQUE PLAYWRIGHT: HARRY F. MCCLELLAND 26 DEC 1892 AT LYRIC, HAMMERSMITH, LONDON NICOLL (V, 468); THANKS TO JOHN EAST Managed by John M. East. 1268. PLAY: BEAUTY AND THE BEAST. BURLESQUE PLAYWRIGHT: UNKNOWN 10 JULY 1893 AT GRAND HALL, MAIDENHEAD NICOLL (V, 647) LC—ADD MS 53531 (A); LICENSE NO. 197 The ms in the Lord Chamberlain's plays is in about 51 folios of lined white paper measuring 8" wide by 10" high, in fair copy, fairly easily legible. The title page has the sticker of licensure affixed, dated 10 July 1893. The characters are Ali ben Business (?), boss of a bucket shop; Ali ben Sloper (?), his secretary; Prince Pretty Penny; Aurocira, Astarte, and Stella (Business's daughters); Mshah Collah, Prince's Footman, Areabella the girls' maid, and Rosella, the good genius of the play.

1273. PLAY: BEAUTY AND THE BEAST. PANTOMIME

187

DE VILLENEUVE 1276. PLA Y: THE SLEEPING BEAUTY AND THE BEAST. PANTOMIME PLAYWRIGHT: J. HICKORY WOOD & ARTHUR COLLINS 26 DEC 1900 TO 26 JAN, 30 MAR 1901 AT DRURY LANE, LONDON (ABOUT 134 PERFORMANCES WITH 2 PER DAY FOR A WHILE-SEE WEARING) BILL IN OXBODJJ WEARING, THE LONDON STAGE: 1900-1909, VOL I, PP 68-9 J. HICKORY WOOD & ARTHUR COLLINS, "THE SLEEPING BEAUTY AND THE BEAST, A GRAND CHRISTMAS PANTOMIME," IN ENGLISH PLA YS OF THE NINETEENTH CENTURY, ED MICHAEL R. BOOTH (OXFORD, CLARENDON, 1976), PP. 379 & FF This is not really a dramatization of the traditional story. Rather it is instead, as the title indicates, a confutation of two traditional stories. However, the Prince is indeed changed into a beast late in the play, so this crucial element survives and justifies a place in the present of dramatizations. See text in Booth, op cit. Queen Ravia by Dan Leno; King Screwdolph by Herbert Campbell; Martha (the Nurse) by Fred Emney; President Kesskerray by Laurence Caird, Princess Beauty by Miss Madge Lessing; The Witch Malevolentia by Miss Alice Aynsley Cooke; Lord Jocelyn by Miss Molly Lowell; Fairy Queen Claribel by Miss Violet Grazia; et. al. See Wearing for complete cast, and list of reviews.

PLAYWRIGHT: PETER DAVEY 21 DEC 1897 AT COUNTY THEATRE, KINGSTON NICOLL (V, 338) LC—ADD MS 53647 (AA); LICENSE NO 424 The ms in the Lord Chamberlain's papers is printed on 11 folios each measuring about 6.5" wide by 26" high—and naturally folded double in the binding. The sticker on the front and title page indicates that this was licensed to the Royal County Kingston on 31 Dec. 1897. Scene 1 is 'Tort and Harbour of the historic and ancient borough of Nowerinperticler;" Scene 2 is the "Woodland Glade;" in Part II, Scene 1 is "The Garden of Roses;" and the whole ends with a Harlequinade in which Clown announces "Here we are again!" and we find ourselves at "A Well-known corner of Kingston, at "The Paddock at Kempton Park," and finally with "Britannia Surveying her Mighty Empire."

1274. PLAY: BEAUTY AND THE BEAST. PANTOMIMIC BALLET-FEERIE PLAYWRIGHT: C. COPPI; MUSIC BY G. JACOBI (MON) 17 JAN 1898 AT ALHAMBRA, LONDON OXBODJJ Especially featuring Signorina Cecilia Cerri. 1275. PLAY: BEAUTY AND THE BEAST. PANTOMIME PLA YWRIGHT: STANLEY ROGERS; PRODUCED BY STANLEY ROGERS; MUSIC BY ARNOLD COOKE; SCENERY BY S. K. ALEXANDER; MECHANICAL EFFECTS BY J. W. CANE 28 DEC 1899 AT COMEDY, MANCHESTER NICOLL (V, 647) LC—ADD MS 53698 (B); LICENSE NO 187 The ms in the Lord Chamberlain's plays is on 14 folios, each measuring about 5" wide by 19" high—almost poster-shaped. The text is printed. On the first page is the License sticker, dated 28 Dec. 1899. Characters include "Vegetarians" (Roseleaf, Queen of the Fairies, Cupid, her Friend and Ally, Green Fly, a Demon detested by all, Jack O'Lantern, Parasite, Snail, Blight, Earwig, and Caterpillar). "Orientals" include Prince Omar, "heir to the Throne of Persia," Stickiton Al Kipper, "an elderly Merchant," Marianna, Safie, and Beauty ("his daughters"), Carrots ("his Manservant"), Zelica ("his Maidservant"), Sellemup and Fleecem ("moneylenders"), Feramoz ("a rich merchant"), and The Beast ("an animal of no particular species"). Scene 1 is "Haunt of the Demon Fly;" Scene 2 is "Market Place of Ispahan;" Scene 3 is "Entrance to the Rose Garden;" Scene 4 is " Stickiton's Back Parlour;" Scene 5 is "A Mountain Pass;" Scene 6 is "Beauty's Boudoir in the Beast's Palace;" Scene 7 is "Stickiton's Mansion;" Scene 8 is "The Rose Garden;" Scene 9 is "A Street in Ispahan."

1277. PLAY: SLEEPING BEAUTY AND THE BEAST. EXTRAVAGANZA. 3 ACTS PLAYWRIGHT: J. HICKORY WOOD & ARTHUR COLLINS; ADAPTED BY JOHN J. MCNALLY & J. CHEEVER GOODWIN; LYRICS BY J. CHEEVER GOODWIN, MUSIC BY J. M. GLOVER & FREDERICK SOLOMON; DANCES BY ERNEST D'AUBAN; PRODUCED BY KLAW & ERLANGER; DIRECTED BY JOSEPH BROOKS 4 NOVI901 AT BROADWAY, NYC CHAPMAN & SHERWOOD, BEST PLAYS 1899-1909, PP. 398-9 With Harry Bulger, Charles J. Ross, Joseph Cawthorne, John Page, John Hyams, Ella Snyder, Viola Gillette, Phoebe Coyne, Nellie Thorne, May Hengler, Florence Hengler, Nora Cecil, Jane Whitbeck, Annabelle Whitford, et al. 1278. PLAY: BEAUTY AND THE BEAST. PANTOMIME PLAYWRIGHTS: WALTER AND FREDERICK MELVILLE 26 DEC 1928 1 JAN 1929 AT LYCEUM, LONDON (116 PERFORMANCES) 188

DE VILLENEUVE 1282. FILM: BEAUTY AND THE BEAST. COLOR. 79 MIN SCREENWRITERS: GEORGE BRUCE AND ORVTLLE H. HAMPTON; DIRECTED BY EDWARD L. CAHN; PRODUCED BY ROBERT KENT; CINEMATOGRAPHY GILBERT WARRENTON; MAKEUP BY JACK PIERCE; ETAL 1963 BY UNITED ARTISTS COREL ALL-MOVIE GUIDE 2 (CD-ROM); DIMMITT, P. 106, NO 855 Merry Anders as Princess Sybil; Walter Burke as Grimaldi; Mark Damon as Duke Eduardo; Eduard Franz as Baron Orsini; Dayton Lummis as Count Roderick; Michael Pate as Prince Bruno; Joyce Taylor as Lady Althea; et al. The Corel Guide says that "in this early '60s version of the oft-filmed fairy tale a prince is turned into a horrible wolf-beast by a wicked sorcerer who wants the throne for himself. At night, his beloved princess watches over him."

BILL IN OXBODJJ; WEARING, THE LONDON STA GE 1920-1929, VOL II, PP 1077-8 Pickles by Ernie Mayne; Beauty by Jean Colin (or Ivy Wensley); Prince Hal by Dorothy Seacombe; et al.

1279. PLAY: BEAUTY AND THE BEAST. PANTOMIME PLAYWRIGHT: FREDK. MELVILLE 26 JAN 1934 AT BRIXTON, LONDON BL BILLS (VOL 452) Beauty by Babette Odeal; The Prince by Mary Honri; et al. 1280. PLAY: BEAUTY AND THE BEAST. PANTOMIME. PLA YWRIGHT: FREDERICK MELVILLE; BALLETS BY EUPHAN MACLAREN; MUSIC BY CONRAD LEONARD CHRISTMAS 1937-1938 AT LYCEUM, LONDON BILL IN OXBODJJ King of Morraine by Rex Korda; Beauty by Anne Leslie; Prince Hal by Jill Esmond.

1283. FILM: BEAUTY AND THE BEAST & OMAR AND THE OGRES. COLOR. 58 SCREENWRITER: UNKNOWN 1967 BY UNKNOWN STUDIO (USA) COREL ALL-MOVIE GUIDE 2 (CD-ROM).

1281. FILM: B E A U T Y AND THE BEAST. BLACK-AND-WHITE. 90 [93] [96] MIN SCREENWRITER: JEAN COCTEAU; DIRECTED BY JEAN COCTEAU; PRODUCED BY ANDRE PAULVE; CINEMATOGRAPHY BY HENRI ALEKAN; MUSIC COMPOSED BY GEORGES AURIC; MUSIC BY GEORGES AURIC; ET AL 1946 [1948?] BY DISCINA/ANDRE PAULVE PRODUCTIONS/LOPERT FILMS; AVAILABLE FROM PUBLISHER'S CENTRAL BUREAU, AND FROM FACETS MULTIMEDIA; AVAILABLE FROM LOPERT FILMS FILM FANATIC, P. 44; VIDEO MOVIE GUIDE (1987), P. 820; VIDEO MOVIES TO GO, P. 38; MALTIN'S TV MOVIES AND VIDEO GUIDE (1986), P. 64; FACETS VIDEO CATALOG NUMBER 8, P. 17; COREL ALLGUIDE 2 (CD-ROM); DIMMITT (1965), P. 106, #853 With Josette Day as the Belle; Jean Marais as the Beast; Marcel Andre as The Merchant; Mila Parely as Adelaide; Nane Germon as Felice; and Michel Auclair as Ludovic; etal. This is more than just re-telling of the original tale. Various reference works mention this in glowing terms. Maltin says that this film is "beguiling on any level." This was released as "La Belle et la Bete" in France. Although the acting is extremely theatrical in manner, the film is entrancing. The mansion of the beast is furnished much like a staged pantomime, with anthropomorpic and animated furniture. Each frame is a work of art in itself.

1284. FILM: SCHLOCK. COLOR. 78 MIN SCREENWRITER: JOHN LANDIS; DIRECTED BY JOHN LANDIS; PRODUCED BY GEORGE FOLSEY, JR. & JAMES C. O'ROURKE; CINEMATOGRAPHY BY BOB COLLINS; MUSIC COMPOSED BY DAVID GIBSON; MAKEUP BY RICK BAKER; ETAL 1973 BY JACK H. HARRIS ENTERPRISES AVAILABLE FROM WIZARD VIDEO KODAK VIDEO TAPE AND DISC GUIDE, P. 419; COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Eliza Garrett as Mindy Binerman; Saul Kahan as Sgt. Wino/Detective; JohnLandis as The Schlockthropus; Joseph Piantadosi as Prof. Shlibovitz; et al. This apparently updated the "Beauty and Beast" story. 1285. FILM: FAIRY TALES. VOL. I. ANIMATION. COLOR. 55 MIN SCREENWRITER: UNKNOWN 1977 BY UNKNOWN PRODUCER; AVAILABLE FROM EMBASSY HOME ENTERTAINMENT VIDEO GUIDE (1985), P. 89; KODAK VIDEO TAPE AND DISC GUIDE, P. 160 The stories dramatized include "Cinderella," "TheMagic Pony," "The Frosty Giant," "The Curious Tiger," and "Beauty and the Beast."

189

DE VILLENEUVE 1286.

COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Martha Hamilton and Mitch Weiss. "The Tell Me A Story" series presents Beauty and the Beast, with Hamilton and Weiss impersonating several characters from the classic fairytale."

FILM: BEAUTY BECOMES THE BEAST. COLOR. 15 MIN SCREENWRITER: UNKNOWN 1979 BY UNKNOWN STUDIO COREL ALL-MOVIE GUIDE 2 (CD-ROM) This may not be related in any way to the fairy tale except by the reference made in the title.

1292. FILM: BEAUTY AND THE BEAST. COLOR. 100 MIN SCREENWRITER: CAROLE LUCIA SATRINA; DIRECTED BY EUGENE MARNER; PRODUCED BY YORUM GLOBUS, MENAHEM GOLAN, AND ITZHAK KOL; CINEMATOGRAPHY BY AVRAHAM KARPICK; MUSIC COMPOSED BY LORI MCKELVY; COSTUMES BY BUKI SHIFF; EDITED BY TOVA ASCHER; ETAL 1987 BY CANNON (USA, ISRAEL) COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Joseph Bee as Oliver; Rebecca de Mornay as Beauty; Yossi Graber as Father; Linda Hamilton; Ruth Harlap; Carmela Marner as Bettina; John Savage as Beast/Prince; and Michael Schneider as Kuppel. Linda Hamilton played a role in the pilot and eight episodes of the television series indicated below, produced at Republic Studios.

1287. FILM: BEAUTY AND THE BE AST. COLOR. 12 MIN SCREENWRITER: UNKNOWN 1981 BY FAMILY HOME ENTERTAINMENT COREL ALL-MOVE GUIDE 2 (CD-ROM) The Corel Guide reports this to be an "animated recounting of the fairy tale in which a beautiful young woman agrees to become the prisoner of a hideous beast to secure her father's freedom." Note that "Family Home Entertainment" also made a sixty-minute "Beauty and the Beast" in 1984. 1288. FILM: BEAUTY AND THE BEAST. COLOR. 60 MIN SCREENWRITER: UNKNOWN; DIRECTED BY ROGER VADIM 1983 [1984] BY GAYLORD PRODUCTIONS AND PLATYPUS PRODUCTIONS; AVAILABLE FROM CBS/FOX VIDEO VIDEO GUIDE (1985), P. 21; KODAK VIDEO TAPE AND DISC GUIDE, P. 40; COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Susan Sarandon, and Klaus Kinski. This was made for television.

1293. FILM: BEAUTY AND THE BEAST. ONCE UPON A TIME IN NEW YORK: COLOR. [48] 100 MIN SCREENWRITER: UNKNOWN; DIRECTED BY RICHARD FRANKLIN AND VICTOR LOBI 1988 [1989] BY REPUBLIC COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Linda Hamilton and Ron Perlman. "After being viciously attacked, a female attorney is rescued by a man-beast named Vincent, who takes her to a secret world hidden beneath New York City. Pilot Episode from the popular television series"—Corel Guide. There may have been two versions of different lengths.

1289. FILM: BEAUTY AND THE BEAST. ANIMATION. COLOR. 60 MIN SCREENWRITER: UNKNOWN 1984 AVAILABLE FROM FAMILY HOME ENTERTAINMENT VIDEO GUIDE (1985), P. 21.

1294. FILM: BEAUTY AND THE BEAST. EPISODE 1. COLOR. 48 MIN SCREENWRITER: UNKNOWN 1987 BY UNKNOWN STUDIO COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Roy Dotrice, Linda Hamilton, Ron Perlman, and Ray Wise.

1290. FILM: BEAUTY AND THE BEAST STORYTELLERS. ANIMATION. COLOR. 30 MIN SCREENWRITER: UNKNOWN 1986 BY UNKNOWN STUDIO COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Martha Hamilton and Mitch Weiss.

1295. FILM: BEAUTY AND THE BEAST. EPISODE 2. COLOR. 48 MIN SCREENWRITER: UNKNOWN 1987 BY UNKNOWN STUDIO COREL ALL-MOVIE GUIDE 2 (CD-ROM)

1291. FILM: TELL ME A STORY: BEAUTY AND THE BEAST. COLOR. 30 MIN SCREENWRITER: UNKOWN 1986 BY BARR FILMS

190

DE VILLENEUVE Within Linda Hamilton, Jay Acovone, Christian Clemenson, Roy Dotrice, Ellen Albertini Dow, Michael Ensign, Darryl Hickman, Ren Woods, and Ron Perlman. "A scientist manages to capture phonographic evidence of Vincent's existence." This was an episode from the popular television series.

With Roy Dotrice, Linda Hamilton, Ron Perlman, and Ray Wise. 1296. FILM: BEAUTY AND THE BEAST. EPISODE 3. COLOR. 48MIN SCREENWRITER: UNKNOWN 1987 BY UNKNOWN STUDIO COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Roy Dotrice, Linda Hamilton, Ron Perlman, and Ray Wise.

1301. FILM: BEAUTY AND THE BEAST: EPISODE 8: SONG OF ORPHEUS. COLOR. 48 [52] MIN SCREENWRITER: UNKNOWN; PETER MEDAK 1987 BY REPUBLIC COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Linda Hamilton, Jay Acovone, Roy Dotrice, Diana Douglas, Paul Gleason, Robert Symonds, Ren Woods, and Ron Perlman. "Father's past on the surface world catches up with him, forcing a confrontation with Vincent. Episode from the popular television series"—Corel Guide.

1297. FILM: BEAUTY AND THE BEAST. EPISODE 4. COLOR. 48MIN SCREENWRITER: UNKNOWN 1987 BY UNKNOWN STUDIO COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Roy Dotrice, Linda Hamilton, Ron Perlman, and Ray Wise.

1302. FILM: BEAUTY AND THE BEAST: THOUGH LOVERS BE LOSt COLOR. 90 MIN SCREENWRITER: UNKNOWN; DIRECTED BY VICTOR LOBI AND RICHARD FRANKLIN 1989 BY REPUBLIC COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Linda Hamilton and Ron Perlman. "Catherine, carrying Vincent's child, is kidnapped by a master criminal. Episode from the popular television series"—Corel Guide.

1298. FILM: BEAUTY AND THE BEAST: EPISODE 5: MASQUES. COLOR. 52 MIN SCREENWRITER: UNKNOWN; DIRECTED BY AL COOKE 1987 BY REPUBLIC COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Linda Hamilton, Jay Acovone, Roy Dotrice, Gerry Gibson, John McMartin, Caitlin O'Heaney, Eric Pierpoint, Ren Woods, and Ron Perlman. "Vincent infiltrates a costume party among New York's political elite. Episode from the popular television series"—Corel Guide.

1303. FILM: BEAUTY AND THE BEAST: TERRIBLE SAVIOR. COLOR. 48 MIN SCREENWRITER: UNKNOWN 1989BYREBUPLIC COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Linda Hamilton, Dorian Harewood, and Ron Perlman. "Subway criminals are being fatally slashed, and Catherine fears that Vincent may be responsible. Episode from the popular television series"—Corel Guide.

1299. FILM: BEAUTY AND THE BEAST: EPISODE 6: THE BEAST WITHIN. COLOR. 52 MIN SCREENWRITER: UNKNOWN; DIRECTED BY PAUL LYNCH 1987 BY REPUBLIC COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Linda Hamilton, Jay Acovone, Michael Allredge, Asher Brauner, Roy Dotrice, Stain Kamber, Michael Pniewski, Ren Woods, and Ron Perlman. "As Catherine investigates the mob, Vincent vears for her safety. Episode from the popular television series"—Corel Guide.

1304. FILM: BEAUTY AND THE BEAST: SIEGE. COLOR. 48 MIN SCREENWRITER: UNKNOWN 1989 BY REPUBLIC COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Eddie Albert, Linda Hamilton, and Ron Perlman. "Vincent and Catherine try to help the elderly tenants of an apartment building, who are being terrorized by hoodlums. Episode from the popular television series"—Corel Guide.

1300.

FILM: BEAUTY AND THE BEAST: EPISODE 7: NOR IRON BARS A CAGE. COLOR. 52 MIN SCREENWRITER: UNKNOWN; DIRECTED BY THOMAS J. WRIGHT 1987 BY REPUBLIC COREL ALL-MOVIE GUIDE 2 (CD-ROM)

191

DE VILLENEUVE 1305.

1310. FILM: BEAUTY AND THE BEAST. COLOR. 84 MIN SCREENWRITER: LINDA WOOLVERTON; PRODUCED BY DON HAHN; DIRECTED BY GARY TROUSDALE AND KIRK WISE; MUSIC AND LYRICS BY HOWARD ASHMAN & ALAN MENKEN; ANIMATION BY ROGER ALLERS, RANDY FULLMER, ED GHERTNER, JIM HILLIN, LISA KEENE, AND VERA LANPHER 1991 BY WALT DISNEY DISTIBUTED BY BUENA VISTA WASHINGTON POST: SHOW (U JAN 1992): G9 With Robby Benson as the Voice of the Beast; Jessie Corti as the voice of Le Fou, Rex Everhart as the voice of Maurice, Angela Lansbury as the voice of Mrs. Potts; Jerry Orbach as the voice of Lumiere; et al. This was an award-winning film, including an Academy Award for Best Score, and a Golden Globe for Best Film. Desson Howe says, "In 'Beauty and the Beast' Walt Disney clocks in its 30th animated feature with the usual visual industry. Characters' eyes are etched in endearing, twinkly curves. Animals and things have a life of their own." He thinks that "The scenes, characters and songs attempt to duplicate the success of "Mermaid" all too obviously. The wit and the music aren't nearly as good... . . —from The Washington Post (22 November 1991). Hal Hinson thinks, however, that the film is

FILM: BEAUTY AND THE BEAST: NO WAY DOWN. COLOR. 48 MIN SCREENWRITER: UNKNOWN 1989 BY REPUBLIC COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Linda Hamilton and Ron Perlman. "Gang members capture Vincent, who must struggle to return to his underground home. Episode from the popular television series"—Corel Guide.

1306. FILM: BEAUTY AND THE BEAST: ABOVE, BELOW AND BEYOND. COLOR. 100 MIN SCREENWRITER: UNKNOWN; DIRECTED BY CHRISTOPHER LEITCH AND VICTOR LOBI 1989 BY REPUBLIC COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Linda Hamilton and Ron Perlman. "The wicked Paracelsus abducts Catherine in the hope of luring Vincent to his doom. Episode from the popular television series"—Corel Guide. 1307. FILM: BEAUTY AND THE BEAST COLLECTION. COLOR SCREENWRITER: UNKNOWN ND BY FUSION VIDEO COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Linda Hamilton and Ron Perlman. "'Once Upon a Time in New York' and 'Above, Below, and Beyond' episodes from the popular television series"—the Corel Guide.

a delightfully satisfying modern fable, a near-masterpiece that draws on the sublime traditions of the past while remaining completely in sync with the sensibility of its time. The sense of humor, even the obligatory moral subtext, seems fresh. There's even a kind of impudence in the comedy; you don't feel clobbered with wholesomeness. And yet nothing is lost in bringing a contemporary spirit to this familiar tale of love triumphing over physical imperfection. The storytelling is brisk and engaging, the animation imaginative and deeply textured, the music and the production numbers sublime. Let's not mince words ~ it's great. The animators ... have truly outdone themselves.

1308. FILM: GRIMM'S FAIRY TALES: BEAUTY AND THE BEAST. COLOR. 27 MIN SCREENWRITER: UNKNOWN 1990 BY VIDEO TREASURES COREL ALL-MOVIE GUIDE 2 (CD-ROM) 'This enchanted animated production is the classic story of the girl and the beast A lesson is taught here: Don't judge a book by its cover"—Corel Guide.

1309. FILM: STORIES TO REMEMBER: BEAUTY AND THE BEAST. COLOR. 26 MIN SCREENWRITER: UNKNOWN 1991BYLIGHTYEAR COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Mia Farrow. "Mia Farrow narrates the wondrous story of 'Beauty and the Beast.' Belle makes a sacrifice to save her father and must become the companion of a horrible beast. But soon, she comes to love him and he experiences a wonderful transformation"—Corel Guide.

The main characters, too, are more compelling than in recent years. The heroine, Belle (whose voice is provided by Paige O'Hara), isn't insipid and Barbie-doll cute the way the Little Mermaid was. She's a more worldly

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DE VILLENEUVE "The director, John Dew, planned this unusual revival as a piquant companion for the Houston Opera's performances of Robert Moran's new work based on the same tale, 'Desert of Roses.' Both are co-productions with the City Theater in Bielefeld, Germany."

girl than Ariel, a bookworm, with gumption and a mind of her own. Physically, she seems more mature, more womanly and less blandly asexual. Her suitor, the handsome but conceited Gaston (read by Richard White), has an almost overbearing physicality; everything about him is comically exaggerated and satirized to the point that you feel as if the cleft in his chin might swallow you whole. The chorus of town beauties that follows him around is hilariously over-ripe too ~ more like Vargas girls than the usual Disney dames. The real stars of the show, though, are the supporting players, in particular the dashy, magical candelabra, Lumiere (Jerry Orbach), and the warmhearted talking teapot, Mrs. Potts (Angela Lansbury). The model for Lumiere seems to have been Maurice Chevalier, and the idea is so choice, and so deftly executed, that it places him immediately among the top rank of Disney characters. Though less inspired, Mrs. Potts is indelibly realized. Their numbers are the movie's best.

1312. PLAY: DESERT OF ROSES. OPERA PLAYWRIGHT: ROBERT MORAN 1992 AT HOUSTON GRAND OPERA EDWARD ROTHSTEIN, "BEAUTY AND BEAST IN AGE OF MOTELS," THE ARTS IN NEW YORK TIMES (22 FEB 1992): 13 This is based on the original fairy tale, says Rothstein. 1313. FILM: BEAUTY AND THE BEAST: AND OTHER FAIRY TALES IN FILMS. COLOR. 52 MIN SCREENWRITER: N/A 1992 BY HOLLYWOOD COREL ALL-MOVIE GUIDE 2 (CD-ROM) "This documentary discusses the depiction of fairy tales in films," says the Corel Guide. 1314. PLAY: BEAUTY AND THE BEAST: A FAIRY-TALE THRILLER. PANTOMIME. 2 ACTS PLAYWRIGHT: LAURENCE BOSWELL; DIRECTED BY LAURENCE BOSWELL; DESIGNED BY ANTHONY MACILWAINE; MUSIC BY MICK SANDS; CHOREOGRAPHY BY LEA ANDERSON; LIT BY ADAM SILVERMAN; ETAL DEC (?) 1996-JAN (?) 1997 AT THE YOUNG VIC, LONDON NOTICE IN TIME OUT (\-Z JAN 1997): 123. LONDON: NICK HERNE BOOKS, ND [CA 1996] With Sherry Baines, Liz May Brice, Simon Gregor, Jonathan Hackett, Jan Pearson, Vickie Pepperdine, Gary Sefton, and Darren Tunstall. This was a very fine professional production, with minimal props, in the round, and completely competent acting and direction. It thoroughly entranced the audience of (largely) little girls and a few of their parents. In costumes it was arguably 18th century France. A good deal of an "original" text was to be heard in the voiceover narrative, in which the characters by alternating turns told the story as well as acted it out.

While thinking the Beast himself "completely lacking in poetry, Hinson finds "the rest of the film nearly flawless." He admires "the marriage of computers to the time-tested and painstaking hand-drawn animation process only enhances our amazement."—from The Washington Post (November 22, 1991). Disney's success with this subject matter was sufficient to encourage a transfer of as much as possible of the letter and spirit of the cartoon to the live stage—see below, 1997. 1311. PLAY: ZEMIRE ET AZOR. OPERA PLAYWRIGHT: LIBRETTIST UNKNOWN [ROBERT MORAN?]; MUSIC BY ANDRE GRETRY; DIRECTED BY JOHN DEW (THURS) 20 FEB 1992 AT HOUSTON GRAND OPERA EDWARD ROTHSTEIN, "BEAUTY AND BEAST IN AGE OF MOTELS," THE ARTS IN NEW YORK TIMES (22 FEB 1992): 13 "Billed as 'Beauty and the Beast' (which is the story on which the original French libretto was based), this production included traveling salesmen jokes, references to 'I Love Lucy' and Alfred Hitchcock, an Elvis-style rendition of a French Baroque aria and dance moves out of'Bye, Bye Birdie.

1315. PLAY: BEAUTY AND THE BEAST. PANTOMIME PLAYWRIGHTS: DAVID CREGAN & BRIAN PROTHEROE; DIRECTED BY PHILIP HELDEY 1996-1997 AT THEATRE ROYAL, STRATFORDUPON-AVON NOTICE IN TIME OUT(l-& JAN 1997): 123.

193

DE VILLENEUVE 1316. PLAY: [DISNEY'S] BEAUTY AND THE BEAST. MUSICAL. 2 ACTS PLAYWRIGHT: N/A; MUSIC BY ALAN MENKEN; LYRICS BY HOWARD ASHMAN & TIM RICE; BOOK BY LINDA WOOLVERTON; SCENE DESIGN BY STANLEY A. MEYER; COSTUMES BY ANN HOULD-WARD; LIT BY NATASHA KATZ; ET AL\ CHOREOGRAPHED BY MATT WEST; DIRECTED BY ROBERT JESS ROTH OPENING 13 MAY 1997 AT DOMINION, LONDON PROGRAMME IN MY POSSESSION; I SAW The music and lyrics were at best mediocre. The dancing was very good, however, and the scenery was truly spectacular. This was billed as "Disney's Beauty and the Beast," and indeed used music from the animated cartoon of 1991 (see above). Jean Cocteau's film was a point of reference both for the earlier animation and for this live production, with the anthropomorphic domestic objects claiming great attention. Alasdair Harvey as the Beast; Julie-Alanah Brighten as Belle; Derek Griffiths as Lumiere; Barry James as Cogsworth; Mary Millar as Mrs. Potts; Norman Rossington as Maurice; Burke Moses as Gaston; et al. 1317. PLAY: [DISNEY'S] BEAUTY AND THE BEAST PLAYWRIGHT: [SEE ABOVE, FOR LONDON PRODUCTION] 1997 AT PALACE THEATRE, NYC NEW YORK TIMES (9 NOV 1997): AR 16 With Deborah Gibson and Chuck Wagner.

UNDATED 1318. FILM: BRITANNIC A PRESENTS BEAUTY AND THE BEAST AND OTHER TALES. COLOR. 30 MIN SCREENWRITER: UNKNOWN ND COREL ALL-MOVIE GUIDE 2 (CD-ROM) Pat Morita narrates these animated fairy tales. 1319. FILM: BEAUTY AND THE BEAST: AND OTHER FAIRYTALES. COLOR. 66 MIN SCREENWRITER: UNKNOWN ND BY HOLLYWOOD COREL ALL-MOVIE GUIDE 2 (CD-ROM) "This collection of classic fairy tales features Beauty and The Beast, Little Red Riding Hood, Rapunzel, Hansel and Gretel and the King Midas Story."

194

MARIA EDGEWORTH (1767-1849)

of the year 1800 (1827); Vivian and Almeria, tales of fashionable life (1856); Waste not, want not, and other tales (1862); The Will (1924). Maria Edgeworth also wrote what the catalogue identifies as "comic dramas," which were published in several editions. Among them was Old Poz (1871). Angelina; or, L 'amie inconnue bears no relationship to a play, "Angelina," by Robert Buchanan, that was licensed to be performed at the Vaudeville Theatre in 1889.90 Maria Edgeworth's most famous novel, Castle Rackrent (1800), seems never to have been dramatized, as there is no record of any manuscript be this or any similar title in the records of the Lord Chamberlain's plays held either in London or California. Several plays that have similar titles to the novel Forgive and Forget do not in fact bear any evident relation to Maria Edgeworth's narrative.91 Garry Owen has also been the name of several apparently unrelated plays.92

SELECT PUBLICATIONS In the British Museum General Catalogue of Printed Books to 1955 several titles by Maria Edgeworth appear: Tales and Miscellaneous Pieces, 14 vols. (1825); Tales and Novels, 18 vols. (1832-33); Tales and Novels ... With Engravings on Steel, 10 vols. (1857); M. E. 's Moral and Popular Tales, ed. L. Valentine, (1874); Moral and Popular Tales (1881); Classic Tales (1883); Tales and Novels (1893); The Novels of Maria Edgeworth (1893); single works listed include the following: The Absentee (1884); Almeria (1924); The Barring Out; or, Party Spirit (1865); Belinda (1801), of which there were several editions; The Birthday Present and Simple Susan, stories for Children (1846); The Bracelets (1856); Castle Rackrent, an Hibernian Tale (1800); The Cherry Orchard (1861); The Contrast (1871); Early Lessons (1809); Continuation of Early Lessons (1815); Harry and Lucy Concluded; being the last part of Early Lessons (1825); The False Key (1860); Forgive and Forget (1833); Frank, a sequel to Frank in Early Lessons (1822); Garry Owen, or the Snow-Woman; and Poor Bob, the Chimney-Sweeper (1832); Self-Denial (or Garry Owen) and other tales (1880); The Good Aunt (1839); The Good French Governess. Angelina and the Prussian Vase (1873); The Grateful Negro and the Birthday Present (1874); Harrington, a tale; and Ormond, a tale (1817); Helen, a tale (1834)—about nine editions of this one; Idleness and Industry; or, the Story of Jem Preston (1860); Lazy Lawrence and the White Pigeon, stories for children (1871); Lame Jervas—the Story of Tarleton and Poor Loveit (1861); Leonora (1806); Little Dog Trusty; or, the Liar and the boy of truth (1861); The Little Merchants. A tale (1871); Maneuvering, Madame de Fleury and the Dun (1856); The Modern Griselda (1805); Moral Tales for Young People (1801)—of which there were at least nine editions; The Most Unfortunate Day of My Life and other stories (1931); Murad the Unlucky and other tales (1889); The Orange Man; or, the Honest Boy and the thief (IS61); Orlandino (1848); Ormond (1817 / 1895); Out ofDebt out ofdanger (1924); The Parent's Assistant, or stories for children (1800)—of which there were at least 13 editions of 1897; Lazy Lawrence [selected from the Parent's Assistant (1948); Patronage, a novel (1814); Popular Tales (1804); The Purple Jar (1871); The Reward of Honesty (1849); Rosamond, a sequel to Early Lessons (1821); Rosanna, the Manufacturers, and other tales (1873); The Schoolboys (1860); Stories of Ireland. Castle Rackrent. The Absentee (1886); Tales of Fashionable Life (1809-1812); Ennui and Emilie de Coulanges, being two of the tales of fashionable life (1856); To-morrow, a tale (1862); True Charity, or a tale

90

Nicoll (V, 324); LC—Add Mss 53422 (M); License no 28. 1

Maria Edgeworth's Forgive and Forget (1830) begins in a seaport town in the West of England; it concerns the characters include Arthur Oakly, his father Mr. Oakly, Maurice, Mr. Grant. On 17 May 1828 there was a "novelty" at the Park, NYC, entitled "Forget and Forgive; or, Rencontres in Paris", which Odell (III, 314-5) describes as "the work of the indefatigable James Kenney." Clara Fisher played Georgiana; Rees played Sir Gregory Ogle; Barry played Cameron; Mrs. Hackett as Kitty; Mrs. Hilson as Jeanette; et al. This was in any case before the novel's appearance, and certainly had nothing to do with Maria Edgeworth's little novella. Likewise, "Forgive and Forget" was a "comedietta" that played Drury Lane on 31 October 1835, and the Olympic in 1838. This concerned characters named Harcourt, Pelham, et al. See the Lord Chamberlain's plays, Add Mss 42932 (FF 271-297) and Add Mss 42945 (FF 609-625). It, too, almost certainly has nothing whatsoever to do with Maria Edgeworth's narrative. 92

Maria Edgeworth's "Garry Owen; or, the Snow Woman" (London: John Murray, 1832) begins with a scene of snipe-shooting, and the characters are Master Gerald, and Patrick Carol. Then the scene moves to Mrs. Crofton's cottage, where we find Molly and George. At Castle Gerald, in Part II, we find

195

EDGEWORTH "Leonora"has figured in the title of more than one piece of stagecraft that bore no evident relation to anything by Maria Edgeworth.93 Plays with the name "Onnond" in the title do not apparently come from Maria Edgeworth directly or indirectly.94 "Patronage" was a term in the titles of plays not connected in any obvious way to the novel by this author.95

ROW OF BALLYNAVOGUE (ORIGINAL TITLE UNKNOWN)

1320. PLAY: THE ROW OF BALLYNAVOGUE! OR, THE LILY OF LISMORE. SERIO-COMIC BURLETTA. 2 ACTS PLAYWRIGHT: MISS JANE M. SCOTT (MON) 1 MARCH 1819 AT STRAND SANS PAREIL, LONDON LARPENT CAT; LARPENT NO 1994 BRITISH LIBRARY BILLS (VOL. 169) The Catalogue of the Larpent Plays in the Huntington Library says that the application for permission to produce this was dated 14 November 1817. The ms is about 53 folios of fair copy, sometimes amended. The British Library's microfiche copy is F 2547 997. The title page of the ms in the Larpent collection reads "Ballynavogue / or the Lilly of Lismore / a Burletta in / Two Acts / by Jane Scott / Sans Pareil Theatre / Strand London / ... ." A letter of 14th Nov 1817, from the manager, a Mr. Scott, requests permission to perform the play. "Dramatis Personae" are Matthew McBride—a rich Farmer; Philip McBride—his son; Randal Rooney—lover to Bessy MacBride; Mr. Gerald O'Blarney, Banker and Distiller; Patrick O'Rafferty, Clerk to O'Blarney; English Magistrate; Delany his Secretary; Little Charley of Killaspugbrone (?); Big Briny of Cloon; ... And the Women Catherine Rooney, mother of Randal; Marion McBride, niece to Matthew; and Bessy McBride, Daughter to Matthew. The scenes were "Inside of M'Bride's Cottage, Table and Chairs, Marion Macglen [sic]—seated at the Table arranging a bouquet of flowers"; "A Rural Drop," and

Cecilia. This overtly has nothing to do with a play entitled "Garry Owen; or, the Belles of the Shannow," whose characters include Mike; Lord Edgar; Rosa; Lord Castlereagh; Lisbia; Luke Gafney; Lieutenant Cassidy; Nancy Flaherty the mountain hag; Molly; Pat, Duffy. This was produced in 1877 at the Queen's, Manchester, and at the Victoria, London—see Add Mss 53185 (L), and Nicoll (V, 458). 93

Leonora is an epistolary novel. Some of the characters are Lady Leonora, Lady Olivia, Gabrielle de P., General B, Mr. L., et al. The characters seem to be largely English. The settings are Paris, Yarmouth, Richmond. A "Leonora" at the Surrey, in 1821, by Thomas J. Dibdin, may have had something to do with Maria Edgeworth's novel—however, no "Leonora" play appears in the Larpent Catalogue. The opera "Leonora," which appeared at the Academy of Music, New York, in 1858 (see Odell, VII, 65), evidently had nothing to do with Edgeworth's novel.

94

A play entitled "Onnond the Unknown" that was produced at the Garrick, London, in 1871 (see the Lord Chamberlain's Plays, Add ms 53098 [D]) begins with "The Village," proceeds to the "Cavern in Demon Rocks," and the "Abbey Ruins, and then ends with a "terrific combat" in which Lord Hardman is killed. This seems to have been a kind of romantic/gothic drama that could have had nothing to do with the Irish story of Maria Edgeworth's novel Ormond (London: Hunter, Baldwin, Cradock, and Joy, 1817), which begins with Sir Ulick O'Shane entering a drawing room.

apparently only scene is "A drawing room in a villa." This shows no sign of relationship to Maria Edeworth's 1814 book. Likewise, "Patronage; or, the False Positoin" on 19 October 1849 (Add Mss 43021 (FF 891-928b) concerns Trevanion, a man of fortune; Knightly, his Steward; Michael Langford, a ship carpenter; Adams, his foreman; Vox, a Country Oracle; Skellet, his sub (?); Servants; Margaret Langford; Mrs. Langford; Mrs. Lomier; Miss Hornett; and Wiliams." This too bears no evident relation to the earlier novel.

95

Maria Edgeworth's Patronage involves the following characters: Rosamond, her sister Caroline, Godfrey, Mr. Percy, M. De Tourville, Mr. Falconer, one Buckhurst, Lady Jane, Mr. Gresham, Col. & Mrs. Hungerford, Miss Panton, Miss Georgina Falconer, et al. Two plays, produced much later in the century, bear no evident relationship to this prose narrative: "Patronage," at the Olympic on 16 October 1848 (Add Mss 43014 (FF 321-365) concerns Edith, Rockley, Clavering, Frisby, and Lord Snipe. The opening and

196

EDGEWORTH Act 2 is "Inside of B'Brides Cottage as Before." Scene last is "Apartment [sic] of Examination." "Written partly from the Works of Miss Edgworth, with New Songs, Dialogue, incidents, and Stage Situations, by Miss Scott, with only One English Character in it.—(The Music selected from the most Popular Irish Melodic (s)," says the bill. The ms shows the first song to be an "Air Scotch," with which the play opens: With care I twined these flowers sweet And sought them at the break of morn I thought the Lad I dared to meet When dew drops hung upn the thorn I thought to place them in his breast To have a smile of thanks in turn But he regardess takes his rest And I am left alone to morn. 2 Why did I leave my native home Why did I wander oer the lea— Why over Hill and valley roam To win a Lad that's cold to me. He knows not her he hurts with slight Or he would prise her heart in turn Some Irish Lass is his delight And I am left alone to mourn. Then the character speaks, saying "But he shall never know I love him—I will conquer my Love or death shall conquer me. O Why did my Father send me on this unlucky visit—he thought every one would see his Marion with his ... . He reckoned I should return the Bride of Cousin Phil — I know he wished the match." Bessy singing without— Ah here comes Bessy MacBride—Well may they call her the Lily of Lismore—their fights and their fashions have nearly driven every drop of blood from her cheek—mine. But Randal Rooney can plant the Rose in her sad face again—and he it seems is never welcome here—she must not see that I am in ... I fear she much suspects my liking for her brother—O forbid it—the power to whom I pray—let it never ben said Marion MacGlen—was scorned and rejected. Sings And Duncan and Johnny And willy the Bonny All all came a wooing to Marion MacGlen

197

MRS. EDWARDS House St Leon. 1; A Breton Sailor and his Boy; Mrs. Bertram; Helen/ her step daughter/". "Dram. Pers" for Act 2nd are as follow: Dr Hamilton Blythe; Basil Fcildon Gerald Durant, Captain Radlcy Waters; Colonel Hubert Osbornc Major Ralph Seaton; Captain Grosney (or, the Cormorant.) A Waiter, Servant to Dr. Bythe. Mrs. Hamilton Blythe; and Helen Williamson Archie Lovell. Several of these names have been crossed out in pencil and the names of characters as printed on the bill (see below) substituted, as indicated above. The "dram Pers" for Act 3 are Rev. James Bertram, Rector of Drowitz; Basil Feildon, now Lord Rosedale; Colonel Osborne; Capt. Radley; Mrs. Bertram; Helen; Lucy Vernon ("cousin and affiancie to Basil"). The "dram Pers" for Act 4th are Colonel Osborne, Doctor Blythe, Rev. J. Bertram, Basil Feildon, Helen, Lucy, Mrs. Blythe, Mrs. Williamson (Bertram), Servant to Col. Osborne. "A new and Original comedy in Four Acts, Founded upon the Leading Incident in Mrs. Edwardes's Novel ...," says the bill. Act 1st Scene 1 is "St Leon on the Coast of Brittany. The sands at low water. Cottage on rocks. R. Steamer visible." Act 2nd, Scene 1st, "Dr. Hamilton Blyth's Study. Very cosily and comfortably furnished." Scene 2nd is "Anti-room in an Hotel in St Helen's—Jersey." Scene 3rd is "Vestibule of Ball Room." Act 3 is after "five months have elapsed from the commencement of Act I ... It is now September." Act 3, Scene 1 is "Drowsily, the Rectory, Sussex. Act 4th, Scene 1 is "Library at Dene Court, Large Window opening on Terrace—Landscape Beyond." Major Seton by George Rignold; Gerald Durant by G. F. Neville; The Hon. Mrs. F. Lovell by Miss Emily Thome; Archie Lovell by Miss Henrietta Hodson.

SELECT PUBLICATIONS The spelling of this author's name varies from "Edwardes" to Edwards;" the relevant entries are under "Edwards" in The British Library General Catalogue of Printed Books to 1975, which shows "Annie Edwards" as the author of the following titles: The Adventuress. A novel (1866); Archie LoveII. A Novel (1866)—three editions; A Ballroom Repentence (1882); A BlueStocking (1877); Creeds (1859); A Girton Girl (1885); Jet: her face or her fortune? (1878); Leah: a woman of fashion (1875); Miss Forrester. A novel (1865); The Morals of May Fair (1858); The Ordeal for Wives (1865); Ought We to Visit Her? (1871); Pearl Powder. A novel (1890); A Plaster Saint (1899); A Playwright's Daughter (1886); A Point of Honour (1863); Steven Lawrence, Yeoman (1868); Susan Fielding (1869); A Vagabond Heroine (1873); Vivian the Beauty. A novel (1879); the World's Verdict (1861).

ARCHIE LOVELL (1866) Among the many characters in this three-decker are Archie Lovell, and Mr. Gerald Durant, both of whom appear in the play at the Royalty, as below.

1321. PLAY: ARCHIE LOVELL. COMEDY [DRAMA]. 4 ACTS PLAYWRIGHT: F. C. BURNAND 16 MAY, (MON) 15 JUNE 1874 AT ROYALTY, LONDON PROGRAMME IN OXBODJJ; NICOLL (V.290) NICOLL (V, 290) LC—ADD MS 53138 (E) The ms in the Lord Chamberlain's collection of plays is 92 folios in three gatherings: the first is about 8.5" wide by 10.5" high. The second (Act 2nd) is about 7.5" wide by 9.875" high, and is on lined paper. The third (Act 3 & Act 4th) is on unlined white paper about 8.5" wide by 10.5" high. The handwriting varies, but is mostly quite legible and is sometimes amended. The title page says "1874/ May/ Reed - 12th W. B. D./ An entire New and original Drama entitled/ Archie Lovell/ in 4 acts/ Act 1st/ The Royalty Theatre/ Dean Street/ Soho." "Dram: Pers" for "Act 1st" are Basil Feilden; Capt. Bradley; Rev. James Bertram, M. A. "under the assumed name of Williamson"; Pudney of Pudney's Boarding

OUGHT WE TO VISIT HER? (1871) The characters include Rawdon Crosbie, Emma Marsland, Bossy Teaball, and a family of Theobalds—all of whom also appear in the play described below. Published dramatizations: Anon. Ought We to Visit Her! 1875-Duodecimo Gilbert, W. S. Ought we to Visit Her? 1930—Octavo.

198

NP: np,

EDWARDS 1323. PLAY: OUGHT WE TO VISIT HER? COMEDY DRAMA. 4 ACTS PLAYWRIGHT: ANON [GILBERT?-NICOLL'S IMPLICATION] 1 JUNE 1877 AT QUEEN'S THEATRE, LONDON BLCAT LC—ADD MS 53187 (E); LICENSE NO 107; NICOLL (V, 729) "DRAMATIZED FROM MRS. EDWARDES'S NOVEL"—DUODECIMO, 1875—BL SHELFMARK 11783. A. 16(7.) The ms in the Lord Chamberlain's plays is 211 folios of lined paper, each measuring about 7.375" wide by 9.25" high. The hand is hurried but legible and sometimes amended. The title page indicates "Ought we to Visit Her.?/ Comedy Drama/ in 4 Acts./ Act 1." The sticker of licensure reads "Ought we to visit her/ Queens/ June 1 1877." The Acts are bound out of order. The characters are Rawdon Crosbie; Mr. Crosbie, Francis Theobald; Duke of Malta; Captain Brabazon; Major Hervey "An Adonis;" Col. Mauleverer "an Irishman;" Jane Theobald; Lady RoseGolightly; Mrs. Crosbie; Mrs. Coventry Brown; Mrs. Pippin Emma Marsland; Miss Anne Theobald; Miss Charlotte Theobald, Bossy ... Elise; Servants, Guests, Visitors, Waiters. Act I, Scene is "Courtyard of the Hotel Bellevue at Spa." Act 2nd is "Among the Philistines", a Flower Show in Lidlington. Croquet Grounds." Act 3rd is "Theobald's/ A Sombre looking apartment." Act 4th, "The Closing Scene" is "Lidlington Town Hall."

1322. PLA Y: OUGHT WE TO VISIT HER? PLAYWRIGHT: ANON [W. S. GILBERT—NICOLL'S ATTRIBUTION] 17 JAN 1874 AT ROYALTY, LONDON LC—ADD MS 53133 (A) NICOLL (V, 379) "A COMEDY FOUNDED ON THE NOVEL BY MRS. A. EDWARDS" OCTAVO, 1930—BL SHELFMARK C. 132. g. 29(2) The ms in the Lord Chamberlain's plays is in 51 folios, bound separately from the other plays between gray boards. The ms is on white but faded, blue-lined paper, each leaf measuring about 7.75" wide by 12.5" high. The copy is fair and the handwriting is neat and very legible. There is no title page, but the first page of the text reads "Royalty Theatre read January 17 18747 W. B. D." There is no list of characters, but some of the characters from the text are as follow: Mrs. Crosbie, Emma, Mr. Rawdon Crosbie, Francis Theobald, Blossy Teaball, Jane. Act I, Scene is "Courtyard of Hotel Bellevue Spa." Act 2, Scene is "Flower Show in the Lidlington Croquet Ground." Act 3 Scene is "A gloomy untidy room at Theobald's—rather stately in character but evidently neglected."

199

GEORGE ELIOT (1819-1880)

SELECT PUBLICATIONS Adam Bede (1859), Daniel Deronda (1882), Felix Holt (1866), Middlemarch (1871), The Mill on the Floss (lS60),Romola(\863\andSilasMarner, the Weaver of Raveloe (1861).

Arthur, Elizabeth, Adam Bede, Hetty, Betty, Mrs. Poyser, and Dinah. Act I, Sc 1 is "Room in the Rectory." Sc 2 is "Carpentre Shop and Kitchen." Sc 3 is "Rural View." Scene 4 is "Interior of Farm." Act 2, Sc 1 is "The grounds of the Hall—decorated for a festival." Sc 2 is "A Country Road near the Hall." Sc 3 is "Hermitage." Act 3, Sc 1 is "Interior of Farm." Sc 2 is "Exterior of Adam's House." Sc 3 is "Prison Ward Room." Sc 4 is "Room in an hotel." Sc 5 is "The Court of Justice." The whole ends with a "tableau."

In general, George Eliot objected to the dramatization of her works; nevertheless, a few of them were made into plays during her lifetime. Several have recently been filmed.

1325. PLAY: AD AM BEDE. DRAMA. 4 ACTS PLAYWRIGHT: WILLIAM HOWELL-POOLE 2 JUNE 1884 AT HOLBORN, LONDON LC—ADD MS 53317(0) NICOLL (V, 529) The ms in the Lord Chamberlain's papers has become separated from the binding. It is 100 folios of white paper, blue-lined, fair copy, little or never amended. The leaves measure 7" wide by 9" high. The title page indicates "Adam Bede/ in 4 Acts/ by Wm. Howell-Poole." The sticker of licensure indicates '"Adam Bede'/ Drama (4 acts)/ Holborn, May 27 1884." The ""dramatispersonae" are Adam Bede, Seth Bede (his brother), Parson Wrvine, Arthur Donnithorne (Known as "The Young Squire,' "The Heir," & "The Captain" [variously]); BartleMassey (The Village Schoolmaster); Grandfather Poyser; Martin Poyser; Pedlar Tom; Landlord (of the Green Man); Col. Townley; Country Man; Mrs. Irvine; Mrs. Poyser; Hetty Sorrel; Dinah Morris; Totty (5 yrs old); and Lisbeth Bede. Act I is "The Chase." Act 2, Scene is "The Hall Farm." Act II, Scene 1 is "A Forest Glade near Stoniton." Scene 2 begins with Mrs. Bede saying "No sign o' Adam." Scene 3 begins with Irvine saying "Well, Carroll, ringing my bell, eh." Scene 4 begins with Irvine saying "Adam Bede!" Act IV begins with Poyser saying "Yes, come in father." Scene 2 is "Enter Colonel Townley and Turnkey." Scene 3 begins with Irvine saying "I don't expect you would care to hear Arthurs letter."

ADAM BEDE (1859) Though none of George Eliot's novels are tailor-made for the stage, Adam Bede has demonstrated a certain theatrical potential, as we can see below. It has had some popular appeal, including for example a reading in such a theatrical site as the Berkeley Lyceum, New York, by IdaBenfreyin 1892.96 Published dramatizations: Mallam, Phosphor. "Mrs. Poyser has her Say Out ... From Adam Bede ... Arranged as a dialogue or scene." In Sketches from Classical Authors. London: J. Curwen & Sons, 1912

1324. PLAY: ADAM BEDE; OR, THE HALL, THE WORKSHOP, AND THE FARM. DRAMA PLA YWRIGHT. JOSEPH EDWARDS CARPENTER 28 FEE 1862 AT SURREY, LONDON LC—ADDMSS53011 (T) NICOLL (V, 303) The ms in the Lord Chamberlain's plays is 29 folios on light blue paper, each leaf measuring about 7.75" wide by 12.75" high (the second gathering is slightly larger). The copy is fair and not amended; the script is legible. The title page says "18627 Received February 177 License sent 187 W. B. D. No. 20. Adam Bede/ The Hall, the Workshop, and the Farm/ 3 acts/ Royal Surrey/ Theatre/ 17 February 1862. There is no list of characters, but from the text the people of the play are as follow: Irwin, Mrs. Irwin, Rann,

1326. PLA Y: MRS POYSER HAS HER SAY OUT ... FROM

ADAM BEDE ... ARRANGED AS A DIALOGUE OR SCENE. 7PP PLA YWRIGHT: PHOSPHOR MALLAM UNKNOWN PRODUCTIONS IN SKETCHES FROM CLASSICAL LONDON: J. CURWEN & SONS, 1912 BLC CAT.

96

See G. C. D. Odell, Annals of the New York Stage, vol. XV, p. 465. 200

AUTHORS,

GEORGE ELIOT

1327.

WEARING, THE LONDON'STAGE 1920-1929, VOL II, P1119 Wearing says "1st perfd Q 14/2/27)."

FILM: ADAM BEDE. BLACK-AND-WHITE. SILENT. 6 REELS SCREENWRITER: KENELM FOSS; DIRECTED BY MAURICE ELVEY 1918 BY INTERNATIONAL EXCLUSIVES (UK) COREL ALL-MOVIE GUIDE 2 (CD-ROM) Bransby Williams as Adam Bede; Gerald Ames as Arthur Donnithorne; Inez Bensusan as Sarah Thorne; Ivy Close as Hetty Sorel; Will Cori as Farmer Poyser; Ralph Forsters as the Squire; Malvina Longfellow as Dinah Morris; Claire Pauncefort as Aunt Lydia. The Corel Guide reports that Maurice Elvey directed as many as 300 films, many of them literary adaptations.

1330.

PLAY: DANIEL DERONDA. PLA YWRIGHTS: LILY TOBIAS & LYDIA LEWISOHN 14 APR 1929 AT PALACE, LONDON WEARING, THELONDONSTAGE 1920-1929, VOL II, P 1119 Mr. Vandernoot by Walter V. Tobias; Daniel Derondaby Esme Percy; et al.

1331. TELEPLAY: DANIEL DERONDA. 6 PARTS SCREENWRITER: ALEXANDER BARON; PRODUCED BY DAVID CONROY; DIRECTED BY JOAN CRAFT BBC-2 TV 29 MAR, 5, 12, 19 APR 1970; REBROADCAST ON 26 MAR, 2, 9 APR 1972 CHADWYCK-HEALEY CA TALOGUE Each episode was pre-recorded, and about 45 minutes long. The whole was rebroadcast in 1972. Eleven men and ten women.

1328. TELEPLAY: AD AM BEDE. COLOR. 105 MIN SCREENWRITER: UNKNOWN BBC TV DEC 1991 LONDONSUNDAY'TIMES'REVIEW'(22DEC 1991): 67 With Patsy Kensit as Hetty Sorrel, and Ian Glen as Adam Bede; Jean Marsh as Adam's mother; Susannah Harker as Dinah Morris; James Wilby as Arthur Donnethorne. "Foster is pleased to have cast Patsy Kensit in the role of Hetty Sorrel, the dairymaid who is led astray by the local squire and betrays Adam Bede's love. 'I like casting someone with her profile—a good actress who gets better with each film. She gives it a kind of edge which alters people's perception of a classic, and I hope makes people watch and enjoy it."1 See Nina-Anne Kaye, "Delving Deep into Adam Bede," Sunday Times Review (22 Dec. 1991): 6-7. Says Patricia Brennan, "Like many British productions, Masterpiece Theatre's 'Adam Bede' gets off to a slow, even dreamy, start on Sunday, but author George Eliot's story of seduction in rural 19th century England ends up with flirtation, seduction, a fistfight, abandonment, infanticide and banishment, just in the noose of time. ... "Kensit who is riveting." See "George Eliot's Story of Reckless Love, 19th-century Style," TV Week: Washington Post (1-7 March 1992): 5.

MIDDLEMARCH (1871) Published dramatizations: George, Millicent. Three Brides. A Play ... From the novel Middlemarch. London: De Wolfe & Stone, 1956.

1332. PLA Y: THREE BRIDES. A PLAY IN TWO ACTS. FROM THE NOVEL MIDDLEMARCH. 2 ACTS. 81 PP PLAYWRIGHT: MILLICENT GEORGE UNKNOWN PRODUCTIONS LONDON: DE WOLFE & STONE, 1956 BLC The characters include Dorothea, William Ladislaw, Edward Casaubon, Rosmund Lydgate, Mr. Brooke, Sir James Chettam, Celia Brooke, and Hansom. .

DANIEL DERONDA (1876)

1329. PLAY: DANIEL DERONDA. PLAYWRIGHT: LILY TOBIAS & LYDIA LEWISOHN 14 APR 1927 AT QUEEN'S THEATRE, LONDON (?)

1333. FILM: MIDDLEMARCH SCREENWRITER: UNKNOWN BBCTV(?)CA 1994(?) 201

GEORGE ELIOT CINEMATOGRAPHY BY JOHN STUMAR [1936] 1937 (1939?) BY STANDARD (UK); AVAILABLE FROM FACETS MULTIMEDIA MALTIN'S TV MOVIES AND VIDEO GUIDE (1986), P. 634; SEE ENSER, P. 185; FACETS VIDEO CATALOG NUMBER 8, P. 47; COREL ALL-MOVIE GUIDE 2 (CDROM) With Geraldine Fitzgerald as Maggie Tulliver; Frank Lawton as Philip Wakem; Victoria Hopper as Lucy Deane; Fay Compton as Mrs. Tulliver; Griffith Jones as Stephen Guest; Mary Clare as Mrs. Moss; Sir Felix Aylmer as Mr. Wakem; Martita Hunt as Mrs. Glegg; Amy Veness as Mrs. Deane; and James Mason as Tom Tulliver; et al. Maltin calls this a "disappointing, dramatically uneven adaptation of George Eliot novel."

REFERENCE IN GUARDIAN NOTE ON "THE MOONSTONE"; NOT IN COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Peter Jeffrey.

MILL ON THE FLOSS (1860) Published dramatizations: MacNamara, Margaret. The Miss Dodsons that Were. A Costumed Playlet for Three Actresses from "The Mill on the Floss by George Eliot. In Plays for the New Era, vol. 2. London: Joseph Williams, nd [1922]—Octavo.

1337. TELEPLAY: MILL ON THE FLOSS. 41 MIN SCREENWRITER: ROSEMARY ANNE SISSON; PRODUCED BY DOUGLAS ALLEN; DIRECTED BY REX TUCKER BBC-2 TV (GLASGOW) 21 FEB 1965; REPEATED 28 FEE 1965 CHADWYCK-HEALEY CATALOGUE This was pre-recorded, with six women and eight men. A sound and a silent film have both existed.

Mallam, Phosphor. "Aunt Glegg Quarrels with Mr. Tulliver. From the "Mill on the Floss." In Sketches from Classical Authors. London: J. Cunven&Sons, 1912.

1338. FILM: THE MILL ON THE FLOSS. COLOR. 120 MIN SCREENWRITER: HUGH STOODARD; DIRECTED BY GRAHAM THEAKSON; PRODUCED BY BRIAN EASTMAN; CINEMATOGRAPHY BY DAVID JOHNSON; MUSIC BY JOHN SCOTT CARNIVAL FILMS FOR BBC-1 TV 1 JAN 1997 ELAINE PATTERSON, "HOUSE OF ELIOT: TULLIVER'S TRAVAILS BROUGHT TO THE SCREEN," TIME OUT (1-8 JAN 1997): 143; THOMAS SUTCLIFFE, "REVIEW," IN TELEVISION, INDEPENDENT (2 JAN 1997): 24; HARRIET WINSLOW, "'THE MILL ON THE FLOSS,' GEORGE ELIOT'S VICTORIAN WOES: 'MASTERPIECE THEATRE' BEGINS 27TH SEASON," WASHINGTON POST: TV WEEK (12-18 1997): 7 & FF; I SAW With Emily Watson as Maggie Tulliver, James WebberBrown as Stephen Guest; James Frain as Philip Wakeham; Bernard Hill as Maggie's Father; and Joanna David, Nicholas Geeks, Peter Gunn, Will Knightley, Paul Ridely, Jessica Turner, Lucy Whyebrow; et al.

1334. PLAY: AUNT GLEGG QUARRELS WITH MR. TULLIVER. FROM "THE MILL ON THE FLOSS" ... ARRANGED AS A DIALOGUE OR SCENE. 7 PP PLAYWRIGHT: PHOSPHOR MALLAM UNKNOWN PRODUCTIONS 1912 BLC. 1335.

PLAY: THE MISS DODSONS THAT WERE. A COSTUMED PLAYLET... FROM THE MILL ON THE FLOSS PLAYWRIGHT: MARGARET MACNAMARA UNKNOWN PRODUCTIONS LONDON: JOSEPH WILLIAMS, 1922 BLC The characters are Mrs. Pullet, Mrs. Glegg, and Mrs. Tulliver. 1336. FILM: THE MILL ON THE FLOSS. BLACK-AND-WHITE. [77] 94 MIN SCREENWRITERS: JOHN DRINKWATER, AUSTIN MELFORD, & GARNETT WESTON; DIRECTED BY TIM WHELAN; PRODUCED BY JOHN CLEIN;

Much of the film was shot in Norfolk, ... [where] Watson's first television role was introducing her to the BBC's methods of staging and multiple takes of every scene. ...

202

GEORGE ELIOT Maggie Tulliver is generally considered to be a close incarnation of George Eliot herself, and there are moments which brilliantly encapsulate what a keen-witted woman of her time had to endure. 'You're like a longtailed sheep. You won't fetch a better price at market,' says Maggie's father referring to his daughter's intelligence as a useless asset. For Watson, it was this feisty subtext that attracted her to the role," reports Elaine Paterson, who had interviewed the actress.

Holroyd, George H. Silas Marner. 1958. I have not been able to locate a copy of this play-HPB.

However, the stifled intellectualism that makes Maggie so appealing in the novel is largely absent from the film. We see Maggie yearning for knowledge, but cannot participate in her mentality in anything like the way that the novel affords us. Consequently, in the film the heroine has tended to become a morally conventional young lady who has a moment's lapse into disaster when she consents to the boat ride with Stephen Guest and thereby ruins her own prospects and the happiness of those around her. The pace is leisurely and contemplative, almost in the manner and style of the serial production with its many segments. The photography is beautiful, with a genuine sense of the English climate and countryside. The costumes and sets are superb in their sense of the period depicted. The acting is more than merely adequate. Yet the deaths of Maggie and Tom Tulliver seem contrived. The effect of the whole is not that of the domestic tragedy of the original. "The film, explained producer Brian Eastman, tackles the question of romance versus family loyalty. 'And in the end the family loyalties are stronger than the romantic ties,' he said"—Harriet Winslow, '"The Mill on the Floss:' George Eliot's Victorian Woes," in Washington Post.

1339. PLAY: EPPIE'S ANGEL [;OR, SILAS MARNER'S TREASURE]. COMIC DRAMA. 2 ACTS PLAYWRIGHT: UNKNOWN 4 SEPT 1871 IN SHEFFIELD NICOLL (V, 672) Despite Nicoll's location of this play in Sheffield in 1871, as "Erie's Angel," there is no sign in the Catalogue of Additional Manuscripts of this play in this time period. The play "Eppie's Angel" was licsensed for production in Liverpool in 1876 (see below).

Jones-Evans, Eric. The Weaver ofRaveloe. A play in Three Acts ... Based on "Silas Marner". 1963 Kennet, J. Silas Marner. A play from the Novel by George Eliot. 1953—Octavo. Ravold, John D. Silas Marner. A play in three acts taken from the book by George Eliot. London: Samuel French, 1936—Octavo

1340. PLAY: SILAS MARNER'S TREASURE; OR, EPPIE'S ANGEL. COMIC DRAMA. 2 ACTS PLAYWRIGHT: UNKNOWN I MAY 1876 IN LIVERPOOL DAYBOOKS SHOW LICENSE TO THEATRE ROYAL, SHEFFIELD, 22 JULY 1876; NICOLL (V, 672) LC—ADD MS 53169 (F) The ms in the Lord Chamberlain's collection of plays is 37 folios on some white, some dark blue, lined paper, each leaf measuring about 8" wide by 12.75" high. The title page says simply "July 18767 Eppie's Angel/ or/ Silias [sic] Marners Treasure/ in/ Two Acts." There is no list of characters, but from the text the people of the play are Dolly, Jim, Nancy, Silias [sic], Eppie, Godfrey, Aaron. Act I Scene 1 "Silas Marner's Cottage;" Scene 2 "Anteroom in Ravelow Hall;" Scene 3 is "Silas Marner's Cottage as before." Act 2nd, Scene 1st is "Landscape;" Scene 2 is "Silias Marner's Cottage.

SILAS MARNER (1863)

1341. PLAY: DAN'L DRUCE, BLACKSMITH. DRAMA PLAYWRIGHT: W. S. GILBERT I1 SEPT 1876 AT HAYMARKET, LONDON BILL IN OXBODJJ; BL CAT—DUODECIMO, LONDON: SAMUEL FRENCH, 1876, 1881 LC—ADD MS 53171 (E) NICOLL (V, 380); BLC

Published dramatizations: DuPre, S. M. Etal. Scenesfrom SilasMarner. London: Alman & Son, 1903 Gilbert, W. S. Dan'l Druce, Blacksmith. Samuel French, 1876, 1881.

London:

203

GEORGE ELIOT BY GEORGE ELIOT PLAYWRIGHT: J. KENNETT UNKNOWN PRODUCTIONS OCTAVO—1953 BLC.

The text in the Lord Chamberlain's plays is 32 printed folios bound in brown oilskin. Each measures about 5" wide by 8" high. A hand-written note from "E. L. S. Piggot, Esqre," requests pennisson to produce '"Dan'l Druce, Blacksmith' a new & original drama in 3 acts by W. S. Gilbert, Esqre." The "Dram. Pers" and cast are Sir Jasper Combe (a Cavalier Colonel by Howe; Dan'l Druce by H. Vezin; Reubam Rame (Sergeant of Horse Kings Dragoons) by Odell; Geoffrey Wynyard by Forbes-Robertson; Marple(Dan'l's Brother) by Board; Joe Ripley (a fisherman) by Weatherby; Sergeant by Allbrook; Soldier by Fielder; Dorothy by Miss Marion Larry; Child (aged 4) by Matr Rivers. The time is "After the Battle of Worcester." A note on the page facing the first says "All through the pice for 'Abel Druce' read Dan'l Druce." Act I—Scene "Interior of Abel Druce's hut, a tumbledown old shanty of the rudest description." Act II is "A picturesque old forge, occupying the back of the stage, facing full to the audience." Act III is "Interior of the Forge. Time, sunset." "An incident in the First Act was suggested by George Eliot's Novel, 'Silas Marner,'" reports the bill. This was twice published, see BL Shelfmarks b.!32.g.39 and 2304. h. 9.

1346. PLAY: SILAS MARNER PLAYWRIGHT: GEORGE H. HOLROYD UNKNOWN PRODUCTIONS 1958 BLC. 1347. PLAY: THE WEAVER OF RAVELOE. A PLAY IN THREE ACTS ... BASED ON "SILAS MARNER" PLAYWRIGHT: ERIC JONES-EVANS UNKNOWN PRODUCTIONS 1963 BLC. 1348. TELEPLAY: SILAS MARNER. 6 PARTS SCREENWRITER: CONSTANCE COX; PRODUCED BY CAMPBELL LOGAN; DIRECTED BY HAROLD CLAYTON BBC TV 31 MAY, 7, 14, 21, 28 JUNE, 5 JULY 1964 CHADWYCK-HEALEY CATALOGUE This was pre-recorded for broadcast a few days later. Each episode was about 25 minutes long. Eight to sixteen men and five to eight women. There is a silent film with opening titles.

1342. PLAY: DAN'L DRUCE, BLACKSMITH. DRAMA PLAYWRIGHT: W. S. GILBERT 20 FEE 1894 AT PRINCE OF WALES, LONDON WEARING, THE LONDON STAGE 1890-1899, VOL I, P378 Sir Jasper Coombe by William Rignold; Dan'l Druce by William Mollison; Reuben Haines by Sydney Valentine; Dorothy by Nancy Mclntosh; et al. Wearing refers to reviews.

1349. TELEPLAY: SILAS MARNER. COLOR. 92 MIN SCREENWRITER: UNKNOWN; DIRECTED BY GILES FOSTER; MUSIC COMPOSED BY CARL DAVIS 1985 [1986] [1987] BY BBC VIDEO (UK); AVAILABLE FROM FACETS MULTIMEDIA AND CBS-FOX VIDEO FACETS VIDEO CATALOG NUMBER 8, P. 52; MALTIN'S TV MOVIES AND VIDEO GUIDE (1986), P. 420; ENSER (1987), P. 420; MARTIE ZAD, "BRITISH STARS SHINE BRIGHTLY IN BBC CLASSICS," WASHINGTON POST: TVWEEK(U-\% JAN 1992): 6; COREL ALL-MOVIE GUIDE 2 (CD-ROM); AVAILABLE FROM POTOMAC VIDEO With Ben Kingsley as Silas Marner, and Jenny Agutter, Patrick Ryecart, Jonathan Coy, Freddie Jones, Frederick Treves, Patsy Kensit, and Angela Pleasance. "Solid, marvelously detailed version of the George Eliot novel," says Maltin. The Corel Guide notes that this was "one of the rare single-episode presentations of PBS's Masterpiece Theatre."

1343.

PLAY: SCENES FROM SILAS MARNER. DRAMATIC VERSION. 25 PP PLAYWRIGHT: S. M. DU PRE, ET AL UNKNOWN PRODUCTIONS LONDON: ALMAN & SON, 1903 BLC.

A

1344. PLAY: SILAS MARNER. A PLAY TAKEN FROM THE BOOK BY GEORGE ELIOT PLAYWRIGHT: JOHN D. RAVOLD UNKNOWN PRODUCTIONS OCTAVO—1936 BL CAT. British Library Shelfmark 20030.aaa.7. 1345. PLA Y: SILAS MARNER. A PLAY FROM THE NOVEL

204

GEORGE ELIOT

1350. PLAY: SILAS, THE MISER OF RAVELOE PLAYWRIGHT: UNKNOWN 2 DEC 1988 TO 7 JAN 1989 AT HOXTON HALL, LONDON WHAT'S ON(2\ DEC 1988 - 4 JAN 1989): 36.

1351. FILM: SILAS MARNER. ANIMATED. COLOR. 28 MIN SCREENWRITER: N/A; DIRECTED BY ALISON DE VERE 1992BYINTERAMA COREL ALL-MOVIE GUIDE 2 (CD-ROM) An animated version of the story.

205

ELIZABETH CLEGHORN GASKELL (1810-1865)

SELECT PUBLICATIONS In The British Library Catalogue of Printed Books to 1955, the following titles appear: Cousin Phi His and other tales (1865); Cranford (1853); A Dark Night's Work [A Tale] (1863); The Doom of the Griffiths (ND); The Grey Woman and Other Tales (1865); Lizzie Leigh and other tales (1855); Lois the Witch and other tales (1861); Mary Barton: A tale of Manchester Life (1848); The Moorland Cottage (1850); My Lady Ludlow and other tales (nd); North and South (1855); Right at Last and other tales (1860); Round the Sofa (1859); Ruth (1895); The Sexton's Hero: and Christmas Storms and Sunshine (1855); The Squire's Story (1944); Sylvia's Lovers (1863); and Wives and Daughters, an everyday story (1866);

CRANFORD (1851/1853) Cranford, which Charles Dickens influenced, is the most visual of Mrs. Gaskell's work, and the most popular. As Coral Lansbury observes, "Dickens' influence upon Elizabeth Gaskell produced only melodrama and bathos. ... She had no inclination towards the theatre and made no attempt to write a play, but Dickens' literary technique was essentially dramatic."100 Nevertheless, this novel would appear not to have been dramatized during the nineteenth century. Instead, the sixteen dramatic versions of this novel listed below all appeared in print after 1900. In the main, and perhaps exclusively, they fall into a genre that one might call the "schoolroom" play, written largely for performance by young people in educational settings. Following conventions established for most of the other authors whose works have been dramatized, the dramatic versions of Cranford appear twice below, once as published versions alphabetically by author, and once by presumable times of performance in chronological order.

A Dark Night's Work91 is in one volume and concerns characters in a country town of Hamley, including Mr. Wilkins, his son Edward, a Miss Wilkins, a Miss Monro, a Mr. Corbet, Lady Corbet, a Mr. Ness, Ellinor, a Mr. Dunster, one Dixon, a Canon Livingstone, et al. The play by F. Marchant, entitled "A Dark Night's Work," as performed at the City of London in 1865 had nothing evident to do with Mrs. Gaskell's novel.98 It is conceivable-though unlikely-that "A Dark Night's Work" by Boucicault and Webster was connected to Mrs. Gaskell's novel."

Published dramatizations: Adam, Agnes. A Cameo from Cranford. Glasgow: William McClellan, 1946—quarto.

97

Brighouse, Harold. A Cranford Sketch. Gowans & Grey, 1922.

98

Coleman, Martyn. Cranford, a play in three acts. London: Evans Bros, 1952.

A Dark Night's Work (Leipzig: Bernhard Tauchnitz, 1863). 10 March 1865. See the Lord Chamberlain's plays, Add Mss 53040 (O); see Nicoll,(V, 664, 805, 830). The ms "A Dark Night's Work, or The Murder at Dead Man's Pool." The characters include Henley Arden, Michael Hawthorne, Evrard Blackbourne, Stubble, Dolly Dawdle, Susan Japs (a Polish shop-keeper), Martin Blackbourne, Soloman Sawdle, Nelly Hawthorne, et al. Act 1, Sc 1 is "A Country Village—Ale House of the Japps." Sc 2 is "Blackmere Copse." Sc 3 "Dead Man's Pool." Act 2nd "The Village & Portion of Churchyard. Scl "Shop of Soloman Sawdle." Sc 2 "A Wood." Sc 3 "Dead Man's Pool."

London:

Du Pre, S. M. Cranford: A Dramatic Version. London: Almann and Sons, 1902—Octavo. Hatch, Beatrice. Cranford. 1902.

London: Grant Richards,

Headland, A. R. & Treble, H. A. Cranford Society. NP: np, nd. Hutchinson, M. F. Cranford. London: Blackie & Son, 1906.

99

7 March 1870 at Princess, London; see Nicoll (V, 267). Unfortunately, the British Library's collection contains no bills for this theatre at this time.

100 Coral Lansbury, Elizabeth Gaskell: The Novel of Social Crisis. London: Paul Elek, 1975, p. 96. 206

GASKELL Knoblauch, Edward. The Ladies ofCranford. 1938—Octavo.

1355. PLAY: CRANFORD. 59 PP PLAYWRIGHT: M. F. HUTCHINSON UNKNOWN PRODUCTIONS LONDON: BLACKIE & SON, 1906 BLC For acting by girls.

NP: np,

Lowe, Lucy C. A Cranford Tea Party. Dramatic Sketch. Oxford: Parker & Son, 1905—Octavo. Mallam, Phosphor. The Bank Breaks ... From "Cranford". London: J. Curwen, 1912.

1356. PLAY: THE BANK BREAKS ... "CRANFORD" PLAYWRIGHT: PHOSPHOR MALLAM UNKNOWN PRODUCTIONS LONDON: J. CURWEN, 1912 BDL CAT; BL CAT.

Pertwee, Guy. A Cranford Tea Party. NP: np, nd. Plunkett, L. Cranford. London: Blackie, 1957-octavo. Ratcliff, Nora. The Panic. NP: np, nd.

FROM

Robertson, Amy M. The Panic. NP: np, nd. 1357. PLAY: FOLLOWERS. A CRANFORD SKETCH PLAYWRIGHT: HAROLD BRIGHOUSE UNKNOWN PRODUCTIONS BRIGHOUSE: HAROLD FOLLOWERS, 1922 BL CAT; BDL CAT.

Simpson, Harold. Miss Matty's Love Affair, a play in once act. In French's Acting Edition, no 136. London: Samuel French, 1952—Octavo. Simpson, Harold. Miss Matty Sells Tea: A play in one act based on characters in Miss Gaskell's "Cranford". In French's Acting Edition, no. 621. London: Samuel French, 1953—Octavo.

1358. PLAY: THE LADIES OF CRANFORD PLAYWRIGHT: EDWARD KNOBLAUCH [KNOBLOCK?] UNKNOWN PRODUCTIONS OCTAVO— 1938 BDL CAT; BLC. 1359. TELEPLAY: THE FOLLOWERS SCREENWRITER: HAROLD BRIGHOUSE BBC TV 6 JUNE 193 9 16°—1922 CHADWYCK-HEALEY CA TALOGUE; BLC.

1352. PLAY: CRANFORD: A DRAMATIC VERSION. 40 PP PLAYWRIGHT: S. M. DUPRE UNKNOWN PRODUCTION(S) OCTAVO—LONDON: ALLMAN AND SON, 1902 BLC; BDL THERE MAY BE TWO VERSIONS, ONE OR BOTH ENTITLED "SCENES FROM CRANFORD.

1360. PLAY: A CAMEO FROM CRANFORD PLAYWRIGHT: AGNES ADAM UNKNOWN PRODUCTIONS QUARTO— 1946 BDL CAT; BLC.

1353. PLAY: CRANFORD. 133 PP PLAYWRIGHT: BEATRICE HATCH UNKNOWN PRODUCTIONS LONDON: GRANT RICHARDS, 1902 BLC.

1361. TELEPLAY: CRANFORD. A PLAY IN THREE ACTS SCREENWRITER: MARTYN COLEMAN BBC TV 25 MAR 1951 CHADWYCK-HEALEY CATALOGUE; BLC This would seem to have been published in 1952.

1354.

PLAY: A CRANFORD TEA PARTY. DRAMATIC SKETCH PLAYWRIGHT: LUCY C. LOWE UNKNOWN PRODUCTIONS OCTAVO— 1905 BLC & BDL CAT.

1362. PLAY: MISS MATTY'S LOVE AFFAIR. 1 ACT PLAYWRIGHT: HAROLD SIMPSON UNKNOWN PRODUCTIONS

207

GASKELL 1370. PLAY: SCENES FROM CRANFORD PLAYWRIGHT: BEATRICE HATCH UNKNOWN PRODUCTIONS UNKNOWN BDL.

OCTAVO— 1952BLC; BDL CAT Based on characters in Mrs. Gaskell's "Cranford". 1363. PLAY: MISS MATTY SELLS TEA. A PLAY BASED ON CHARACTERS IN MISS GASKELL'S "CRANFORD" PLAYWRIGHT: HAROLD SIMPSON UNKNOWN PRODUCTIONS OCTAVO— 1953 BLC & BDL CAT A play based on characters in Mrs. Gaskell's "Cranford."

LIZZIE LEIGH (1850/ 1855)

1364. PLAY: CRANFORD PLAYWRIGHT: L. PLUNKETT UNKNOWN PRODUCTIONS 1957 BLC.

There would appear to have been actual events on which the story was founded, and at least partly on which the two derivative plays were also founded. A thorough understanding of the relationships here would depend on a careful comparison of the texts and some research into the periodicals of the day. The narrative seems to have been variously published, first in a paperback form as a part of Household Words.m The narrative opens with James Leigh's death on Christmas day, and his last words are "I forgive her." Upclose Farm, the scene of the action at the opening, belongs to the Leigh family. James Leigh's widow is named Anne, and his sons are William and Tom.. His daughter is Lizzie, and she has moved away to Manchester, whence her mother plans to journey to see her. There's a character named Susan Palmer. The brief tale ends with Lizzie and her mother living together in seclusion near Upclose farm. Although the cover of the American issue in question would seem to imply that this work is by Charles Dickens, we find on the inner cover (verso), in what is presumably a librarian's hand (in pencil) the words "Gaskell (E. G.) 1608/5260)."

1365. TELEPLAY: CRANFORD. 3 PARTS SCREENWRITER: MICHAEL VOYSEY BBC TV 26 NOV, 3, 10 DEC 1972 CHADWYCK-HEALEY CATALOGUE.

UNDATED VERSIONS 1366. PLAY: A CRANFORD TEA PARTY PLAYWRIGHT: GUY PERT WEE UNKNOWN PRODUCTIONS UNKNOWN BDL CAT. 1367. PLAY: CRANFORD SOCIETY PLAYWRIGHT: A. R. HEADLAND & H. A. TREBLE UNKNOWN PRODUCTIONS UNKNOWN BDL CAT.

Published dramatizations: Waldron, W. R. Lizzie Leigh; or, the Murder near the Old Mill... A domestic drama in three acts. In Lacy's Acting Edition of Plays. London: Lacy 1850.

1368. PLAY: THE PANIC PLAYWRIGHT: AMY M. ROBERTSON UNKNOWN PRODUCTIONS UNKNOWN BDL.

1371. PLAY: LIZZIE LEIGH; OR, THE MURDER NEAR THE OLD MILL. A STORY OF THREE CHRISTMAS

1369. PLAY: THE PANIC PLAYWRIGHT: NORARATCLIFF UNKNOWN PRODUCTIONS UNKNOWN BDL.

101 Lizzie Leigh: a domestic tale from "Household Words" by Charles Dickens. (New York: Dewitt & Davenport, 1850). This was 36 pages long and bound in paper, for the price of six cents.

208

GASKELL MARY BARTON (1848)

NIGHTS PLAYWRIGHT: W. RICHARD WALDRON [OR J. COURTNEY?—CAT ADD MSS'S ATTRIBUTION] (MON) 14 SEPT 1863 AT CITY OF LONDON THEATRE, LONDON NICOLL (V, 610); NOTES TO PUBLISHED VERSION The title page of the published version very definitely gives this play to W. R. Waldron. It insists that "the chief and exciting incidents" of the play have been "drawn from undeniable facts. The startling and appalling events so vividly detailed in narrative, assume in a dramatic form, a terrible picture of reality of some immensely interesting and absorbing a nature that the audience are completely fascinated " John Bawtry by Waldron; Tom Heywood by Charles Vernon; Toby Darwen by F. Wright; Lizzie Leigh and Bessy (both) by Miss Mary Hill; Ellen Stott by Mrs. W. Bradford; et al.

1373. PLAY: MARY BARTON; OR, A TALE OF MANCHESTER LIFE. DOMESTIC DRAMA. 3 ACTS PLAYWRIGHT: UNKNOWN (MON) 17-22, 24-27 FEE, 1, 2 MAR 1851 AT VICTORIA, LONDON BL BILLS (VOL 391, 2); NICOLL (V, 716) LC—ADD MS 43028 (FF 474-973) The ms in the Lord Chamberlain's collection of plays is 40 folios each measuring about 6.5" wide by 9" high. The paper is thin and blue, and the handwriting is fairly clear. The title page gives "Mary Barton/ A Tale of Manchester Life/ in Three Acts." The theatre of license is Victoria, and the date of license is June 18th 1850. No characters are listed, but from the text the people of the play are Harry Carson, son of wealthy manufacturer, Sally Leadbitter, Badger, Esther, James, Will, Margaret, Sam Johnson, Tom Shuttle, James Wilson, Charley, Job Leigh, Mrs. Thomas, and Dick Sturges (?). Act 1, Scene 1 is a "Street near factory." Scene 2 is a "Room." Scene 3 is a "Street." Scene 4 is a "Foundry." Act 2, Scene 1 is "Room in a Tavern." Scene 2 is a "Street." Scene 3 is a "Room," 4 a "Street," and 5 a "Room." Act 2, Scene 1 is a "Room;" 2 is a "Street in Liverpool;" 3 is a "Street. Enter Mrs. Thomas; 4 is "Near the Pier;" 5 is a "Prison;" 6 is "Mouth of the Mersey & Bar. The John Cropper crossing Bar." Scene 7 is "Near Docks;" 8 is in the "Court;" 9 is "Front of Court;" and 10 is a "Room." A note attached to the ms indicates that a text of this play was first presented to the Examiner for license on 12th June 1850, but various "corrections" were required before this license was issued June 18th. This was apparently licensed in June 1850, but not performed until February 1851. "Written expressly for this Theatre, and founded on the truly powerful Novel of the same name," says the bill, which also quotes the following "'we deal here with no "fantastic" woes, no "feigned distress," the materials of this Drama are hewn from the quarry of human nature, and shaped with such truthful vigour, as cannot fail to interest all who witness its representation, and in some of its affecting scenes "ofttimes beguile them of their tears.1"" Sir Ralph Carson by Morrison; John Barton by Henry Frazer; Mary Barton by Mrs. Hudson Kirby; et al.

1372. PLAY: LIZZIE LEIGH; OR THE MURDER AT THE OLD MILL. DOMESTIC DRAMA. 2 ACTS PLAYWRIGHT: ANON AUG 1866 AT CITY OF LONDON THEATRE, LONDON LC—ADD MS 53052 (T) The ms in the Lord Chamberlain's collection of plays is 42 folios, each measuring about 8" wide by 12.75" high, in a large hasty hand, seldom or never amended, but somewhat difficult to read. The title page says " ... Manager ... l.£ pd./Lizzie Leigh/or/the Murder at the Old Mill/ A Story of Three Christmas Nights/ A domestic drama/ in two acts/ Acts 1 & 21 City of London theatre/ Norton Folgate/ Sole Lessee— Mr. Nelson Lee/ 1866/ Received August 221 License sent [nd]/ W. B. Donne." The characters include John Bawtry, a village blacksmith; Tom Heywood, alias the "Captain;" Toby Danrin, his associate, alias "Flash;" Black Norris, Landlord of the Poachers Public House; Farmer Idlington; Jack Hindly; Timothy Entwhistle; Edward Middleton; Lizze Leigh betrothed to John Bawtry; Ellen Stott; et al. Scene 1st is Village set (snow) evening; Scene 2nd is "2nd Grooves Landscape." Scene 3rd is same as 1st Scene 5 is "Snow Landscape." Act 2nd occurs after a "Lapse of twelve years." Scene 1st is "Village Green." Scene 3rd is "Same as Scene 1." Scene 4th is in a "Close Wood." Scene 6th is "Country Road." This is clearly a somewhat free adaptation.

1374.

PLAY: MARY BARTON; OR, THE WEAVER'S DISTRESS. DRAMA. 3 ACTS

209

GASKELL 1374. PLAY: MARY BARTON; OR, THE WEAVER'S DISTRESS. DRAMA. 3 ACTS PLAYWRIGHT: W. T. TOWNSEND 11 NOV 1861 AT GRECIAN, LONDON LC—ADD MS 53008 (K) DAYBOOKS SHOW LICENSE 31OCT 1861; NICOLL (V, 716) The ms in the Lord Chamberlain's collection of plays is 41 folios each measuring about 8" wide by 10" high, on blue, unlined paper. The handwriting is clear and there are virtually no amendments. The title page indicates "Mary Barton/ A Drama in Three Acts/ by Thompson Townsend/ 1861." The date of license was 31 October 1861 The characters included Mrs. Carson, a wealthy manufacturer; Henry Carson, his son; John Barton, a starving weaver; Wilson, Jem M'Loon, in love with Mary; Will Wilson; Tom Dodd; Same Dee; Johnson, a police superintendent; Abel Thomley; Mary Barton; Esther; Sail Simmons; and Peggy Leadbitter. Act 1, Sc 1 is "Factory at back;" Sc 2 is "A Room in the Mill." Act 2nd, Sc 1 is "Room in the House of Barton," Sc 2 is "Street in Manchester;" Sc 3 is "Handsome apartment in Carson's house;" Sc 4 is "Exterior of Factory." Act 3, Sc 1 is "A Pier at Liverpool;" Sc 2 is "A Street in Manchester;" Sc 3 is "A Room in Barton's House;" Sc 4 is "A room in the prison;" Sc 5 is "Exterior of the Court House;" and Sc 6 is "The Court."

WIVES AND DAUGHTERS (1864/1866) This was not—apparently—dramatized during the nineteenth century. No reference to any play by this title appears in the records compiled by Allardyce Nicoll or the catalogue to the Lord Chamberlain's plays. There have, however, been several twentieth century versions. Published dramatizations: Johnson, Fanny. Provincial Ladies in!830: Adapted from "Wives and Daughters. NP: np, nd MacNamara, Margaret. Wives and Daughters. An Intimate Comedy... based on the Novel by Mrs. Gaskell. London: Samuel French, 1947—Octavo.

1377. PLAY: WIVES AND DAUGHTERS. COMEDY. 3 ACTS, 91 PP PLAYWRIGHT: MARGARET MACNAMARA UNKNOWN PRODUCTIONS LONDON: SAMUEL FRENCH, 1947 BL; BLC; BDL CAT The characters include Becky, Coxe, Mrs. Goodenough, Miss Browning, Phobe Browning, Molly Gibson, Preston, Roger Hamley, Laddy Harriet Cumnor, Hyacinth Kirkpatrick, Cynthia Kirkpatrick, Maria, Henderson, and Aimee.

1375. PLAY: THE LIFE'S ADVENTURES OF MARY BARTON. DRAMA. 3 ACTS PLAYWRIGHT: ANON (MON) 16-21 MAR 1863 EFFINGHAM SALOON, LONDON BL BILLS (VOL 398) The bill says that this is a "domestic drama, in three acts, depicting real life, which occured in Manchester some few years back. Mr. Caron by J. Russell; Henry Caron by E. Edmonds; Mary Barton by Miss Jane Coveney; et al.

1378. TELEPLAY: WIVES AND DAUGHTERS. COLOR. 6 PARTS SCREENWRITER: MICHAEL VOYSEY; DIRECTED BY HUGH DAVID BBC-2 TV 14, 21, 28 NOV, 5, 12, 19 DEC 1971; THIS WAS REPEATED ON BBC2 20,27, NOV, 4, 11, 18, 24 DEC 1971 BBC-1 TV 6, 13, 20, 27 MAY, 3, 10 JUNE

1973 CHADWYCK-HEALEY CATALOG Rosalind Lloyd as Cynthia; Helen Christie as Clare; and Zhivila Roche as Molly. See back cover of the 1972 Granada Panther Edition (London: Panther, 1972).

1376. TELEPLAY: MARY BARTON. 4 PARTS SCREENWRITER: ELAINE MORGAN BBC TV (GLASGOW) 20, 27 JUNE, 4, 11 JULY 1964 CHADWYCK-HEALEY CA TALOGUE This was pre-recorded.

UNDATED VERSIONS 1379. PLAY: PROVINCIAL LADIES IN 1830 PLAYWRIGHT: FANNY JOHNSON UNKNOWN PRODUCTIONS UNKNOWN BDL.

210

MRS. S. C. HALL (i.e., ANNA MARIA FIELDING) (1800-1881) (1858); Grandmamma's Pockets (1848); The Groves of Blarney, a drama in three acts [and in prose] (1836?)—three editions of this play during the century; The Hartop Jubilee; or, Profit from Play (1840?); The Irish Agent (1845); The Juvenile Budget; or, Stories for little readers (1840); The Last in the Lease (1849)—from Seven Tales by Seven Authors; The Last Life. A drama in three acts. Adapted from one of Mrs. Samuel Carter H. 's Stories of Irish Life. ByT.A. Palmer. (1850); Lights and Shadows of Irish Life (1838); The Lucky Penny, and other tales (1857); Mabel's Curse. A Musical drama in two acts [and in prose and verse] (1825); Mamma Milly (1860)—see Magnet Stories; Marian; or, a young Maid's Fortunes (1840); Midsummer Eve; a fairy tale of love (1848); Nelly Nowlan and other stories (1863); Number One—Perseverance (1848)—see Book of Stories for Young People; The Outlaw, an historical romance (1831)—see Standard Novels; The Playfellow and other stories (1866); Popular Tales and Sketches (1856); The Prince of the Fair Family. A Fairy Tale (1867); The Private Purse, and Tattle. Tales (1858); The Rift in the Rock. A tale (1871); Ronald's Reason; or, the Little Cripple (1865); St Pierre, the Refugee: a burletta in two acts [and in prose] (1837); Sketches of Irish Character (1844); Stories of the Governess (1858)104; Stories of the Irish Peasantry (1848); The Swan's Egg (l&4S);Tales of Irish Life and Character (1909); Tales of Woman's Trials (1835); There is no hurry, and Deeds, not Words. Tales (1858); "Time Enough. " An Irish tale (1855?); Turns of Fortune (1858)—see Miniature Library of Fiction; The Two Friends. A [temperance] sketch (1856); Uncle Horace (1837); Uncle Sam's Money Box (1848); The Unjust Judge (1858); The Village Garland. Tales and sketches (1863); The Way of the World, and other stories (1866); The Whisperer (\U%)\ The Whiteboy. A story of Ireland in 1822 (1845); William and his Teacher (1861)

The DNB reports that Samuel Carter Hall "wrote many works in conjunction with his wife," nee Anna Maria Fielding. Determining who precisely wrote what precisely would doubtless constitute a substantial project. In particular, however, she contributed Lights and Shadows of Irish Life to The New Monthly Magazine, which her husband was editing, and the principal tale in this volume was "Groves of Blarney," which was dramatized "with considerable success," according to the DNB. Mrs. Hall also wrote a play, 'The French Refugee," produced at the St James theatre in 1836. "Mabel's Curse" was another of her dramas produced at the St James in 1837.102 Marian; or, a Young Maid's Fortunes has been called the best of her novels. The DNB opines that Midsummer Eve is the most beautiful of her books, and this first appeared in Art Journal in 1849.

SELECT PUBLICATIONS Under "HALL (ANNA MARIA)," the British Library General Catalogue of Printed Books to 1975 shows the following titles: The Boy's Birthday Book (1859); The Adventures ofB. Dorking (1858); Stories of the Flowers (1877); Handerahan, the Irish Fairy Man (1854); Alice Stanley and other stories (1868); All is not Gold that Glitters. A Tale (1858); Animal Sagacity (1868); Annie Leslie and other stories (1877); Boons and Blessings. Stories and Sketches to illustrate the advantages of temperance (1875); The Buccaneer. A tale (1831)—see "StandardNovels"; The Cabman'sCat( 1865)—extracted from the "British Workman"; Can Wrong be Right? A Tale (\%6l)\ Chronicles of Cosy Nook. A book for the young (1875); Cleverness. A tale. (1858); Daddy Dacre 's School. A story for the young (1859); Digging a grave with a wine glass (1871); The Dispensation (1859)—apparently from "The Tale Book"; The Drunkard's Bible (1854); Fanny's Fancies (1850)—see "Magnet Stories"; The Flight of Faith.. A Story. (1869); The Forlorn Hope (1846);103 The Governess. A tale

[I]), is set near Paris. The two evidently have nothing to do with each other except the coincidence of title. 104

There had been a play originally entitled "The Governess; or the Mystery," submitted for license on 19 December 1843 by the Strand Theatre, London. This was then re-titled "Adele; or, the Lone Farm." There was also—at least in New York—a "Governess" play that actually derived from Jane Eyre. "The Governess," by Mrs. S. C. Hall appeared in 1858. It concerns a Mrs. Gresham, Mrs. Ryal, Mrs. Hylier, and the Governess, Emily Dawson. I have not found a play that is evidently derivative.

102

See Add Mss 42941 (FF 2-69) in the Lord Chamberlain's plays; or see Hall, Mrs. S. C. Mabel's Curse. In Dicks, no. 424. London: Dicks, nd. Or see Hall, Mrs. S. C. Mabel's Curse. In Duncombe 's, vo!3 31-2. London: Duncombe, nd—duodecimo.

103The Forlorn Hope; or, a Story of Old Chelsea is set in and about London, whereas the play at the Britannia, on 8 May 1871, (see Add mss 53095

211

HALL may have had something to do with Mrs. Hall's novel.110 Unfortunately, there appears to be no text in the Lord Chamberlain's collection.

in The Golden Casket; Wives and Husbands. A tale (1858);y4 Woman's Story (\%51)\ The Worn Thimble: a story of a woman's duty and woman's influence (1853). The British Library Catalogue also refers to several "Periodical Publications—London, as for Finden's Tableaux, The Juvenile Forget me not, The St James's Magazine, Sharpe's London Magazine. Despite this very extensive bibliography, no reference either to Anna Maria Fielding or to Mrs. S. C. Hall appears in the Bloomsbury Guide to Women's Literature. This omission demonstrates that, while the somewhat archaeological enterprise of women's literary studies continues apace and unearths writers forgotten by male literary historians, the task is a large and long one that remains incomplete. Mrs. Hall's novel Outlaw: An Historical Romance (1831), did not apparently breed a derivative play.105 Robert Story's Outlaw,*0* which was published as a closet drama, concerns events in 1518, and bears no evident relationship in dramatispersonae to Mrs. Hall's novel of a similar title. A play entitled "The Outlaw," produced at the Academy of Music, Brooklyn, in February 1883,107 bore no evident relation to Mrs. Hall's book. "Irish Outlaw" was not apparently licensed for production in the United Kingdom.108 Mrs. Hall's novel The Whisperer (1848) is part of Chambers's Library for Young People.109 The characters include Isabella, Aunt Tart, Clementine, Edward, Mrs. Villiers, Cousin Jacob, Mr. Obrien, Dame Cicely, et al. The concerns seem to be schoolroom and family issues of social relations and behavior. The "Whisperer" seems to be a "Horse Whisperer," or a special kind of horse trainer. "Redumund of the Hills; or, the Whisperer," was a drama at Woolwich in 1860, and

LIGHTS AND SHADOWS OF IRISH LIFE (GROVES OF BLARNEY) (1838) See "The Groves of Blarney" in The Lights and Shadows of Irish Life.1" The characters in the narrative include Margaret Lee and her child Hector, Connor O'Gorman, and Flora—all of whom appear in the derivative drama described below.

Published dramatizations: Hall, Mrs. S. C. Groves of Blarney. London: np [Webster's?], 1836 (?)—duodecimo Hall, Mrs. S. C. Groves of Blarney. Vol. IV in Acting National Drama. London: NP [Webster's?], 1837—duodecimo. Hall, Mrs. S. C. Groves of Blarney. London: Dicks, nd [1883?]—octavo.

1380. PLAY: GROVES OF BLARNEY. SERIO COMIC ROMANTIC BURLETTA. 3 ACTS PLAYWRIGHT: MRS. S. C. HALL (MON) 16-21, 23-28 APR, 7 MAY 1838 AT ADELPHI, LONDON BL BILLS (VOLS 353 & 367, 2); LONDON THEATRE MUSEUM BILLS LC 13 APR 1838 DUODECIMO. LONDON, [1836?]—BLSHELFMARK 11781.aa. 4. DUODECIMO—ACTING NATIONAL DRAMA, VOL IV—LONDON, 1837 BL SHELFMARK 2304. b. 7. OCT A VO—DICKS' STANDARD PLAYS, NO 158—LONDON [1883?];BL SHELFMARK 117770 bbb4.

105

The book was reissued at least two times, once in the series of "Standard Novels" from Bentley. The characters include Sir Everard Sydney, his attendant Ralph Bradwell, Lady Sydney, Mistress Rosalind, Father Frank, Father Edmund, Captain Basil Sydney, the Outlaw himself (who can quote poetry), Cuthbert, Sandy Jemmings, and the Queen of England. The year seems to be 1688, and the circumstances are those of the history of this period. 106

107

(London: Simpkin, Marshall, 1839). Odell (XII, pp. 25, 26, 28, 170).

108

This played on 10 Nov. 1876 at the 3rd Avenue, Theatre, NYC- Odell (X, 270). No ms by this title appears in the Lord Chamberlain's plays.

no Nicoll (V, 739).

109

The Whisperer (Edinburgh: William & Robert Chambers, 1850).

in (London: Colburn, 1838), vol. 1.

212

HALL 9 FEE 1874 AT GREENWICH, LONDON "ADAPTED FROM ONE OF MRS SAMUEL CARTER H.'S STORIES OF IRISH LIFE" IN LAC}"S ACTING EDITION OF PLAYS, VOL. 103. LONDON: FRENCH (LATE LACY), ND NICOLL (V, 512) A note at the head of the text says that "It was a custom in Ireland to grant leases of farms on lives instead of for a term of years. On this practise is founded the story, 'The Last Life in the Lease.'" Mr. Desmond, an Irish Landowner, by Morley; Philip Lawler by J. Widdell; Bryan Lawler by Herbert Royds; Mickey Burnett by Miss Clara Dillon; Grace by Miss Viet. Mellon; et al.

NICOLL (IV, 323) LC—ADD MS 42946 (4) The ms in the Lord Chamberlain's collection of plays is about 15 folios, each measuring approximately 7" wide by 9" high, in fair copy and clear handwriting. The title page reads "Licens'd 13th Apr 18387 P. K./ The/ Groves of Blarney/ a Burletta; In Two Acts/ Act I/ Adelphi." There is no list of characters, but the people of the play, from the text, are as follow: Margaret Lee, Hector, Connor, Flora, Peter, Alick, Aileen, Mabel, Sweeney, Auld Monica, and Dennis. Act I, Scene 1st is "Margaret Lee discovered with child reading by her." Scene 2 is "Vaults under Blarney Castle/ Alick and Aileen discovered." Scene 3 is "Exterior of Dennis's House." Act 2, Scene 1 is "The Rock Close Witches Stairs. Aileen discovered." Scene 2 is "A Room in Margaret's Cottage." Scene 3 is "A Holy Well near Blarney. Alick enters as watching someone." Scene 4th is "A room in Dennis's house. Connor & Dennis discovered." Scene 5th is "Gothic Chambers in ruins. Roland discovered." Bill says "founded on the leading story in her "LIGHTS AND SHADOWS OF IRISH LIFE." This is one of the few times—an early time—when a woman writer dramatized her own work for the stage. The DNB reports that this was dramatized "with the ojbect of supplying a character for Tyrone Power," and mentions that it ran for "a whole season" at the Adelphi. Connor O'Gorman by Power; Marcus Roche by Saville; Ulick O'Sullivan by Denvil ("from the Theatre Royal, Covent Garden"); Peter Swan by Wilkinson; Mick Sweeny by Sanders; Dennis Murphy by Cullenford; Aileen O'Sullivan by Miss A. Taylor (singing "Aileen Mavourneen" and "A Blessing and a Tear"); Flora Russel by Miss Shaw (with the song "When Lovers come to woo a Maid"); et al. Act 1 began on Blarney Bridge; Act 2 began with a song, "The Sweet Rock Close;" Act 3 began in the Parlour of the Bee's Nest.

TALES OF WOMAN'S TRIALS (1835)

1382. PLA Y: THE TRIALS OF GRACE HUNTLY; OR, THE STRUGGLES OF POVERTY AND CRIME. DOMESTIC DRAMA. 3 ACTS PLAYWRIGHT: ANON (OPENING MON) 17-22, 24-29 APR 1843 AT VICTORIA, LONDON BL BILLS (VOL 391, 1) This play is "founded on one of Mrs. S. C. Hall's Beautiful Affecting Tales of 'The Thais of Woman's Life.'" Joseph Huntly by E. F. Saville; Oliver Cromwell by Gardner.

STORIES OF IRISH LIFE (THE LAST LIFE)

THE WHITEBOY (1845)

Published dramatizations:

Mrs. S. C. Hall's The Whiteboy; a Story of Ireland in 1822 appeared in two volumes in 1845.112 The characters include a Lady Mary O'Brien, a Mr. Edward Spencer, Ellen, et al. The settings include a steamboat journey to Ireland from Bristol, and rural locales in Ireland. This bears an obvious relationship to "The White Boy; or, Mac Arty's Fate" at the Bowery, in New York, in 1848 (see below).

Palmer, T. A. The Last Life. In Lacy's Acting Edition of Plays, vol. 103. London: French, nd.

1381. PLA Y: THE LAST LIFE. DRAMA. 3 ACTS PLA YWRIGHT: T. A. PALMER; DIRECTED BY JOHN FINCH

112

213

(London: Chapman & Hall, 1845).

HALL On the other hand, another "Whiteboy" play of 1845 has nothing to do with this novel.113 This was subtitled "Nora Creina," but a play by that tile in 1846 is connected to the 1845 play and not to Mrs. Hall's book.114 It seems reasonable to infer that "White Boy" by Tom Taylor, at the Olympic, in 1866, was not from Mrs. Hall.115 "The White Boys of Ireland" took the stage in London and New York several times, and probably did not derive from Mrs. Hall's book, but from historical traditions.116

1383. PLAY: THE WHITE BOY; OR, MACARTY'S FATE PLAYWRIGHT: UNKNOWN 20 MAR 1848 AT BOWERY, NYC ODELL (V, 350) Marshall as Lawrence Macarty; C. W. Clarke as Louis; Tilton as Abel Richards; J. H. Hall as Edward Spencer; Bellamy as Dominie Matthew; Burke as Darby Doyle; Mrs. Walcot as Andy Sullivan; Mrs. Phillips as Ellen Macdonald; and Mrs. Jordan as Lady Mary O'Brien.

113

"The White Boy of Ireland; or, Norah Creina," produced on 6 July 1846 at the Chatham. See Odell (V, 205), who mentions Johnston as Roderic O'Connor, a white boy, or rebel; Winans as Timothy; Stafford as Dennis Rooney; Jackson as Gorman Brady; Bradshaw as Ned O'Grady; Miss Cruise as the orphan Norah; Mrs. La Forest as Widow Brady. 114

This was licensed for production on 2 February 1846 at the Royal Surrey, London. See Add Mss 42991 (FF 619-642). The ms is on 22 folios of very light blue paper measuring about 6.75" wide by 8.75" high. This is fair copy, in clear handwriting. The title page of the ms reads in part "Nora Creina./ A Drama in one Act/ by [illegible]./ Royal Surrey Theatre/ 2nd February 1846. There is no dramatis personae, but the characters from the text include Rooney, O'Grady, Norah, the Widow Brady, Tim, O'Connor, and Gorman. Scene 1st is "The Interior of a small Sheebeen or Public house in Galway." There's nothing here to suggest the Whiteboy by Mrs. Hall; but this is obviously the same play as "The White Boy of Ireland; or, Norah Creina," that Odell mentions. See note above. See Nicoll (V, 725) for an 1858 production of Nora Creina at the Pavilion, London. 115

Nicoll (V, 593).

116

"The White Boys" was licensed for English production in 1862-see Add Mss 53011 (I). I have not seen this text. For "The White Boys of Ireland," on 17 Dec. 1866 at Tony Pastor's, NY, see Odell (VIII, 223). For "The White Boy of Galway, in Jan. and Feb. 1868 at the Brooklyn Opera House, see Odell (VIII, 402); for "The White Boys of Ireland," on 15 Feb. 1875 at the Park, Brooklyn, see Odell (IX, 627).

214

LADY MORGAN (i.e., Sydney Owenson) (ca 1775-1859) Burton's, (Odell, VII, 18). Indeed there was something of a vogue for "Salvator Rosa, the Poet, the Painter, the Musician," which also re-appeared on 21 September 1858 at the Bowery, NYC (Odell, VII, 40)-again with Eddy as Salvator Rosa, and with Miss De Courcy as Salvator Rosa's beloved. Nor was this all. "Salvator Rosa" appeared on 10 June 1861 at the New Bowery (Odell, VII, 334) with Eddy, and again in 1863 (Odell, VII, 498) with Eddy in a benefit to Frank Brower. "Salvator Rosa" made a last American appearance at the New Bowery on 8 May 1865 (Odell, VII, 662), again with Eddy. A "Salvator Rosa" drama appeared on 17 November 1866 at the Prince of Wales Theatre in Liverpool (Nicoll, V, 746) and is lodged in the Lord Chamberlain's plays. There is, however, only a slight chance that this play comes from Lady Morgan's book. The novel The O 'Briens and the O 'Flahertys appeared in four volumes in 1827.'19 The characters are, naturally enough, people called O'Brien, as well as Lord Walter, Miss Lindsay, Lord Arranmore, Lady Honoria, Lady Knocklofty, Lady Wishforts, Lady Pentweasles. The setting is Ireland at least some of the time. The tone is serious through the first half of the volume, and then perhaps lighter-hearted. A one-act farce entitled "The O'Flahertys; or, the Difficulties of Identifying an Irishman,"had nothing evidently to do with Lady Morgan's novel.120 Lady Morgan's three-decker The Wild Irish Girl (1806) is an epistolary narrative set at least partly in Ireland and some of the characters are Mr. Clendinning , Kitty Mulrooney, Lady Glorvina, a Prince, and a Mr. M. Stevenson's biography of Sydney Owenson explains that

SELECT PUBLICATIONS Sydney Owenson became Lady Morgan. Under "Owenson, Sydney," a number of titles appear in the British Library General Catalogue of Printed Books to 1975: Absenteeism (1825); The Book of the Boudoir (1829); Dramatic Scenes from Real Life (1833); Florence Macarthy, an Irish Tale (1818); The Lay of an Irish Harp; or, Metrical Fragments (1807); The Life and Times of Salvator Rosa (1824); The Missionary. An Indian tale (1811); Luxima, the Prophetess. A tale of India (1859); The Novice of Saint Dominick (1806); The O'Briens and the O'Flahertys; a national tale (1827); O 'Donnell. A national tale (1814); Patriotic Sketches of Ireland, written in Connaught (1807); The Princess; or, the Beguine (1835); St Clair; or, the Heiress ofDeamond (1803); The Wild Irish Girl, a national tale (1806); Woman andher master (1840); Woman; or, I da of Athens (1809). Sydney Owenson was the daughter of an Irish actor and theatrical impresario. The DNB reports that "to a considerable extent she was brought up in the precincts of theatres and in the company of players." She herself wrote directly for the stage once, producing an opera called "The First Attempt," which was produced in Dublin in 1807. It therefore would have been natural for her narratives to have become plays. A few certainly did receive theatrical treatment. Woman and Her Master^1 is a kind of imaginative history that concerns the condition of women in various cultures and at various periods of history. It is not a novel, but an interpretation of the history of women in Hebrew and Greek times, and especially during the Roman Empire. Similarly, The Life and Times of Salvator Rosa"8 is a "biographical memoir." Several plays on the subject appeared during the nineteenth century in London as well as New York, and some of these may well have owed something to Sydney Owenson's presentation of the well known Italian. For example, a character named "Salvator" was played by the famous comedian, T. P. Cooke. This could have been connected to Sydney Owenson's book Salvator Rosa. John Abraham Heraud published a play entitled Salvator, the Poor Man of Naples. (NP: np, 1845—duodecimo). See also a play, "Salvator Rosa", performed on 12 May 1854 at the Bowery, New York City. (Odell, VI, 307-8). Here Eddy was Salvator. This was revived on 7 June 1858 at

117

(London: Colburn, 1840).

118

(London: Colburn, 1824).

In a series of letters the book

119

The O 'Briens and the O 'Flahertys; a national tale (London: Henry Colburn, 1827). 120

By Edmund Falconer, licensed to be performed at Drury Lane on 17th October 1864. See Nicoll (V, 360). See also Add Mss 53036 (B). The ms is on 65 folios of light-blue-gray paper about 7" wide by 9" high. The title page reads "The O'Flahertys or The Difficulty of Identifying an Irishman." The dramatis personae are Mr. Constant, Mr. Gammon, a lawyer; Theophilus O'Flaherty; Thaddeus O'Flaherty; John, a waiter at the George Inn, Angelica Constant; Mary Constant; Peggy, and Betty. Clearly, there is no connection to Lady Morgan's novel.

215

MORGAN later play, "Too Clever by Half," was licensed in 1874,124 and has nothing to do with Lady Morgan's book. Oxenford and Hatton wrote "Much Too Clever; or a Friend Indeed,"125 which is not connected to The Wild Irish Girl. A similar case is the play "Too Clever," as licensed for production in Liverpool.126 There's only a slight chance that an operatic farce "Wild Irish Girl" comes from Lady Morgan's novel.127 James Pilgrim's drama Wild Irish Girl was licensed for production on 1 Sept. 1850.128 "Too Clever by Half; or, The Wild Irish Girl" just might have come from the book that appeared more than 60 years before 129-but probably did not.

records the experiences of the Hon. Horatio M , a young spendthrift who is banished by his father to the Irish estates of the family, and brings with him all the English prejudices against Ireland. He becomes interested in a beautiful girl, whose father, descended from the original lords of the region, keeps up an impoverished pretense of feudal grandeur in his ruinous castle, and calls himself Prince of Inishmore. Having learned of the Prince's deadly hatred of the English "usurpers," the young man passes himself off as a wandering artist, under the name of Henry Mortimer. The Prince, his daughter Glorvina, and their wise old chaplain, Father John, gradually convert him to appreciation of all things Irish, and to sympathy with the sufferings of the poor.121

124

See Add Mss 53134 (H). The license copy is a printed/published edition in 16 folios, by John Oxenford and Joseph Hatton (NP: np, nd), licensed to the Gaeity Theatre on February 20th by William Bodham Donne. It is "Too Clever by Half, An Extravagant Comedy, in one act, adapted from the French."

The novel was "an even more spectacular success than its author could have hoped for. Everyone of liberal sympathies in Dublin recognised it not only as a literary achievement but as a national landmark. For the first time Ireland's pride in her history and traditions had found utterance in a popular literary form."122 Such a book might well have bred plays, but so far as I can determine did not. Among the plays not from this novel, but with a title that suggests a possible relationship, is "Too Clever by Half," from 1868.123 A

125

There is no play in the Lord Chamberlain's collection with the title "Much Too Clever." Nicoll, however, refers to an 1874 publication and production at the Gaeity, London, of a play by Oxenford and Hatton with a similar title, "Too Clever by Half-see Nicoll (V, 510); see Add Mss 53134 (H). As indicated above, this is "from the French," and not from Lady Morgan's book. 126

See Add Mss 53163 (L), "Too Clever By Half' (struck out, obviously to differentiate this play from others with similar titles). This comedy, from 1876, is in 33 folios of light blue paper about 8" wide by 13" high, in a clear hand and fair copy. It is clearly indicated to have been "translated from the French of Messrs. Scribe & Melesvilles' "L'Ambassadeur."

121

Lionel Stevenson, The Wild Irish Girl: The Life of Sydney Owenson, Lady Morgan (17761859). (London: Chapman & Hall, 1936), pp. 71-2. 122

127

There is in any case no play in the Lord Chamberlain's collection with this title. This was licensed for production at the Victoria, London, on 25th January 1842- see Nicoll (IV, 555).

Ibid., p. 78.

123

See Add Mss 53069 (M), "Too Clever by Half," a one-act Vaudeville by G. D'Arcy (B. N. Yelland). (There seems to be some confusion about the authorship. This could be the same play as that produced at the Marylebone Theatre on 24th June 1868 and apparently subtitled "The Wild Irish Girl," which explains why such a play might be related to Lady Morgan's novel- see Nicoll (V, 759). The characters are Sir Charles Tibsfoodle, Algernon Tibsfoodle, and Julia D'Arcy. This license was issued 23 June, and signed by W. B. Donne. The scene is a "comfortably furnished breakfast room. In the house of Sir Charles Tibsfoodle."

128

This was at the City of London-see Nicoll (V, 524). James Pilgrim. Wild Irish Girl. (London: Samuel French, nd). James Pilgrim did write and publish plays, but of the five titles in the BL's catalogue, none are given as "Wild Irish Girl." Several are indeed on Irish subjects, however. 129

This was licensed for production on 24th June 1868 at the Marylebone, London- Nicoll (V,

759). 216

MORGAN

FLORENCE MACARTHY (1818) Published dramatizations: Bryant, Michael. Florence Macarthy; or, Life in Ireland. NP: np, 1823—Octavo.

1384. PLAY: FLORENCE MACARTHY; OR, A TOUR IN HIBERNIA. MELODRAMATIC BURLETTA. 3 ACTS PLAYWRIGHT: ANON [ THOMAS JOHN DIBDIN] (MON) 31 MAY, 1, 7, 9-12, 14-16, 18, 23 JUNE 1819 AT SURREY, LONDON BL BILLS (VOL 310); NICOLL (IV, 301) "Taken from Lady Morgan's popular romance," says the bill. This is in effect an "Irish" drama, which began with a "grand panomoramic view of Dublin," for example. It played several times on a bill with "The Lady of the Lake" 1385. PLAY: FLORENCE MACARTHY; OR, LIFE IN IRELAND. MELODRAMA PLAYWRIGHT: MICHAEL BRYANT UNKNOWN PRODUCTIONS OCTAVO, 1823 NICOLL (IV, 574). 1386. PLAY: FLORENCE MACARTHY; OR, LIFE IN IRELAND. MUSICAL EXTRAVAGANZA. 3 ACTS PLAYWRIGHT: W.M.BRYANT (SAT) 17 DEC 1836 AT THEATRE, BELFAST BL BILLS (VOL 271) "Founded on Lady Morgan's celebrated Novel, of the same name, (as acted upwards of 200 nights at the London Theatres, with most distinguished success)," says the playbill. General Fitzwalter by Lacey; De Vere by Melvin; et al. Mrs. W Burroughs played six parts.

217

COUNTESS MURAT (1670-1716) JEUNE ET BELLE YOUNG AND HANDSOME (1854) Published dramatizations: Planche, J. R. Young and Handsome. A New Original Fairy Extravaganza, in one act [and in verse]'. Founded on the Countess ofMurat 's Fairy Tale of 'Jeune et Belle.' NP: np, nd [1857]. Planche, J. R. Young and Handsome. In Lacy's Acting Edition of Plays, vol. 29. London: Lacy, nd [ 1850]—duodecimo. Planche, J. R. "Young and Handsome" in The Extravaganzas ofJ. R. Planche, eds. Dillon & Croker, vol. V, pp. 147 & ff. London: Samuel French, 1879-Octavo.

1387. PLAY: YOUNG AND HANDSOME. PLAYWRIGHT: J. R. PLANCHE UNKNOWN PRODUCTIONS YOUNG AND HANDSOME. A NEW AND ORIGINAL FAIRY EXTRAVAGANZA, IN ONE ACT [AND IN VERSE]. FOUNDED ON THE COUNTESS OF MURAT'S FAIRY TALE OF 'JEUNE ET BELLE.' ND [1857]. LACY'S ACTING EDITION OF PLAYS, VOL 29 [1850]—DUODECIMO—BL SHELFMARK 2304.C.3. This was translated into English by J. R. Planche, and published in the collection entitled LesNouveaux Contes des Fees: Four and Twenty Fairy Tales. NP: NP, nd [1858]—duodecimo—BL SHELFMARK 12431.d.27

218

MRS. AMELIA ALDERSON OPIE (1769-1853) Grecian in 1847 almost certainly bears no relationship whatsoever to Mrs. Opie's novel.132 Still further, another "Adeline" play bears no evident relation to Mrs. Opie's book.133 Madeline134 is partly in the form of a journal, and partly epistolary; it is set in the years 1813-1817. Its principal characters are Mr. and Mrs. Irwin of Burford Park, Sussex, who educate the daughter of an impoverished Scottish cottager, the beautiful Madeline Munro. Other characters include Mrs. St. Leger, Dobbs, Glencarron, Maddie, Ronald, Mrs. Macinnon, Miss Fortescue, Lady Jane, and others. Various plays of the period were entitled "Madeline," and it is possible that some of them bore some relationship to this novel. Several similarly titled plays, however, certainly did not derive from Mrs. Opie's narrative. Richard Beddinfield's 1847 blank verse tragedy has nothing to do with Mrs. Opie's book.135 A

SELECT PUBLICATIONS The British Museum General Catalog of Printed Books to 1955 shows publications by Mrs. Amelia Opie from 1808 to ca 1844. These include the following: Adeline Mowbray; or, Mother and Daughter (1805); The Black Man's Lament; or, How to Make Sugar (1826); Edgar and A Ifred (1814); Father and Daughter (1801); Happy Faces; or, Benevolence and Selfishness and the Revenge, tales (1830); Illustrations of Lying in all its branches (1825); Madeline, a tale (1822); New Tales (1818) [which includes "The Ruffian Boy"]; The Ruffian Boy, and, After the Ball; or, the Two Sir Williams (1858); Simple Tales (1815); Tales of Real Life (1813); Tales of the Heart (1820); Tales of the Pemberton Family; for the use of children (1825); Temper; or, domestic scenes, a tale (1812); Valentine's Eve (1816). Adeline Mowbray, or the Mother andDaughter: A Talem opens in Gloucestershire, and concerns the rich widow Mrs. Mowbray and her daughter Adeline, an only child. Mrs. Mowbray had been born a Woodville. A Mr. Glenmurray, one Patrick O'Carrol, Mrs. Pemberton, Mrs. Wallington, Emma O'Douglas, Dr. Norberry, et al are important people. It will surprise no one that there were plays entitled "Adeline" during the nineteenth century; most or all of them had nothing to do with Mrs. Opie's novel. "Adeline" by John Howard Payne appeared in London at Drury Lane in 1822, and later played in New York as well; it concerns an aristocratic European subject.l31 Similarly, an operetta entitled "Adeline" at the

Lafayette in 1828 (Odell, III, 97, 251, 422). 132

See Nicoll (IV, 423) and Add Mss 43000 FF 715-752. The dramatis personae are Marquis de Clairville, Albert his son, Dubourg La Feppe, a valet; Bernhard an old fanner; Perky a Ploughboy; Marchioness de Clairville; Gertrude; and Adeline. The scene is "France,/ Borders of Switzerland." 133

130

"Adeline; or, The Grave of the Forsaken" was by S. Atkyns, and licensed for production on 29 Sept. 1849 at the Albert, London - See Add Mss 43022, FF 917-957 and Nicoll (IV, 257). Samuel Atkyns did dramatize books, as for example The Chimes and The Battle of Life from Dickens. This, however, is not from Mrs. Opie, as the "Dram Pers" are Rev. Robt Budsleigh, Herbert Mandeville, Charles Leslie, Andrew, Captain Bufours, George Mordant, John Meadows, Ensgin, Footmen, Soldiers, Adeline, Mrs. Plimfery (?), Mrs. Mordant, Mrs. Green, and Patty.

(London: Longman, Hurst, Rees & Orme,

1805). 131

"Adeline; or, The Victim of Seduction." was a melodrama -see Nicoll (IV, 82, 368) - and see Larpent Catalogue no 2274 "MS. Comp. New York, 1822 (107039): except for passages near beginning of Act I, virtually the same". In New York this play by Payne appeared on 1 May 1822 at the New Park (Odell, III, 26) Says Odell, "it was 'altered from the French.' Adeline tells a distressing story of a deceived girl, who believes herself married to her lover, already married, and, besides, the son of a prince. Poor Adeline drowns herself in a convenient river. The play contains a stern father and a very magnanimous princess." This has nothing to do with Mrs. Opie's tale, which features a laughing Adeline at the very end. Payne's "Adeline" recurred in New York on 11 Oct. 1823 at the Circus (Odell, III, 48), at the Park in 1824 and 1827 and at the

134

Madeline, a Tale. (London: Longman, Hurst, Rees, Orme & Brown, 1822). 135

(London: C. Mitchell, 1847)- Octavo. See Nicoll (IV, 264). The characters are Sir Henry Cleveland, Lord Erpingham, Theodore, Alford, Timothy, Ada, Adela, Madeline, and Lucy ~ none of whom bear any relation to the characters in Mrs.

219

OPIE "Madeline" in 1837 may have had something to do with Mrs. Opie's novel.141 A "Madeline" drama in 1874 just might have been connected, but probably was not.142 J. M. Kingdom's "Madeline" drama just might have been connected.143 The novel Temper1*4 involves the following characters: Agatha, Emma, Mr. Torrington, Miss Torrington, Agatha's husbandDanvers, Mrs. Orwell, Mr. Egerton, Mr. Hargrave, Mrs. St. Aubyn, Mrs. Castlemain, Mr. St. Aubyn, Mr. Varley, Mr. Wanford, Dick Stokes, Mrs. Felton, et al. The comedy "Temper" by Robert Bell145 has nothing to do with these materials.

drama entitled "Madeline" that played the Surrey in July 1851 was unrelated.136 A "Madeline Dumas" play of 1855 seems unconnected.137 A group of plays produced in New York City, starting in about 1851 also bears no evident relation to Mrs. Opie's tale.138 A play by F. Harvey entitled "Madeline" bears no evident relation to Mrs. Opie's tale.139 A play entitled "Madeline Morel" bears no evident relationship to Mrs. Opie's novel.140

Timothy, Ada, Adela, Madeline, and Lucy ~ none of whom bear any relation to the characters in Mrs. Opie's novel. 136

Add Mss 43035 FF 915-934. The ms in the Lord Chamberlain's papers has the following information on the title page: "A Drama in two/ Acts/ Madeline/ License sent/ July 1 1851/ W.B. D./ Surrey Theatre/ 28 June 1851." The people of the play include the following: Count de Maupral, Bernard, Francois, M. Louis Lestocq; M. Lean/ M Henri; Jaques; Made Lestocq; Estelle; Madeline; Lady Forster; Marguerite; et al.

with Mrs. Opie's tale. The ms in the Lord Chamberlain's papers is on 103 folios of line paper measuring 7.75" wide by 12.25" high. The hand is clear though hurried; the copy is fair. This is a play adapted "from the German." The dramatis personae include a Marquise de [illegible] Gervaise, Henry, Irene, the Vicomte de Clers, Lord Arthur Darley, Merope, Madame Piere, a Housekeeper, et al.

137

See Add Mss 52952 (P). This was licensed for production at the Princess Theatre, Leeds, on February 7th 1855. The characters include Madeline, Bellard, Dicky, Marie, William, Flinton, et al. The scene is at first Greek Street, Soho- which is also the setting for the second act. So this seems entirely unrelated to Mrs. Opie's story.

141

See Nicoll (IV, 498); This was submitted to the Lord Chamberlain on 30 December 1837.

138

"Madeline" (or "Madelaine") plays in New York City that were not connected to Mrs. Opie's novel induced one on 3 March 1851 at Barnum's (see Odell, VI, 73), with Clarke as Bertrand; Henkins as Remy; Miss Chapman as Madelaine; Mrs. Yeomans as Catherine. This was revived in March 1856 at the National (Odell, VI, 466), in April 1856 at the Broadway (Odell, VI, 517), and subsequently elsewhere at least until 1860.

142

C. Cooke. On 30 November 1874 at the Alexandra Theatre, Sheffield-see Nicoll (V, 323). 143

This was published by Lacu; see Nicoll

(V, 444). 144

Temper, or domestic scenes: a tale. (London: Longman, Hurst, Rees, Orme, & Brown, 1812).

139

"Madeline Martel; or, Woman Wronged by Woman," was licensed to play in Northampton in February 1882. See Add Mss 53266 (N); see Nicoll (V, 408). The characters are the Count de Morand, the Marquis de Lenneville, Andrew martel, Claude Bernard, Phillipe Larocque, and Madeline Martel, wife of Andre. So this is unrelated to the novel by Mrs. Opie.

145

Temper. In Dicks, no. 1018. London: Dicks, 1847. On 17 May 1847 it played the Haymarket, London- Nicoll (IV, 190, 264 ). Later the same year, on 18 Oct., in played the Broadway, in New York (Odell V, 334-5). This was a "new piece," reports Odell, who gives the cast as follows: Sir Marmaduke Topple by H. Wallack; Sir Charles Tempest by Dawson; Cyril Tempest by Fleming; Hope Emerson by Lester; Godfrey by Vache; Lady Tempest by Mrs. Hield; Mrs. Herbert by Mrs. Winstanley; Miss Fielding by Mrs. Watts; Miss Oldfangle by Miss Gordon; and Florence Wilmot by Miss Telbin.

140

"Madeline Morel." 5 acts, by Daniel Edward Bandmann, licensed for performance on 16 September 1876 at Hartlepool, and also apparently performed on 20 April 1878 at Queens, London- see Nicoll (V, 248). This evidently has nothing to do

220

OPIE Agnes by Mrs. W. Barrymore; Emily Goodall by Miss Love; and Meriel Marygold by Miss Watson. "Remarks" prefacing the second edition read partly as follow:

FATHER AND DAUGHTER (1801)

Who has not wept over Mrs. Opie's popular and pathetic story "Father and Daughter," upon which this piece is founded? It has been translated into almost every modern language, and dramatized at various Foreign Theatres, and has ever proved a fruitful source of interest and tears. The Italians have a Prose Drama on the Subject, by Philippo Caesari, and an Opera, "Agnese," by Luige Bonavoglio, composed by the celebrated Paer; the French have a Melo-Drama founded on it, and the powerful pathos of the story, has not been overlooked by the sensitive Germans: with the exception of its forming an Episode, in Mrs. C. Kemble's Comedy "Smiles and Tears," the present piece is the only English Drama to which it has given birth. In the leading incidents of this piece, no material deviations have been made from the original story, but such as were absolutely necessary for unity of action and dramatic effect. Ten months are supposed to have elapsed between the first and second acts, but that is a stretch of imagination, which, from the nature of the story, could not be avoided. The comic portions of the piece are not remarkable for strength or breadth, but they do not ill assort with the more serious part of it: they sufficiently relieve, without breaking in upon the sacred sorrow of the story, which would have rendered rude mirth out of place; they are simple, but natural. Ambrogetti, in the Father of the Italian Piece, had just been harrowing the town with a delineation of the distressful malady of the character so painfully true to nature, as to be almost too much for human feeling to witness; and kean had sounded a mighty note of preparation for his appearance in the distracted Lear of Shakespeare. To take advantage of the interest excited by these circumstances, and adequately display the talents of Booth, then

The novel Father and Daughter^ concerns Agnes Fitzhenry, who in the opening scene is "pressing her moaning child to her bosom" as she travels on foot to her father's house. She has been the victim of a seduction by an officer of the Guard called Clifford. Also characters in the novel are Caroline Seymour, Mr. Seymour, Wilson, Fanny, et al. A three-act drama, "The Mysteries of Paris; or, Father and Daughter," which played the Adelphi, Glasgow, in 1844, had nothing to do with Mrs. Opie's novel.147 Published dramatizations: Moncrieff, W. T. The Lear of Private Life! Or, Father and Daughter, A Domestic Drama, in three acts. London: Richardson, nd [1828]. 2nd edn.

1388. PLAY: [THE LEAR OF PRIVATE LIFE! OR;] FATHER AND DAUGHTER; [OR, THE VICTIM OF SEDUCTION]. MELODRAMA [DOMESTIC DRAMA]. 3 ACTS PLAYWRIGHT: W. T. MONCRIEFF UNKNOWN TIME BEFORE MAY 1828 AT COBOURG [COBURG], LONDON LONDON: RICHARDSON, ND [1828] Prefatory matter to the text in Richardson' s Minor Drama says that this was "originally played at the Cobourg Theatre," and gives the following cast: Fitzgarden by Booth; Goodall by Anderton; Alvanley by Gallot; Rattleton by Coveney; Gilbert Bachelor by Beverley; Michaelmas by Davidge; Adder by Collingbourn; Trip by J. Stanley; Lord Saunter by Auld; Captain Mowbray by Hobbs; Keeper of the Lunatic Asylum by Ebsworth;

146 The Father and Daughter, a tale, in prose

(London: Longman & Rees, 1801). 147

See the Lord Chamberlain's Plays, Add Mss 42,976 FF 32-71. The "Dramatis Personae" include Rodolph, Grand Duke of Gerolstein, Sir Walter Murph, his private secretary; Jacques Ferrand, a notary; Anselm Duresnal, alias the Schoolmaster; Francoeur, alias the Chourineur; Germain; Polidori, an Italian Doctor; Stephen; Countess Sarah maggregor; Fleud de Marie, called also Lad Gonaleuse; Madame George; Chonette; Rigoletti; et al. The first scene is at "Night—a mean street in Paris." 221

OPIE went to a coffee-house and drank several glasses of wine;— then lay in wait for the poor girl, as she left the place of entertainment; and as he thought, stabbed her to the heart;-but in his flutter he had mistaken the object, and he had stabbed her companion. He was instantly seized; and as he was led to prison, he approached his intended victim, and said "Je te retrouverai un jour!" On account of his extreme youth, his sentence was not death, but imprisonment for twenty years.150

engaged at the Coburg, was the object of the author in producing the Lear of Private Life, and as far as theatrical effect upon an audience went, his utmost expectations were fully satisfied Moncrieff was a notorious dramatizer of other people's stories; Dickens so satirized him in Nicholas Nickleby.

1389. PLAY: FATHER AND DAUGHTER; [OR, THE VICTIM OF SEDUCTION]. MELODRAMA [DOMESTIC DRAMA]. 3 ACTS PLAYWRIGHT. W. T. MONCRIEFF (MON) 9 FEE 1829 AT SADLER'S WELLS, LONDON NICOLL (IV, 157).

Published dramatizations: Dibdin, Thomas J. The Ruffian Boy: A Melo-Drama, in Two Acts... . In Cumberland's Minor Drama, Vol. 4. London: Cumberland, nd [1831]--Octavo. Dibdin, Thomas J. The Ruffian Boy. Toy Theatres: NP: Love, Jameson, nd.

THE RUFFIAN BOY ( 1819(?) / 1846, 1858) The British Museum General Catalogue of Printed Books to 1955 shows several editions of this novel,148 which apparently first was published in 1818.149 The story of the youthful Giraldi Duval's first criminal act is presented as a kind of inset tale, though it is of course the inciting action for the whole drama. In concerning the subject of childhood criminality it is similar both to Oliver Twist and to Jack Sheppard, with which it was partly contemporary in popularity, though substantially earlier in first publication. The Ruffian Boy is a "tale founded on fact," and a leaf tipped in or perhaps bound in informs the reader in a typeface different from that of the novel itself, that

1390. PLAY: RUFFIAN BOY. MELODRAMA. 2 ACTS PLAYWRIGHT: ANON [THOMAS J. DIBDIN?]; DIRECTED BY RIDGEWAY; MUSIC BY MOZART AND ERSKINE; DANCES BY GIROUX; SCENERY BY WILSON & C. R. DIBDIN; DRESSES BY BRETT AND MISS FREELO VE; MACHINERY BY JOHNSON, MORRIS, AND MRS FREELOVE (OPENING MON) 15, 17, 22, 25 FEE, 1, 4, 13, 16, (SAT) 27 MAR, 17, 22 APR 1819, AT SURREY, LONDON BL BILLS (VOL 310); BILLS IN LONDON THEATRE MUSEUM LONDON: CUMBERLAND CUMBERLAND'S MINOR DRAMA, VOL. 4, [1831]-- 8VO The playbill for 15th February says that this is "founded on Mrs. Opie's popular Tale." Baron Waldemar by Gomery; Giraldi Duval by T. P. Cooke; Bruno by Fawcett; Ethelinde by Miss Taylor; Solomon by Fitzwilliam; Catherine by Mrs. Brookes; Edith by Mrs. Gomersal; Christine by Miss Adcock; et o/.-from the playbill of 15th Feb. The Cumberland version gives a different cast for the play "as performed at the Surrey Theatre," perhaps for a

About twenty years ago a boy at Brussels, having been rejected as a partner at a ball, by a girl about his own age, which was not much more than twelve; he left the ball-room,

148

See for example The Ruffian Boy. A Tale by Mrs. Opie (London: Grove & Son, 1846)—shelfmark 1606. 1055 . The Ruffian Boy, and After the Ball; or, the Two Sir Williams (London: S. O. Beeton, 1858), octavo, —shelfmark 012803. de. 99. 149

"The Ruffian Boy; a Tale Founded on Fact," in New Tales by Mrs. Opie. (London: Longman, Hurst, Rees, Orme & Brown, 1818), vol. IV, pp. 123 & ff.

150

222

Ruffian Boy (1^46), p. 131.

OPIE a philosopher), keep the peace; what's become of your morality, where's your sentiment, and be hang 'd to you?-This is good, and comes with equal grace from Signer Guiseppe, as do liberty and philanthropy from the lips of modern theorists, whose hearts never felt a generous sensation.... A feast is prepared to celebrate the baron's birthday, and the happy escape of his lady from the dagger of Giraldi Duval. The gang are not idle upon this occasion: - The favourite mastiff that flew at the throat of the Ruffian Boy, and defeated his bloody purpose, is poisoned by Guiseppe, who, when discovered, makes a comical exit, by throwing away his artificial leg and taking to his natural ones - a trick is then played upon the baroness, who is decoyed to the cottage of a confederate hag, where Giraldi lies concealed - a rencontre takes place between them, when Waldemar enters, the assassin escapes, and the beldam is taken into custody in his stead. ...

later production. There were indeed later Surrey productions (see below). Baron Waldemar by Gomersal (replacing Gomery); Albert by Master Meyers; Julio by Master W. Elliott; Giraldi Duval by Watkins Burroughs; Solomon by Sloman; Catherine by Mrs. Davidge; Christine by Mrs. Morris; et al. This shared the stage with several other dramatized novels, specifically "The Heart of Midlothian," from Scott, and "Humphry Clinker" and "Sir Launcelot Greaves"—both from Smollett The published edition has prefatory remarks by one "D.G.," giving details of the story. This includes The precocious pickpockets and infant depredators of the present day are nothing to Giraldi duval, the Ruffian Boy:-His father would have given pounds by twenties To bind him to some honest trade apprentice; To check his vicious habits in their growth; But this he spurn'd, and answered with an oath For ere the down appear'd upon his chin, He was, though young in years, mature in sin

Having fifteen years since been smitten with a favourite lass, and woo'd her as the lion woos his mate, but without success, he resolves not only to speak daggers, but to use them. In his hurry, he stabs the wrong person, an interesting young lady, whose mother of course runs mad, and, after the manner of dramatic maniacs, walks about in the dark, and opportunely meets the very persons whose nerves in particular it is intended she should astonish. Not content with one victim, vengeance unsatiated still burns within his bosom; and the scene opens with Giraldi Duval, no longer a ruffian of tender years, but a mature cut-throat, wounded, and foiled in another attempt to use his dagger more effectually on his inexorable fair, who had in the interval became the wife of Baron Waldemar. Giraldi is the chief of a banditti.-Sated with one unvarying round of merriment, security, and plunder, of all of which they regularly partake in dull succession, Messrs. Bruno and Wolfe, two of the troop, long to enliven this monotony with a seasoning of rebellion. "Fie! Gentlemen (exclaims Guiseppe, a rogue who can reason as well as rob-a murderer and a moralist, a filcher and

This introduction mentions that "The Ruffian Boy is taken from Mrs. Opie's popular tale of the same name. The Surrey did this play again the next season—see below on 22 September 1819 and other, later dates.

1391. PLAY: THE RUFFIAN BOY. MELODRAMA. 2 ACTS PLAYWRIGHT: THOMAS J. DIBDIN (WED) 22 SEPT, (MON) 4, 9 OCT 1819 AT ROYAL CIRCUS [SURREY], LONDON TOY THEATRES: LOVE, JAMESON BL BILLS (VOLS 310; 363); BILLS IN LONDON THEATRE MUSEUM (AND ON CHADWYCKHEALEY MICROFICHE); BLC; SPEAIGHT CUMBERLAND MINOR DRAMA, VOL IV, 1831; —BL SHELFMARK 643. a. 2 NICOLL (IV, 301) NOT IN LARPENT UNDER THIS TITLE—BUT SEE BELOW, UNDER "GIRALDI" (1821) "Based on the novel of the same title by A. A. Opie," says the British Library Catalogue. "Founded on Mrs. Opie's popular tale," says the Surrey bill. On a bill with "Roxalana"-- also from a novel (by Marmontel). Geraldi Duval, the Ruffian Boy, by Watkins Burroughs. This was material popular enough to become a toy theatre, as Speaight mentions. The Surrey had produced

223

OPIE 1393. PLAY: RUFFIAN BOY. MELO-DRAME. 2 ACTS PLAYWRIGHT: ANON [22?], 30 SEPT 1820 AT SURREY, LONDON BL BILLS (VOL 311,1).

this play the previous season, and the house did it again the next season—see below. On 17 February this played with "The Heart of Mid Lothian."

1392. PLAY: THE RUFFIAN BOY. MELODRAMA PLAYWRIGHT: EDWARD FITZBALL 1819 AT NORWICH BL MICROFICHE 254 / 652 / 1 & 2 NICOLL (V, 312); THIRTY-FIVE YEARS OF A DRAMA TIC A UTHOR 'S LIFE (1859) LARPENTCAT2149 The Larpent Catalogue says "2149. Giraldi; or, the Ruffian of Prague. [The Ruffian Boy.] 'A Melo Drama; Founded on The 'Ruffian Boy' a Popular Tale by Mrs. Opie,' 3 acts. Edward Fitzball. No application. Prod. Norwich, Apr., 1820. MS: dated, by Larpent (?), Norwich, Feb. 22; several corrections and deletions." The title page reads "Theatre Royal, Norwich/ February 22d 18207 Giraldi/ or the/ Ruffian of Prague./ a/ Melo Drama;/ Founded on/ The 'Ruffian Boy' of Popular Tale/ by Mrs. Opie." The characters on the title page are as follow: Baron Waldemar, Giraldi Duval (the Ruffian), Carronna, his friend, a Robber Chief, Montani, in love with Immeline, Ronald Wintermetz (?), Waldermar's Steward; H. Almost, a Prior; Pietro (with a song) Montanios Valet; Oberto, one of the Banditti; Goaler; Ernest Waldemar, ... Robbers & c./ The Lady Ethelind; Immeline (with a song); Benetta, Housekeeper at Kilin; Lela ... et al. The Scene is Prague. Act 1st is "A Gothic Apartment—distant thunder heard ... ." Scene 2 is "A Street in Prague, the river Moldau in the scene." Scene 3 is Immeline's apartment." Scene 4th is "The Grate of a Convent." Scene 5 is "The Interior of the Convent." Act 2, Scene 1st is "A Hall in the Castle at Kolin." Scene 2 is "The Interior of a Prison." Scene 3 is "An Apartment in the Castle." Scene 4 is "The Hall (soft music)." Scene 5 is "An Apartment." Scene 6 is "The Interior of a miserable cabin. Giraldi wholly enveloped in a long gray cloak, is discovered seated on a low block ... ." Act 3 begins in "A Cavern. Giraldi discovered." Scene 2 is "A Gallery of painted windows." Scene 3 is "A State Apartment. Ethelina seated at the foot of a couch on which Ernest, sick, reclines. Immeline at her tambour frame, neat hat." Scene 4th is "The mouth of a cavern—night." Scene the last is "Ethelind's Bedchamber." The ms in the Larpent collection is 45 folios. Unfortunately, there appear to be no playbills for this period in the British Library's collection. Nicoll remarks that "this seems also to have been played as Giraldi; see T, L. G. Burley, op. cit., p.36. As Giraldi; or, the Ruffian of Prague, it appears in L. 23 L [22/2/1820]."

1394. PLAY: GERALDI DUVAL, THE BANDITT [SIC] OF BOHEMIA. DRAMATIC PIECE. 3 ACTS PLAYWRIGHT: ANON [FITZBALL?]; MUSIC COMPOSED BY T. COOKE (SAT) 8, 10-15, 17-22, 25, 27, 29 SEPT, 2, 4, 9, 11, 13, 15, 16, 18, 20, 23, 25, 27, 29, 30, 31 OCT, 1, 21 NOV 1821 AT DRURY LANE, LONDON LARPENT CAT NO 2149 BL BILLS (VOLS 18; 55); GENEST (IX, 96, 144) "Founded on one of Mrs. Opie's tales," says the bill. Geraldi Duval by Cooper; Count Altenberg by Barnard; Wittikin by Knight; Countess by Miss Smithson; Barbara by Mrs. Egerton. "This dramatic piece, in 3 acts, was performed several times, but it seems not to have been printed," says Genest. This suggests that the play was a different dramatic version of Mrs. Opie's novel than that by Dibdin, which was published (see above).

1395. PLAY: THE RUFFIAN BOY. MELODRAMA PLAYWRIGHT: FRIMBLEY NOV 1823 AT PLYMOUTH NICOLL (V, 585) Unfortunately, there seem to be no playbills in the British Library's collection for Plymouth for this date. 1396. PLA Y: THE RUFFIAN BOY PLAYWRIGHT: DIBDIN 6 JUNE 1825 AT CHATHAM, NYC ODELL (III, 162) Jervis as Baron Waldemar; Burroughs as Giraldi; Roberts as Solomon; Mrs. Hughes as Ethelinde.

1397. PLAY: THE RUFFIAN BOY PLAYWRIGHT: T. DIBDIN (MON) 8 MAR 1830 AT COBURG, LONDON BL BILLS (VOL 175) Giraldi Duval by Watkins Burroughs. 1398. PLA Y: THE RUFFIAN BOY PLAYWRIGHT: UNKNOWN 24 JAN 1831 AT BOWERY, NYC ODELL (III, 521)

224

OPIE 1405. PLA Y: THE RUFFIAN BOY PLAYWRIGHT: UNKNOWN FEE 1843 AT CHATHAM, NYC ODELL (IV, 642).

Thome as Giraldi Duval; Farren as Maurice; F. Durang as Bertram; Mrs. French as Katherine; Miss Pelby as Ethelinde. 1399. PLAY: RUFFIAN BOY. DRAMA PLAYWRIGHT: ANON (MON) 22 AUG 1831 AT SADLER'S WELLS, LONDON BILL IN LONDON THEATRE MUSEUM (AVAILABLE ON C H A D W Y C K - H E A L E Y MICROFICHE Baron Waldemar by J. R. Williams; Giraldi Duval by Palmer; et al.

1406. PLA Y: THE RUFFIAN BOY PLAYWRIGHT: UNKNOWN 25 APR 1845 AT BOWERY, NYC ODELL (V, 111) With Rosina Shaw.

1400. PLA Y: THE RUFFIAN BOY PLAYWRIGHT: UNKNOWN 24 NOV 1831 AT RICHMOND HILL, NYC ODELL (III, 578) With Thorne, Flynn, Mrs. Thorne and Mrs. Russell. 1401. PLA Y: THE RUFFIAN BOY PLAYWRIGHT: UNKNOWN 25 FEE 1833 AT RICHMOND HILL, NYC ODELL (III, 648) With Mrs. and Mr. Thorne. 1402. PLAY: RUFFIAN BOY. DRAMA PLAYWRIGHT: ANON (FRI) 4 JULY, 8 AUG 1834 AT THEATRE, HAMPTON COURT BL BILLS (VOL 279) "Taken from Mrs. Opie's popular tale," says the bill Baron Waldemar by Duval; et al. 1403. PLAY: RUFFIAN BOY! OR, THIRTY YEARS OF HATE. MELO-DRAMA PLAYWRIGHT: DIBDIN (FRI) 17 MAR 1837 AT THEATRE, BELFAST BL BILLS (VOL 271) Giraldi Duval by W. Burroughs; et al. "Taken from Mrs. Opie's popular Tales, and adapted to the Stage by Thos. Dibdin, Esq., says the bill. 1404. PLAY: RUFFIAN BOY; OR, LOVE AND REVENGE. MELO-DRAMA PLAYWRIGHT: ANON (MON) 21 OCT 1839 AT THEATRE, WEYMOUTH BL BILLS (VOL 287) Baron Waldeman by C. Montague; Giraldi Duval by J. Kirk; Edith by Mrs. Stamford; et al.

225

BARONESS EMMUSKA ORCZY (1865-1947)

SELECT PUBLICATIONS The British Museum Catalogue of Printed Books to 1955 shows the following titles by Baroness Orczy: The Scarlet Pimpernel (); The Gallant Pimpernel!: four complete Scarlet Pimpernel novels in one volume (Lord Tony's Wife—The way of the Scarlet Pimpernel—Sir Percy Leads the Band—The Triumph of the Scarlet Pimpernel (1939); Adventures of the Scarlet Pimpernel (1929); Beau Brocade (1907); Blue Eyes and Grey (1928); A Bride of the Plains (1915); The Bronze Eagle (1915); By the Gods Beloved (1905); The Case of Miss Elliot and other tales (1905); Castles in the Air (1921); The Celestial City (1926); A Child of the Revolution (1932); The Divine Folly (1937); Eldorado. A Story of the Scarlet Pimpernel (1913); The Elusive Pimpernel (1908); The Emperor's Candlesticks (1899); Fairyland's Beauty (1895); Fire in Stubble (1912); The First Sir Percy, an adventure of the laughing cavalier (1920); Flower of the Lily, a romance of old Com bray (1918); His Majesty's WeII Beloved, an episode in the life of Mr. Thomas Betterton (1919); The Honourable Jim,a romance (1924); / Will Repay, a romance (1906); A Joyous Adventure (1932); Lady Molly of Scotland Yard (1910); The Laughing Cavalier (1914); The League of the Scarlet Pimpernel (1919); Leatherface, a tale of old Flanders (1916); Lord Tony's Wife, an ad\>enture of the Scarlet Pimpernel (1917); Mam 'zelie Guillotine, an adventure of the Scarlet Pimpernel (1940); The Man in Grey (1918); Marivosa (1930); Meadowsweet (1912); The Nest of the Sparrowhawk (1913); Nicolette (1922); No Greater Love (1938); The Old Man in the Corner (1909); Petticoat Government (1910); Pimpernel! and Rosemary (1924); Pride of Race (1942); The Scarlet Pimpernel (1905); Sir Percy Hits Back (1927); Sir Percy Leads the Band (1936); A Son of the People (1906); A Spy of Napoleon (1934); The Tangled Skein (1907); The Triumph of the Scarlet Pimpernel (\922)\ A True Woman (1911); The Turbulent Duchess (1935); Uletka and the White Lizard, and other tales (1895); The Uncrowned King (1935); Unravelled Knots (1925); Unto Caesar (1914); The Way of the Scarlet Pimpernel (1933); Willo'-the Wisp (1947).

THE EMPEROR'S CANDLESTICKS (1899)

1407. FILM: THE EMPEROR'S CANDLESTICKS. BLACKAND-WHITE. 89MIN SCREENWRITERS: HAROLD GOLDMAN & MONCKTON HOFF; DIRECTED BY GEORGE FITZMAURICE; PRODUCED BY JOHN W. CONSIDINE, JR.; CINEMATOGRAPHY BY HAROLD (HAL) ROSSON; SETS BY EDWIN B. WILLIS; MUSIC COMPOSED BY FRANZ WAXMAN; ETAL 1937BYMGM MALTIN'S TV MOVIES AND VIDEO GUIDE (1986), P. 278; ENSER, FILMED BOOKS AND PLAYS: 1928-1986, (1987), P. 564; COREL ALL-MOVIE GUIDE 2 (CD-ROM) George Fitzmaurice directed William Powell as Wolensky; Luise Rainer as Countess Muranova; Robert Young as Grand Duke Peter; Maureen O'Sullivan as Maria; Frank Morgan as Col. Baron Suroff; Emma Dunn as the Housekeeper; and Douglass Dumbrille as Korun; etal. "Romance and intrigue in Russia," reports Maltin, who calls this "lavish frou-frou." Says the Corel Guide, "Baroness Orczy, author of The Scarlet Pimpernell, came up with the story on which The Emperor's Candlesticks was based. As in Pimpernel, the theme is international intrigue, but this time the setting is pre World War One Europe and Russia rather than Revolutionary France. William Powell and Luise Rainer are spies working for opposing empires (Russian and Austrian) who travel undetected amidst the Nobility while plotting their plots. As they waltz about various ballrooms dressed to the nines, Powell and Rainer fall in love—resulting in wavering loyalties for both. Emperor's Candlesticks is stronger on decor than plot, with the talented Luise Rainer once more ill-used by Hollywood." This had not evidently become available in video format by the end of 1986.

226

ORCZY from "The New Theatre," with Miss Julia Neilson and Mr. Fred Terry. The earlier programme, hand-dated on Saturday, 28 October 1905, which appears later in the binding, also shows Julia Neilson and Fred Terry in the play. A universal calendar confirms that 28th October 1905 was indeed a Saturday. So these two bills would almost certainly seem to be from the same year, though wrongly dated and placed in the binding in the British Library's collection.

Appendix: A work after 1900

THE SCARLET PIMPERNEL (1901)

1411. PLAY: SCARLET PIMPERNEL. DRAMA. 4 ACTS PLAYWRIGHTS: ORCZY AND BARSTOW 26 DEC 1905 TO 7 APR 1906 AT NEW THEATRE, LONDON (119 PERFORMANCES) BL BILLS (VOL 339); PROGRAMME IN OXBODJJ; WEARING, THE LONDON STAGE: 1900-1909, VOL I, P. 428 With Fred Terry and Julia Neilson.

1408. PLAY: THE SCARLET PIMPERNELL. DRAMA. 4 ACTS PLAYWRIGHTS: BARONESS ORCZY & MONTAGUE BARSTOW 15 OCT 1903 AT THEATRE ROYAL, NOTTINGHAM WEARING, THELONDONSTAGE 1900-1909, VOL II,

P344. 1409. PLAY: THE SCARLET PIMPERNELL. DRAMA. 4 ACTS PLAYWRIGHTS: ORCZY AND BARSTOW 5 JAN, (SAT) 25 FEE, TO 22 APR 1905 AT NEW THEATRE, ST MARTIN'S LANE, LONDON (122 PERFORMANCES) SOUVENIR PROGRAMME IN OXBODJJ; PROGRAMME IN BRITISH LIBRARY BILLS (VOLS 339, 477);WEARING, THE LONDON STAGE: 19001909., VOL I, 1981, P 344; PROGRAMME IN NLS FOR THIS OR ONE OF THE LATER PRODUCTIONS AT THE NEW THEATRE Sir Percy Blakeney by Fred Terry; Lady Blakeney by Julia Neilson; the Prince of Wales by Rudge Harding. See Wearing for complete cast and list of reviews. This was widely reviewed. The New Theatre regularly revived this play during the rest of the first decade of the century. The two souvenir programmes in the Johnson Collection, Bodleian Library, Oxford, give complete cast, and show photos of Fred Terry as Sir Percy Blakeney, Julia Neilson as Lady Blakeney, and other actors in costume. We also see some of the sets of the play, and find a piece of music, "El Dorado," bound in at the end of the volume. One programme is imperfect, the other in excellent condition.

1412. PLAY: THE SCARLET PIMPERNELL. DRAMA. 4 ACTS PLAYWRIGHTS: ORCZY & BARSTOW 12 JAN TO 27 JULY 1907 AT NEW THEATRE, LONDON (219 PERFORMANCES) WEARING, THE LONDON STAGE: J 900-1909, VOL I, PP 520-1 With Terry & Neilson. 1413. PLA Y: THE SCARLET PIMPERNEL. DRAMA. 4 ACTS PLA YWRIGHTS: ORCZY & BARSTOW 30 DEC 1907 TO 14 FEE 1908 AT NEW THEATRE, LONDON (56 PERFORMANCES) WEARING, THE LONDON STAGE: 1900-1909, VOL 1, PP 621-2 With Fred Terry and (now) Miriam Lewes as Lady Blakeney. 1414. PLAY: THE SCARLET PIMPERNEL. DRAMA. 4 ACTS PLA YWRIGHTS: ORCZY & BARSTOW 20 APR TO 6 JUNE 1908 AT NEW THEATRE, LONDON (56 PERFORMANCES) WEARING, THE LONDON STAGE 19 00-1909, VOL II, P648 With Fred Terry and Miriam Lewes.

1410. PLAY: THE SCARLET PIMPERNEL. PLAYWRIGHT: ANON (SAT) 28 OCT, (MON) 13 NOV 1905 AT CAMDEN THEATRE, CAMDEN, LONDON BL BILLS (VOL 474) The 13 November bill is hand-dated to 1900 in pencil; however, Monday was not the 13th of November until 1905. The programme promotes this play as coming

1415. PLAY: THE SCARLET PIMPERNEL. DRAMA 4 ACTS PLA YWRIGHTS: ORCZY & BARSTOW 12 MAR TO 30 JULY 1910 AT NEW THEATRE,

227

ORCZY LONDON PROGRAMMES IN OXBODJJ; WEARING, THE LONDON STAGE: 1910-1919, VOL I, P 17 With Fred Terry and Miriam Lewes. The undated programme in the Oxford Bodleian's John Johnson Collection is probably for this period at the New Theatre, since Miriam Lewes has by now replaced Julia Neilson in both Wearing's and the bill's record. See Wearing for complete cast and references to reviews.

ACTS PLAYWRIGHT: BARONESS ORCZY & MONTAGUE BARSTOW 11 SEPT TO 30 DEC 1915 AT STRAND, LONDON WEARING, THE LONDON STAGE: 1910-1919, VOL I, P580 Akbar of Tarsitan by Edwin Bennett; Sir Percy Blakeney by Fred Terry; Prince of Wales by Bellenden Clarke; Lady Blakeney by Julia Neilson; et al. See Wearing for complete cast and references to reviews.

1416. PLAY: THE SCARLET PIMPERNELL. COMEDY. 4 ACTS PLA YWRIGHT: BARONESS ORCZY & MONTAGUE BARSTOW; PRODUCED BY KLAW & ERLANGER 24 OCT 1910 AT KNICKERBOCKER, NYC (40 PERFORMANCES) BURNS MANTLE, BEST PLA YSOF 1909-1919, P. 428 With Fred Terry and Julia Neilson, visiting from England, and Philip Merivale, Alfred Kendrick, Malcolm Cherry, J. L. Dale, Horace Hodges, H. H. Wright, E. Eastern Pickering, Maurice Elvey, Walter Edwin, et al.

1421. PLAY: THE SCARLET PIMPERNELL PLAYWRIGHTS: BARONESS ORCZY AND MONTAGUE BARSTOW (MON) 30 OCT 1916 AT LYCEUM, EDINBURGH PROGRAMME IN NLS With Julia Neilson and Fred Terry. 1422. PLAY: THE SCARLET PIMPERNEL PLAYWRIGHT: BARONESS ORCZY AND MONTAGUE BARSTOW (MON) 4, 5 MAR 1918 AT HER MAJESTY'S, DUNDEE BILL IN DDLLHC Sir Percy Blakeney by Fred Terry.

1417. PLAY: THE SCARLET PIMPERNEL. DRAMA. 4 ACTS PLAYWRIGHTS: ORCZY & BARSTOW 2 TO 28 JAN 1911 AT NEW THEATRE, LONDON (32 PERFORMANCES) WEARING, THE LONDON STAGE: 1910-1919, VOL I, P101 With Fred Terry and Julia Neilson as Lady Blakeney (returning now to the role).

1423. FILM: THE ELUSIVE PIMPERNEL. BLACK-ANDWHITE. SILENT (6 REELS) SCREENWRITER: FREDERICK BLATCHFORD; DIRECTED BY MAURICE EIVEY 1919BYSTOLL(UK) COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Mare Blanche as Lady Marguerite; Cecil Humphreys as Sir Percy Blakeney; Norman Page as Chauvelin; A. Harding Steerman as Abbe JouqLiet.

1418. PLAY: THE SCARLET PIMPERNEL. DRAMA. 4 ACT PLA YWR1GHTS: ORCZY & BARSTOW 26 JUNE TO 29 JULY 1911 AT NEW THEATRE, LONDON (40 PERFORMANCES) WEARING, THE LONDON STAGE 1910-1919, VOL I, P 154 With Fred Terry and Julia Neilson.

1424. PLAY: THE SCARLET PIMPERNELL. 4 ACTS PLAYWRIGHT: BARONESS ORCZY AND MONTAGUE BARSTOW CA 1922 AT STRAND, LONDON PROGRAMME IN OXBODJJ With Fred Terry and Julia Neilson.

1419. PLAY: THE SCARLET PIMPERNEL. DRAMA. 4 ACTS PLA YWR1GHTS: ORCZY & BARSTOW 11 SEPT TO 30 DEC 1914 AT STRAND, LONDON (128 PERFORMANCES) WEARING, THE LONDON STAGE 1910-1919, VOL I, P580 With Fred Terry & Julia Neilson. 1420. PLAY: THE SCARLET PIMPERNEL.

1425. PLAY: THE SCARLET PIMPERNEL PLA YWRIGHTS: ORCZY & BARSTOW 14 MAY 1928 AT PALACE, LONDON (ONLY ONE MATINEE PERFORMANCE) WEARING, THE LONDON STAGE 1920-1929, VOL II, PP 998-9 Prince of Wales by Malcolm Kee; Sir Andrew Ffoulkes by Frank Vosper; Comte de Tournai by Ben Webster; Sir

DRAMA. 4

228

ORCZY Percy Blakeney by Fred Terry; Lady Blakeney by Julia Neilson; et al. Wearing refers to reviews.

Andrew Ffoulkes; Raymond Massey as Chauvelin; Joan Gardner as Suzanne de Tournay; and Merle Oberon as Lady Marguerite Blakeney; et al.

1426. PLAY: THE SCARLET PIMPERNEL. 4 ACTS PLAYWRIGHTS: ORCZY & BARSTOW 26 DEC 1928 TO 23 FEE, 30 MAR TO 13 APR 1929 AT STRAND, LONDON (89 PERFORMANCES) WEARING, THE LONDON STAGE 1920-1929, VOL II, P 1079 Sir Percy Blakeney by Fred Terry (or Denis Elliot Watson); Sir Andrew Ffoulkes by Denis Banyard; Lady Blakeney by Julia Neilson; et al.

1429. FILM: THE RETURN OF THE SCARLET PIMPERNEL. BLACK-AND-WHITE. 88 MIN SCREENWRITERS: HANS SCHWARTZ, LAJOS BIRO, & ARTHUR WIMPERIS; DIRECTED BY HANS SCHWARTZ; PRODUCED BY SIR ALEXANDER KORDA & ARNOLD PRESSBURGER; CINEMATOGRAPHY BY MUTZ GREENBAUM; MUSIC DIRECTED BY MUIR MATHIESON AND COMPOSED BY ARTHUR BENJAMIN; COSTUMES BY RENE HUBERT; ET AL 1938 BY LONDON FILMS (UK) COREL ALL-MOVIE GUIDE 2 (CD-ROM) Barry Barnes as Sir Percy Blakeney; Anthony Bushell as Sir Andrew Ffoulkes; Francis Lister as Chauvelin; James Mason as Jean Allien; Margaretta Scott as Theresa Cabarrus; Sophie Stewart as Marguerite Blakeney; Frank Allenby as Professor Wilkins; et al. Says the Corel Guide, "The French revolutionary Robespierre vows to get revenge on the Scarlet Pimpernel who has been helping the aristocracy escape from the dreaded guillotine in this sequel to 1935's The Scarlet Pimpernel. To do so Robespierre kidnaps the Pimpernel's wife and takes her to France. Unfortunately, he is not clever enough for the roguish hero and he seen frees her. Together they return to England."

1427. PLAY: THE SCARLET PIMPERNEL PLAYWRIGHT: BEVERLY CROSS; MUSIC BY JEREMY SAMS; DESIGNED BY MARK THOMPSON; LIT BY MARK HENDERSON DEC 1985 TO APRIL 1986 AT HER MAJESTY'S, LONDON PROGRAMME IN MY POSSESSION; I SAW Donald Sinden as the Scarlet Pimpernel; also with Joanna McCallum and Charles Kay. 1428. FILM: THE S C A R L E T P I M P E R N E L . BLACK-AND-WHITE. 95-98 MIN SCREENWRITERS: LAJOS BIRO, SAM N. BERMANN, ROBERT SHERWOOD, & ARTHUR WIMPERIS; DIRECTED BY HAROLD YOUNG; PRODUCED BY A L E X A N D E R KORDA, PHOTOGRAPHED BY HAROLD ROSSON; MUSIC DIRECTED BY MUIR MATHIESON; MUSIC COMPOSED BY ARTHUR BENJAMIN; COSTUMES BY JOHN ARMSTRONG & OLIVER MESSEL [1934] 1935 BY UNITED ARTISTS (BRITISH), ALEXANDER KORDA; AVAILABLE FROM EMBASSY HOME ENTERTAINMENT, PRISM ENTERTAINMENT, BUDGET VIDEO, BLACKHAWK FILMS. PENGUIN VIDEO, SHEIK VIDEO, CABLE FILMS. VIDEO CONNECTION, DISCOUNT VIDEO TAPES, MEDIA HOME ENTERTAINMENT, VCII, FACETS MULTIMEDIA VIDEO GUIDE (1985), P. 239; POTOMAC VIDEO CATALOG (FALL/WINTER, 1986-1987); KODAK VIDEO TAPE AND DISC GUIDE, P. 418; FILM FANATIC, P. 373; SEE MALTIN'S TV MOVIES AND VIDEO GUIDE (1986), P. 843; ENSER, FIIJVIED BOOKS AND PLAYS: 1928-1986, (1987), P. 564; FA GETS VIDEO CA TALOG NUMBER 8, P. 76; COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Leslie Howard as Sir Percey Blakeney; Nigel Bruce as the Prince of Wales; Walter Rilla as Armand St Just; Melville Cooper as Romeny; Anthony Bushell as Sir

1430. FILM: PIMPERNEL SMITH [MISTER V]. BLACKAND-WHITE. 121 MIN SCREENWRITERS: IANDALRYMPLE, ANATOLEDE GRUNWALD, & ROLAND PERTWEE; DIRECTED BY LESLIE HOWARD; PRODUCED BY LESLIE HOWARD; CINEMATOGRAPHY BY MUTZ GREENE AUN & HILDYARD; MUSIC DIRECTED BY MUIR MATHIESON; MUSIC COMPOSED BY JOHN GREENWOOD; ET AL 1942 BY BRITISH NATIONAL (UK) COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Philip Friend as Spencer; Leslie Howard as Professor Horatio Smith; Hugh McDermott as David Maxwell; Mary Morris as Ludmilla Koslowski; et al. Says the Corel Guide, "Eventually retitied Mister V, this is the story of The Scarlet Pimpernel brought up to date. The klutz hero/superhero in this outing is an absentminded archaelogy professor who is in actuality an agent sent to rescue refuges from the Nazis in WWI France. Howard does the role justice, but the film has been made once too often and, in this case, too long." 1431. FILM: THE ELUSIVE PIMPERNEL [THE FIGHTING 229

ORCZY PIMPERNEL]. COLOR. 109 MIN SCREENWRITERS: MICHAEL POWELL & EMERIC PRESSBURGER; DIRECTED BY MICHAEL POWELL & EMERIC PRESSBURGER; PRODUCED SAMUEL GOLDWYN AND SIR ALEXANDER KORDA; CINEMATOGRAPHY BY CHRISTOPHER G. CHALLIS; MUSIC COMPOSED BY BRIAN EASDALE; SETS BY JOSEPH BATO & ARTHUR LAWSON; ETAL 1950 BY BRITISH LION (UK) MALTIN'S TV MOVIES AND VIDEO GUIDE (1986), P. 276; ENSER, FILMED BOOKS AND PLAYS: 1928-1986, (1987), P. 564; COREL ALL-MOVIE GUIDE 2 (CD-ROM) Michael Powell directed Robert Coote as Sir Andrew Ffoulkes; David Niven as Sir Percy Blakeney; Margaret Leighton as Marguerite Blakeney; Cyril Cusack as Chauvelin; Sir Jack Hawkins as the Prince of Wales; Arlette Marchal as the Countesse de Tournal; and Patrick Macnee; et al. "Colorful remake of THE SCARLET PIMPERNEL, with Niven as British fop," reports Maltin, who seems to imply that this is not from a separate novel- as Enser does indeed imply. There were numerous "Pimpernell" books, of course, so that the film could have taken inspiration from more than one. The "Fighting Pimpernell" was the American title of "The Elusive Pimpernel."

seventh movie based on the novel. Made for television, it apparently derived both from The Scarlet Pimpernell and Eldorado. 1434. PLA Y: THE SCARLET PIMPERNELL. MUSICAL PLAYWRIGHT: N/A; BOOK & LYRICS BY NAN KNIGHTON; MUSIC BY FRANK WILDHORN; DIRECTED BY PETER HUNT (OPENING) 9 NOV 1997 AT MINSKOFF, NYC NEW YORK TIMES (9 NOV 1997): AR 16 With Christine Andreas, Terence Mann, and Douglas Sills.

1432. FILM: ADVENTURES OF THE SCARLET PIMPERNEL, VOLS. 1-4. BLACK-AND-WHITE. 53 MINUTES EACH EPISODE SCREENWRITER: UNKNOWN 1955 BY TIMELESS COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Marius Goring, Peter O'Toole, and Robert Shaw.

1433. FILM: THE SCARLET PIMPERNELL. COLOR. [142] 150 MIN SCREENWRITER: WILLIAM BAST; DIRECTED BY CLIVE DONNER; MUSIC COMPOSED BY NICK BICAT AND ROBERT COBERT 1982 BY LONDON FILMS (UK); AVAILABLE FROM UNKNOWN DISTRIBUTOR MALTIN'S TV MOVIES AND VIDEO GUIDE (1986), P. 843; ENSER, FILMED BOOKS AND PLAYS: 1928-1986, (1987), P. 564; COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Anthony Andrews as the Scarlet Pimpernel, Jane Seymour as his wife, Ian McKellen as Chauvelin, James Villiers, Eleanor David, Malcolm Jamieson. Maltin reports that this is a "lavish" filming, and the

230

OUIDA i.e., LOUISE DE LA RAMEE (1839-1908) SELECT PUBLICATIONS The British Museum General Catalogue of Printed Books to 1955 shows the following titles by Ouida: An Altruist (1897); Ariadne, the story of a dream (1877); Bimbi, stories for children (1882); Cecil Castlemaine's Gage (1877); Chandos (1866); ,4 Dog of Flanders (1872); Don Gesualdo (1886); Folle-Farine (1871); Friendship (1878); Guilderoy (1889); Held in Bondage (1863); Helianthus(l9Q8);A House Party (mi)\ Idalia (1867); In a Winter City (1876); In Marenmm (1882); The Massarenes (1897); Moths (1880); Othmar (1885); Pascarel (1873); Pipistrello and other stories (1880); Princess Napraxine (1884);^ Rainy June (1885); Ruffmo (1890); Santa Barbara (1891); Signa (1875); The Silver Christ and a Lemon Tree (1894); Strathmore (1865); Street Dust (1901); Syrlin (1890); 7%e Tower ofTaddeo (1890); Tricotrin, the story of a waif and a stray (1869); Two Little Wooden Shoes (1874); Two Offenders (1894); Under Two Flags (1867); A Village Commune (1881); The Waters ofEdera (1900); Wanda (1883).

CHANDOS (1866) Chandos154 is set at least partly in London, and it concerns John Trevenna, Countess de la Vivarol, Chandos, Clarencieux,

1435. PLA Y: CHANDOS; OR, THE JESTER WHO TURNED TRAITOR. DRAMA. 5 ACTS PLAYWRIGHT: HARTBURY BROOKLYN 30 SEPT(?), OCT 1882 AT ADELPHI, LONDON LC—ADD MS 53280 (C ); LICENSE NO 200 NICOLL (V, 277) The ms in the Lord Chamberlain's collection of plays is 82 folios in a brown paper cover, on lined papers measuring about 7.5" wide by 10" high. The copy is fair and the hands are relatively easy to read. The title page says "Chandos/ or/ The Jester who turned Traitor/ a/ Drama/ in/ Five Acts/ Written by Hartbury Brooklyn/ Act 1." The sticker of licensure gives "Chandos/ Drama 5 acts/Adelphi/Oct 6 1882." The "Dramatis Personae" are Chandos, John Luvenna, Ignatius Mathies (?), Phil Dorvale, Duke of Castlemaine, Duke of Coeur Diamond, ... Beatrix Lennot, Lady Valenia St Albans, et al. Act I, scene I is "Interior of an Old Curiosity Shop;" Scene 2 is "A Street;" Scene 3 is "A Supper Part at Richmond Villa." Act II, Scene 1 is "Rose Corner;" Scene 2 is "Picture Gallery;" Scene 3 is "Masked Ball." Act III, Scene 1 is "Crowd of Creditors—Auctioneer;" Scene 2 is "Garret in Paris;" Scene 3 is "Handsomely Furnished Apartment." Act IV, Scene 1 is "A Plain Chamber;" Scene 2 is "An Artist's Studio;" Scene 3 is "A Cut Wood." Act V, Scene 1 is "A Wretched Garret," Scene 21 "Outside Westminster;" Scene 3 is "Grounds of Clarencieux."

Granville de Vigne was the first title of the story published in the New Monthly Magazine and later known as Held in Bondage. The Bloomsbury Guide to Women's Literature does not mention Held in Bondage among Ouida's works. But see Y. Ffrench [sic], Ouida: A Study in Ostentation. '5I The novel is itself a conventional, Victorian three-decker in outward form.152 The first setting is Berkshire, and the characters include Granville De Vigne, Lady Blanche, Sabretache, Alma, Tressillian, Violet Molyneux, Curly, Granville, Madame de le Vieillecour; Lord Vane, Lucy, Lord Morehampton, et al. The last scenes seem to be laid partly in Paris. There is some remote chance the a play entitled "Held in Slavery," which had some currency in New York in the early 1890s, bore some relationship to Ouida's book, though it may equally have concerned the Sampson and Delilah story.153 Otherwise I have found no evidence of a dramatic version of this book.

151

(London: Cobden-Sanderson, 1938), p.

184. 152

Held in Bondage; or, Granville de Vigne. A Tale of the Day. (London: Tinsley Brothers, 1863). 153

19-24 Dec. 1892 at the Grand Opera House, Brooklyn (Odell XV, 495); 3-8 July 1893 at the Grand Opera House, NYC; (Odell XV, 365); 5-10 June 1893 at Columbus, NYC (Odell XV, 377); 27 Nov. - 2 Dec. 1893 at Novelty, Brooklyn (Odell XV, 816)

154

231

(London: Chapman & Hall, 1866).

OUIDA

A DOG OF FLANDERS (1872)

ID ALIA (1867) The novel itself is a traditional Victorian three-decker in appearance.155 The scene initially is a moor on the Borders, in the Cheviot hills. The references are often to Sir Walter Scott, quite naturally. Characters include Erceldoune, Polemore, Glencairne, Vane, Lady George, and a woman actually named Idalia. There's a Conrad Phaulcon. Much of the action appears to be in Italy, especially in the vicinity of Naples.

1436. FILM: A DOG OF FLANDERS SCREENWRITER: UNKNOWN 1924 COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Jackie Coogan. 1437. FILM: A DOG OF FLANDERS. BLACK-AND-WHITE. 72MIN SCREENWRITERS: AINSWORTH MORGAN & DOROTHY YOST; DIRECTED BY EDWARD H. SLOMAN; PRODUCEDBY WILLIAM SISTROM; CINEMATOGRAPHY BY ROY HUNT; FILM EDITED BY GEORGE CRONE 1935 BY RKO (USA) ENSER, FIUvIED BOOKS AND PLAYS: 1928-1986, (1987), P. 565; NOT INMALTIN; COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Harry Beresford; O. P. Heggie as Jehan; DeWitt Jennings as Cogez; Lightning the Wonder Dog; Helen Parrish as Maria; Richard Quine as Pieter; Christian Rub as Hans; Ann Shoemaker as Frau Cogez; Frankie Thomas as Nello; et al

1439. PLAY: IDALIA, DRAMA. 3 ACTS PLAYWRIGHT: G. ROBERTS 22 APR 1867 AT ST JAMES THEATRE, LONDON LC-ADD MSS 53058 (L) NICOLL (V, 544) The script is on 31 folios, all written on both sides, measuring 9.25" high by 7.5" wide. Nothing about the script makes the relationship to Ouida's book clear, but the characters are clearly hers. The characters include Hugh Stoneleigh, Conrad Falcon, Victor Vane, Idalia, et al.

MOTHS (1880)

1438. FILM: A DOG OF FLANDERS. COLOR. 96 MIN SCREENWRITER: TED SERDEMAN; DIRECTED BY JAMES B. CLARK; PRODUCED BY ROBERT RADNITZ; CINEMATOGRAPHY BY OTTO HELLER; MUSIC COMPOSED BY PAUL SAWTELL & BERT SHEFTER; FILM EDITED BY BENJAMIN LAIRD 1959 BY 20TH CENTURY FOX (USA); AVAILABLE FROM UNKNOWN DISTRIBUTOR MALTIN'S TVMOVIESAND VIDEO GUIDE (1986), P. 251; COREL ALL-MOVIE GUIDE 2 (CD-ROM); ENSER, FILMED BOOKS AND PLAYS: 1928-1986, (1987), P. 565; With David Ladd as Nello; Donald Crisp as Daas; Theodore Bikel as Piet; Max Croiset as Mr. Cogez; and Monique Ahrens as Corrie; et al. Maltin calls this a "tear-jerker for children about a boy, his dog, and friends they make.

Moths appeared in the traditional three volume format in 1880, and reappeared in 1897,1911, and 1947; it had a kind of enduring interest.I56 Allardyce Nicoll remarks that "when Ouida brought out Moths, there was a general rush to bring its excitements to the stage. Three adaptations were written in 1882, three in 1883, while two burlesques were soon on the boards. These few examples may serve to stand for many hundreds. To record here the various adaptations from fiction made during these fifty years would indeed be a lengthy task."157 The present work at least begins that lengthy task.

155

Idalia. A Romance. (London: Chapman &Hall, 1867). 156

(London: Chattos & Windus, 1880, 1897, 1911); see also Powell, Anthony, ed., Moths in Novels of High Scoiety from the Victorian Age, etc. 1947. 157

—Allardyce Nicoll, "Dramatic Conditions,' A History of English Drama 1660-1900, vol. V, p. 80.

232

OUIDA PROGRAMME IN OXBODJJ; BL BILLS (VOL 435) The programme notes that this was "founded on and principally adapted from OUIDA'S Novel of that name." Prince Zouroff by C. Cartwright; Duke of Mull and Cantyre by H. Hamilton; Ivan by Cautley; Princess Nadine Nelaguine by Mrs. Claremont; Lady Dolly Vanderdecken by Miss Carlotta Addison; et al. Act I in the "Gardens of Madame de Sonnaz, Deauville;" Act II in "Prince ZourofFs Chateau Felicite;" Act III in "Prince ZourofFs Palace, St Petersberg;" Act IV was in the "Castle of Szarisla, Poland." The music included an Overture, "Esmeralda," by A. Hermann; a Quadrille, "La Mascotte," by G. Metra; a Valse, "Naples," by E. Waldteufel; a Polka, "Bon Bon," by Rudolf Herzen; another Valse; "Jeunesse Dorse," by E. Waldteufel;" and finally a Polka by Corbett.

1440. PLAY: MOTHS. PLAYWRIGHT: MARIN GRACE 1882 ROYAL OPERA HOUSE, (LONDON?) LC—ADD MS 52380 (A) The ms in the Lord Chamberlain's collection of plays is 145 folios, each measuring about 7" wide by 9" high. The paper is lined, the hand is legible, and the copy is fair. The title page reads "Act 1st/ Scene I/ Black at Trouville/ ... [and then the characters in the play]. The sticker of licensure indicates "Moths/ Play. 4 Acts/ The Characters are Prince Jouroff, Duchesse de Sonmaz, Lord Jura, Coreze, Lady Dolly Vanderdectren, Fuschia Mill." Act 1st, Scene 1 is "Black at Trouville." Act 2nd, Scene 1 is "Felicite." Act 3rd, Scene 1st is "JourofFs Palace." The title page to the 3rd and 4th acts together says "Adapted from Ouida's novel by Marin Grace." Scene 1 is "Tsarisla, The Sacristy of the Chapel."

1443. PLAY: MOTH-QUITOES; OR, OUIDA'S MOTHS. BURLESQUE. 1 ACT PLAYWRIGHT: D. W. EDGAR APR 1882 AT MIDDLESBROUGH NICOLL (V, 80, 353) LC—ADD MS 53271 (A); LICENSE NO 81 The text in the Lord Chamberlain's collection of plays is a printed/published copy, gray bound in paper, in 19 folios each measuring about 4.75" wide by 7" high. The cover page indicates "Moth-quitoes/ ... Ouida's Moths./ A Burlesque in One Act/ by D. W. Edgar./ Cardiff/ Daniel Owen, Howell and Company/ 1882/ Theatre Royal/ Middlesborough/ To be Produced / next Friday/ 21 St" The sticker of licensure indicates "'Moth-Quitoes/ Burlesque (1 Act)/ Royal, Middlesborough/ April 1st, 1882. The title page indicates "Moths-quitoes!/ A freeand-easy version of/ Ouida's 'Moths'/ revised to suit the taste of the most/ sensitive \veader. Made better! by being put into \verse.l A burlesque in one Act./ By D. W. Edgar/ Cardiff: Daniel Owen, Howell and company/ 1882." The whole begins in "Trouville; a scene of true-village simplicity. A combination of Boulogne and Margate. Bathing machines. Nigger minstrels performing in dumb-show. Bathing-woman with towels. \Shilling-anhour'boatman. Chorus of bathers discovered." Scene second is "Exterior of a Cottage by the Sea. But the sea isn 't seen in this scene. American music." Scene third is "Interior of Prince Zouroff s Mansion at Felicite. hCards scattered on the floor. A few candles burning down. General up-all-night aspect. Guests discovered dancing ... . " Scene Fourth is "Garden at Felicite. Mysterious Music" Scene Fifth is "Outside of the 'Zouroff Arms. '; somewhere or other in Russia."

1441. PLAY: MOTHS [STAR AND FLAME]. DRAMA. 4 ACTS PLAYWRIGHT: HENRY HAMILTON 25 MAR 1882 AT GLOBE, LONDON NICOLL (V, 401) LC—CAT ADD MSS 53266 (O); LICENSE NO 16 The ms in the Lord Chamberlain's collection of plays is 186 folios, each measuring about 8" wide by 10.25" high. The text is on lined paper, in two gatherings. The copy is fair and the handwriting is legible. The title page say "Star and Flame/ A Drama/ in four acts/ by/ H. Hamilton." The sticker of licensure says "'Star and Flame' / Drama (4 acts)/ Globe/ January 31 1882." The Characters are Prince Louroff [sic], Duke of Mull and Cantire, Earl of Jura, Raphael de Correye (an operatic tenor), Princess Nadine Delaquine, Duchess de Sonmaz, Lady Dolly Vanderdecken, Vere Herbert (Lady Dolly's Daughter), Fuschia Leach (an American Heiress), guests, servants, et al. Act I is "Gardens of Madame de Sonmaz' hotel at Deauville." Act II is "Prince LourofTs Chateau of Felicite." Act III is "Prince LourofFs Palace at Svir." Act IIII [sic] is "The Castle of Szarisla in Poland." The text has literary quotations at the head of Acts, as for example with Act I, which show "Standing with reluctant feet/ Where the brook and river meet/ Womanhood and childhood fleet"—Longfellow's 'Maidenhood.'" 1442. PLAY: MOTHS! PLAY. 4 ACTS PLAYWRIGHT: H. HAMILTON (THURS) 27 APR 1882 AT OLYMPIC, LONDON

1444. PLAY: MOTHS. PLAY. 4 ACTS PLA YWRIGHT: JOHN C. CHUTE

233

OUIDA AFTER 28 JULY 1882 AT ROYAL, GREENWICH LC-ADD MSS 53276 (H); LICENSE NO 159 The ms in the Lord Chamberlain's collection of plays is 267 folios in four bindings of lined paper, each measuring about 6.25" wide by 7.875" high. The handwriting is clear and the text is virtually not amended. The copy is fair. The title page reads "Moths/ New adaptation for the stage/ of Ouida's novel/ John C. Chute/ 1882." The apparent author's name has been largely obscured by the sticker of licensure, which reads '"Moths'/ Play 4 Acts/ Royal Greenwich/ 28 July 1882." There is no list of characters, but the persons of the play from the text include Dolly, Vera, Correye, Fuschia, Jura, the Duchesse, Prince Jouroff, et al. Act 1, Scene 1 "opens with a romantic woodland in the hills overlooking Trouville. Seats and mossy banks are placed right and left of stage." Act II is "Felicite" "A gorgeously upholstered apartment in the ... Residence of Prince Jouroff. Act III is "Two Years Later. Paris. The Ice Flower. The ground saloon at the Palace of Prince Jouroff." Act IV is "The Ice house prison at Lyarisea (?)."

de Correye (an operatic singer); Lord Jura (an English nobleman); Ivan (a serf); Lady Dolly; Duchess de Sonnaye (an adventuress); Vera Herbert (Lady Dolly's daughter); Fuschia Leach (an American heiress). Act I is "Gardens at Trouville . . . . (A public garden, tastefully laid out.)" Act II is "Felicite, Normandy." Act III if "Felicite, Normandy." Act IV is Yarisland, Poland."

1449. PLAY: MOTHS. DRAMA. 4 ACTS PLAYWRIGHT: DOROTHY LANGDALE FEB (?) 1883 AT UNKNOWN THEATRE LC—ADD MS 53288 (I); LICENSE NO 23 The ms in the Lord Chamberlain's collection of plays is 127 folios of blue-lined white paper, each leaf measuring about 6.5" wide by 7.75" high. The edges of this exercise book have been marbled, and the copy is fair, without amendment. The handwriting is quite legible. The title page says "Moths/ Maidens like moths are ever caught by glare/ And Mammon wins his way where Seraphs/ might despair./ Adapted by Dorothy Langdale." The sticker of licensure indicates '"Moths'/ (Drama)/ Feby 7th 1883." There is no indication of a theatre. The "Characters" are Prince Youroff, Lord Jura, Duke of Mull and Cantyre, Correye, Servant, Fuschia Leach, Lady Dolly Vanderdecken, and Vera. Act I, "Weaving the Web," is set in the "Gardens of Lady Dolly's House at Trouville. Time. Evening." Act II, "Caught in the Toils," is set at "Prince Youroff s Palace ... . Morning." Act III, "Struggling in the Net," is again at "Prince Youroff s Palace." Act IV, "Freed at Last," is set at "Tsarista."

1445. PLAY: MOTHS. DRAMA PLAYWRIGHT: JOHN CHUTE 28 AUG 1882 AT CROYDON NICOLL(V, 80, 310). 1446. PLAY: MOTHS. DRAMA PLAYWRIGHT: UNKNOWN 1882 AT SADLER'S WELLS, LONDON NICOLL(V, 80, 721).

1450. PLAY: MOTHS. DRAMA PLAYWRIGHT: A. M. SEATON 19 MAR 1883 AT ROTUNDA LIVERPOOL NICOLL (V, 80, 559) There does not seem to be a manuscript for this particular production, which suggests that it was based on a text licensed originally for another theatre.

1447. PLAY: MOTHS. DRAMA PLAYWRIGHT: UNKNOWN 5 OCT 1882 AT TORQUAY NICOLL(V, 721). 1448. PLAY: MOTHS. DRAMA. 4 ACTS PLAYWRIGHT: W. F. LYON 12 FEE 1883 AT PETERBOROUGH NICOLL (V, 80, 465) LC—ADD MS 53289 (B); LICENSE NO 27 The ms in the Lord Chamberlain's collection of plays is 72 folios each measuring about 7" wide by 9" high, on lined paper, in fair copy, and a clear hand. There is nothing on the title page except the sticker of licensure, which indicates "'Moths'/ Drama (4 Acts)/ Royal Peterborough/ (... [illegible] W. F. Lyon's Company)/ Feb. 10. 1883." The "Dramatis Personae" are Prince Youroff (a Russian Prince); Duke of Mull (An English nobleman); Raphael

1451. PLAY: MOTHS A LA MODE. BURLESQUE PLAYWRIGHT: F. H[UGH] HERBERT 5 MAR 1883 AT PRINCESS, EDINBURGH NICOLL (V, 80, 418)

1452. PLAY: MOTHS A LA MODE. BURLESQUE. 1 ACT PLAYWRIGHT: F. HUGH HERBERT (AFTER) 23 FEB 1883 AT HER MAJESTY'S, ABERDEEN LC—ADD MS 53289 (I); LICENSE NO 34 Allardyce Nicoll shows this only at the Princess,

234

OUIDA 1455. PLAY; MOTHS PLAYWRIGHT. HAMILTON 20 OCT 1884 AT PEOPLE'S THEATRE, NYC ODELL (XII, 464) With "Wallack's actors," says Odell, who reports Osmond Tearle, Rose Coghlan, Mrs. Sol Smith, and Sadie Martinet in the cast—"as at the Grand Opera House two weeks later."

Edinburgh (see above); however, the licensed ins clearly shows "Her Majesty's, Aberdeen." It could very well have played both houses. The ms in the Lord Chamberlain's collection of plays is 19 folios covered in marble oilcloth (?), all measuring about 6.25" wide by 8" high. Though the hand is hasty, the copy is fair and not amended. The sticker of licensure on the front cover indicates "Moths a la Mode/ Burlesque (1 act)/ Her Majesty's, Aberdeen/ Febry 23. 1883." The title page says "'Moths a la Mode/ A Burlesque Trifle/ in One Act/ by/ F. Hugh Herbert." The characters are Raphael de Corize (an utterly impossible Hero); Vera (ditto ditto heroine); Lady Dolly (quite a young thing too—more or less); Prince Youroff (the villain of the piece); Lord Jura (a good fellow, but a great fool); Duke of Mull (Same, only more so); Fuchsia Leach (a perfect lady); Fanfreluch (?) (Out of another novel). The scene is U A French watering place."

1456. PLAY: MOTHS PLAYWRIGHT. HAMILTON 27 OCT 1884 AT PARK, BROOKLYN ODELL (XII, 560) "The fine Wallack company began a week of Moths, on October 27th, with Osmond Tearle, Gerald Eyre, Charles Glenney, J. C. Buckstone, Rose Coghlan, Flora Livingston, Sadie Martinet (as Fuchsia Leach), Mrs. Sol Smith, and Nellie Abbott"—Odell.

1453.

PLAY: MOTHS PLA YWRIGHT: HENRY HAMILTON 18 OCT 1883 AT WALLACK'S NATIONAL THEATRE, NYC ODELL (XII, 208, 209) Odell reports that "Wallack had a rather pleasing success with Henry Hamilton's dramatisation of Moths, one of the novels of the then still popular Ouida. The cast, at least by reputation of participants, was far more impressive than that of its immediate predecessor on Wallack's stage. Caroline Hill (Mrs. Kerbert Kelcey) made her New York debut in the striking comic role of Lady Dolly Vanderdecken, and won her audience by her bright, sparkling manner and by her elaborate costumes. Osmond Tearle made his first appearance of the season as Raphael de Carreze, with Gerald Eyre as Prince Zuroff, Charles Glenney (a clever actor) as Lord Jura, Wilmot Eyre as the Duke of Mull and Cantyre, S. Du Bois as Ivan, Rose Coghlan as Vere Herbert, Isabella Evesson (first appearance at Wallack's) as Fuschsia Leach, Helen Tracy as Princess Nadine, and Flora Livingston as Duchess de Sonnaz. As usual with Ouida, one moved in very high society, in Moths; to her, princes were but as mere men of exciting fiction."

1457. PLA Y: MOTHS PLA YWRIGHT UNKNOWN 26-31 OCT 1885 AT STANDARD MUSEUM, BROOKLYN ODELL (XIII, 166) With Helen Adell, Sara Lascelles, and D. W. Eagle. 1458. PLA Y: MOTHS PLAYWRIGHT HAMILTON 8 DEC 1886, 14 MAR 1887 AT WALLACK'S NATIONAL THEATRE, NYC ODELL (XIII, 210) Raphael de Correze by Kyrle Bellew; Lord Jura by Herbert Kelcey; Prince Zouroffby E. J. Henley; Duke of Mull by Henry Hamilton himself; Ivan by S. Dubois; Vere Herbert by Annie Robe; Lady Dolly by Fanny Addison; Fuchsia Leach by Helen Russell; Princess Nadine by Mine. Ponisi; Duchesse de Sonnaze by Sadie Bigelow. 1459. PLA Y: MOTHS. THIRD ACT ONLY PLA YWRIGHT: UNKNOWN [HAMILTON—MY INFERENCE] 29 OCT 1886 AT GRAND OPERA HOUSE, NYC ODELL (XIII, 260).

1454. PLAY: MOTHS. DRAMA PLA YWRIGHT: MERVYN DALLAS 26 JUNE 1884 AT STRAND, LONDON NICOLL (V, 80, 332) LC Nicoll seems to suggest that H. Hamilton's text was submitted to the Lord Chamberlain's office for production in Salisbury on 7 Feb. 1883.

1460. PLA Y: MOTHS PLAYWRIGHT H.HAMILTON 29 OCT 1890 AT LYRIC, LONDON WEARING, THE LONDON STAGE 1890-1899, VOL I,

235

OUIDA BL BILLS (VOL 438, F 216) "For one night only," says the programme, which also identifies this as "an adaptation of QUID A'S Novel."

P73 Prince Zouroff by R. S. Boleyn; Duke of Mull & Cantyre by Sidney Brough; Lord Jura by F. H. Macklin; Princess Nadine Nelaguine by Henrietta Lindley; Fuschia Leach by Fanny Brough; et al. Wearing gives the complete cast and refers to reviews.

SIGNA (1875)

1461. PLAY: MOTHS PLAYWRIGHT: H. HAMILTON 29 OCT 1892 AT LYRIC, LONDON WEARING, THE LONDON STAGE 1890-J 899, VOL I, P262 Prince Zouroffby R. S. Boleyn; Duke of Mull & Cantyre by Sidney Brough; Lord Jura by F. H. Macklin; Princess Nadine Nelaguine by Henrietta Lindley; Fuschia Leach by Fanny Brough; et al. The details that Wearing gives are virtually identical for this production and that mentioned above in 1890 at the Lyric. This is either an error or the cast that had acted together in this play two years before was assembled again-or, indeed, had never gone their separate ways.

The novel itself is a conventional Victorian three-decker in form.158 The opening scene is Tuscany, and the characters include Bruno, Lippo, Pippa, Nita, Old Baldo, Lido, as well as a child actually named Signa. Published dramatizations: Beckett, G. A. & Rudall, H. Signa, opera in tre atti, parole die G. A. Beckett & H. Rudall, musica di Federico Cowen, traduzione ritmica di G. Mazzucato. Milan: Edoardo Sonzogno, 1893.

1462. PLAY: MOTHS PLAYWRIGHT: H. HAMILTON 7 MAY 1896 AT ST JAMES THEATRE, LONDON WEARING, THE LONDON STAGE 1890-1899, VOL I, P561 Prince Zouroffby Charles Cartwright; Duke of Mull & Cantyre by Vincent Sternroyd; Lord Jura by Arthur Elwood; Duchesse de Sonnaz by Beverley Sitgreaves; Lady Dolly Vanderdecken by Kate Phillips; Fuschia by Mrs. Clement Scott; et al. See Wearing for complete cast.

1465. PLAY: SIGNA. OPERA. 3 ACTS PLA YWRIGHT: G. A. A BECKETT, H. A. RUDALL, & F. E. WEATHERLEY; MUSIC BY COWEN 1894 AT COVENT GARDEN, LONDON NICOLL (V, 234) MILAN: SONZOGNO, 1893 LC A footnote to the "Argomento" says that"// soggetto del presente melodramma e tratto dal romanzo omonimo di Ouida" The characters are Bruno, Signa, the Duke, Sartorio, Gemma, and Palma. The setting is the Italian countryside, and the time circa 1800.

1463. PLA Y: MOTHS. 3 ACTS PLAYWRIGHT: ANON 31 MAR TO 6 APR 1928 AT REGENT THEATRE, LONDON WEARING, THE LONDON STAGE 1920-J 929, VOL II, P977 Raphael de Correze by Claude Ricks; Duke of Mull & Cantyre by William Dewhurst; Prince Sergius Zouroffby Edmund Blake; Lord Jura by Gerard Neville; Lady Dolly Vanderdecken by Dorothy Dewhurst; Vere Herbert by Peggy Mortimer; Duchess of Sonnaz by Violet Howard; Fucshia Leach by June Meredith; et al.

TWO LITTLE WOODEN SHOES (1874) The novel, which was published in a single volume,159 opens with sixteen-year-old Bebee jumping out of bed in

158

1464. PLA Y: MOTHS PLAYWRIGHT: UNKNOWN (FRI) 23 OCT 1931 AT BRIXTON, LONDON

Signa: A Story (London: Chapman &

Hall, 1875). 159

Two Little Wooden Shoes. A Sketch (London: Chapman & hall, 1874).

236

OUIDA story was originally written for a military periodical." The characters include Mr. Rake, Bertie Cecil of the First Life Guards, a Mr. Willon, the King, Cigarette, et al.

the morning in Brabant. Other characters are Flamen, Mere Krebs, and Annemie. Published dramatizations: Carre, Michel. & Hartman, Georges. Muguette. Opera Comique en quatre actes, cinq tableaux, d'apres une nouvelle de 'Ouida.' Poeme de Michel Carre & Georges Hartmann. Musique de Edmond Missa.. Paris: Caiman-Levy, 1910—octavo.

1468. PLA Y: UNDER TWO FLAGS; OR, A RACE FOR LIFE THROUGH FLOOD AND FLAME. DRAMA PLAYWRIGHT: UNKNOWN 12 MAY 1869 AT SURREY, LONDON NICOLL (V, 762) LC.

1466. PLAY: MUGUETTE. FOUNDED UPON QUID A'S "TWO LITTLE WOODEN SHOES. COMIC OPERA. 4 ACTS PLAYWRIGHT: MICHEL CARRE & GEORGES HARTMAN 18 MAR 1903 AT OPERA-COMIQUE, PARIS P A R I S : CALMAN-LEVY, 1910-OCTAVO (SHELFMARK 906.K.4. (3.) The characters are Lionel, Klotz, Peeler Pot, Vanhart, Jean Kobe, Muguette, Line Krebs, Melka, Madame Vanhart, Gertrude, and Mere Rosa.

1469. PLAY: UNDER TWO FLAGS PLAYWRIGHT: W. H. ABEL 14 NOV 1870 AT NORWICH NICOLL (V, 234).

1470. PLA Y: UNDER TWO FLAGS PLAYWRIGHT: UNKNOWN 3 JULY 1871 18 AT OLYMPIC, NYC ODELL (IX, 22) With Mr. and Mrs. Watkins.

1467. PLAY: MUGUETTE. OPERA. 5 ACTS PLAYWRIGHT: EDMOND MISSA 25, 28, 30 MAY, 3, 8, 11, 15, 17 JUNE 1910 AT HIS MAJESTY'S, LONDON (8 PERFORMANCES) WEARING, THE LONDON STAGE: 1910-1919, VOL I, P. 37 Wearing indicates that this was founded on Ouida's Two Little Wooden Shoes. Lionel by John Coates; Klotz by Harry Dearth; Peter Pot by Denis Byndon-Ayres; Muguette by Ruth Vincent; Lena Krebs by Muriel Terry; et al. See Wearing for complete cast and references to reviews.

1471. PLAY: UNDER TWO FLAGS. DRAMA. PROLOGUE AND THREE ACTS PLAYWRIGHT: GEO. DAVENTRY 1882 AT ROYAL, DUNDEE LC—ADD MSS 53277 (J); LICENSE NO 171 The ins in the Lord Chamberlain's collection of plays is on 96 folios of lined paper each measuring about 6" wide by 8" high. The copy is fair, and the hand is large but sometimes difficult to read. The title page reads '"Under Two Flags'/ An entirely new and original/ Military drama/ in three acts and a prologue/ adapted (by permission) from/ ... [illegible] celebrated novel of the same name. Geo Daventry." The sticker of licensure indicates "Under Two Flags/ Play/ 3 Acts/ Royal Dundee/ Sept 13 1882." The "Cast of Characters" are Hon. Bertie Cecil, Berkeley Cecil, Marquis of Rockingham, Rake, Willow, Ben Davis, Ezra Barvin (a Hebrew money lender), Marshall of France, Marquis de Chateauory; Claude Chancellor; Alderin Lata, Lady Guinevere; Venetia; Djelma (?) Wife of the Emir; Cigarette. Prologue, Scene 1 is in "Bertie Cecil's Room. " Scene 2 is "The King's Nose." Scene 3 is "Cecil's Room as Before." Scene 4 is "A Miserable Garret in Baden." Scene 5 is "The Badecker Hof." Act I, Scene 1 is in Algiers, "Interior of Barracks." Scene II is a "Terrace in the Garden of the Prince's House." Scene III is "An

UNDER TWO FLAGS (1867) The novel was originally published in book form in 1867,160 and a note to the reader informs us that "this

160

Under two Flags; a story of the Household and the Desert. (London: Chapman & Hall, 1867)-8vo. Shelfmark: 12625.aa.12.

237

OUIDA Sherwood. With Blanche Bates, Francis Carlyle, Maclyn Arbuckle, Edward S. Abeles, Rose Snyder, Margaret Robinson, Campbell Gollan, et al.

Algerian Landscape." Scene 4 is "Marquee of the Princess ... [illegible]." Scene 5 is a "Plateau near the camp." Act II, Scene I is "A Roughly Constructed Hut." Scene II is "An Africa Desert." Scene 3 is "A Landscape near Zarsila (?)." Act HI, cene I is "A large military tent." Scene II is "A Moorish street." Scene III (numbering non-consecutive and erratically Arabic and Roman) "Chamber of a house in Algeria." Scene 4 "Interior of a fortress." Scene 5 is "A wild part of the plain." Scene 6 is "An open plain near the French camp." The whole is signed by "Geo. Daventry/ April 21/ 82."

1475. PLAY. UNDER TWO FLAGS. 2 ACTS PLAYWRIGHT: UNKNOWN 10 MAR 1908 AT LYCEUM, LONDON (1 PERFORMANCE) WEARING, THE LONDON STAGE: 1900-1909, VOL I, P641 Bertie Cecil Royellieu by Mark Blow; Lord Rockingham by Austen Milroy; Princess Venetia Corona by Doris Gilham; Countess Olga by Joan Stern; Cigarette by Ida Molesworth; et al. Wearing remarks that "it has not been possible to identify which of several versions of Ouida's novel this is."

1472. PLA Y: UNDER TWO FLAGS. DRAMA. PROLOGUE & 3 ACTS PLAYWRIGHT: JAMES THACKER 31 OCT 1883 AT BIJOU, WOOLWICH NICOLL (V, 762) LC—ADD MS 53304 (B); LICENSE NO 218 The ms in the Lord Chamberlain's collection of plays is in 64 folios with a brown paper cover. Each folios measures about 6" wide by 8" high. Some of the last are lined. The copy is fair and the hand generally easy to read. The title page says "Under Two Flags/ A Military Drama/ ... Prologue and three acts. By James Thacker/ 135 Villas Road/ Plumsland/ Prologue/ Bijou Theatre/ Woolwich." The sticker of licensure says '"Under Two Flags'/ Play (3 Acts)/ Bijou, Woolwich/ . . . . [illegible] 31st 1883. There is no list of characters, but the people of the play include Cecil, Scatter, Flanagan, Berkely, Seraph, Beatrice, Baroni, Chancellor, Princess, Cigarette, Prologue, Scene 1 is "England." Act I, Scene 1 is "Algiers. Camp of the Chasseurs." Act II, Scene 11 "A Drawing Room." Act III, Scene 1 is "A Street in Algiers." Scene 2 is "Headquarters of the Due." Scene 3rd is "The Camp as in Scene 1."

1476. PLA Y: UNDER TWO FLAGS PLAYWRIGHT: ARTHUR SHIRLEY 29 OCT TO 13 DEC 1913 AT LYCEUM, LONDON WEARING, THE LONDON STAGE: 1910-1919, VOL I, P393 Hon. Bertie Cecil and Louis Victor by Lauderdale Maitland; Berkeley Cecil by Frank Harvey; Zorilda by Deborah Nansen; Princess Venetia Corona by Grace Denbigh-Russell; Lady Guinevere by Phyllis Dailley; Cigarette by Minnie Tittell Brune; et al. See Wearing for complete cast and references to reviews. 1477. FILM: UNDER TWO FLAGS. BLACK-AND-WHITE. SILENT. 6 REELS SCREENWRITER: UNKNOWN; DIRECTED BY J. GORDON EDWARDS; PRODUCED BY J. GORDON EDWARDS 1916 BY FOX (USA) LCLPA *T-LC LOBBY CARDS BOX #133. COREL ALL-MOVIE GUIDE 2 (CD-ROM) Theda Bara as Cigarette; Charles Craig as Rockingham; Joseph Crehan as Rake; Herbert Hayes as Bertie Cecil; Stuart Holmes as Chateauroye; Stanhope Wheatcroft as Berkeley Cecil; Claire Whitney as Venetia.

1473. PLA Y: UNDER TWO FLAGS. DRAMA PLAYWRIGHT: GEORGE DAVENTRY 8 NOV 1884 AT PAVILION, LONDON NICOLL (V, 338) Nicoll seems to indicate that the Lord Chamberlain licensed this play to the theatre in Dundee on 15 Sept. 1882.

1478. FILM: UNDER TWO FLAGS. BLACK-AND-WHITE. SILENT. 8 REELS SCREENWRITERS: TOD BROWNING, ELLIOT J. CLAWSON, & EDWARD T. LOWE, JR.; DIRECTED BY TOD BROWNING; CINEMATOGRAPHY BY WILLIAM FILDEM 1922 BY UNIVERSAL/MCA UNIVERSAL (USA) LCLPA *T-LC LOBBY CARDS BOX #133; COREL ALL-MOVIE GUIDE 2 (CD-ROM)

1474. PLAY: UNDER TWO FLAGS. DRAMA. 5 ACTS PLAYWRIGHT: PAUL M. POTTER; PRODUCED BY CHARLES FROHMAN; STAGED BY DAVID BELASCO; SETS BY ERNEST GROS 5 FEE 1901 AT GARDEN, NYC MANTLE & SHERWOOD, BEST PLA YS1899-1909, P. 387 "Founded on the novel by Ouida," say Mantle &

238

OUIDA bill. Marquis de Sabran by Charles Warner; Prince Ego Vasarhely by Cooper Clifee; Due de Noira by Maurice Mancini; Princess Ottilie by Mrs. Lancaster Wallis; Mdlle Peppinette by Miss Jesie Huddleston.

With Norman Kerry as Bertie Cecil; John Davidson as Sheik Ben Ali Hammed; Priscilla Dean as Cigarette; Stuart Holmes as Marquis de Chateauroy; Burton Law as Sheik's Aide; Robert Mack as Rake; Albert Pollett as Captain Tollaire; Ethel Grey Terry as Princess Corona. LCLPA has a tinted photo of Priscilla Dean with her costar (presumably), and with the motto "It is the answer to my prayer—for you—and my flag!" 1479. FILM: UNDER TWO FLAGS. BLACK-AND-WHITE. 96MIN SCREENWRITERS: WALTER FERIS & W. P. LIPSCOMB; DIRECTED BY FRANK LLOYD; PRODUCED BY DARYL ZANUCK & RAYMOND GRIFFITH; CINEMATOGRAPHY BY ERNEST PALMER & SIDNEY WAGNER; MUSIC DIRECTED BY LOUIS SILVER; MUSIC COMPOSED BY RALPH DIETRICH & LOUIS SILVERS; FILM EDITED BY RALPH DIETRICH; ETAL 1936 BY 20TH CENTURY FOX (USA); AVAILABLE FROM UNKNOWN DISTRIBUTOR COREL ALL-MOVIE GUIDE 2 (CD-ROM); MALTIN'S TV MOVIES AND VIDEO GUIDE (1986), P. 1037; ENSER, FILMED BOOKS AND PLAYS: 1928-1986, (1987), P. 565 With Ronald Colman as Sgt. Victor; Claudette Colbert as Cigarette; Victor McLaglen as Maj. Doyle; Rosalind Russell as Lady Venetia; Gregory Ratoff as Ivan; Nigel Bruce as Captain Menzies; Herbert Mundin as Rake; John Carradine as Caflfard; and J. Edward Bromberg as Col. Ferol; et al.

UNDATED PRODUCTIONS 1480. PLA Y: UNDER TWO FLAGS PLA YWRIGHT: PAUL POTTER UNKNOWN PRODUCTIONS PLAYHOUSES STURTEVANT, UC DISS.

AT UNKNOWN

WANDA (1883) Wanda. (London: Chatto & Windus, 1883).

1481. PLA Y: THE SIN OF A LIFE. DRAMA. 4 ACTS PLAYWRIGHT: WALTER REYNOLDS 30 SEPT, 19 OCT 1901 AT ROYAL PRINCESS, LONDON BL BILLS (VOL 339); PROGRAMME IN OXBODJJ; "Founded upon Ouida's Famous Novel, 'WANDA,'" says the

239

JANE PORTER (1776-1850)

although the title pages of all bindings give both stories.163 The last two bindings contain this story. The introduction-a kind of history of the field in question- is at first partly told in several first persons, as by the Toxophilite "who first repeated the tale to me." The narrator wanders the fields of the area now occupied by the University of London. The scene of much of the novel is very much the area that was later to become part of north London: Bloomsbury, the British Museum, Gower Street, etc. The characters include Sir Eustace de Matchelowe, Lady Aphra de Matchelowe, Henry de Matchelowe, Arthur de Matchelowe, Geoffrey Baldry, Philip Baldry, Lady Aphra Carey, Leonard, Dame Mildred Woolnoth, Lady Mariam Cromwell, Lady Frances, Master Felton, Colonel Massey, Betha (Elizabeth), Gervase the old gardener and his son Hugh, et al. As the subtitle indicates, the play is set during the time of Oliver Cromwell, who is frequently mentioned, as is Jo. Bradshaw and H. Ireton, General Massey, Tyrrell.

SELECT PUBLICATIONS The British Library General Catalogue of Printed Books to 1975 shows the following titles by Jane Porter: Young Hearts (1834); Duke Christian of Luneburg; or, Tradition from the Hartz (1824); The Field of Forty Footsteps (1828); The Pastor's Fireside, a novel (1817); The Scottish Chiefs, a romance (1810)—of which there are at least sixteen editions in English and one in French. Several of the later editions are illustrated and one is somehow related to "Boys", which probably means children's literature; Sir Edward Seaward's Narrative of his shipwreck, and consequent discovery of certain islands in the Caribbean Sea: [by William Ogilvie Porter]. Edited and sometimes attributed to Miss Jane Porter (1831); A Sketch of the Campaigns of Count A. Suwarrow Rymnikski (1804); Thaddeus of Warsaw (1804)—of which there are at least sixteen editions in English; Coming Out; and the Field of the Forty Footsteps, by Jane andAnna Maria Porter (1828); Tales Round a Winter Hearth (1826). The Pastor's Fireside appeared in 1817, and a play by the same title appeared in 1831 at the Surrey.161 Any connection between the two, however, is only speculative.162

The plays derivative from this novel also display-or at least claim-involvement with another novel, Sir Walter Scott's Bride of Lammermoor. (See the entry for June 1852 at the Theatre Royal, Birmingham, for example).

Published dramatizations: THE FIELD OF FORTY FOOTSTEPS (1828)

Farren, Percy. The Field of Forty Footsteps. A drama. In Lacy's Acting edition of Plays, vol 16. London: Lacy, nd [1850]-duodecimo.

Jane Porter's story was published together with a companion story, "Coming Out," by Anna Maria Porter. The three-volume issue of this publication appeared in five bindings, which can cause considerable confusion,

Farren, Percy. The Field of Forty Footsteps. In Dicks' Standard Playss, no 569. London: Dicks, nd [1884]-octavo.

161

The Pastor's Fireside. A Novel in Four Volumes. (London: Longman, Hurst, Rees, Orme, & Brown, 1817). For a reference to the play, see Nicoll (V, 517). Unfortunately, the only play in the Lord Chamberlain's collection that bears this title seems to be a dramatic version of The Vicar ofWakefield.

163

Jane and Anna Maria Porter, Coming Out: and The Field of the Forty Footsteps (London: Longman, Rees, Orme, Brown, & Green, 1828), 3 vols, 5 bindings. See BL Shelfmark 126147 FF22. Bindings 4 and 5 include The Field of the Forty Footsteps; a romance of the seventeenth century. See also Field of the Forty Footsteps-BL Shelfmark N 1439-which may also contain the story..

162

The novel opens in Lindisfarne, where the Reverend Richard Athelstone's house stands. The characters include Cornelia, Ferdinand, Louis de Montemar, Alice, Countess Altheim, a Marquis, Monsieur Phaffenberg, Otteline, et al. I have not been able to locate a copy of the play. 240

PORTER 1486. PLAY: FIELD OF FORTY FOOTSTEPS. DRAMA. 3 ACTS PLAYWRIGHT: FARREN 1832 AT SURREY, LONDON REFERENCE ON TITLE PAGE OF LACY'S EDITION Sir Arthur Matchlowe by Balls; Geoffrey Matchlowe by C. Hill; Sir Nicholas Vere by Dibdin Pitt; Goliah Barebones by Rogers; Peter Pipkin by Vale; Lady Vere by Mrs. Young; Frances by Mrs. Wilkinson; Rose Downright by Miss Vincent; Mabel Donavan by Mrs. Vale; Susan Homespun by Miss Jordan; and Egyptian Woman by Miss Nichol; et al.

1482. PLAY: THE FIELD OF THE FORTY FOOTSTEPS. MELODRAMA PLA YWRIGHT: PERCY FARREN (SAT) 16, 18-21, 25-27 JAN, 1, 9, 10, 13, 18. 19, 27 FEE, 2, 3, 5, 8, 15, 19, 26 MAR, 15, 17 APR, 28-30 JUNE, 1, 7, 23 JULY 1830 AT TOTTENHAM COURT THEATRE [LATER QUEEN'S], LONDON BL BILLS (VOL 163) NICOLL(IV, 311) LONDON: LACY, VOL 16, ND [1850]; LONDON: DICKS, NO 569, ND[ 1884] The published version in Lacy's gives this as the first production of the play. Indeed, it would make sense that the play would start in the vicinity of the field that it concerns, along the west side of which Tottenham Court road must have run. The bill is the earliest to produce the standard language about the narrative source of the play—see below (3 Sept. 1833, in Oxford). " ... the story is extremely imperfect; but upon its brief memorial, and a leading incident in a popular Scotch Novel, a Drama, intended to be presented to the public under the above title, is founded." Henry, Duke of Gloucester, by Miss Greener; Arthur Matchlove by Vining; Geoffrey Matchlove by Howard; Peter Pipkin by P. Farren; Lady Vere by Mrs. Vaughan; Rose Downright by Mrs. Waylett (especially featured in boldfaced type); et al. Clearly, these characters are a mixture of Jane Porter's either with Farren's or someone else's.

1487. PLAY: FIELD OF FORTY FOOTSTEPS. MELODRAMATIC PLAY PLAYWRIGHT: ANON (FRI) 28 JUNE 1833 AT HAYMARKET, LONDON LC—ADD MS 42922 (FF 79-133) BL BILLS (VOL 123, 1) The ms in the Lord Chamberlain's papers is on 54 pale blue leaves, in a legible, elegant hand without amendments. The title page indicates that the license was issued on 27 May 1833 and for a play entitled "Field of Forty Footsteps." There is no theatre of license recorded in connection with this production, so that the ins cited may not be that which informed this particular production. The chances are, however, that Add Ms 42922 (FF 79-133) is the text of the Haymarket production. The characters in the ms are Sir Arthur Matchlowe, Geoffrey Matchlowe, Henry Duke of Gloucester, King Charles 1st, Sir Thos. Fairfax, Sir Nicholas Vere, Peter, Goliah Barebones, Jonathan Homestead, Lady Vere, Frances Vere, Rose Downright, Mabel Donavan, Susan Homestead, and an Egyptian woman. Act I, Sc 1 is "An Apartment meanly furnished in the neighborhood of St Giles." Sc 2 is "A room in Matchlowe House." Sc 3 is "An old fashioned Tapestry Chamber." Act 2, Sc 1 is "The outside of a cottage in a retired situation near the Sea-Coast." Sc 2 is "The inside of the tent of Thos. Fairfax." Sc 3 is "St Giles Field, Midday. Enter Geoffrey Matchlowe." Sc 4 is "A Chamber in the Matchlowe House. Enter Sir Nicholas and Lady Vere." Sc 5 is "A rudely built cottage supposed to stand in the neighborhood of St Giles' field. Thunder and lightning. Enter Frances & Rose." Sc 6 is "A chamber of vast yet indistinct appearance, looking as if a mist were hanging over it. A female figure draped in a foreign costume is seated at a table with skull & crossbones. A lamp burning. A wand is in her hand." Act 3, Sc 1 "Servants' room attached to Miss Vere's apartment (window looks onto gardens)." Sc 2 is "A large hall in Matchlowe House, decorated for a nuptial ceremony." Sc 3 is "A Hall—Enter Geoffrey." Last

1483. PLAY: A FIELD OF FORTY FOOTSTEPS. DRAMA PLAYWRIGHT. ANON (FRI) 3 SEPT 1830 AT THEATRE, WORCESTER BL BILLS (VOL 289) Henry Duke of Gloucester by Miss Williams; et al. 1484. PLAY: THE FIELD OF FORTY FOOTSTEPS. MELODRAMA PLAYWRIGHT: FARREN 11 JULY 1831 AT NEW CITY THEATRE, LONDON NICOLL(IV, 311). 1485. PLAY: FIELD OF FORTY FOOTSTEPS. DRAMA. 2 ACTS PLAYWRIGHT: ANON (MON) 28-30 NOV, 3, 15 DEC 1831 AT QUEEN'S THEATRE, LONDON BL BILLS (VOL 163) Rose Downright by Miss S. Booth; et al. 241

PORTER scene is "St Giles field by Moonlight (Enter Sir Arthur and Peter). The bills give Sir Arthur Matchlowe by Vining; et al.

FIELD OF FORTY FOOTSTEPS. DRAMA PLAYWRIGHT: ANON (FRI) 7 MAR 1834 AT THEATRE, LYNN BL BILLS (VOL 292) Though the dramatis personae make this look unrelated to Scott's novel, Ford reports that the catastrophe is based on the Bride of Lammermoor--as the title of this production makes plain. Henry, Duke of Gloucester, by Miss Nicholson; Sir Arthur Matchlow by Hield; Lady Vere by Mrs. Watkinson; Rose Downright by Miss Phillips; et al.

1488. PLAY: THE FIELD OF FORTY FOOTSTEPS. ROMANTIC DRAMA. 3 ACTS PLAYWRIGHT: ANON (TUES) 3 SEPT 1833 AT THEATRE, ST MARY HALL LANE, OXFORD BL BILLS (VOL 298) "This play is founded on Miss Jane Porter's celebrated story of the same name, and is constructed on a strange and eventful circumstance which occurred in one of the Fields now built over in Gower Street, London, in the immediate vicinity of Bloomsbury Square, called the LONG FIELDS, between Tottenham Court Road and a rustic Lane Eastward, which ran from the top of Southampton Row towards Hampstead, and the first stone of the New London University was laid at the North Western extremity of the remaining remnant of the Long Fields. "In one of those fields the marks as if of human Footsteps presented themselves, bearing the appearance of a regular advance and retreat of two persons engaged in mortal combat; and although the Grass stood high and rich on all the rest of the ground, not a blade grew on the apparent Footsteps. This strife, as the tradition states, was between TWO BROTHERS, both of whom perished, and took place during the Commonwealth. Upon its brief memorial and a LEADING INCIDENT in a popular Novel, the above Drama is constructed. On its production in the Metropolis, its success was so decisive that the Play was acted SEVENTY NIGHTS with enthusiastic applause." Sir Nicholas Vereby Gattie; Henry, Duke of Glo'ster (Son of Charles I) by Mrs. Harrington; Sir Arthur Matchlowe by Balls; Geoffry Matchlowe by Langley; Peter Pipkin by Renaud; Lady Vere by Mrs. Brooks; Rose Downright by Miss Weston; Susan by Miss Scruton; et al.

1491. PLAY: FIELD OF FORTY FOOTSTEPS. DRAMA PLAYWRIGHT: ANON (WED) 20 AUG 1834 AT THEATRE, YARMOUTH BL BILLS (VOL 290) Henry, Duke of Gloucester by Nicholson; et al. 1492. PLAY: BRIDE OF LAMMERMOOR. DRAMA PLAYWRIGHT: ANON (SAT) 5 NOV 1836 AT THEATRE, ST ALBANS BL BILLS (VOL 280) The bill says that this is "a Drama founded on the Novel of the BRIDE OF LAMMERMOOR," although the dramatis personae do not indicate as much. The scenario does suggest derivation from Scott's novel, however. Sir Archer Matchlowe by Stanmore; Geoffry Matchlowe by Palmer; Peter Pipkin by Moulton; Sir Nicholas Vere by James; Goliah Barebones by Deering; James by Lewis; Jonathan by Lambert; Herbert by Walton; Lady Vere by Mrs. James; Frances Vere by Miss Grant; Rose Downright by Mrs. Savill; Egyptian Sybil by Miss Lewis; etal. The scenario given is as follows: "PREDICTION OF THE EGYPTIAN SYBIL, The Vision of Frances, where is displayed to View The Marriage Ceremony Dissolved. The Field of Forty Footsteps, and the Fatal Duel." The sequence of scenes and the names of the characters also indicate only a remote relationship to Scott's novel, but perhaps a more substantial relationship to Jane Porter's.

1489. PLAY: THE FIELD OF FORTY FOOTSTEPS. MELODRAMATIC PLAY PLAYWRIGHT: ANON (THURS) 26, 30 DEC 1833,3 JAN 1834 AT THEATRE ROYAL, PLYMOUTH BL BILLS (VOL 263, 1) Henry, Duke of Gloucester, by Miss J. Mordaunt; Sir Arthur Matchlowe by Spencer; Sir Nicholas Vere by Vivash; Lady Vere by Mrs. Green; Frances Vere by Mrs. Guraer; Rose Downright by Mrs. Nisbett (especially featured); et al.

1493. PLAY: THE FIELD OF FORTY FOOTSTEPS. MELODRAMA. 3 ACTS PLAYWRIGHT: ANON (MON) 28 NOV 1836, 4, 6, 7, 9, 11 MAR 1837 AT QUEEN'S THEATRE, LONDON BL BILLS (VOL 164) "Founded on facts," says the bill. But the language of the plot summary on the bill is like that used on earlier "Queen's" or "Tottenham Street" bills for "The Field of Forty Footsteps" above. Sir Arthur Matchlowe by Elton; et al.

1490. PLAY: THE BRIDE OF LAMMERMOOR; OR, THE

242

PORTER Arthur Matchlowe by Maddocks; Geoffrey Matchlow by Rae; et al.

1494. PLAY: THE BROTHERS; OR, FIELD OF FORTY FOOTSTEPS PLAYWRIGHT: UNKNOWN 3 MAR 1837 AT FRANKLIN, NYC ODELL (IV, 156) Sir Arthur Matchlove by Howard; Geoffrey Matchlove by Goodenow; Sir Nicholas Vere by Jefferson; Lady Vereby Mrs. Stickney; Frances Vere by Miss Verity; Rose Downright by Miss Kerr; Susan by Mrs. McCloskey; Mabel by Mrs. Donvan; Egyptian Woman by Mrs. McGuire; et al.

1500. PLAY: THE FIELD OF 40 FOOTSTEPS. DRAMA. 3 ACTS PLAYWRIGHT: ANON (MON) 24 MAR 1845 AT THEATRE ROYAL, BATH BL BILLS (VOL 182, 1) "Founded on Sir Walter Scott's 'Bride ofLammermoor"* says the bill, in confusion, duplicity or ignorance of Miss Porter's role in the creation of the source novel (see below, where the bills for the Theatre Royal, Birmingham, give more information).

1495. PLAY: FIELD OF FORTY FOOTSTEPS. MELODRAMATIC PLAY PLAYWRIGHT: ANON (WED) 8 MAR 1837 AT THEATRE, SALISBURY BL BILLS (VOL 280) The bill does not mention Jane Porter. Henry, Duke of Gloucester, by Harrington; et al.

1501. PLAY: THE FIELD OF FORTY FOOTSTEPS. DRAMA. 3 ACTS PLAYWRIGHT: ANON (SAT) 23 SEPT 1848 AT THEATRE ROYAL, BATH BL BILLS (VOL 182, 2) The bill asserts that this was "founded on Sir Walter Scott's 'Bride of Lainmennoor.'" Henry, Duke of Glo'ster, by Master J. Angel; Sir Arthur Matchlowe by Harcourt Bland; Geoffrey Matchlowe by Raymond; Rose Downright by Mrs. Nisbett; Frances Vere by Miss Jane Mordaunt; et al.

1496. PLA Y: THE FIELD OF FORTY FOOTSTEPS; OR, THE BROKEN HEART. GRAND LEGENDARY DRAMA PLAYWRIGHT: ANON (FRI) 7 OCT 1842 AT THEATRE, WORTHING BL BILLS (VOL 290) Sir Arthur Matchlowe by Thornton; Sir Nicholas Vere by Bower; et al.

1502. PLAY: FIELD OF FORTY FOOTSTEPS; OR, THE VISION OF DEATH. ROMANTIC DRAMA PLAYWRIGHT: ANON (FRI) 30 NOV 1849 AT THEATRE ROYAL, BIRMINGHAM BL BILLS (VOL 198, 2) "Founded on Miss Porter's Novel of that name, and Sir Walter Scott's 'Bride of Lammermoor,'" says the bill.

1497. PLAY: THE FORTY FOOTSTEPS PLAYWRIGHT: UNKNOWN 5 OCT 1843 AT CHATHAM, NYC ODELL (IV, 639). 1498. PLAY: FIELD OF FORTY FOOTSTEPS. DRAMA PLAYWRIGHT: ANON (MON) 26-30 JUNE, 1 JULY 1843 AT QUEEN'S THEATRE, LONDON BL BILLS (VOL 164) Henry, Duke of Gloucester by Miss Lavine; Sir Arthur Matchlowe by Moss; et al.

1503. PLA Y: FIELD OF 40 FOOTSTEPS. LEGENDARY DRAMA PLAYWRIGHT: ANON (TUES) 18 MAR, (THURS) 3 APR 1851 AT THEATRE ROYAL, BATH BL BILLS (VOL 182,2) The bill does not mention the narrative source of the play. Henry, Duke of Glo'ster, by Miss Waldron; Sir Arthur Matchlowe by W. H. Maddocks; Lady Vere by Mrs. L. Rede; et al.

1499. PLA Y: FIELD OF FORTY FOOTSTEPS; OR, THE BROKEN HEART. A TALE OF THE CAVALIERS AND ROUNDHEADS. ROMANTIC HISTORICAL LEGENDARY DRAMA. 3 ACTS PLAYWRIGHT: ANON (MON) 16 OCT 1843 AT THEATRE, WEYMOUTH BL BILLS (VOL 287) Henry, Duke of Gloucester, by Miss Josephine; Sir

1504. PLAY: FIELD OF FORTY FOOTSTEPS. DRAMA PLAYWRIGHT: ANON (MON) 17-22 MAY 1852 AT OLYMPIC, LONDON BL BILLS (VOL 380, 1)

243

PORTER Sir Arthur Matchlowe by H. Farren; Geoffrey Matchlowe by C. Stanton; Sir Nicholas Vere by G. Cooke; Henry, Duke of Gloucester, by Miss Harriet Saville; Peter Pipkin by Clifton; et al. There's no mention on the bill of any narrative source. The scenario is detailed, and includes "Mable's Apartment in an Ancient House in St Giles's," the "Interior of the Wizard's Chamber," "The Prophetic Vision," "The Bridal," and "The Parting—-forming Two Beautiful Tableaux?

THE SCOTTISH CHIEFS (WALLACE) (1810) This "romance" appeared in five volumes in 1810.164 It concerns "one of the most complete heroes that ever filled the page of history," as its 1809 "Preface" proclaims. A kind of historical romance, it precedes most of Sir Walter Scott's, and as such has some real historical importance. Miss Porter says that she has "spared no pains in consulting almost every writing extant which treats of the sister kingdoms during the period of my narrative."165 The novel opens in 1296, when "the war which had desolated Scotland was now at an end." It concerns William Wallace, his bride Marion Braidfoot (Lady Wallace), Sir John Menteith, Halbert, Lady Helen, Lord Mar, and many others. It sports historical "Notes" to the ends of its several volumes. The characters are people drawn from history, such as King Edward, Percy, and many another. The narrative is a kind of fictionalization of history that endows the past with all the qualities of melodrama

1505. PLAY: THE FIELD OF 40 FOOTSTEPS; OR, THE VISION OF DEATH. DRAMA PLAYWRIGHT: ANON (TUES) 8 JUNE 1852 AT THEATRE ROYAL, BIRMINGHAM BL BILLS (VOL 199) "Founded on Miss Porter's Novel of the name, and Sir Walter Scott's Bride of Lammermoor," says the bill. Henry, Duke of Glo'ster, by Miss Ellen Ternan; Sir Arthur Matchlowe by James Bennett; Frances Vere by Miss Edwards; Rose Downright by Miss Mills; Susan by Miss Fleming; et al.

Triumphant in his deceit, this master of hypocrisy [Menteith] left the barn in which he had seen Wallace and his young friend lie down on that ground from which he had determined they should never more arise. Aware that the unconquerable soul of Wallace would never allow himself to be taken alive, he had stipulated with De Valence that the delivery of his head should entitle him to a full reward.166

1506. PLA Y: THE FIELD OF FORTY FOOTSTEPS PLAYWRIGHT: UNKNOWN 9 JUNE 1855 AT BOWERY, NYC ODELL(VI, 371)

1507. PLA Y: THE FIELD OF FORTY FOOTSTEPS; OR, THE VISION OF DEATH. ROMANTIC DRAMA PLAYWRIGHT: ANON (SAT) 13 SEPT 1856, 26 FEE, 5 MAR 1857 AT THEATRE ROYAL, BIRMINGHAM BL BILLS (VOL 201) "Founded on Miss Porter's novel of that name, and Sir Walter Scott's 'Bride of Lammermuir," says the bill. Henry, Duke of Glo'ster, by Miss Lemmon; Sir Arthur Matchlowe by H. Sinclair; Rose Downright by Miss A. Mortimer; et al.

Published dramatizations: Barrymore, W. Wallace, the Hero of Scotland. In Dicks no 953. London: Dicks, nd. Barrymore, W. Wallace, the Hero of Scotland. In Lacy, Vol LXXIII. London: Lacy, nd.

1508. PLA Y: THE FIELD OF FORTY FOOTSTEPS. DRAMA PLAYWRIGHT: UNKNOWN 27 FEE 1858 AT SURREY, LONDON NICOLL(V, 311).

164

The Scottish Chiefs, a romance. (London: Longman, Hurst, Rees, and Orme, 1810).

244

165

Ibid., vol. I, pp. iv-v.

166

Ibid., vol. V, p. 233.

PORTER Five Acts./ Theatre Royal Covent Garden/ November 6th 1820." The "Dramatis Personae" (folio 9) includes Wallace, Regent of Scotland, Comyn, Thane of Cumberland; Stuart, Douglas, Monteith, Ramsay, Kierly, Fegus, Helen, Wife of Wallace, and Clan, Early of Gloster, Lord de Cliford, and Sir Reginald Fitz Eustace, as well as officers, and soldiers. Act 1st, Scene 1st is "Interior of the Tower of Stirling." Scene 2 is "An Apartment in the Palace." Act 2nd, Scene 1st is "A Wood." Scene 2nd is "A Grove." Scene 3rd is "The Council Chamber." Act 3, Scene 1st is "A Plain, supposed to be ner the field of Battle." Scene 2nd is "A deep Glen surrounded on all sides by lofty banks." Scene 3 is "A Wood." Scene 4th is "A Mountainous View on the Banks of the Carron." Act 4th, Scene 1st is "A deep ... [illegible] surrounded by rocks & precipices." Scene 2nd is "A Rocky Landscape." Scene 3rd is "A Romantic Peak, near the encampment of Wallace. (Bugles Heard)." Act 5th, Scene 1st is "The Interior of a Prison. Wallace (solus)." Scene 2nd, "A Street." Scene the Last "A spacious court supposed to be near the place of execution, with turrets and arched gate in front. The whole presenting the appearance of an ancient fortress of considerable extent."

1509. PLAY: WALLACE, THE HERO OF SCOTLAND. MELODRAMA. PLA YWR1GHT. W. BARRYMORE (MON) 6 OCT 1817 AT ROYAL AMPHITHEATRE, LONDON NICOLL (IV, 262) LONDON: DICKS 953, ND; LONDON: LACY VOL. LXXIII, ND There seems to be no ms for this production in the Lord Chamberlain's plays; but see below for texts of several similar plays. 1510. PLAY: WALLACE, THE HERO OF SCOTLAND. BURLETTA SPECTACLE PLAYWRIGHT: W. BARRYMORE (THURS) 5, 11, 12, 13 MARCH, 7 JULY 1818 AT THEATRE ROYAL, NEWCASTLE BL BILLS (VOLS 260, 322) "Founded upon Miss Porter's very popular novel, called THE SCOTTISH CHIEFS; and written by Mr. W. Barrymore, Junior, (Author of the Forest of Bondy) and now produced with Alterations." As some of the dramatizations of the novels of Sir Walter Scott had, this play featured two groups of characters, the "Scots" and the "English." Among Scots was Sir William Wallace by Cooper, and Lad)' Marion by Mrs. Hill; among English was Cressinghamby Bell and Robert Mortimer by G. Bristow.

1513. PLAY: WALLACE; OR, THE REGENT OF SCOTLAND PLAYWRIGHT: R. WALKER 1821 AT ANTHONY STREET, NYC ODELL (II, 592-3) With Maywood as Wallace; Woodhull as Monteith; Simpson as Douglas; Kilner as Bute; Reed as Kierly; Mrs. Barnes as Helen.

1511. PLAY: WALLACE, THE HERO OF SCOTLAND. MELODRAMA. PLA YWRIGHT: W. BARRYMORE (MON) 8 JUNE 1818 AT COBURG, LONDON NICOLL (IV, 262)

1514. PLAY: WALLACE PLAYWRIGHT: UNKNOWN 18 MAY 1827 AT CHATHAM, NYC ODELL (III, 285-6) Hamblin as Wallace; Mrs. Hamblin as Helen.

1512. PLAY: WALLACE. TRAGEDY. 5 ACTS PLA YWRIGHT. C. E. WALKER 14 NOV 1820 A CO VENT GARDEN, LONDON LARPENT CATALOGUE NO 2175 BL MICROFICHE 254/10607 1 & 2 The Larpent Catalogue says "Wallace. Historical Tragedy, 5 acts. C. E. Walker. Application Nov 4, 1820, John Fawcett, C. G. Prod. Nov. 14. MS: dated by Larpent Nov. 6, prologue and epilogue. Comp. 1820 (KD 519): a few minor differences, mostly at end of Act V; epilogue in MS not printed. The ms in the Lord Chamberlain's plays is 82 folios. The title page reads "Wallace/ an/ Historical Tragedy/ in/

1515. PLAY: WALLACE, THE HERO OF SCOTLAND. TRAGEDY PLAYWRIGHT: ANON (THURS) 30 SEPT 1830 AT THEATRE, SHEFFIELD BL BILLS (VOL 281,11) The bill nowhere mentions Jane Porter. Wallace by Waldron; Monteith by Jones; Lady Helen by Angel; et al. 1516. PLAY: WALLACE, THE HERO OF SCOTLAND PLAYWRIGHT: UNKNOWN

245

PORTER 13 JULY, AUG 1836 AT BOWERY, NYC ODELL (IV, 84-7) Harrison as Wallace; Blakeley as Allan Ramsay; Mrs. Harrison as Helen Mar; and Miss Waring as Lady Marion.

1521. PLAY: WALLACE PLAYWRIGHT: UNKNOWN 31 DEC 1844 AT BOWERY, NYC ODELL (V, 108).

1517. PLA Y: WALLACE PLAYWRIGHT: UNKNOWN 17 OCT 1836 AT FRANKLIN, NYC ODELL (IV, 152) With Mrs. and Mr. Harrison.

1522. PLA Y: WALLACE PLAYWRIGHT: UNKNOWN NOV 1845 AT CHATHAM, NYC ODELL (V, 195) Odell notes that by now this was one of several "old pieces" that survived on the stage.

1518. PLAY: THE SCOTTISH CHIEFS (NOT MISS PORTER'S). FARCE. 1 ACT PLAYWRIGHT: EDWARD STIRLING 2 SEPT 1839 AT STRAND, LONDON LORD CHAMBERLAIN'S 19 AUG 1839; ADD MSS 42952 (FF 374-382) NICOLL (IV, 531,639) The ms in the Lord Chamberlain's plays is on 9 folios of faded white paper measuring about 7.25" wide by 9.5 to 10" high. The text is in black ink, fair copy, and not amended. The title pages reads "8/17/39. 8/19/39. The Scottish Chiefs/ (Not Miss Porters)/ A Farce/ in / One Act./ To Kemble Esqre form the New Strand Theatre/ with Mr. J. M. Hammonds Compliments./ Augst. 1839." The characters include the following: Mr. Simon Smith, Harry Raymond, Shawmore, Peter Copus, Angus Molir, Spicey, Miss Alice Smith, Betty Jacks, Jane Somers, and Mrs. Wilson. Scene 1st is "The Interior of the Thistle Inn." Scene 2nd is "Another Chamber in the Thistle Inn. Jane and Betty discovered." Scene 3rd is "The Castle of Bennagioich. Mr. Simon Smith discovered smoking a pipe." This is more a humorous and glancing reference to Miss Porter's "original" than it is a dramatization of her historical romance or of historical materials themselves.

1523. PLAY: WALLACE PLAYWRIGHT: UNKNOWN 22 MAR 1847 AT BOWERY, NYC ODELL (V, 273) With E. S. Connor.

1524. PLAY: WALLACE PLAYWRIGHT: UNKNOWN MAR, JUNE 1847 AT CHATHAM, NYC ODELL (V, 284) With Marshall in March, with McCutcheon in June. 1525. PLAY: WALLACE THE HERO OF SCOTLAND. MELO-DRAMA PLAYWRIGHT: ANON (MON) 12 NOV 1849 AT THEATRE ROYAL, BIRMINGHAM BL BILLS (VOL 198,2) Wallace by Conway; Monteith by Mortimer; Marian by Mrs. Mortimer; Helen Marr by Miss Coveney; et al. 1526. PLAY: WALLACE PLAYWRIGHT: UNKNOWN 16 APR 1850 AT CHATHAM, NYC ODELL (V, 547).

1519. PLAY: WALLACE! THE HERO OF SCOTLAND. MELO-DRAMA PLAYWRIGHT: ANON (TUBS) 19 JAN 1841 AT THEATRE ROYAL, BATH BL BILLS (VOL 182, 1) The bill nowhere mentions Miss Porter. Monteith by Ranson; Wallace by Edmund Glover; Helen by Miss Movin; et al.

1527. PLAY: WALLACE PLAYWRIGHT: UNKNOWN NOV 1850 AT BOWERY, NYC ODELL (VI, 28).

1520. PLAY: WALLACE PLAYWRIGHT: UNKNOWN FEB 1842 AT BOWERY, NYC ODELL (IV, 551).

1528. PLAY: WALLACE PLAYWRIGHT: UNKNOWN NOV 1852 AT BOWERY, NYC ODELL (VI, 223).

246

PORTER 22/ W. B. Donne/ From Mr. R. Shepherd/ The Royal Surrey Theatre.' There is no list of dramatis personae. The opening scene is "Exterior of Stirling Castle./ Enter Monteith and Comyn." Other characters include Douglas, Wallace, Sir Andrew Murray, de Valence, Helen, Kirkpatrick, Fergus, Halbert, Grimsby, et al. Act 2, Sc 1 is "The field of battle- Scots and English camps seen. Enter Sir Roger Kirkpatrick. The whole ends with Wallace being led away to execution, saying farewell to Helen and the others.

1529. PLA Y: WALLACE PLAYWRIGHT: UNKNOWN 1853 AT ST CHARLES THEATRE, NYC ODELL (VI, 246).

1530. PLA Y: WALLACE PLAYWRIGHT: UNKNOWN JAN 1855 AT BARNUM'S AMERICAN MUSEUM, NYC ODELL (VI, 397).

1537. PLAY: WALLACE PLAYWRIGHT: UNKNOWN 18 SEPT 1863, 18 JULY 1864 AT NEW BOWERY, NYC ODELL (VII, 569, 574) With Eddy in September.

1531. PLA Y: WALLACE PLAYWRIGHT: UNKNOWN JAN 1856 AT NATIONAL, NYC ODELL (VI, 466). 1532. PLA Y: WALLACE PLAYWRIGHT: UNKNOWN OCT 1856 AT CHAMBERS BURTON'S), NYC ODELL (VI, 568).

STREET

1538. PLAY: WALLACE PLAYWRIGHT: UNKNOWN 2 JAN 1865 AT OLD BOWERY, NYC ODELL (VII, 655).

(LATE

1539. PLAY: WALLACE PLAYWRIGHT: UNKNOWN 27 FEE, 29 SEPT 1866 AT NEW BOWERY, NYC ODELL (VIII, 44) With Boniface as Wallace.

1533. PLA Y: WALLACE PLAYWRIGHT: UNKNOWN AUG 1857 AT BROUGHAM'S, NYC ODELL (VI, 556).

1540.

PLAY: WALLACE PLAYWRIGHT: UNKNOWN 20 FEE 1867 AT BOWERY, NYC ODELL (VIII, 172) With Whalley.

1534. PLA Y: WALLACE PLAYWRIGHT: UNKNOWN 21 SEPT 1857, 28 JUNE 1858 AT NATIONAL, NYC ODELL (VII, 47) With J. H. Allen in September.

1541. PLAY: WALLACE PLAYWRIGHT: UNKNOWN 28 JUNE 1867 AT SEAVER'S OPERA HOUSE, WILLIAMSBURGH, BROOKLYN ODELL (VIII, 258) With Eddy and Miss Denvil.

1535. PLA Y: WALLACE PLAYWRIGHT: UNKNOWN 5 NOV 1858, 23 FEE 1859 AT NATIONAL, NYC ODELL (VII, 142) With J. H. Allen. 1536. PLAY: THE SCOTTISH CHIEF. 5 ACTS PLAYWRIGHT: UNKNOWN 1863 AT SURREY, LONDON ADD MSS 53024 (R) The ms in the Lord Chamberlain's papers is in a clear hand in fair copy on 38 folios of 8" wide by 12" high light-blue paper. The title page reads "18637 Received August 207 License sent . 7W.B.D.7 The Scottish Chief/ in/ 5 Acts/ Received August 20/ License set

1542. PLAY: WALLACE PLAYWRIGHT: UNKNOWN 3 DEC 1862 AT BROOKLYN OPERA HOUSE, WILLIAMSBURGH, BROOKLYN ODELL (VIII, 401). 1543. PLAY: THE SCOTTISH CHIEFS. DRAMA PLAYWRIGHT: F. B. EGAN

247

PORTER 12 MAR 1868 AT LEITH NICOLL (V, 356) There seems to be no ms for a play by this title at this date in the Lord Chamberlain's collection of plays. There are no playbills for Leith in the British Library's collection. 1544. PLAY: WALLACE PLA YWRIGHT: UNKNOWN 7 MAY 1868 AT BOWERY, NYC ODELL(VIII, 312) Offered for the benefit of an actor called Marden—demonstrating that someone, at least, thought this play still had the power to draw people and earn money. 1545. PLAY: WALLACE PLAYWRIGHT: UNKNOWN 27 JULY 1873 AT BOWERY, NYC ODELL (IX, 432). 1546. PLAY: WALLACE PLAYWRIGHT: UNKNOWN AUG 1878 AT BOWERY, NYC ODELL (X, 410) By now this ancient play must have been almost dead.

248

ANN RADCLIFFE (i.e., Madame la Comtesse de Nardouet) (1764-1823) The Larpent Catalogue says "1484. Edgar; or, Northern Feuds. Play, 5 acts. George Manners. Application Apr. 28, 1806, Thomas Harris, C. G. Prod. (As Edgar; or, Caledonian Feuds) May 9. MS: dated by Larpt Apr. 29; prologue and epilogue. Comp. 1806 (K-D 403): only slight difference." This ms is 60 folios. The title page says "Edgar/ or/ Northern Feuds/ A Play in five acts/ Theatre Royal Covent Garden/ April 29th 1806." Nicoll observes that this was "based on Mrs. Radcliffe, The Castles ofAthlen and Dumb layne" The "Dramatis Personae" are Osbert, Earl of Mown; Malcolm; Baron; Edgar; Count Lisborne (?); Morton; a Servant; Soldiers, Attendants; Countess of Morven; Matilda; and Emma. The title page of the published version refers to the production at Covent Garden, and gives the following cast: Edgar by Miss Smith; Osbert by H. Johnstone; Baron by Pope; Malcolm by Chapman; Morton by Cresswell; Count Zulmio by Claremont; Countess by Mrs. Humphries; Matilda by Mrs. H. Johnstone; Emma by Miss Brunton. Act 1st, Scene 1st is "A Mountainous Scene at Sun-Set, with a distant view of the turrets of Glendore Castle. Edgar is seen leaping over the mountains habited as a Highland Peasant, with Hunter's spear and horn.—Osbert enters." Scene 2d is "An Apartment in Morven Castle." Scene 3d is "An Apartment in the Castle of Glendore." Scene 4th is "The great Hall in Morven Castle. The Clan of the Earl discover'd banqueting." Act 2d, Scene It is "An Apartment in Morven Castle." Scene 2nd is "The Walls of Glendore Castle, with the great Gates and draw bridge. Midnight." The "Preface" to the published version reads in part as follows:

SELECT PUBLICATIONS The British Library General Catalogue of Printed Books to 1975 shows the following titles by Ann Radcliffe: Novels ... To which is prefixed a memoir of the life of the author [by Sir Walter Scott]. (1824); Adeline see below, The Romance of the Forest', The Castles ofAthlin andDunbayne (1789)—of which there are six editions in English and one in French, where in the subtitle becomes "A Highland Story"; The Confessional of the Black Penitents (see below, The Italian; The Fate ofVelina de Guidova. A Novel (1790)—sometimes attributed to Ann Radcliffe, sometimes to Mary Anne Radcliffe; Gaston de Blondeville, or the Court of Henry HI, keepingfestival in Ardenne, a romance. StAlban 's Abbey, a metrical tale; with some poetical pieces ... (1826); The Italian, or the Confessional of the Black Penitents, a romance (1797)—of which there are nine English editions; The Mysteries of Udolpho, a romance interspersed with some pieces of poetry (1794) —of which there are about two dozen English editions; The Romance of the Forest, interspersed with some pieces of poetry (1791)—of which there are about seventeen English editions; A Sicilian Romance (1790)—of which there are about five English editions.

THE CASTLES OF ATHLIN AND DUNBAYNE (1789)

Published dramatizations: Manners, George. Edgar; or, Caledonian Feuds. A Tragedy. London: Tipper & Richards, 1806—octavo.

During the first part of my residence in Wales, whither I retired at the early age of eighteen, Mrs. Radcliffe's entertaining novel, The Castles ofAthlin andDunbayne, came into my hands. The ingenuity of the plot, and variety of interesting situations, immediately suggested the idea, that an excellent drama might be erected on such a basis. Having mentioned my opinion to some friends, they not only coincided in it, but entreated me to become the architect. I started at the proposal.—A stranger to the stage and all its trickery, unpractised in poetry, and unskilled in

1547. PLAY: EDGAR; OR, CALEDONIAN [NORTHERN] FEUDS. PLAY. 5 ACTS PLAYWRIGHT: ANON [GEORGE MANNERS] (FRI) 9 MAY 1806 AT COVENT GARDEN, LONDON BL MICROFICHE 253 / 805 / 1 & 2 BL BILLS (VOL 90) NICOLL (IV, 353) LARPENT CATALOGUE NO 1484; LARPENT NO 85 LONDON: TIPPER & RICHARDS, 1806—8VO 249

RADCLIFFE literary composition, innumerable difficulties presented themselves to my imagination. However, I was at length persuaded to brave them all; and the first two lines of blank verse I ever wrote, were the two first in the tragedy of Edgar. In the progress of my labors I found it necessary to deviate considerably from the novel; to omit some characters, and create others; among the latter of which that of the Baron is the most conspicuous. Alleyn (whom I have called Edgar) bore so strong a resemblance to Mr. Home's Douglas, that I was obliged to have the latter continually before me as a beacon, to avoid splitting on the rock of plagiarism. The denouement is also very different from the original. At length I experienced that delectable satisfaction, known only to authors, of writing the word Finis. ...

ITALIAN" OF MRS. RADCLIFFE, DRAMATISED. A PLAY]. 3 ACTS PLAYWRIGHT: ANON [JAMES BOADEN] (TUES) 15, 16, 18, 19, 23, 26, 30 AUG, 2, 6, 9, 12, 14 SEPT 1797 AT HAYMARKET, LONDON (AT LEAST 12 TIMES) LONDON: J. ROBINSON, 1797- OCTAVO BL BILLS (VOL 114) NICOLL (III, 72, 238); BL CAT Though several plays by Boaden appear in the Larpent Catalogue, none bears a title even approximate to this. Nor does any play listed as licensed for production in 1797 bear a title anything like this. Nevertheless, it was almost certainly produced, as the bills in the British Libray indicate. Also, the title page of the published text indicates that that this "first performed at the Theatre Royal, Hay market." With Schedoni by Palmer, Vivaldi by C. Kemble, Ansaldo by Aickin, Paullo by Suett, Corvino by Walrdon, Jr., Marchioness by Mrs. Harlowe, Olivia by Miss Heard, Ellen de Rosalba by Miss De Camp, Abbess by Mrs. Hale, et al.

There were almost certainly at least provincial performances in addition to this.

1549. PLAY: THE ITALIAN MONK PLAYWRIGHT: BOADEN 1798 AT PARK THEATRE, NYC ODELL (II, 26) Odell reports that this was "founded on the novel of the arch-enchantress, Mrs. Radcliffe"—Odell, p. 26. Cooper as Vivaldi; Mrs. Hodgkinson as Ellena; Mrs. Melmoth as Olivia; Mrs. Simpson as the Marchioness; Miss Broadhurst as Firesca; et al.

THE ITALIAN (1794 [?] / 1797) There were about ten editions of this romance between 1797167 to about 1883- including one in Italian. The narrative begins in the year 1764, with English travellers in Italy, near Naples. The characters include English and Italian people: Ellena, the Marchesa di Vivaldi, Vincentio de Vivaldi, Bonarmo, Bianchi, Beatrice, Schedoni, et al.

THE MYSTERIES OF UDOLPHO (1794)

Published dramatizations: The romance168 opens "on the pleasant banks of the Garonne, in the province of Gascony," in 1584. The characers include M. St. Aubert, Emily, M. Quesnel and Madame Quesnell, Madame Cheron, Madame Clairval, Cavigni, Valancourt, Montoni, Ludovico, Lady Blanche, et al. The scene is partly Venice. Unrelated to The Mysteries of Udolpho was "The Mysteries of the Castle," by Miles Peter Andrews

Boaden, James. The Italian Monk, a play, in three acts. London: J. Robinson, 1797—Octavo.

1548. PLAY:

THE ITALIAN MONK [BEING "THE

168

167

The Italian, or the Confessional of the Black Penitents. A Romance. (London: T. Cadell & W. Davies, 1797), 3 vols.

The Mysteries of Udolpho, a romance interspersed with some pieces of poetry. (London: G. G. & J. Robinson, 1794).

250

RADCLIFFE & Frederic Reynolds.169

1551. PLAY: FOUNTAINVILLE FOREST. PLAY. 5 ACTS PLAYWRIGHT: JAMES BOADEN [BODEN] (TUES) 25, 27, 29 MARCH, 1, 3, 5, 10, 22, 26 APR, 3 MAY, 2 JUNE 1794 AT COVENT GARDEN, LONDON BL BILLS (VOL 85) LONDON: HOOKHAM & CARPENTER, 1794—OCTAVO NICOLL (III, 72, 238); FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS OF FRANKENSTEIN FROM THE NINETEENTH CENTURY TO THE PRESENT, P. 23. Forry calls this "a dramatic adaptation of Romance of the Forest, noting that it "opens in 'A Gothic Hall of an Abbey, the whole much dilapidated.'" The cast included Lamotte by Pope, Marquis of Montault by Farren, Louis by Middleton, Peter by Hull, Nemours by Powel[l], Thompson, Claremont, Campbell, and Abbot, as well as Hortensia Lamotte by Miss Morris, and Adeline by Mrs. Pope. On 2nd June this shared the stage with 'The Sicilian Romance," which was also from Ann Radcliffe.

Published dramatizations: NP: np, Baylis, J. The Mysteries of Udolpho. 1804—duodecimo. Unfortunately, this does not appear to be available in the British Library's collection.

1550. PLAY: THE MYSTERIES OF UDOLPHO PLAYWRIGHT: J. BAYLIS UNKNOWN PRODUCTIONS AT UNKNOWN HOUSE NICOLL(IV, 571) DUODECIMO, 1804 Unfortunately, this does not appear to be in the British Library's collection.

THE ROMANCE OF THE FOREST (1791) The characters include Pierre de la Motte, and his wife Constance Valentia, Adeline, Peter, the Marquis de Montalt, Theodore, Louis, Clara, La Luc, Mr. Verneuil, M. Armand, et al. There are indeed "the gothic remains of an abbey," in Chapter II.

A SICILIAN ROMANCE (1790) Published dramatizations:

Published dramatizations:

Siddons, Henry. The Sicilian Romance; or, the Apparition of the Cliffs. An opera . London: np, 1794.- Octavo.

Boaden, James. Fountainville Forest, A Play in Five Acts, founded on the Romance of the Forest. London: Hookham & Carpenter, 1794—Octavo.

1552. PLA Y: SICILIAN ROMANCE; OR, THE APPARITION OF THE CLIFFS. DRAMA [PLAY] [OPERAJ. 3 ACTS PLAYWRIGHT: H[ENRY] SIDDONS; MUSIC BY REEVE (WED) 28 MAY, 2, 6, 9, 10 JUNE 1794 AT COVENT GARDEN, LONDON BL BILLS (VOL 85); NICOLL (III, 72, 102, 307; IV) LARPENT CAT; LARPENT NO 1027; MICROFICHE IN THE BRITISH LIBRARY (MICROFICHE NO F 253 /1159) LONDON: NP, 1794—OCTAVO The Catalogue of the Larpent Plays says "Application May 24, 1794, Thomas Harris, C. G. Prod. May 28." The title page of the ms in the Lord Chamberlain's

1

The Mysteries of the Castle, a dramatic tale in three acts. London: Longman, 1795. This was licensed in January but probably did not play until November 1795 at Covent Garden (see Larpent no 1054). Hilario by Lewis; Fractioso by Quick; Montauban by Incledon; Carlos by Pope; Valoury by Munden; Cloddy by Fawcett; Count Montoni by Harley; Bernardo by Macready; Annete by Mrs. Mattocks; Constantia by Mrs. Mountain; Julia by Miss Wallis; et al. This dramatis personae is clearly not from Ann Radcliffe's romance. There is no evidence in the British Library's collection of bills that this was more than one performance in November.

251

RADCLIFFE 18 MAY 1798 AT PARK THEATRE, NYC ODELL (II, 24) Ferrand by Hodgkinson; Lindor by Tyler; Don Lope by Johnson; Sancho by Seymour; Alinda by Miss Broadhurst; Clara by Miss Brett; Julia by Miss Hogg; Lady Ferrand by Mrs. Johnson; et al.

papers says "The Sicilian Romance, or, The apparition of the Cliffs in three acts." The dramatis personae are Ferrand, Sancho, Jacques, Prior, Vincent, Linder, Martin, Don Lopes, Robbers, Alinda, Julia, Clara, and The Lady in the Rock. Act I, "Scene A Wood and Tower Enter Linda & Martin disguis'd as Pilgrims." "Scene Servants Hall." "Scene Another Hall." "Scene A Chamber Clara & Alinda discover'd." "Scene A Chamber Enter Ferrand speaking." "Scene Outside of the Tower." Act 2, Sene 1st "A Rock. Enter Ferrand with a Basket." Scene 2 "A Grove." "Scene A Convent." "Scene A Parapet before the Convent." "Scene An Aisle of the Convent." Act 3, "Scene A Gothic Hall in the Castle." "Scene Inside of the Convent." "Scene A Wood." "Scene the Internal Rock. Julia discovered sitting on a Stone, her back to the Door." "Scene A Palace." "Taken from the SICILIAN ROMANCE of the author of the ROMANCE OF THE FOREST," say the bills for 23 May and 2 June 1794. However, Forry reports that Siddon's play was actually a dramatization of the Castle ofOtranto, which "he later retitled to capitalize on the popularity of Radcliffe's novel." On that date it played with "Fountainville Forest," which was not acknowledged to be from a book by her hand. The Prologue spoken by Middleton; the principal characters by Quick, Incledon, Munden, Powel [sic], Middleton, Mrs. Mountain, Miss Morris, Mrs. Martyr, et al.

1556. PLA Y: SICILIAN ROMANCE; OR, THE APPARITION OF THE CLIFFS. ENTERTAINMENT PLAYWRIGHT: ANON (MON) 10 JUNE 1799 AT THEATRE, DARLINGTON BL BILLS (VOL 276) "Taken from the favourite Novel of that Name, and performing at the Theatre Royal, Covent Garden, with universal Applause," reports the bill. Ferrand by Fenton; Martin by Stanfield; Don Lope by Biggs; et al. 1557.

PLA Y: THE SICILIAN ROMANCE; OR, APPARITION OF THE CLIFFS. INTERLUDE PLAYWRIGHT: H. SIDDONS (MON) 31 AUG 1801 AT THEATRE. BIRMINGHAM BL BILLS (VOL 184, 1) With Ferrand by Harley; Gerbin by Austin; Don Lope by Mara; Alinda by Miss Marriott; the Lady by Mrs. St Leger; et al. The bill specifically says "written by H. Siddons, Esq."

1558. PLAY: THE SICILIAN ROMANCE; OR, THE APPARITION OF THE CLIFFS. MELODRAMA PLAYWRIGHT: UNKNOWN 1814 AT ANTHONY STREET THEATRE, NYC ODELL (II, 426) With Mrs. Beaumont as the Lady.

1553. PLAY: THE SICILIAN ROMANCE; OR, THE SPECTRE OF THE CLIFFS. COMIC OPERA. 2 ACTS PLAYWRIGHT: UNKNOWN APR 1796 AT NEW YORK THEATRE, NYC ODELL(I, 410) Gerbin by Hodgkinson; Lindor by Tyler; Martin by Jefferson; Don Lope by Johnson; Prior by Woolls; Vincent by Munto; Jaques by Durang; Sancho by M'Kenzie; Ferrand by Cleveland; Alinda by Miss Broadhurst; Clara by Miss Brett; Julia (the child) by Master Stockwell; Adelaide by Mrs. Cleveland.

1554.

PLAY: THE SICILIAN ROMANCE; OR, THE APPARITION OF THE CLIFFS. PATHETIC PIECE PLAYWRIGHT: ANON [SIDDONS] (TUES) 31 OCT 1797 AT THEATRE, BIRMINGHAM BL BILLS (VOL 183) Don Lope by Weston; et al.

1555. PLAY: A SICILIAN ROMANCE; APPARITION OF THE CLIFFS PLAYWRIGHT: UNKNOWN

OR,

THE

252

CLARA REEVE (1729-1807)

SELECT PUBLICATIONS The British Library General Catalogue of Printed Books to 1975 shows the following titles by Clara Reeve: The Champion of Virtue. A Gothic Story (1777)—three editions; The Old English Baron (1778)—of which there are about thirty-three editions in English, sometimes combining this novel with Walpole's Castle ofOtranto\ Destination; or the memoirs of a private family (1799); Edwy andEdilda: a Gothic Novel [in verse] (1783); The Exiles; or, Memoirs of the Count de Cranstadt (1788); Fatherless Fanny, or a young lady's entrance into life (); The School for Widows. A Novel (1791); The Two Mentors. A modern story (1783)—of which there are five English editions.

School for Widows™ is a traditional Victorian three-decker. Characters include Frances Danford, Rachel Strictland, Capt. Maurice, Mr. Ryanstone, Lord A, Lady B, Mr. Wilmot, Mr. Rackkham, Lady Haughton, Mr. Ilford, Mrs. Mayle, Mr. Elton, Mr. Southgate, Don Antonio, Isabella, Charlotte Brady, and James Balderson, et al. It is just possible that a comedy, "School for Widows," by Richard Cumberland, bore some relation to this novel. The play, however, in any case appeared before the book.173 Clara Reeve's Edwy and Edilda114 is a gothic narrative poem. The characters include Egbert, Gal van, Edilda, young Edwy, Erpwald, Edbald, Egbert, Osred, Hilda, Oswald, Osbert, et al. A five-act tragedy entitled "Edwy and Elgiva" is probably unrelated to Clara Reeve's poem.175 Thomas Warick's dramatic poem

The novel Fatherless Fanny170 is set beginning in 1798 and concerns Fanny, aged 5, who has been left mysteriously at the gates on Christmas. The characters are Miss Barlowe, Lady Balafyn, Lord Ellincourt, Lord Somertown, Miss Stanhope, Col. Ross, Duke of Albennarle, and Mr. Hamilton. A play, "Fatherless Fanny," would seem to have nothing to do with this novel.171

172

The School for Widows. A Novel (London: T. Hookham, 1791). 173

This played on 8 May 1789 at Covent Garden, London. See BL Microfiche 253 / 309 / 1 & 2; see the Larpent Catalogue no 828; see Nicoll (III, 127,252) The Larpent Catalogue says "828. The School for Widows. Comedy. 5 acts. Richard Cumberland. Application Apr. 25, 1789, Thomas Harris, C. G. Prod. May 8. MS: prologue and epilogue. See no. 779. There is no list of characters, but characters include Lord Mirabel, Frederick, Lady Richmore, Gay less, Arabella Stirling. The ms is 45 folios. The title page says simply "The School for Widows/ April 1789." A prologue follows, and then Act 1st, Scene 1st, "An Apartment in Lord Mirable's [sic] House." Scene 2nd, "An Apartment in Worldly's House." Act 2nd, "Wordly's House a chamber." Act 3 is "An Apartment in Mr. Worldly's House" (again). Act 4th is "Gayless's House."

170

Fatherless Fanny: or, A Young Lady's First Entrance into Life, being the memoirs of a little mendicant and her benefactors. (Sheffield: W. Thompson, nd). 171

"Fatherless Fanny; or, The Fair Mendicant and the Spirit of the Rock," was probably produced on Monday, 21 Apri 1834 at the Royal Pavilion, London. See Nicoll (IV, 459). Nicoll says, "A play of this name is in L.C. R. P. 28/5/1846." Indeed, see below. So this would seem to be the same basic play as that described in somewhat more detail, below: "Fatherless Fanny; or, The Orphan's Trials." This was apparently produced at the Royal Pavilion, London. See Add Mss 42994 FF 1082-1102. The title page says "Mr. F. Neale (Acting Stage Manager for Mr. Thome) presents his compliments to Mr. Kemble and begs the favour of an early inspection of the enclosed M.S.—it being intended for representation on Whit Monday next, May 23rd/46. Pavilion Theatre." The "Dram-Pers: are Mr. Pouncey , a wealthy old gentleman; Harry Blake a Seaman; Happy Jerry Boots at the Tabard; Mr. Benjamin Blinks; Bill Peach alias Red Bill; Mr. Spices the Landlord; Thomas the Waiter; and Sam Sanders a Barking Fisherman, as well as Fatherless Fanny and Peggy Loppett.

174

Edwy and Edilda; a Gothic Tale in five parts (Dublin: S. Colbert, 1783). 175

By Frances (Burney) D'Arblay. This was produced in 1795 at Drury Lane. See BL Microfiche 253 / 333 / 1 & 2; see Larpent Catalogue no 1058; see Nicoll (III, 253). The Larpent Catalogue says "Edwy and Elgiva. ... Application Mar. 9, 1975, John Philip Kemble, The ms is 46 folios. The "Persons of the Drama" are

253

REEVE Edwym also does not derive from Clara Reeve's Edwy and Edilda.

1559. PLAY: EDMOND, ORPHAN OF THE CASTLE. TRAGEDY PLAYWRIGHT: UNKNOWN 1799 AT UNKNOWN PLACE NICOLL (III, 72, 325) Nicoll reports that this was "based on Clara Reeve's novel The Old English Baron" Unfortunately, no play entitled either "Edmund" or "Orphan of the Castle" appears in the catalogue of the Lord Chamberlain's plays or in the Larpent Catalogue.

THE OLD ENGLISH BARON (1778) The novel177 is set in the time of Henry V, and concerns the fortunes of Sir Philip Harclay, who served in Greece and fought the Saracens. The scene is partly Yorkshire, and other characters include Fitz-over, Lady Emma, Wenlock, Edmund, and Oswald. "The Old English Baron" was a melodrama of the 1820s that probably had nothing to do with Clara Reeve's novel.178 "The Old English Gentleman," a comedy by Dance that played in New York, is evidently unrelated to Clara Reeve's narrative.179

Edwy, Odo, Aldhelm, Cerdic, Ernulf, Redwald, Dunstan, Orgar, Sigebert, ... Elgiva, Eltmida, et al. There is a prologue, followed by Act 1, Scene 1 in "A Gothic Chamber." Act 2, Scene 1 is "An Apartment of Elgiva's." Act 3, Scene 1 is "The Council Chamber." Act 4, Scene 1 begins "Enter Sigbert." Act 5, Scene 1 is "A Forrest." 176

Edwy. A Dramatic Poem (London; Dixwell, 1784). BL Shelfmark 11777.f.23. See Nicoll (III, 315). The characters are Edwy, King of England; Edgar, his Brother; Odo, Legate from the Pope; Athelstan, Earl of Kent; Leofrid, Chief Minstrel; Dunstan, Abbot of Glastonbury; Emmeline, Mother of Elgiva; and Elviga, a Princess of the Blood Royal. 177

The Old English Baron. A gothic story. (London: Edward & Charles Dilly, 1878) 178

See Nicoll (IV,513). Unfortunately there is no record of a play by this title in the Larpent Catalogue. 179

This played on 7 Nov. 1837 at Wallack's National-see Odell (IV, 217)- with Henry Wallack as Squire Broadlands; J. W. Wallack as George; Browne as Horace; W. H. Williams as Sparrow; Mrs. Rogers as Sophy; Mrs. Sefton as Fanny; Mrs. Russell as Temperance; Miss Ayres as Alice. Something very similar appeared on 26 Nov. 1839 at the Chatham-see Odell (IV, 380, 386). This play recurred, as on 26 Jan. 1849 at the Olympic, New York-Odell (V, 475), and subsequently.

254

GEORGE SAND (i.e., Baroness Amandine Aurore Lucie Dudevant) (1804-1876) Ouchafol, the handsome Lawrence, Madame Romajoux, Mademoiselle Imperia (ie, Nancie de Valclos), Bellamare, Hilarion, Lucinde, Anna, Regine, et al. Two plays entitled "Rolling Stone" bear no evident relation to the French author's work.183

SELECT PUBLICATIONS The British Library General Catalogue of Printed Books to 1975 shows the following titles in English by George Sand: Antonia. A novel (1870); Cesarine Dietrich (1897); The Journeyman Joiner; or, the Companion of the Tour of France (1849); The Countess of Rudolstadt (1847); Consuelo (1847)—of which there are five English editions; Tales of a Grandmother [Wings of Courage, Queen Coax, The Rosy Cloud, the Giant Yeous, The Castle ofPictordu] (1930); The Wings of Courage and The Cloud Spinner (1883); The Castle ofPictordu (1884); The Naiad. A Ghost Story (1892); The Devil's Pool (); The Enchanted Lake (1850); Francis the Waif (1889); Winter in Majorca (1856); The Snow Man, a novel (1871); Jacques (1847); Jealousy, or Teverino (IV7Q); My Sister Jean (1874);M/e. Merquem. A novel (1868); The Mosaic Workers (1844); The Bagpipers (1890); The Haunted Marsh (1848); The Devil's Pool (186 \)\Mauprat (1870); Little Fadette. A domestic story (1850); from Fanchon, the Cricket, Little Cricket (1878); A Rolling Stone (1871); Teverino: a romance (1855); Tower ofPercemont. A novel (1877); The Uscoque. A Venetian Story (1850); The Wings of Courage (1884). A play entitled "Devil's Pool" did appear at the Britannia in 1871. Unfortunately, however, no copy of the manuscript seems to survive in the Lord Chamberlain's plays, so it is difficult to determine whether or not this bore any relation to George's Sand's original 1861 narrative.180 There had been a "Rolling Stone" theatrical comedy by John Vandenbergh, which played at the Strand Theatre, London, in August 1856,181 before George Sand's novel appeared in English in 1871. The novel182 is told in the first person, and set in the first place in Auvergne. The characters include Madame

180

183

"Rolling Stone Sometimes Gathers Moss" was a drama by F. Marchant, licensed to play at the Victoria, London, on 15th October 1870. See Nicoll (V, 476). The play would appear to have come just a year before the book. See Add Mss 53088 (N). The ms in the Lord Chamberlain's papers is in a lovely, clear hand, in black ink on 32 folios of faded cream paper measuring about 7.25" wide by 9.25" high. There is no title page. The first page reads in part, "A Rolling Stone sometimes Gathers Moss/ Act 1st., Sc. 1st/ Farm Set, full Extent of Stage/ Villagers and Nellie Discovered." The whole opens with a song, and the characters include Hodge, Nelly, Aaron Bendoff (a Pedlar), Martyn, Saul, Jasper, Hester, Luke, Roily, and Gribb, Charley, a Doctor, et al. Scene 2 is a "Woody Lane." Scene 3 is "The Farm as in Scene 1st;" Scene 4th is "The Prison;" Scene 5 is in San Francisco. Act II, Scene 1st is "London. Chamber." Scene 2nd is "A Street." Scene 3rd is "A Set Street." Scene 4th is yet another "Street." Scene 5th is "Same as Scene 1st." The whole ends with happiness, as the villain Martyn cries out "I am ruined. I confess all, 'tis true, do with me as you please." This has nothing to do with George Sand's book. "Rolling Stone" was a one-act drama by Leonard Mortimer, licensed to play at Sadler's Wells, London, on 20 July 1896. See Nicoll (V, 744); see also Add Mss 53604 (F). The text in the Lord Chamberlain's plays is on the pages of a kind of exercise book, in black in on lined pages - 10 folios, most written verso, measuring about 6.5" wide by 7.75" high, in a green cover. The cover reads in part "A Rolling Stone" Drama in one act. To be licensed for Sadler's Wells Theatre/ Islington/ London N." The sticker of licensure reads "The Rolling Stone' Sadlers Wells London/ 20 July 1896." The text of the play is in a tiny, cramped but legible hand in black ink. The characters include Dorison North, An American Adventurer, Jim Hastings, a Rolling Stone; Richard Merrick, Atoning for a Crime; Spot, Jim's Little Pal; Perk. E. Perkins; Lena Merrick, Richard Merrick's Daughter. The scene is "A Room in the Hotel President New York; Scene II is "A Street in New York;" Scene III is "A Lodging House Near New York

Nicoll (V, 666).

181

See Add Mss 52960 (CC). The title page reads "The Rolling Stone/ A PetiteComedy in One Act by John Vandenbergh/ 161 a, Strand/ London. Intended for Representation at / the Strand Theatre/ August 18th 1856." The characters are Captain Nettlesome, Guardian to Rose Verdant. Mrs. Carbuncle Stone; Versatile Stone, Verdant Moss, Robert, Rose, and Esmeralda. 182

A Rolling Stone by George Sand, translated from the French by Carroll Owen. (Boston: James R. Osgood, 1871). 255

SAND The narrative Enchanted Lake (1850)184 may have been followed by plays, but probably was not. An entertainment at the Strand in 1854 could conceivably have had some relationship to George Sand's story.185 A burletta "Enchanted Lake; or, The Fisherman and the Genie," was allegedly a translation from the Arabic.l86 A possible derivative from George Sand was "Enchanted Lake; or, The King of the Mist and the Spell-Bound Princess," which was a pantomime at Exeter in 1868.187 "Jealousy" has naturally been the subject and title of more than one play and novel. There was, for example, a "Jealousy" licensed for performance at the Surrey Theatre, in 1851,188 - before George Sand's narrative was first published in English (in 1870). Soon thereafter various plays with that title sprang up, one or more of which could conceivably have had some relationship to the narrative, but whose derivation I have not been able to establish. "Jealousy" played the Park, Brooklyn, in 1876.189 Charles Reade wrote a comedy

called "Jealousy."190 "Jealousy; or, Two Can Play at that Game" appeared at several New York theatres. 191 "Jealousy" was a comedietta by William Henry Dearlove in 1891.192 Any of these may or be not have had something to do with George Sand's book.

LA PETITE FADETTE (1849) LITTLE FADETTE (1850) (FANCHON) Fanchon the Cricket193 was published as a prose tale in English at least once. It is set in La Cosse, where Farmer Barbeau is in happy circumstances. Other characters are Dame Sagette, Landry, Sylvinet, and Francoise (ie., Fadette or Fanchon), as well as Madelon. Published dramatizations:

Harbour." This has nothing to do with George Sand's book.

190

This was licensed for performanced in April 1878. See Add Mss 53201 (A). The ms is 111 folios on lined paper, in two clear hands in black ink. The scene is "A Handsome saloon in Vienna." The characters are Count Bendoz, Baron Kaulbin, Wilmer, Frederic, Kraft, Benjamin, Aza, Countess Bendoz, Stella, Josepha, and Sylvine.

184

The Enchanted Lake. Trans by Francis George Shaw (London: George Slater, 1850).-BL Shelfmarkl2310.c.24. 185

J. F. Baird, "Enchanted Lake. This was an "Entertainment" rather than a play or drama, on 17* April 1854 at the Strand. See Nicoll (V, 673, 831)

191

As, for example , on 18 October 1879 at London Theatre, Bowery-Odell (XI, 129)-and in November 1881 and the summer of 1882 at Miner's-see Odell (XI, 347, 567), as well as 2-7 June at the Volksgarten theatre-see Odell (X, 657) These productions all featured Emm Rogers.

186

By J. F. Baird, and licensed for performance on 14th April 1856 at the Theatre Royal, Newcastle. See Nicoll (V, 673); see also Add Mss 52959 (E). This is "freely translated from the Arabic." The title page calls it "a piece of oriental sentimentality called The Enchanted Lake; or, the Fisherman and the Genie." The characters are Achmet, Mooney Pasha, Abdallah, Hassanb, Omar, Azor, Fatima, Queen Perie, et al. If this was a theft from George Sand, it was deeply hidden.

192

17 January 1891 at Spa . Harrowgate-see Nicoll (V, 340); see Add Mss 53465 (I). Charles Reade's play "Jealousy" (1878) muddies the waters here. Nicoll indicates that this play changed its title to "Little Lady Loo" on 20 April 1900. The ms in the Lord Chamberlain's plays I on 20 folios of legal-sized, lined paper. The sticker of licensure indicates December 31 1890. The title page indicates "for production at The Spa, Harrogate ... January 5, 6, 7, 1891." There is no reference to Georges Sand, or to any source. It looks to be an "original" play. The hand-written half-title page indicates that this is a "numerous romance in one act. The scene is the garden of the Sea View Hotel, Whitby. The characters include Ada, and Fal.

187

See Nicoll (V, 831). Unfortunately, only Baird's "Enchanted Lake" seems to be in the collection of the Lord Chamberlain's plays. 188

Add Mss 43034 (ff 736 &ff). The characters include "Old Raphael Plume," Basil Hastings, Harold Silvertone, Mistress Evaiine Plume, etal. 189

With Henrietta Chanfrau and Frank Mordaunt. See Odell (X, 317).

193

256

(New York: Follet, Foster, 1863).

SAND James Mortimer, Little Cricket. A Domestic Drama in three acts [Adapted from a pastoral romance of Georges Sand] [i.e., from "La Petite Fadette"]. London: "Figaro," 1878. Duodecimo—British Library Shelfmark 11783. A. 17. (2.)

1564. PLAY: DIE GRILLE PLAYWRIGHT: UNKNOWN OCT 1865,18 MAY 1866 AT STADT-THE ATRE, NYC ODELL (VIII, 59) With Genee.

Fanchon, the Cricket ... From a tale ofG. Sand. In Dicks Standard Plays, no 664. London: Dicks, nd—Octavo. BL Shelfmark: 11770. bbb. 4.

1565. PLA Y: FANCHON PLAYWRIGHT: UNKNOWN 12 FEB, 8 MAY 1866 AT ACADEMY OF MUSIC, BROOKLYN ODELL (VIII, 107, 109) With Maggie Mitchell.

1560. PLAY: LA PETITE FADETTE PLAYWRIGHT: UNKNOWN [GEORGE SAND] 20 APR 1855 AT VARIETES, PARIS WEARING, THE LONDON STAGE 1890-J 899, VOL II, 659 Wearing gives this as the first performance.

1566. PLA Y: FANCHON PLAYWRIGHT: UNKNOWN 14 APR 1866 AT NIBLO'S GARDEN THEATRE, NYC ODELL (VIII, 27) With Maggie Mitchell. 1567. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 6 SEPT 1866, 31 MAY 1867 AT ACADEMY OF MUSIC, BROOKLYN ODELL (VIII, 244, 248) With Maggie Mitchell.

1561.

PLA Y: LA PETITE FADETTE PLAYWRIGHT: UNKNOWN 22 AUG 1855 AT WALLACK'S NATIONAL THEATRE, NYC ODELL (VI, 366) Odell notes that this was "afterwards made famous by Maggie Mitchell as Fanchon."

1568. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 15 OCT 1866, APR 1867 AT BROADWAY, NYC ODELL (VIII, 157, 161) Maggie Mitchell.

1562. PLA Y: FANCHON THE CRICKET. DRAMA PLAYWRIGHT: UNKNOWN 13 SEPT 1862 AT ADELPHI, LIVERPOOL NICOLL (V, 676) The Lord Chamberlain's collection of plays does not seem to have a text for this particular production.

1569. PLA Y: FANCHON PLAYWRIGHT: UNKNOWN 24 FEB 1867 AT MRS CONWAY'S PARK THEATRE, BROOKLYN ODELL (VIII, 382) "During the heyday of Maggie Mitchell, new Fanchons were constantly revealed; and, after all, there was but one Fanchon. On February 17th, Emma Maddern made her bow at Mrs. Conway's in this interesting character, and made a brief hit."

1563.

PLA Y: FANCHON THE CRICKET. DRAMA. 5 ACTS PLAYWRIGHT: UNKNOWN 9 FEB 1863 AT STRAND, LONDON ADDMSS53015(L) NICOLL (V, 815) The license copy, which is without a sticker of licensure, is a yellow-bound, printed text, with "Fanchon the Cricket/ Ettie Henderson" on the cover. Inside, a tippedin title page indicates "Fanchon the Cricket. A domestic drama. In 5 acts. From a tale of Georges Sand. Translated from the German by Ferdinand Shuler. Cincinnatti, Ohio. United States. The Property of Ettie Henderson. U.S.A." The characters include Fanchon, Father Barbeaud, Landry. Didier, Mother Barbeaud, et al.

1570.

PLAY: FANCHON PLAYWRIGHT: UNKNOWN 25 APR 1867 AT. MRS CONWAY'S PARK THE ATRE, BROOKLYN ODELL (VIII, 242) With Mr. and Mrs. Conway in the leading roles.

257

SAND 1571.

ODELL (VIII, 478) With Fraulein Hofl.

PLA Y: FANCHON THE GRASSHOPPER. DRAMA. 3 ACTS PLAYWRIGHT: UNKNOWN 11 AUG 1867 AT OLYMPIC, LONDON NICOLL (V, 676) LC-ADD MSS 53061 (H) The ins in the Lord Chamberlain's play is 87 folios each about 7" wide by 9.25" high. The hand is clear and the copy is fair. The title page reads "Fanchon the Grasshopper/ a drama in 3 three acts/ 1ST Act/ Licensers Copy/ Mr. B. Webster; The Olympic / Wych Street/ Strand/ 1867/ Received August/ License sent 117 W. B. Donne." The "Dram. Pers" are Barbeau, Landry Barbeau, [illegible], Aldenize, Fanchon, Madelon, La Mere ...

1578. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 28 SEPT 1868 AT ACADEMY OF BROOKLYN ODELL (VIII, 529) With Maggie Mitchell and J. W. Collier.

1579. PLAY: DIE GRILLE PLAYWRIGHT: UNKNOWN 12 NOV 1868 AT NATIONAL ASSEMBLY ROOMS, NYC ODELL (VIII, 489) Fraulein Naumann as Fanchon; Fraulein Kirchner as Madelon; et al.

1572. PLAY: DIE GRILLE PLAYWRIGHT: UNKNOWN SEPT 1867 AT THALIA-THEATRE, NYC ODELL (VIII, 202).

1580. PLAY: DIE GRILLE PLAYWRIGHT: UNKNOWN 19 NOV 1869 AT TERRACE GARTEN, NYC ODELL (VIII, 620).

1573. PLA Y: FANCHON PLAYWRIGHT: UNKNOWN 28 OCT 1867 AT NEW YORK THEATRE, NYC ODELL (VIII, 304) With Miss Price as Fanchon. 1574. PLA Y: FANCHON PLAYWRIGHT: UNKNOWN 20 DEC 1867 AT ACADEMY BROOKLYN ODELL (VIII, 388) With Maggie Mitchell.

MUSIC,

1581. PLA Y: THE LITTLE CRICKET. COMEDY PLAYWRIGHT: UNKNOWN 11 MAR 1878 AT BRIGHTON NICOLL (V, 494) LC This may have been licensed first for Brighton but never performed or performed elsewhere.

OF MUSIC,

1582. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 16 MAR 1868 AT BROOKLYN OPERA HOUSE, BROOKLYN ODELL (VIII, 403) With Miss Maddern.

1575. PLA Y: DIE GRILLE PLAYWRIGHT: UNKNOWN 24 JAN, 24 FEE 1868 AT STADT-THEATRE, NYC ODELL (VIII, 327, 329) With Fraulein Hofl.

1583. PLA Y: FANCHON PLAYWRIGHT: UNKNOWN 21 SEPT 1868 AT WOOD'S MUSEUM, NYC ODELL (VIII, 435) With Maggie Mitchell.

1576. PLA Y: FANCHON PLAYWRIGHT: UNKNOWN 3, 18-20 FEE 1868 AT OLYMPIC, NYC ODELL (VIII, 281,282) With Maggie Mitchell and J. W. Collier.

1584. PLA Y: FANCHON PLAYWRIGHT: UNKNOWN 4 OCT 1869, 6 MAY 1870 AT ACADEMY OF MUSIC, BROOKLYN

1577. PLA Y: DIE GRILLE PLAYWRIGHT: UNKNOWN 29 OCT 1868 AT STADT-THEATRE, NYC

258

SAND 1591. PLA Y: FANCHON PLAYWRIGHT: UNKNOWN 11 JAN 1875 AT PARK THEATRE, NYC ODELL (IX, 626) With Maggie Mitchell.

ODELL (VIII, 666, 669) With Maggie Mitchell and J. W. Collier. 1585. />L4 7: FANCHON PLAYWRIGHT: UNKNOWN LATE FEE 1871 AT 14TH STREET, NYC ODELL (IX, 40) Effie Johns played Fanchon.

1592. PLAY: DIE GRILLE PLAYWRIGHT: UNKNOWN 9, 10, 12, 14 NOV 1877 AT GERMANIA, NYC ODELL (X, 414).

1586. PLAY: FANCHONETTE THE CRICKET; OR, THE WILL O' THE WISP. DOMESTIC DRAMA. 5 ACTS PLA YWRIGHT: AUG. WALDAUER 1871 AT STANDARD, LONDON The license copy in the Lord Chamberlain's plays is a published/printed version of 29 folios bound in a cover of pages from an exercise book. The pages measure 5" by 8" high. The cover indicates that this is "A Domestic Drama, in Five Acts, from a tale by Georges Sand, Translated from the German by Aug. Waldauer." The characters are Fanchon, Father Barbeaud, Landry, Didier (the twins), Colin, Mother Barbeaud, et al.

1593. PLAY: FANCHON. 1 ACT ONLY PLAYWRIGHT: UNKNOWN JAN 1878 AT ACADEMY OF MUSIC, NYC ODELL (X, 438) Says Odell, "Maggie Mitchell followed, in the first act of Fanchon, supported by several who had been in the original cast, with her, in 1862, at Laura Keene's: J. H. Stoddart as Father Barbeaud, J. W. Collier as Landry, and Mrs. T. J. Hind as Mother Fadet; George Becks was Didier, Mary Wells Mother Barbeaud, and J. (sic) H. Wilder [was] Marteau."

1587. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 21 APR 1873 AT WOOD'S THEATRE, NYC ODELL (IX, 280) With Jennie Morton.

1594. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 14-16 JAN 1878 AT PARK THEATRE, BROOKLYN ODELL (X, 509) With Maggie Mitchell and William Harris as Landry, as well as Edeson as Didier, H. B. Phillips as Father and Mrs. Prior as Mother.

1588. PLA Y: FANCHON PLAYWRIGHT: UNKNOWN 6 OCT 1873 AT BOOTH'S, NYC (FOUR WEEKS) ODELL (IX, 385) With Maggie Mitchell as Fanchon: J. W. Collier as Landry; Robert Pateman as Didier; H. A. Weaver as Father Barbeaud; James Stark as Martineau; Nelson Decker as Etienne; Affie Weaver as Madelon; Mary Wells as Old Fadet; Mrs. H. P. Grattan as Mother Barbeaud.

1595. PLAY: LITTLE CRICKET. PASTORAL DRAMA [COMEDY]. 3 ACTS PLAYWRIGHT: JAMES MORTIMER 14 FEE 1878 AT THEATRE ROYAL, HULL LONDON: "FIGARO," 1878 PREFATORY MATTER TO 1878 EDITION "Represented for the First time at the THEATRE ROYAL, Hull, under the management of Wilson Barrett," says the prefatory matter. Farmer Barbeau by J. S. Haydon; Landry and Jeannot by Burnham and G. R. Peach; Beaucadet by E. Butler; Fanchon, called "Little Cricket," by Miss Lydia Cowell; Mother Fadet by Mrs. Ormsby; Madelon by Miss L. Williams; Manon by Miss Pinder; et al.

1589. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 17 NOV 1873 AT PARK THEATRE, NYC ODELL (IX, 491) With Maggie Mitchell. 1590. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 14 DEC 1873, 16 JAN 1875 AT BOWERY, NYC ODELL (IX, 569, 570) With Louise Sylvester.

1596. PLAY: LITTLE CRICKET. PASTORAL DRAMA [COMEDY]. 3 ACTS PLAYWRIGHT: J.MORTIMER (SAT) 8 JUN 1878 AT DUKE'S, LONDON

259

SAND 1600. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 5 APR 1880 AT OLYMPIC, NYC ODELL (XI, 56) With Maggie Mitchell, "no longer the fairy-like sylph of the '60s," says Odell, who notes William Harris as Landry.

BILL IN OXBODJJ NICOLL (V, 494) NP: NP, 1878; LONDON: DICKS, ND "Founded on a love story, by Georges Sand," reports the bill. "TO THE PUBLIC.—As this Theatre has been frequently utilised for dramatic representations of an accentuated type, it is deemed expedient to announce (without disparagement to any reputable form of theatrical entertainment) that the Drama now performed at the Duke's Theatre, is not of a melo-dramatic nor sensational character, 'Little Cricket' is a simple picture of French peasant life, transferred from the pages of the late Madame Sand to mimic action on the stage. 'Little Cricket' is founded upon 'La Petite Fadette,' one of the most pure, delicate and pathetic pastoral romances, written by the gifted lady whose numerous masterpieces of exquisite fancy and tender sentiment are justly admired by the gentle-minded and refined through the civilised world " Farmer Barbeau by W. H. Stephens; Landry by W. Redmund; Jeannot by F. W. Irish; Beaucadet by C. W. Mason; Colin by A. Leigh; Etienne by Gouldstone; Fanchon by Miss Lydia Cowell; Mother Fadet by Mrs. Huntley; Madelon by Miss Maria Harris; Manon by Miss L. Darrell; Suzette by Miss Howard; Mariette by Miss E. Howard.

1601. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 31 OCT 1879 AT SINN'S PARK, BROOKLYN ODELL (XI, 168) With Maggie Mitchell. 1602. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 6 JUNE 1880 AT WINDSOR THEATRE, NYC ODELL (XI, 282) With Anna Boyle, who did no "permanent injury to the fame of Maggie Mitchell," says Odell. 1603. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 23 FEE 1882 AT PARK THEATRE, BROOKLYN ODELL (XI, 607) With Maggie Mitchell.

1597. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 9-11 OCT 1878, 10 FEE 1879 AT SINN'S PARK THEATRE, BROOKLYN ODELL (X, 723) With Maggie Mitchell "bringing with her once more William Harris, as leading man," says Odell.

1604. PLA Y: FANCHON PLAYWRIGHT: UNKNOWN 27, 28 FEE, 1 MAR 1882 AT GRAND OPERA HOUSE, NYC ODELL (XI, 489) With Maggie Mitchell.

1598. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 14 OCT 1878 AT GRAND OPERA HOUSE, NYC ODELL (X, 593) With Maggie Mitchell yet again.

1605. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 2 APR 1883 AT PARK THEATRE, NYC ODELL (XII, 161) With Maggie Mitchell.

1599. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 8 FEE 1879 AT JAMAICA TOWN HALL, LONG ISLAND ODELL (X, 772) Odell reports that "Little Dorrit enacted Fanchon, with J. B. Ashton as Father Barbeaud." It was almost as if a character from Dickens played a character from Georges Sand.

1606. PLA Y: FANCHON PLAYWRIGHT: UNKNOWN 10 APR 1882 AT WINDSOR THEATRE, NYC ODELL (XI, 492) With Maggie Mitchell. 1607. PLAY: FANCHON PLAYWRIGHT: UNKNOWN

260

SAND with words by Dubreuil, Humbert and Bernain, and music by F. Bernicat and Andre Messager, filled the week of September 29th-October 4th, the cast including Theo as Fanchon, Mine. Delorme as the Comtesse, Mile Vallot as Melitza, Mile Nordall as Nicolet, Gaillard as Francois, Mezieres as the Marquis, Lary as the Chevalier, Guy as Kirschwasser, Ducos as Jasmin, Mille Salvator as Gratinet, and Mile. Vinchon as Courtalin." This dramatis personae makes it seem that this may well not have had anything to do with Georges Sands' original.

25-30 SEPT 1882 PARK THEATRE, NYC ODELL (XII, 36) Odell calls this "inevitable." 1608. PL4F: FANCHON PLAYWRIGHT: UNKNOWN OCT 1882 AT N O V E L T Y WILLIAMSBURGH, BROOKLYN ODELL (XII, 191) With Maggie Mitchell.

THEATRE,

1615. PLAY: FANCHON, THE CRICKET. 5 ACTS PLAYWRIGHT: UNKNOWN 18 FEE 1885 AT GRAND OPERA HOUSE, NYC LCLPA PROGRAMME MWEZ / + / N.C. /19,608 With Maggie Mitchell as Fanchon; R. F. McClannin as Father Barbeard; Charles Abbot and James T. Galloway as the twins Landry and Didier; George A. Parkhurst as Father Caillard; Mrs. E. A. Eberle as Mother Barbeard; Miss Lillian Andrews as Madelon; Miss Maggie Harold as Mother Fadet; et al. Act I, The Shadow Dance; Act II Festival of Saint Antoche; Act III, The Witch of Cross; Act IV, The Parting; Act V, Cricket's Return.

1609. PLA Y: FANCHON PLAYWRIGHT: UNKNOWN 22, 26 OCT 1883 AT PARK THEATRE, BROOKLYN ODELL (XII, 358) With Maggie Mitchell. 1610. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 30 OCT 1882, 30 APR, 1, 2, 54 MAY AT NIBLO'S GARDEN THEATRE, NYC ODELL (XII, 48) With Maggie Mitchell.

1616. PLA Y: FANCHON PLAYWRIGHT: UNKNOWN 23-25 FEE 1885 AT MOUNT MORRIS THEATRE, NYC ODELL (XII, 471) With Maggie Mitchell.

1611. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 12 NOV 1883 AT THIRD AVENUE THEATRE, NYC ODELL (XII, 263) With Maggie Mitchell. 1612. PLAY: FANCHON PLAYWRIGHT: UNKNOWN LATE NOV 1883 AT NOVELTY WILLIAMSBURGH, BROOKLYN ODELL (XII, 389) With Maggie Mitchell.

1617. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 2-7 MAR 1885 AT PARK THEATRE, BROOKLYN ODELL (XII, 562) With Maggie Mitchell, who performed this in her repertoire of Mignon, Little Barefoot, Lorle, and the Midget, Odell reports.

THEATRE,

1613. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 16, 17 FEE 1884 AT GRAND OPERA HOUSE, NYC ODELL (XII, 462) With Maggie Mitchell.

1618. PLA Y: DIE GRILLE PLAYWRIGHT: UNKNOWN 5 APR 1885 AT THALIA, NYC ODELL (XII, 481) With Fraulein Schulz—in German.

1614. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 29 SEPT TO 4 OCT 1884 AT WALLACK'S NATIONAL THEATRE, NYC ODELL (XII, 406) "Fanchon (American title for Frangois les Bas Bleu),

1619. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 24 JUNE 1885 AT ACADEMY OF MUSIC, NYC ODELL (XII, 497)

261

SAND 1627. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 29 DEC 1886 AT ASTORIA ASSEMBLY ROOMS, LONG ISLAND ODELL (XIII, 199) With Kate Percy as Fanchon, Oliver Wren as Landry and Didier, Mrs. Wren as Madelon.

A single scene from the play, with Maggie Mitchell and Collier.

1620. PL4F: FANCHON PLAYWRIGHT: UNKNOWN 20, 21 NOV 1885 GRAND OPERA HOUSE, NYC ODELL (XIII, 42) With Maggie Mitchell.

1628. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 12, 15 MAY 1886 AT THEATRE HARLEM, NYC ODELL (XIII, 52) With Maggie Mitchell.

1621. PL4 7: FANCHON PLAYWRIGHT: UNKNOWN 30 NOV - 5 DEC 1885 AT PARK THEATRE, BROOKLYN ODELL (XIII, 144) With Maggie Mitchell.

COMIQUE,

1629. PLAY: FANCHON PLAYWRIGHT: UNKNOWN FEE 1888 AT PEOPLE'S, NYC ODELL (XIII, 464).

1622. PLA Y: FANCHON THE CRICKET PLAYWRIGHT: UNKNOWN 31 DEC 1885 IN JAMAICA, LONG ISLAND ODELL (XIII, 204) "On December 31st, Oliver Wren, that wandering soul, gave, afternoon and evening, Fanchon, the Cricket; bad weather brought a bad house, but Fanchon sang the then very popular In the Gloaming," reports Odell.

1630. PLA Y: FANCHON PLAYWRIGHT: UNKNOWN 21 FEE 1888 AT ATHENAEUM, BROOKLYN ODELL (XIII, 576) With Pauline Schneider.

1623. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 1-6 MAR 1886 IN LONG ISLAND ODELL (XIII, 201) The Wren Comedy Company.

1631. PLAY: FANCHON PLAYWRIGHT: UNKNOWN FEE 1888 AT LEE AVENUE ACADEMY OF MUSIC, BROOKLYN ODELL (XIII, 585) With Maggie Mitchell.

1624. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 2 OCT 1886 AT STANDARD, NYC ODELL (XIII, 372) With Ethel Tucker.

1632. PLA Y: FANCHON. 1 ACT PLAYWRIGHT: UNKNOWN MAR 1888 ACADEMY OF MUSIC, NYC ODELL (XIII, 500) With Maggie Mitchell.

1625. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 13-18 DEC 1886 AT THEATRE COMIQUE, HARLEM, NYC ODELL (XIII, 274) With Maggie Mitchell.

1633. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 21 MAR 1888 AT 14TH STREET THEATRE, NYC ODELL (XIII, 450) With Maggie Mitchell.

1626. PLAY: FANCHON PLAYWRIGHT: UNKNOWN DEC 1886 AT SINN'S PARK THEATRE, BROOKLYN ODELL (XIII, 357) With Maggie Mitchell.

1634. PLAY: FANCHON PLAYWRIGHT: UNKNOWN 20 FEE 1889 AT LEE AVENUE ACADEMY OF

262

SAND WEARING, THE LONDON STAGE 1890-1899, VOL II, P659 Landry by Landre; Barbeau by Leon Goneau; Beaucadet by Burha; Aledenize by Mayer; Madelon by Marty; Fadette by Jane May.

MUSIC, BROOKLYN ODELL(XIV, 191) With Maggie Mitchell. 1635. PL/1F: FANCHON PLAYWRIGHT: UNKNOWN 2 APR 1890 AT ACADEMY, BROOKLYN ODELL (XIV, 447) This was a production of the Gilbert Dramatic Society, with Libbie Healey as Fanchon; et al.

1641. PLAY: FANCHON PLAYWRIGHT: UNKNOWN SUMMER 1948 AT PLAYHOUSE, PASADENA BURNS MANTLE, BEST PLAYS OF 1948-1949, P. 51 As Chapman, now the editor of the Best Plays, remarks, this was a play that dated "back to the last century."

1636. PLA Y: FANCHON PLAYWRIGHT: UNKNOWN 13 OCT 1890 AT GRAND OPERA HOUSE, BROOKLYN ODELL (XIV, 724) With Maggie Mitchell, who had played this as early as 1863. 1637. PLAY: FANCHON PLAYWRIGHT: UNKNOWN MID NOV 1890 AT AMPHION ACADEMY, WILLIAMSBURGH, BROOKLYN ODELL (XIV, 754) With Maggie Mitchell, in what must have been one of her last appearances in the role. 1638. PLAY: FANCHON PLAYWRIGHT: UNKNOWN MARCH 1892 AT ACADEMY OF MUSIC, BROOKLYN ODELL (XV, 504) Odell reports that, "According to the Eagle, the Gilbert Society, in March, was to act Fanchon, with Libbie Healey in the title-role, W. T. Harris, Jr., as Father Barbeaud, Adam Dove as Landry, M. T. Moran as Didier, Mrs. O'Neill as Old Fadet, and Miss Christie as Madelon." This was an amateur production—a symptom that the taste for this play was becoming old-fashioned, and that its lifespan was coming to an end after nearly forty years. And yet a few more professional performances did occur-see below. 1639. PLAY: FANCHON PLAYWRIGHT: UNKNOWN FEB 1894 AT ASTORIA, BROOKLYN ODELL (XV, 833). 1640. PL/17: LA PETITE FADETTE. COMEDY. 2 ACTS PLAYWRIGHT: UNKNOWN [GEORGE SAND?] 17-18 MAY 1897 AT ROYALTY, LONDON

263

MARY SHELLEY (1797-1851)

SELECT PUBLICATIONS The following are titles by Mary Wollstonecraft Shelley: Tales and Stones by M. W. Shelley, ed. R. Garnett (\%9\y,Falkner, anovelbythe author of "Frankenstein" (1837); The Fortunes of Perkin Warbeck (1830); Frankenstein; or, the Modern Prometheus (1818)—this was re-issued at least nine times up to and including a 1932 edition in English; The Last Man (1826); Lodore (1835); The Swiss Peasant (1859); and Valperga; or, The Life and Adventures of Castruccio, Prince of Lucca (1823).

course also sufficiently ridiculous to elicit numerous burlesque treatments within weeks of its first appearance on stage. "Humgumption; or, Dr. Frankenstein and the Hobgoblin of Hoxton" appeared as early as September of 1823 at the Surrey; "Another Piece of Presumption" appeared in October at the Adelphi. The beloved monster received his full tribute of parody quite early in his stage life. The French, too, could not resist poking fun at the very materials they also played melodramatically "straight." "Les Filets de Vulcain" was an extravaganza at the Opera, Paris; "Le Petit Monstre et L'Escamoteur" was a burlesque at the Gaiete; "La Peche de Vulcain" was another take-off at the Vaudeville; and the Porte Saint-Martin—home of the original French melodrama of "Le Monstre et le Magicien"—launched its own "Les Filet De Vulcain" as a kind of answer to that at the Opera. These mockeries are all tributes to the quick success that the materials had in capturing the popular imagination. Milner's second play upon the novel, staged in 1826 and entitled "Frankenstein; or, The man and the Monster!" was explicitly derived from Mary Shelley's "singular work," but admitted as well to parentage in the French melodrama "Le Magicien et le Monstre." The Coburg prospered well enough with this version to use it again the following summer. Scotland, too, saw productions of Peake's "Presumption," as for example at the Theatre Royal, Edinburgh, in the summer of 1827. By now some distinct traditions in the stagings of the struggle between the man and his monster were developing, and the playbill in the National Library of Scotland makes proudly plain that their production displayed "the original music," though it boasted "new and appropriate scenery, machinery, dresses, and decorations." Like other productions, this Scottish one displayed passages from Mary Shelley's preface on the bill itself. Steven Earl Forry counts fourteen dramatizations by 1826, and fifty-eight distinct versions by 1985.195 I count twenty-four stagings of serious

FRANKENSTEIN; OR THE MODERN PROMETHEUS (1818) Mary Shelley's horror story became two London plays in the summer of 1823, first at the English Opera House, which offered Richard Brinsley Peake's "Presumption; or, the Fate of Frankenstein," and then three weeks later at the Coburg, which offeredH. M. Milner's "Frankenstein! or, the Demon of Switzerland." The novel itself, with its epistolary introduction and leisurely, self-conscious narrative opening, is of course anything but theatrical in mimetic manner. Nevertheless, its subject was absolutely irresistible to playwrights and actors of the early nineteenth century, whose stages were replete with Dr. Frankensteins and especially with their monsters. In addition to the English Opera House, and the Coburg, the Surrey, Davis's Royal Amphitheatre, the Royalty, the Adelphi, and the Olympic all played Frankenstein within eighteen months of his first appearance on the London stage. Not even the dignity of Covent Garden was immune to a production of Richard Brinsley Peake's alternatively titled "Presumption" in July 1824. Victor Frankenstein and his monster quickly crossed the Atlantic to the Park, in New York, where they appeared on New Year's day of 1825. Indeed, the terrible duo were international figures. French melodramatists were also soon taken them, and "Le Monstre et Le Magicien" appeared in Paris on 10 June 1825, at the Porte Saint-Martin Theatre, where it lasted for 94 performances. "Le Presomptueux" and "Le Monstre et Le Physicien" also played Parisian theatres in 1826. Despite the serious, moralistic responses to the alleged blasphemy in both the novel and its derivative plays194, the whole idea of the man-made man was of

Century to the Present. Philadelphia: (University of Philadelphia, 1990), pp. 4-7. 195

Steven Earl Forry, "The Hideous Progenies of Richard Brinsley Peake: Frankenstein on the Stage, 1823 to 1826," Theatre Research International (vol 12, no 1): 13-32. A more complete treatment of the subject appears the above-mentioned book by the same author, hereinafter referred to as Hideous Progenies: Dramatizations.

194

Steven Earl Forry, Hideous Progenies: Dramatizations o/Frankensteinyrow the Nineteenth

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Figure 7 Numbers of productions of dramatizations of Frankenstein (on stage and film) per decade. dramatizations and burlesques by 1826, and 220 stage and film productions by 1985. By 1837, when Dickens was first publishing Oliver Twist in periodical issues, there had been no fewer than fifty-seven stagings of Mary Shelley's Frankenstein—at least in one guise or another, serious and unserious. Especially Peake's "Presumption" continued popular throughout the third and fourth decades of the century, so that by 1850 there had been at the very least seventy-five stagings of the subject here, there, and nearly everywhere: in London, Edinburgh, Glasgow, Dundee, Hythe and Sandgate, Newcastle, Norwich, Bath, Sheffield, Chichester, Dover, Paris, and New York. Yet such immortality is not eternal, and as mid-century passed, the Monster's vogue faded and the serious stage reincarnations of Frankenstein virtually ended—as least for several decades. By 1887, one last burlesque "Frankenstein" was staggering across the stage of the Gaiety Theatre, London—in the Christmas season. Then, for a generation thereafter, the Monster was gone, with few or no stagings of the story toward the end of the century and before the birth of the cinema. A silent film in 1910 was a harbinger of things to come. Peggy Webling's stage play of 1927-1930 prepared for the cinematic re-birth. Then came 1931, when the Universal Studios version starring Boris Karloff appeared. Never thereafter has the monster been far from the popular attention, and more than 100 films and seventy stage dramatizations have been created. By 1997 the novel had inspired at least 242 distinct stagings and filmings—as the records below

indicate. Frankenstein's creation therefore has had two great spasms of life in the popular imagination: first on stage and then on screen. The cinema, for its part, has favored not only the burlesque spoofings that the stage so adores, with "Abbott and Costello Meet Frankenstein" and "Frankenstein General Hospital" but also the extensions of Frankenstein's monster's life into new realms, with "Frankenstein Meets the Space Monster," and "Frankenstein and the Monster from Hell." For both stage and cinematic actors, the role of the Monster has had great appeal, and distinguished thespian practitioners of their respective eras have tried and succeeded as the gigantic creation of Dr. Frankenstein. The cast of characters surrounding the central character may change, as Elizabeth becomes Victor's fiancee, for example, and Henry Clerval becomes Elizabeth's brother. The de Lacey family come and go from the stage and screen as version succeeds version. Victor Frankenstein changes his name to Henry in the 1931 film version. No producers of play or film treat these materials with too much reverence for specific details of the original. But one thing remains forever: the monster himself, lurking in magnificent (or ridiculous horror at the heart of the story. The bills for the early nineteenth century productions were quite fond of calling attention to this unique character by refusing to give him a name. Rather, he is mentioned in the lists of dramatic personae as " " or "******." Among the early actors who

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SHELLEY played the part were Bengough, and T. P. Cooke, who specialized in this role and for more than a decade, and who competed as the monster with O. Smith, who was also especially prominent in the part. Even the young "Mademoiselle Celeste" played the monster in breeches (presumably)196. Later in the century, at the Adelphi during the season of 1849-1850, the famous Paul Bedford (perhaps best known during his day as Blue Nose in the productions of "Jack Sheppard"), became the "Model Man" in a burlesque of the by-then ancient materials. Given the constellations of leading popular actors that hung in the theatrical skies of those years, these impersonations amount to virtual theatrical sainthood for the beloved Monster. In Milner's version of the play, incidentally, the Monster's apotheosis occured as he ran climactically into a volcano. Who could forget such a sensational scene? Little wonder that Boris Karloff should be famous in the first talking film version of the role, even though he reaches his end in a conflagration of a mere hilltop windmill. It may strike modern eyes as strange indeed that music was a prominent feature in the productions of Frankenstein plays. But songs were of course required by British law for many years in plays not performed in a "patent" theatre; productions of "Frankenstein" or "Presumption" were no exceptions. So popular were these fragments of song that even where they could by law have been omitted they were sung: Felix de Lacey rendered "Sweet Maiden" in the Edinburgh Theatre Royal's 1827 production; in the same show Fritz was given a wife who could sing "I have Fruits, I have Flowers;" and Agatha warbled "The Youth I Love so Dearly." Many were the songs inserted into the plays—more, perhaps, to relieve the horrors than to appease the authorities.

I'escamoteur. Paris: Boquin de la Souche, 1826. Dugue, Ferdinand. Le Monstre et le magicien. Paris: Libraire Theatre, 1861. Kelly [Kelley], Tim. Frankenstein. New York: Samuel French, 1974. Kerr, John. The Monster and the Magician; or, the Fate of Frankenstein. London: Kerr, 1826. Merle, Jean Toussaint, and Antony, Beraud. Le Monstre et le magicien. Paris: Bezou, 1826. Milner, H. M. Frankenstein. In Duncombe 's, Vol II. London: John Duncombe , nd [1826? 1828?]. Milner, H. M. Frankenstein; or, The Man and the Monster. A Romantic Melo-drama in two Acts (and in Prose). Founded Principally on Mrs. Shelley's Singular Work entitled 'Frankenstein', And partlyu on the French Piece, Le Magicien et Le Monstre. In Lacy's Acting Edition of Plays, Vol. 75. London: Lacy, 1850 [1867?]—duodecimo. Nowlan, Alden & Learning, Walter. Frankenstein: The Man Who Became God. Toronto: Clark, Irwin, 1976. Ormsby, Alan. The Monster Frankenstein! New York: Scholastic Book Services, 1975. Peake, Richard Brinsley. Presumption. Dicks Standard Editions, no. 431. London: Dicks, 1865.

Published dramatizations: Simms, Willard. Thursday Meets the Wolfman. Denver: Pioneer Drama, 1974.

Anon. Frankenstein. New York: Bobbs-Merrill, 1970 this was the Living Theatre version.

Walker, Peter & Leslie, Katherine Jean. Frankenstein Follies. Elgin, 111.: Performance Publishing, 1977.

Brazier, Nicolas; Dumersan, Guillaume; and de Lurien, Gabriel-Jules-Joseph. Les filets du Vulcain; or, Le Venus de Neuilly. Paris: Duvernois, 1826. Campton, David. Frankenstein: A Gothic Thriller in Two Acts. London. J. Garnet Miller, 1973. This was produced as "Frankenstein: The Gift of Fire."

1642. PLAY: PRESUMPTION[!]; OR, THE FATE OF FRANKENSTEIN. MELODRAMATIC OPERA. 3 ACTS PLAYWRIGHT: ANON [RICHARD BRINLSEY PEAKE]; MUSIC BY WATSON (OPENING MON) 28-31 JULY, (FRI) 1, 2, 4, 6-9, 1116, 18, 20, 23, 25, 27, 29, AUG, (WED) 3, 6, 8, 10, 12, 17, 19, 24-27 SEPT, 1, 2, 4 OCT 1823 AT THEATRE

De Saint-George, Jules-Henri; and Simonnin, AntoineJean-Baptiste. Le Petit monstre et

1% See 13 August 1832 at the Surrey, London—British Library Bills, vol. 363.

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SHELLEY On a bill with "Thalaba" from Southey. Forry notes that this was not an early version of Milner's later (1826) play based on the novel, and entitled "Frankenstein; or, the Man and the Monster" (see below). Forry reports that "no form of the script of Milner's first dramatization is known to exist, but The Drama (August 1823) contains a review that characterizes both the nature of Demon of Switzerland and its thorough dissimiliarities to The Man and the Monster." Forry quotes from the review (p. 28). In this play, the monster speaks, as he does not in other versions.

ROYAL, ENGLISH OPERA HOUSE, STRAND, LONDON (37 PERFORMANCES) LONDON: DICKS (NO. 431), CA 1865 BL BILLS (VOLS 325, 360); BILLS IN OXBOD (M. ADDS 128C/47); BILL IN OXBOD JJ; NICOLL (IV, 369, 464); LARPENT #2359; FORRY, "HIDEOUS PROGENIES", IN THEATRE RESEARCH INTERNATIONAL (VOL 12, NO 1): 13-32; AND IN HIDEOUS PROGENIES: DRAMATIZATIONS OF FRANKENSTEIN'FROM THE NINETEENTH'CENTURY TO THE PRESENT, PP. 3, 121 Nicoll shows this as having been filed with the Lord Chamberlain's office on 12 July 1823. It was the first production of this first play upon the novel. A microfilm copy of the manuscript, though listed in the Larpent collection, is presently (summer 1997) missing from the British Library's microfiche copy collection of the Larpent plays. The manuscript itself is available at the Huntington Library, in California. Frankenstein by Wallack; De Lacey (a banished Gentleman) by Rowbotham; Felix De Lacey by Pearman; Fritz by Keeley; Clerval by J. Bland; William by Master Boden; Hammerpan by Salter; Tanskin by Shield; Guide by R. Phillips; Gypsey by H. Phillips;"( )" by T. P. Cooke; Elizabeth by Mrs. Austin; Agatha De Lacy by Miss L. Dance; Safire by Miss Holloway; Madame Ninon by Mrs. J. Weippert. The 18th August performance was the "eighteenth time" that this "entirely new ROMANCE of a peculiar interest" was performed. On this particular evening the play appeared as an afterpiece, following "Monsieur Tonson" and "The Polly Packet." Forry reports that "London newspapers were of mixed opinion on the merits of the play" (pp. 14-15). Mary Shelley herself saw this production, and praised the acting of Cooke.

1644.

PLAY: HUMGUMPTION; OR, DR. FRANKENSTEIN AND THE HOBGOBLIN OF HOXTON PLAYWRIGHT: ANON 1-6 SEPT 1823 AT SURREY, LONDON (6 PERFORMANCES) BL BILLS (VOL 311, II); FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS, PP. 29, 121 "Founded partly on celebrated novel, partly on ancient legends, and principally upon modern dramas," says the bill. Exhibiting "a well known Imaginary View of Dr. Frankenstein's House at Hoxton," it is "exempt from the appalling disadvantages of Terror, Magic, and Spectres," but "still has Spirit enough to enchant the attention." Agatha deLazy by Miss Tunstall; et al. Forry notes that "no script of Humgumption is known to exist; however, a squib in the Morning Post (5 September 1823) provides a description of the play" (p. 29). He quotes the review, which includes a plot summary, and refers as well to other journalistic reports, as in the Theatrical Observer (2 & 8 September). 1645. PLA Y: PRESUMPTION AND THE BLUE DEMON

PLAYWRIGHT: UNKNOWN 1643.

1 SEPT 1823 ATDAVIS'S ROYAL AMHITHEATRE,

PLAY: FRANKENSTEIN! OR, THE DEMON OF SWITZERLAND. DRAMATIC ROMANCE PLAYWRIGHT: ANON [H. M. MILNER—FORRY'S ATTRIBUTION]; MUSIC BY T. HUGHES; MACHINERY BY BURROUGHS; SCENERY BY WILKINS, JONES, ETAL; DRESSES BY SMYTHERS, MESSDAMES CROSS AND FOLLET (MON) 18-23, 25-30 AUG 1823 AT COBURG, LONDON (8-10 PERFORMANCES) BL BILLS (174); BILLS IN LONDON THEATRE MUSEUM (AND ON CHADWYCK-HEALEY MICROFICHE); FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS, PP. 16, 27-8, 121 "Founded on the popular and singular romance of the same name," says the bill. Frankenstein by Stanley;" " by Bengough; Clara by Mrs. Pope; Maud by Mrs. Weston; Eliza by Mrs. Tennant; et al.

LONDON (2 PERFORMANCES) BL BILLS (VOL 170); FORRY, "HIDEOUS PROGENIES," P. 15; FORRY, HIDEO US PROGENIES:

DRAMATIZATIONS,?.

121.

1646.

PLAY: FRANKENSTEIN; OR, THE DANGER OF PRESUMPTION PLAYWRIGHT: UNKNOWN [PEAKE—FORRY'S CONCLUSION] 22 SEPT 1823 AT ROYALTY, LONDON (12 NIGHTS) NICOLL (IV, 464); FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS, PP. 27, 121 Forry reports that this was "actually a retitling of Peake's play, which was presented, as Summers notes (330), at the Royalty in an effort to capitalize on the success of the Presumption at the end of the season."

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SHELLEY EXTRAVAGANZA]. 2 ACTS PLAYWRIGHT: UNKNOWN ["WRITTEN BY THE AUTHOR OF 'GIOVANNI IN BOTANY'"] 13 DEC 1824, (TUES) 25-29 JAN, (MON) 7 MARCH 1825 AT OLYMPIC, LONDON NICOLL (IV, 464); FORRY, "HIDEOUS PROGENIES," PP. 16-17; FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 121 LC MS ADD MSS 42869 (fT 218-236) LORD CHAMBERLAIN'S RECORDS 26711 /1824; BL BILLS (VOL 329) The ms in the Lord Chamberlain's plays is on 17 folios of very light blue paper, measuring 7.75" wide by 9.375 to 9.625" high. The title page reads "I have no official objection to make against the representation of this Piece. G. C. 26th Novbr 18247 Frank-in Steam/ or/ The Modern Promise to Pay/ A Burlesque Burletta/ Extravaganza/ In/ Two Acts." "Founded upon a Romance of Peculiar Interest, called Frankenstein, or the Modern Prometheus," says the bill. Frank-in-steam by Vining; Fitz by Andrews; De Lacy by Gillette; Miss Penelope De Lacy by Mrs. Rowbotham; et al. Scene 1st, Act 1st is "A Hall in the House of Frankenstein-Fitz-asleep in an arm chair." Scene 2nd is "Outside of Cottage Ornee-Enter Dolly with various flowers which she places on a Stand." Scene 3rd is "A Street with Church and Burial ground in perspective. Charley discovered asleep in his box-the clock strikes five as he awakes." Act 2nd, Scene 1st is "Exterior of the Study of Frankenstein-flight of stairs leading to corridor. Enter Frank-cautiously." Scene 2nd is "The Inside of Whalebone Cottage the... of Delacy who enters followed by Penelope." Scene 3rd is "Outside of Frank-insteams House. Enter Fitz-disconsolately." Scene Last is "The Tower StairsMargate Steamboat-lying close to distant view of shipping along the river-Music-Frank enters pursued by Snatch..." Forry reports that in this play "an irate bailiff (playing the part of the pursuing demon) is finally destroyed when Frankenstein pushes him into the boiler of a steamboat."

1647. PLAY: ANOTHER PIECE OF PRESUMPTION. BURLESQUE PLA YWRIGHT: RICHARD BRINSLEY PEAKE 20 OCT 1823 AT ADELPHI, LONDON HUNTINGTON LIBRARY MS, LARPENT NO 2374 FORRY, "HIDEOUS PROGENIES," P. 15; FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS, PP. 30-1 This was Peake's burlesque of his own prior play. Forry gives more than a page of dialogue from the play. 1648. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. ROMANCE PLAYWRIGHT: ANON [PEAKE?] (THURS) 15, 19 JULY 1824 AT ENGLISH OPERA HOUSE, STRAND, LONDON BL BILLS (VOL 325); PROGRAMME/BILL INLARGE FOLDER IN OXBODJJ; BILLS IN OXBOD (M ADDS 128C/48); FORRY, "HIDEOUS PROGENIES," P. 16; "Thirty-seventh time," says the bill for July. Frankenstein by Rowbotham (or later by Bennett); De Lacey by W. Bennett; Felix De Lacey by Broadhurst; Fritz by Keeley;"( )" by T. P. Cooke. This played with "Miller's Maid" and "Gretna Green." 1649. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. ROMANCE PLAYWRIGHT: ANON [PEAKE—FORRY'S CONCLUSION]; MUSIC BY WATSON (FRI) 9, 12, 13 JULY 1824 AT CO VENT GARDEN, LONDON BL BILLS (VOLS 96; 99); FORRY, "HIDEOUS PROGENIES," P. 16 The preface to the novel is quoted on the bill. Frankenstein by Bennett; Fritz by Keeley; " " by T. P. Cooke. 1650. PLA Y: PRESUMPTION PLAYWRIGHT: PEAKE 28 JULY 1824 AT THEATRE ROYAL, BIRMINGHAM FORRY, "HIDEOUS PROGENIES," P. 16; FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS, P. 5 Forry reports that Alfred Bunn, who then managed the Theatre Royal, "included the most unintentionally comical conclusion of any Frankenstein dramatization" that induced the audience's laughter when the scenery collapsed on the actors. See also his more detailed discussion and description in his full-length study.

1652. PLAY: FRANKENSTEIN. MELODRAMA PLAYWRIGHT: UNKNOWN 1, 15 JAN 1825 AT PARK, NYC (AT LEAST SEVEN PERFORMANCES) BROWN; ODELL (III, 145); FORRY, "HIDEOUS PROGENIES," P. 17; FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS, P. 11 Brown says that this was the first American performance of the play. Odell calls this a "trying gift—a melodrama founded on Mrs. Shelley's gruesome story ... ." Simpson as Frankenstein; Jervis as the Daemon; Lee as Cherval; Placide as Fritz; Kent as Hammerpan; Foot as De Lacy; Mrs. Clarke as Elizabeth; and Mrs. De Luce as Sophia.

1651. PLAY: FRANK-IN-STEAM; OR THE DANGER OF PRESUMPTION [OR, THE MODERN PROMISE TO PAY]. BURLESQUE [BURLETTA

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SHELLEY 1653.

1657. PLAY: FRANKENSTEIN; OR, THE MAN AND THE MONSTER! [THE MAN AND THE MONSTER! OR, THE FATE OF FRANKENSTEIN]. ROMANTIC [HISTORICAL] MELODRAMA. 2 ACTS. [26] [28] 37 PP PLAYWRIGHT: H. M. MILNER (MON) 3-8, 10-15, (MON) 17 JULY 1826 AT ROYAL COBURG, LONDON [10 JULY SAW THE 7TH PERFORMANCE] LONDON: LACY (VOL 75), 1850; LONDON: JOHN DUNCOMBE (VOL II), ND; H. M. MILNER, FRANKENSTEIN; OR, THE MAN AND THE MONSTER. A ROMANTIC MELO-DRAMA IN TWO A CTS (AND IN PROSE). FOUNDED PRINCIPALLY ON MRS SHELLEY'S SINGULAR WORK, ENTITLED 'FRANKENSTEIN', ... AND PARTLY ON THE FRENCH PIECE, 'LE MA GICIEN ET LE MONSTRE.' LACY'S ACTING EDITION OF PLAYS, VOL 75, 1850—DUODECIMO BL BILLS (VOL 175); BILLS IN LONDON THEATRE MUSEUM (AND ON CHADWYCK-HEALEY MICROFICHE); IN HAND INBDL; NICOLL (IV, 356); BLC; FORRY, "HIDEOUS PROGENIES," P. 19; FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS ... , PP. 3, 13 This was Milner's second play on the novel. "Founded upon a French Piece called 'Le Magicien et le Monstre'," says the bill for 10 July. After beginning as an afterpiece on 2 July, it moved to the top of the bill on 10 July. Nicoll shows subtitle as "The Demon of Switzerland," but shows variations in title. The London Theatre Museum bill gives the title as "Man & the Monster; or, The Fate of Frankenstein." The Prince del Piombre by Hemming; Frankenstein by Rowbotham; The Monster ( * * * * * * ) by O. Smith; Rosaura by Mrs. Lewis; Emmeline by Mrs. Young; et al. This was sometimes promoted on a bill with "The Pilot"—from James Fenimore Cooper's novel. Forry notes that this was "the only serious long-term rival of Presumption" in the history of Frankenstein and his monstrous creation on the English stage, and that it established O. Smith as a rival to T. P. Cooke as the monster.

PLAY: FATE OF FRANKENSTEIN; OR, PRESUMPTION. DRAMA PLAYWRIGHT: ANON (MON) 21 MARCH 1825 AT CALEDONIAN, EDINBURGH BILL IN FOLGER (HENDERSON, VOL 12, F 121) Frankenstein by Gann; Baron de Lacey by Mitchell; Fritz by Burroughs; ***** by Clifton. This was the afterpiece, following "Kenilworth."

1654. PLAY: PRESUMPTION PLAYWRIGHT: UNKNOWN 13 JULY 1825 AT BROADWAY CIRCUS, NYC ODELL(III, 171). 1655. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. ROMANCE PLAYWRIGHT: ANON [PEAKE?]; MUSIC BY WATSON (MON) 25 JULY, (TUES) 2, 4, 8, 10, 12, 22, 25 AUG, (FRI) 9, 19 SEPT 1825 AT THEATRE ROYAL, ENGLISH OPERA HOUSE, STRAND, LONDON BL BILLS (VOL 325); BILLS IN OXBOD (M. ADDS 128C/49); FORRY, "HIDEOUS PROGENIES," P. 17; FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 11 This was a revival of the version that the English Opera House had offered the previous season. Frankenstein by Baker; De Lacey by W. Bennett; Felix De Lacey by Broadhurst; Fritz by Keeley; Clerval by J. Bland; ( ) by T. P. Cooke; Elizabeth by Miss Boden; Agatha de Lacey by Miss Noel; et al.

1656. PLAY: LE MONSTRE ET LE MAGICIEN PLAYWRIGHT: JEAN-TOUSSAINT MERLE & BERAUD ANTONY 10 JUNE TO 25 NOV 1826 AT THEATRE DE LA PORTE S A I N T E - M A R T I N , PARIS ( 9 4 PERFORMANCES) FORRY, "HIDEOUS PROGENIES," P. 18; FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP. 3,11, 31 Forry notes that this "achieved almost as much popularity as Presumption " had in London. He also describes some of the financial success of the play, including for example that a benefit performance on 2 September "yielded more than 3600 francs." He also reports that the English actor T. P. Cooke played the monster. Forry notes that, within three months of its premier, this play had inspired "six comic adaptations—one revue or piece circonstance, two burlesques, and three classical extravaganzas" (p. 31).

1658. PLAY: LES FILETS DE VULCAIN; OU, LA VENUS DENEUILLY. EXTRAVAGANZA PLAYWRIGHTS: GUILLAUME DUMERSAN, GABRIEL-JULES-JOSEPH DE LURIEN, AND NICOLAS BRAZIER 5 JULY 1826 AT OPERA, PARIS FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, PP. 32, 121 Forry reports that "Filets de Vulcain evinces the

269

SHELLEY LENDEMAIN D'UN SUCCES PLAYWRIGHT: P. CARMOUCHE [PSEUD.] 15 JULY 1826 AT PORTE SAINT-MARTIN, PARIS FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 24 "In answer to its rivals, the Porte Saint-Martin mounted ... a revue [in which] the Manager ... gathers around him managers from those [other] Parisian theatres that have in the past months attempted to rival his [own] theatre. Vulcan pompously instructs them in the art of producing a good play—for example, Le Monstre et le magicien. Cooke's appearance proved to be the only interesting aspect of this production," says Forry.

harlequinade tradition in which an elderly guardian threatens to marry his ward to a hideous old man. In this production the Creature plays the part of Clown, the figure of anarchy and the butt of all humor" (p. 32). Creature by Charles Odry.

1659. PLAY: LE PETIT MONSTRE ET L'ESCAMOTEUR. BURLESQUE PLAYWRIGHT: JULES-HENRI VERNOY DE SAINTGEORGES & ANTOINE-JE AN-BAPTISTE SIMONNIN 7 JULY 1826 AT THEATRE DE LA GAfETE, PARIS (37 PERFORMANCES) FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP. 32-3, 122 Forry thinks this "the best early burlesque of this scene [of parody of T. P. Cooke's evocation of the monster's being charmed by music]" (p. 32).

1663. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. ROMANTIC MELO-DRAMA PLAYWRIGHT: ANON [PEAKE?] (MON) 17 JULY 1826 AT THEATRE ROYAL, GLASGOW BL BILLS (VOL 393,1) Frankenstein by Diddear; the Demon by Fillingham.

1660. PLAY: LA PECHE DE VULCAIN; OR, L'lLE DES FLEUVES PLAYWRIGHTS: CLAUDE-LOUIS-MARIE DE ROCHEFORT-LUC AY [I.E, EDMOND ROCHEFORT], ESPERANCE-HIPPOLYTE LASSANGE; AND MATHUPJN-JOSEPH BRISSET 10 JULY 1826 AT THEATRE DU VAUDEVILLE, PARIS FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, PP. 33-4, 122 Forry explains that "the play parodied not only the production at the Opera, but three other recent Parisian productions: L 'Intrigue et I 'Amour, Alexandre Dumas's translation of Schiller's Kabale und Hebe, Charles Arlincourt's five-act verse tragedy La Siege de Paris, and of course Le Monstre et le magicien. In La Peche de Vulcain, Vulcan has been sent to Earth in search of Apollo, who has deserted Olympus. After a fruitless search of cities, fields, and theatres, Vulcan addresses himself to the river Danube, from which he pulls Ferdinand, the hero of Schiller's play, and to the river Seine, from which he pulls Ordamant, the hero of the play by Arlincourt. Finally, Vulcan addresses the Thames, from which he pulls the Creature of the Porte Saint-Martin."

1664. PLA Y: LE MONSTRE ET LE PHYSICIEN PLAYWRIGHT: UNKNOWN 3 AUG 1826 AT THEATRE DE M. COMTE, PARIS (29 PERFORMANCES) FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, PP. 34, 122. 1665. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. ROMANCE PLAYWRIGHT: ANON [PEAKE?] (WED) 20, 21, 23, 25, 26, 27, 28, 29, 30 SEPT, 2, 3, 4, 5 OCT 1826 AT THEATRE ROYAL, ENGLISH OPERA HOUSE, STRAND, LONDON BL BILLS (VOL 325); BILLS IN OXBOD (M. ADDS 128C/50); FORRY, "HIDEOUS PROGENIES," P. 18;

FORRY, HIDEOUS PROGRENIES: DRAMATIZATIONS, PP. 13, 35 Frankenstein by Bennett; Fritz by W. Chapman; ( - -) by T. P. Cooke; Elizabeth by Miss Boden; et al. Forry reports that the ending of this particular production borrowed from the French version its conclusion "where, instead of Frankenstein and the Creature being killed in an avalanche, the two die aboard a schooner tossed in a storm."

1661. PLA Y: LE PRESOMPTUEUX PLAYWRIGHT: UNKNOWN 11 JULY 1826 AT THEATRE DE M. COMTE, PARIS (5 PERFORMANCES) FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, PP. 34, 122. 1662. PLAY:

LES

FILETS DE

1666. PLAY: LE MONSTRE ET LE MAGICIEN [THE MONSTER & THE MAGICIAN; OR, THE FATE OF FRANKENSTEIN]. MELO-DRAMATIC ROMANCE. 3 ACTS PLAYWRIGHT: JOHN KERR [?]

VULCAIN; OR, LE

270

SHELLEY BL BILLS (VOL 326); BILL IN OXBOD (M. ADDS 128C/50) "With Winter's Overture to Zaira," proclaims one bill. Frankenstein by Bennett; De Lacey by Chapman; ( - -) by O. Smith; et al. On 3 August this played on a bill with "The Vampire."

(OPENING MON) 9-14 OCT1826 AT WEST LONDON [LATER QUEEN'S], LONDON (4 PERFORMANCES) BL BILLS (VOL 163); FORRY, "HIDEOUS PROGENIES," P. 18; FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 13 "Founded on the singular and admired Work of Mrs. Sehlly [sic], and now arranged expressly for this Theatre," says the bill, which mentions "additional scenes of peculiar interest." Forry says that this play was actually "initiated" by Merle's and Antony's French version (see above). Frankenstein by Harding; "( )" by S. Roxby Beverly; et al. Forry calls this a translation of "Le Monstre et le magicien."

1669. PLAY: FRANKENSTEIN; OR, THE MONSTER. GRAND TRADITIONARY MELO-DRAMA PLAYWRIGHT: ANON [MILNER] 1, 3, 4, 11, (THURS) 16 AUG 1827 AT SURREY, LONDON BL BILLS (VOL 311, II); BILLS IN LONDON THEATRE MUSEUM (AND ON CHADWYCKHEALEY MICROFICHE); FORRY, "HIDEOUS PROGENIES," P. 19; FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS,?. 13 Forry reports that the manager, Elliston, had basically retitled Milner's play—a tactic that proved unsuccessful in this instance. Frankenstein by Wynne; the Monster by Norman.

1667. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. ROMANTIC AND OPERATIC MELO-DRAMA. 3 ACTS PLAYWRIGHT: ANON [PEAKE] (MON) 28, 30 MAY, 1, 2, 4-9 JUNE 1827 AT THEATRE ROYAL, EDINBURGH BILL IN NATIONAL LIBRARY OF SCOTLAND (NLS); BL BILLS (VOLS 315; 418 [157-167]); REFERENCE IN BILL IN FOLGER (HENDERSON, VOL 12, F 44); BILLS IN GUL-STA (F B. BOXES 4, 5) Advertised "with the original music, and new and appropriate scenery, machinery, dresses, and decorations." The bill quotes from the preface to the novel. Frankenstein by Pritchard; De Lacy by Taylor; Clerval by Montague Stanley; William, the Brother of Frankenstein, by Miss F. Stanley; Fritz by Murray; Hammerpan by Stanley; Tanskin by Harrold; Felix de Lacey by Thome ("in which character he will introduce Sweet Maiden," a song, or sometimes also render "Tho1 Pleasure Swell the Jovial Cry"); The Monster by T. P. Cooke ("as originally performed by him at the Theatre-Royal, English Opera House, and played Eighty successive Nights in Paris"); Elizabeth, sister to Frankenstein, by Miss Mason; Safie by Miss Murray; Madame Ninon, Wife to Fritz, by Miss Tunstall ("in which character she will sing I Have Fruits, I have Flowers"); Agatha de Lacey by Miss Noel (singing "The youth I love So Dearly," and "Say, What is Love?"); etal. Through much of its run, this was on a bill with "The Pilot" from James Fenimore Cooper's novel of that name.

1670. PLAY: MAN AND THE MONSTER, OR, THE FATE OF FRANKENSTEIN PLAYWRIGHT: H. M. MILNER (MON) 6-11 AUG 1827 AT COBURG, LONDON BL BILLS (VOL 175); BILL IN LONDON THEATRE MUSEUM (AND ON CHADWYCK-HEALEY MICROFICHE) T. P. Cooke as the Monster ( * * * * * * ) ; Rowbotham as Frankenstein. The piece was adapted from the French drama "Le Monstre et Le Magicien." Scenes include: Outside of Frankenstein's study; Interior of Frankenstein's Study; "Awful Animation of the Monster," "Wood and Thunderstorm," "Ritzberg's Cottage," "Copse Adjacent to the Palace," "Grand Saloon of the Palace," "Banquet and Festive Ballet," "Ritzberg's Cottage in Flames," "Range of Rocks near the Summit of Mount Etna," "The Crater of Mount Etna," "The Monster pursued and overpowered on all sides, seeks Destruction by rushing into the Volcano." 1671. PLAY: FRANKENSTEIN; OR, THE MONSTER AND THE MAGICIAN. MELODRAME PLAYWRIGHT: ANON (MON) 27 AUG 1827 AT NEW THEATRE, HYTHE AND SANDGATE BL BILLS (VOL 291) Frankenstein by W. L. Rede; **** by Roxby; et al.

1668. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. ROMANCE PLAYWRIGHT: ANON [PEAKE?] (MON) 9, 13, (FRI) 20 JULY, (FRI) 3, 8, 29 AUG, (MON) 10 SEPT 1827 AT THEATRE ROYAL, ENGLISH OPERA HOUSE, STRAND, LONDON

1672. PLAY:

271

PRESUMPTION; OR, THE FATE OF

SHELLEY FRANKENSTEIN. ROMANCE PLAYWRIGHT: ANON [PEAKE?] (MON) 18, 27 AUG, 10 SEPT, 1 OCT 1828, (WED) 12 AUG, 21 SEPT 1829 AT ENGLISH OPERA HOUSE, STRAND, LONDON BL BILLS (VOL 326) "First time this season," says the bill for 18 August. Frankenstein by Baker;"( )" by O. Smith.

PLAYWRIGHT: ANON [MILNER?] (MON) 14-19 SEPT 1829 AT COBURG, LONDON BILL IN LONDON THEATRE MUSEUM ( A V A I L A B L E ON CHADWYCK-HEALEY MICROFICHE) The Prince del Piombine by J. Hill; Frankenstein by H. Williams; "(* * * * * * , ) Monster," by "(* * * * * *);" Emmeline by Miss Watson; et al.

1673. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN PLAYWRIGHT: ANON [PEAKE?]; MUSIC BY WATSON (THURS) 26, 28 MAR, 2, 4, 6 APR 1829 AT CO VENT GARDEN, LONDON BL BILLS (VOLS 101, II; 102); GENEST (IX, 482) Frankenstein by Diddear; Fritz by Keeley;" " by O. Smith. "By permission of S. J. Arnold, Esq.," says the bill.

1678. PLAY: PREUMPTION; OR, THE FATE OF FRANKENSTEIN. DRAMA PLAYWRIGHT: ANON [PEAKE?] (FRI) 7 MAY 1830 AT THEATRE ROYAL, NEWCASTLE BL BILLS (VOLS 423, 425) For the benefit of T. P. Cooke, who played the monster. The promotion on the bill calls this the "wild, romantic and peculiar drama (the representation of which excited so extraordinary a sensation in London and Paris, and which in point of attraction was equaled only by the Drama of Black-Eyed Susan." The promotion continues with a quotation: '"The Event on which this Fiction is founded has been supposed by Dr. Darwin, and some of the physiological Writers of Germany, as not of impossible Occurrence.—I shall not be supposed as affording the remotest Degree of serious Faith to such an Imagination; yet, in assuming it as the Basis of a Work of Fancy, I have not considered myself as merely weaving a Series of supernatural Terrors. The Event on which the Interest of the Story depends is exempt from the Disdadvantages of a mere Tale of Spectre or Enchantment; it was recommended by the Novelty of the Situation it develops; and, however impossible as a physical Fact, affords a Point of View to the Imagination, for the delineating of the human Passions, more comprehensive and commanding than any which the ordinary Relations of existing Events can yield.'—From the Preface to the Novel of Frankenstein.'"'' Frankenstein by G. Gray; De Lacy by Welsh; Clerval by Langford; Felix de Lacy by McGill; William by Master Smith; Fritz by Dodd; The Monster by T. P. Cooke (promoted in bold-faced type); Elizabeth by Miss Emden; Safie by Miss A. Nicholson; Madame Ninon by Miss Burrell; Agatha de Lacy by Miss Nicholson. The scenery included a "German Villa at Bellerive & Open Country," "Terrific & Awful appearance of the Monster, bursting from the laboratory of Frankenstein," a "Bivouac of Gipsies," a setting for demonstrating the "Fascinating Power of Music on the Monster," and the "Conflagration & Destruction of de Lacy's Cottage." The whole concluded with the "Death of Frankenstein, and total Annihilation of the Monster!!"

1674. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. ROMANTIC DRAMA. 3 ACTS PLAYWRIGHT: ANON [PEAKE?] (TUES) 1, 8, 10, 12, 15, 19 APR 1828 AT THEATRE ROYAL, EDINBURGH BL BILLS (VOL 315); REFERENCE IN BILL IN GULSTA (F B. BOX 7) The Monster by T. P. Cooke; Fritz by Mackay. 1675. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. DRAMA. 3 ACTS PLAYWRIGHT: ANON [PEAKE?] (SAT) 25 APR 1829 AT THEATRE ROYAL, EDINBURGH BILL IN GUL-STA (F B. BOX 11) Frankenstein by Pritchard; Felix De Lacey by Thome (singing "A Favourite Ballad"); the Monster by T. P. Cooke; et al. 1676. PLAY: THE MONSTER! OR, THE PRESUMPTION OF FRANKENSTEIN. ROMANTIC MELODRAMA PLAYWRIGHT: ANON (TUES) 8-10 DEC 1829 AT SURREY, LONDON BL BILLS (VOL 312,1); BILL IN LONDON THEATRE MUSEUM (AND ON CHADWYCK-HEALEY MICROFICHE) Frankenstein by Osbaldiston; The Monster by T. P. Cooke.

1677. PLAY: MAN & THE MONSTER! OR, THE FATE OF FRANKENSTEIN. MELO-DRAMA

1679. PLAY:

272

PRESUMPTION; OR, THE FATE OF

SHELLEY LONDON BILL IN LONDON THEATRE MUSUEM (AVAILABLE ON CHADWYCK-HEALEY MICROFICHE) The Prince del Piombine by Mortimer; Frankenstein by Harrison; Bitzberg by King; Struit, servant to Frankenstein, by Wild; Quadro by H. Williams; Julio by Miss [illegible]; (******) by O. Smith; Rosaura by Mrs. Lewis; Emeline by Miss Watson; et al. This appeared with a play called "The Black Spider; or, the Field of Terror," in which the character "Winglip" was played by J. S. Grimaldi.

FRANKENSTEIN. ROMANCE PLAYWRIGHT: ANON [PEAKE?]; MUSIC BY WATSON (TUES) 7, 13, 16, 18 DEC 1830 AT COVENT GARDEN, LONDON BL BILLS (VOLS 101, II; 103, II) Frankenstein by Diddear; De Lacey by Evans; Felix by Duruset; Fritz by Keeley; Clerval by Baker; William by Miss Hunt; " " by T. P. Cooke; Elizabeth by Miss Cawse; Agatha de Lacey by Miss Forde; Madame Ninon by Mrs. J. Hughes; Safie by Mrs. Keeley. Especially featured was the "Mysterious and terrific Appearance of the Demon from the Laboratory of Frankenstein," as well as the "Destruction of the Cottage by Fire" and especially featuring a "new scene, conformably to the termination of the original story, representing A SCHOONER in a VIOLENT STORM," in which Frankenstein and the Monster are destroyed."

1683. PLAY: MAN AND THE MONSTER; OR, THE BURNING FOREST ROMANTIC DRAMA. 2 ACTS PLA YWRIGHT: ANON; MACHINERY BY GORDON; DIRECTED BY O. SMITH (MON) 18,20 JUNE 1831 AT ADELPHI, EDINBURGH (2 NIGHTS) BL BILLS (VOL 215) "Founded on the singular and romantic novel of Frankenstein," reports the bill. The scenery especially featured "The Exterior of Frankenstein's Pavilion," "Frankenstein's Study," and a "Splendid Apartment in the Prince del Piombino's Villa." the Monster was destroyed in a burning forest. This shared the stage with "The French Spy," and was replaced by "The Flying Dutchman."

1680. PLAY: FATE OF FRANKENSTEIN. OR PRESUMPTION. DRAMA. 3 ACTS PLAYWRIGHT: ANON (WED) 21 JAN 1831 AT ROYAL CLARENCE THEATRE, DOVER BL BILLS (VOL 283) The Monster by T. P. Cooke; et al. 1681. PLAY: THE FATE OF FRANKENSTEIN, OR, PRESUMPTION. ROMANTIC DRAMA PLAYWRIGHT: PEAKE (MON) 21, 22, 24 FEE 1831 AT THEATRE ROYAL, BATH BL BILLS (VOL 181, 1) "The extraordinary interest of this Piece, on its first production at the English Opera House, in the unprecedented run of the whole Season, is chiefly to be attributed to Mr. T. P. Cooke's imaginative conception of the Character of the ***, which afterwards induced the Proprietors of the Theatre de la Porte St Martin, in Paris, to engage him for its production, where he fully established its success in an astonishing run of EIGHTY SUCCESSIVE NIGHTS; and, among his numerous patrons, had the honor of performing it before the present KING OF THE FRENCH. The Piece is written by R. B. Peak, Esq. and the materials drawn from Mrs. B. Shelley's poetical novel of FRANKENSTEIN," says the bill. *** by T. P. Cooke; Frankenstein by Stuart; Fritz by Woulds; et al.

1684. PLAY: THE FATE OF FRANKENSTEIN, THE MODERN PROMETHEUS PLAYWRIGHT: ANON (WED) 28 MAR 1832 AT THEATRE, NORWICH BL BILLS (VOL 296) "This extraordinary drama, founded on the Novel of 'Frankenstein', written by the talented Mrs. Shelly [sic], of Norfolk, attracted crowded audiences for some Hundreds of Nights at the Theatres Royal, Covent Garden, and English Opera. It was the only successful rival in popularity to the celebrated Der Freischutz, and when performed in Paris, by the English Comedians, under the title of 'La Magicien et le Monstre,' met with unprecedented success. ... " The Daemon by T. P. Cooke; Victor de Frankenstein by Mason; Fritz by Burton; De Lacey by Beacham; Agatha de Lacey by Miss Hibbert; et al. 1685. PLAY: FRANKENSTEIN; OR, THE MAN & THE MONSTER. MELO-DRAMATIC SPECTACLE PLAYWRIGHT: ANON (THURS) 3-5 MAY 1832 AT MARYLEBONE, LONDON BL BILLS (VOL 378, 1)

1682. PLAY: THE MONSTER PLAYWRIGHT. ANON (MON) 18-23 APR 1831 AT ROYAL COBURG,

273

SHELLEY This was on a bill with "The Pilot," from James Fenimore Cooper's novel.

Prince Del Piombino by Greene; Julio by Master Allen; Frankenstein by Belgrave; Kitzberg by Hewell; Quadro by Bradford; Strutt by H. Widdicomb; The Monster by Sheene; Rosaura by Barrett; Emmiline by Mrs. Sheene; Lissetta by Miss Harris. The playhouse was on Church Street, Portman Market, Marylebone.

1690. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. ROMANCE. 2 ACTS PLAYWRIGHT: ANON [PEAKE?]; MUSIC BY WATSON (THURS) 6, 8, 11, 13, 15, 25, 27, 29 JUNE, 23, (SAT) 27, 30 JULY, 21 AUG, 4 SEPT 1833 AT ADELPHI, LONDON BL BILLS (VOLS 353; 367, 1); LONDON THEATRE MUSEUM BILLS; BILLS IN LONDON THEATRE MUSEUM (ON CHADWYCK-HEALEY MICROFICHE); BILLS INOXBOD (M ADDS 128C/51) Sharing the stage with "The Mummy," at one point during its appearances. "The Mummy" seems to have been slightly more popular just at the moment, to judge by the length of its run. Frankenstein by Perkins; De Lacey by Wyman; Felix de Lacey by Franks (singing the ballad "The White Rose," composed by Evans); Clerval by Bland (singing "Good Nature," composed by Wade); * * * * * * * ty Q. Smith; Elizabeth by Miss Somerville (singing "The Echo Song," by Bishop, and "Sweet Melody" by C. Horn); et al.

1686. PLAY: THE MONSTER! OR, THE PRESUMPTION OF FRANKENSTEIN. MELO-DRAMATIC SPECTACLE PLAYWRIGHT: ANON (MON) 13 AUG 1832 AT SURREY, LONDON BL BILLS (VOL 363) Frankenstein by Dibdin Pitt; The Monster by Mademoiselle Celeste ("her first and only appearance in that character," says the bill). 1687. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. ROMANCE PLAYWRIGHT: ANON [PEAKE?] (THURS) 28 FEB, 2, 5, 7, 9, (MON) 11, 14, 16 MAR 1833 AT THEATRE ROYAL, EDINBURGH BILLS IN NLS Agatha de Lacey by Miss Byfield (singing "Oh Adverse Fortune"); Frankenstein by Pritchard; Fritz by MacKay; The Monster by T. P. Cooke. This played on a bill with "The Pilot" from James Fenimore Cooper's novel on 2, 11, and 14 March.

1691. PLAY: FRANKENSTEIN. ROMANTIC DRAMA PLAYWRIGHT: ANON (TUES) 22 JULY 1834AT ROYAL CLARENCE, LONDON BL BILLS (VOL 168, 1) Frankenstein by Parry; The Monster by E. F. Saville; et al.

1688. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. GRAND MELO-DRAMATIC SPECTACLE PLAYWRIGHT: ANON [PEAKE?] (FRI) 8, (THURS) 21 MAR 1833 AT THEATRE, CHICHESTER BL BILLS (VOL 275) Prince del Piombino by Miller; Frankenstein by Seaman; the Monster by E. Glover; et al. The bill for 8 March 1833 was mistakenly bound in vol. 293 of the British Library bills—bound in with the Leicester bills (on September 7,1990). It may or may not have been moved since.

1692. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN PLAYWRIGHT: ANON [PEAKE?] (SAT) 25, 29, 31 JAN, 4 FEB 1835 AT THEATRE ROYAL, EDINBURGH BILLS IN NLS Frankenstein by Montague Stanley; Felix de Lacy by White (singing "The Horn of Chace"); The Monster by T. P. Cooke. 1693. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. GRAND MELO-DRAMATIC SPECTACLE PLAYWRIGHT: ANON [PEAKE?] (WED) 28, 30 JAN 1835 (?) AT LEWES BL BILLS (VOL 292) The bill was printed without a year, but is bound in the volume in the British library so as to suggest this year. "Founded partly on Mrs. Shelley's singular work of that

1689. PLAY: PRESUMPTION. ROMANTIC DRAMA PLAYWRIGHT: ANON (MON) 25 MAR 1833 AT THEATRE ROYAL, GLASGOW BL BILLS (VOL 220) Frankenstein by Dale; Fritz by Alexander; The Monster by T. P. Cooke; et al.

274

SHELLEY 1699. PLAY: PRESUMPTION. ROMANTIC LEGENDARY DRAMA PLAYWRIGHT: ANON [PEAKE?] (TUES) 6, 16 FEB 1838 AT THEATRE ROYAL, EDINBURGH BILL IN NLS; BILLS IN BRITISH LIBRARY (VOL 318) Frankenstein by Montague Stanley; Fritz by Lloyd; Clerval by W. H. Crisp; Felix de Lacey by Barker (singing "My Beautiful Maid"); the Monster by T. P. Cooke; Agatha by Miss Hyland (singing "Away to the Mountain's Brow," and "I've Wandered in Dreams.")

name, & partly on the French Legend of 'Le Magicien et le Monstre,"' says the bill. Prince del Piombino by Carlton; Frankenstein by Gannon; *** by S. Marshall; et al.

1694. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. ROMANTIC DRAMA PLAYWRIGHT: ANON [PEAKE?] (WED) 22, 24 APR 1835 AT THEATRE ROYAL, BATH BL BILLS (VOL 181, 1) *** by T. P. Cooke; Frankenstein by Stuart; De Lacy by Grainger; et al.

1700.

PLAY: FRANKENSTEIN; OR, PRESUMPTION PLAYWRIGHT: UNKNOWN 22, 29 JULY, 1, 6 AUG 1839 AT BATH THANKS TO PAUL SCHLICKE With F. C. Nantz.

1695. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. ROMANCE PLAYWRIGHT: ANON [PEAKE?] 13, 14, (MON) 24, 26, 28 AUG, 16, 28 SEPT 1835 AT ENGLISH OPERA HOUSE [LYCEUM], LONDON BL BILLS (VOLS 326, 360); FORRY, "HIDEOUS PROGENIES," P. 17; FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 11 Frankenstein by Perkins; "(*****)" by O. Smith; et al.

1701. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. MELO-DRAMATIC ROMANCE PLAYWRIGHT: ANON [PEAKE?] (TUES) 27-30 AUG, 2, 3 SEPT 1839 AT LYCEUM (ENGLISH OPERA HOUSE), LONDON BL BILLS (VOL 147, 2) For the "first time this season," says the bill of 27 August. Frankenstein by Lyon; Clerval by Horton; Fritz by Wilkinson; DeLacy by Bender; Felix by Burnett; by R. Norman; Elizabeth by Mrs. Allcroft; etal.

1696. PLA Y: FRANKENSTEIN; OR, THE MAN AND THE MONSTER. DRAMA PLAYWRIGHT: ANON [PEAKE?] (WED) 28 OCT 1835 AT THEATRE, NORTHAMPTON BL BILLS (VOL 296) Emmiline by Mrs. Brookes; Frankenstein by Henderson; 11 " by T. Lee; et al.

1702. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. GRAND ROMANTIC DRAMA PLAYWRIGHT: ANON [PEAKE?] (MON) 2, 9, 10, 13, 14 DEC 1839 AT QUEEN'S THEATRE, LONDON BL BILLS (VOL 164) Prince del Piombino by Roby; ***** by Deering; Frankenstein by J. Parry; et al.

1697. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN PLAYWRIGHT: ANON (WED) 3, 6, 10, 13 1836 FEE AT THEATRE ROYAL, EDINBURGH BILLS IN NLS This was produced "for the first time these two years." Frankenstein by Montague Stanley; The Monster by T. P. Cooke; Fritz by Lloyd. Songs included "A Life in the Woods for Me," and "Bells upon the Wind," and "I Love Thee."

1703. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN PLAYWRIGHT: UNKNOWN [PEAKE?- MY INFERENCE] (MON) 9-14 MAR 1840 AT VICTORIA (FORMERLY COBURG), LONDON BL BILLS (VOL 176); BILL IN LONDON THEATRE MUSEUM (AND ON CHADWYCK-HEALEY MICROFICHE) Bill says "performed for the first time at this theatre," which nevertheless had, under the name of the Coburg,

1698. PLAY: THE MONSTER! OR, THE FATE OF FRANKENSTEIN. ROMANTIC DRAMA PLAYWRIGHT: ANON 9 JUNE 1837 AT SURREY, LONDON BM BILL (VOL 313, II) The monster by T. P. Cooke. 275

SHELLEY offered other plays on Frankenstein. This may have been a version not previously offered in this house, but duplicity in such matters managerial was not unheard-of, and it was probably R. B. Peake's play. O. Smith still and again as the monster, however. Frankenstein by Hicks; Clerval by Frampton; De Lacy by King; Elizabeth by Mrs. Howard; Agatha by Miss Stoker; etal.

1710. PLAY: FRANKENSTEIN; OR, THE MAN AND THE MONSTER. ROMANTIC BURLETTA PLAYWRIGHT: ANON 6-11 NOV 1843 AT SADLER'S WELLS, LONDON BL BILLS (VOL 384); FORRY, "HIDEOUS PROGENCY," P. 19; FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 13 "****" by C. J. Smith; Frankenstein by Marston.

1704. PLAY: FRANKENSTEIN PLAYWRIGHT: UNKNOWN 21 FEE 1842 AT UNKNOWN HOUSE, SHEFFIELD SHEFFIELD CITY LIBRARY BILLS CAT.

1711. PLAY: PRESUMPTION PLAYWRIGHT: ANON 3 FEE 1844 AT THEATRE ROYAL, EDINBURGH BILL IN BRITISH LIBRARY (VOL 318)

1705.

PLAY: THE MONSTER; OR, THE FATE OF FRANKENSTEIN PLAYWRIGHT: ANON 27-31 MAR, 1 APR 1843 AT OLYMPIC, LONDON BL BILLS (VOL 379) Frankenstein by Fitzjames; **** by the Giant!

1712. PLAY: PRESUMPTION; OR, THE FATE OF FRANKENSTEIN. 3 ACTS PLAYWRIGHT: PEAKE (TUES) 25, 27-29 MAY, 1, 3, 5, 8-10 JUNE 1847 AT LYCEUM, LONDON BL BILLS (VOL 149) Frankenstein by Leigh Murray; the monster by Emery.

1706.

PLAY: FRANKENSTEIN 1713.

PLAYWRIGHT: UNKNOWN FEE, MAR 1843 AT CHATHAM, NYC ODELL (IV, 643); FORRY, "HIDEOUS PROGENIES," P. 17; FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 11.

PLAY: FRANKENSTEIN PLAYWRIGHT: ANON 19 DEC 1849 AT SURREY, LONDON BL BILLS (VOL 390,1).

1709. PLAY: THE MONSTER; OR, THE FATE OF FRANKENSTEIN. ROMANTIC DRAMA PLAYWRIGHT: ANON (FRI) 11 AUG 1843 IN DUNDEE BL BILLS (VOL 277)

1714. PLA Y: FRANKENSTEIN [FRANKINSTEIN]; OR, THE MODEL MAN. BURLESQUE [COMPOSITE POLYTECHNIC EXTRAVAGANZA]. 1 ACT PLA YWRIGHTS: ANON [WILLIAM BROUGH & R. B. BROUGH]; DIRECTED BY MADAME CELESTE; SCENERYBYPITT AND TURNER; MACHINERYBY WRIGHT, COOPER; DRESSES BY SMYTHERS, RAYNER; MUSIC BY MELLON (WED) 26-29, (MON) 31 DEC 1849; 1-5, 7-12, 14-19, 21-26, 28-31 JAN 1-3, 4-9, 11-16, 18-23, 25-27 FEB (CLOSING) 1850 AT ADELPHI, LONDON (ABOUT 54 PERFORMANCES) LC—ADD MSS 43023 (18) (FF 516-554) (INDEX NO 18 IS IN ERROR; ACTUALLY NO 19) LARGE POSTERS IN BRITISH LIBRARY BILLS (VOL 368, II); BILL IN PLANCHEST AT OXBODJJ; LONDON THEATRE MUSEUM ADELPHI FILE-BILLS & REVIEW; NICOLL (IV, 96, 271); LCLPA CLIPPING FILE; FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS, PP. 15, 31-2, 54-5, 67

The Monster, represented by a black smudge of ink on the playbills, was impersonated by "THE GIANT;" Frankenstein by Bertram; et al.

Nicoll shows this has having been filed with the Lord Chamberlain's office on 19 December 1849. The index to vol. 43023 of the Lord Chamberlain's plays shows the

1707. PLAY: PRESUMPTION. ROMANTIC LEGENDARY DRAMA. PLAYWRIGHT: ANON [PEAKE?] 25 MAY 1843 AT THEATRE ROYAL, EDINBURGH BILL IN BRITISH LIBRARY (VOL 318) "First time these five years," proclaims the bill. 1708. PLAY: PRESUMPTION PLAYWRIGHT: ANON [PEAKE?] (SAT) 22 JULY 1843 AT ADELPHI, EDINBURGH BILL IN EDINBURGH CITY LIBRARY; BL BILLS (VOL 216) The Monster by C. Freeman.

276

SHELLEY The deman Zamiel (O. Smith) and a Master of Ceremonies (by Freeborn) perform prominent roles in the burlesque. The former puts life into the "What is it?" or Frankenstein monster, which then pursues its creator into the ball-room, and, but for a benevolent fairy, who contrives to subdue the mis-created by the force of music, might have effected widespread desolation. Already, indeed, a conflagration has spread in the baronial hall, only extinguished by the agency of Undine, the Spirit of the Flood, who finally conquers Zamiel, and delivers Frankenstein." A second unattributed clipping of a review in the New York Public Library's Billy Collection (LCLPA Clipping) makes plain the degree of cross-dressing in this production: "The love part of the story is between Frankenstein and Agatha (Miss Coveny [sic]), the child of a Baron Donnerandbletzen, who is rivalled by a sort of medical student of the fast class, called Otto of Rosenberg (Miss Woolgar), and his chum, also a university-man, nammed Tiddlewinc (Miss E. Chaplin), who is the affianced of Bobbinetta (Miss Turner) the lady's maid. Lots of jealousy, love, and laughter are produced, and the piece (of course) ends in a blaze of triumph. Mr. Wright, as Frankenstein, was, as usual, full of fun; and Mr. Paul Bedford, as the monster ( ), ridiculously laughable. Mr. O. Smith as Zamiel, with his never-to-be-forgotten "Ha! ha! ha!" In "Freischutz," comic in the extreme. We never see Miss Woolgar without feeling all the pleasure that the contemplation of talent when coupled with strict propriety and virtue produces. She always pleases but never offends; and in this instance played The Young Student with great propriety and effect. Miss E. Harding shone in "Undine": she had little to do but did it well. Her sudden appearance starting from a waterbutt was (compared with her beautiful appearance) highly amusing. Miss E. Chaplin, as The University Student, showed that she has also a good notion of what a fast young man is. The piece is splendidly put on the stage, and does great credit to Madame Celeste. The charm of the evening was the dancing of a very young lady whose name was not given. The piece was much applauded throughout, and was announced for repetition every evening." As Forry observes, the plot "combines the Frankenstein myth with the harlequinade of pantomime" (p. 55). The piece included "three principal scenes from previous dramatizations providing the catalyst: the creation of the Creature; the conclusion of a major scene with a violent conflagration; and the conquest of the Creature with music. Its boldly drawn parody of the Frankenstein myth, lightning action, splendid acting and characterizations, witty repartee, and adeptly composed verse distinguished Model Man as a high point in burlesque-extravaganza"—Forry, p. 67.

license as having been issued on 19th December. The manuscript itself is on 39 folios measuring about 7.25" wide by 9" high (except the title page), in a very fair, small, neat, legible hand, without amendments. The title page reads "License returned December 19th 1849. / Frankenstein / or / The Model Man! / (A Burlesque) / in / One Act Royal Adelphi / Theatre / Deer 17th 1849 / B. Webster Esq / For Wednesday Deer 26th." Scene 1st is "Exterior of the Jolly Student public house at the University of Crackenjausen. German students drinking smoking playing skittles & all dressed in the most intensely German style with beards of every variety of cut. Caps blouses meerschaum short pipes & peasant girls &c some dancing and singing." Scene 2 is "An apartment in the Baron's Castle—an open window showing a water butt. Enter Tidliwincz cautiously R he whistles." Scene 3 is "Frankenstein's laboratory a gothic chamber strewn about with chemical apparatus books & Frankenstein at work putting the finishing touches on to the monster with a paint brush. The monster as yet inanimate stands on a pedestal in a statuesque attitude Frankenstein sings as he paints." He sings I've put him together with joint & screw And to finish him off a touch or two Of red just here—and a tinge of blue And I don't mind saying I think he'll do. Scene 4th is "Street scene in the neighbourhood of the Castle. Lamp lights. Guests in dominoes Masks Fancy Dresses & cross from L to R with umbrellas great coats & sink boys. Men and boys selling roses masks & as at Vauxhall—besetting the guests." Several unnumbered scene-changes follow as the monster comes to life an pursues his creator and friends. Scene 6 is "A Woody Landscape a crash is heard & screams R Enter Otto and Tiddliwincz carrying Agatha & Bobinett fainting." Scene 7 is "Baron reading paper." Paul Bedford as "The What Is It?" Harriet Coveney as Agatha; O. Smith as Zamiel ("a demon of the Hartz and Sciences"); Miss Woolgar as Otto of Rosenberg; Wright as Dr. Frankenstein—from the bill in Oxford. Through much of its run, "Frankenstein" was the afterpiece, following "Willow Copse," a domestic drama that outlasted its afterpiece. After beginning with very modest details about cast and production, the bills get extremely elaborate about all the marvelous features of this extravaganza, which was a genre that the Adelphi developed to a high state in this period. An unattributed review for 29 Dec 1849 in the London Theatre Museum file says that the "Model Man" is "none other than Mr. Paul Bedford himself, and his FrankensteinMr. Wright, Senior Wrangler of Brasenface College, in the University of Krackenjausen, who, being in love, has a rival in Otto of Rosenberg (Miss Woolgar).

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SHELLEY 1715. PLAY: THE MAN AND THE MONSTER PLAYWRIGHT: UNKNOWN [MILNER?] 1850 IN EDINBURGH FORRY, "HIDEOUS PROGENIES," P. 19 "As late as 1850 Henry Irving could be seen in Edinburgh playing in The Man and the Monster as the Prince del Piombino, Frankenstein's benefactor"—Forry, p. 19.

MONSTER. GRAND ROMANTIC DRAMA PLAYWRIGHT: ANON (TUES) 11 SEPT 1855 AT GARRICK, LONDON BL BILLS (VOL 399) Prince del Piombino by W. Allen; Frankenstein by W. Seaman; The Monster by E. B. Gaston.

1720. PLAY: FRANKENSTEIN PLAYWRIGHT: MILNER (?) 2 DEC 1857 IN BIRMINGHAM FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, P. 13 Forry reports Sir William Don as the Creature.

1716. PLAY: FRANKENSTEIN. ROMANTIC DRAMA PLAYWRIGHT: ANON (MON) 28, 29 APR 1851 AT OLYMPIC, LONDON BL BILLS (VOLS 168, 2; 380, 1) The bill for April 21 says "In rehearsal." The bills for the actual performances are in vol. 380,1. Frankenstein by Leigh Murrray; De Lacey by Diddear; Felix de Lacy by Henry Lee; Fritz by Compton; Elizabeth by Mass Adams; The (*****) by Henry Farren; et al. '"The event on which this fiction is founded has been supposed by Dr. DARWIN and some of the physiological writers of Germany, as not of impossible occurrence.—I shall not be supposed as according the remotest degree of serious faith to such an imagination; yet in assuming it as the basis of a work of fancy, I have not considered myself as merely weaving a series of supernatural terrors. The event on which the interest of the story depends is exempt from the disadvantages of a mere tale of spectres or enchantment; it was recommended by the novelty of the situations which it developes [sic]; and, however impossible as a physical fact, affords a pont of view to the imagination, for the delineating of the human passions, more comprehensive and commanding than any which the ordinary relations of existing events can yield.' "From the Preface to the Novel of FRANKENSTEIN" The bill is now a lurid, dirty orange color.

1721. PLAY: PRESUMPTION; OR MAN AND THE MONSTER PLAYWRIGHT: UNKNOWN 11, 18 JUNE, 8 JUL 1859 AT THEATRE ROYAL, DUNLOP STREET, GLASGOW REFERENCES TO BILL IN MOTLEY CATALOG IN GUL-STA With Emery as the monster. 1722. PLAY: FRANKENSTEIN PLAYWRIGHT: MILNER 1859 IN EDINBURGH FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, P. 13 Henry Irving as Prince del Piombino. 1723. PLAY: LE MONSTRE ET LE MAGICIEN PLAYWRIGHT: FERDINAND DUGUE 22 JUNE 1861 AT AMBIGU COMIQUE, PARIS (60 PERFORMANCES) FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP. 13 & 25 Forry, noting that the playwright "borrowed the plot and much of his dialogue from Merle and Anthony," calls this "the last nineteenth-century melodramatization of Shelley's novel." He reports that the play contained two new characters: "Paul, the ghost of Zametti's first wife, and Faustus-le-damne."

1717. PLAY: FRANKENSTEIN; OR, THE MAN & THE MONSTER. ROMANTIC DRAMA PLAYWRIGHT: MILNER (MON) 1 MAR 1853 AT THEATRE ROYAL, BIRMINGHAM BL BILLS (VOL 199) The Prince by John Howard; Frankenstein by Barton; the

Monster by Loraine; Emmeline by Miss Ada Harcourt; et al. 1724. PLA Y: FRANKENSTEIN. ILLUSION PLAYWRIGHT: W A 3 FEE 1873 AT OLYMPIC, NYC ODELL (IX, 274); FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS, P. 79 Odell describes this briefly as "Professor Tobin's illusion of Frankenstein."

1718. PLAY: FRANKENSTEIN PLAYWRIGHT: UNKNOWN 13 JAN 1855 AT ROYAL ADELPHI, SHEFFIELD SHEFFIELD CITY LIBRARY BILLS CAT. 1719. PLAY: FRANKENSTEIN; OR, THE MAN AND THE

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SHELLEY Polidori" (p. 67). More than one film accomplished the same feat, with both Dracula and Frankenstein's monster appearing together (see below). Forry observes that this "proved to be the last dramatization of Shelley's novel undertaken in the nineteenth century. Twenty-seven years would pass before drama again took up the themes of Frankenstein"—Forry (p. 79). Indeed, many years of searching through playbills both metropolitan and provincial have failed to provide evidence to contradict this assertion.

1725. PLAY: FRANKENSTEIN [OR, THE VAMPIRE'S VICTIM]. MELODRAMATIC BURLESQUE. [COMEDY]. 3 ACTS PLAYWRIGHT: RICHARD HENRY [RICHARD BUTLER & HENRY CHANCE NEWTON]; MUSIC BY MEYER LUTZ; PRODUCED BY CHARLES HARRIS 24 DEC 1887, 7, 24 JAN, 6 FEE, 27 APR 1888 AT GAIETY, LONDON (106 PERFORMANCES) LC—ADD MS 53392 (B); LICENSE NO 273 BILLS IN OXBODJJ; PROGRAMMES IN LCLPA; NICOLL (V, 417); FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS, PP. 15, 54-5, 63 & FF; 122 The ms in the Lord Chamberlain's collection of plays is 86 folios of typescript, stamped "The International Type Writing Office,/127, Strand, London. W.C. The text has become separated from the binding and is housed separately within the box in an envelope. The title page, which has become detached from the play itself, and is badly damaged—indicates "Frankenstein/ or/ The Vampire's Victim/ Act I." The sticker of licensure indicates "Frankenstein/ Burlesque &c/ 3 acts./ Gaiety/ Dec 19th 89." On the next page "Richard Henry" is given as the playwright. The dramatis personae are Frankenstein, a German Student; The Monster, his invention; The Model, Study for the Same; Visconti, A Vampire Viscount; Mondelico, An Innkeeper; Tartina, His Daughter; Mary Ann, A Vampire Maiden of low degree; Ilcapitano Maraschino, Captan of the Italian Guards; Dotto, The Durm Major; Tamburina, The bandit vivandiere; Stephano, Risotto, Intimmidad, Schwank, Page to Frankenstein; Vanilla, A Shepherdess; and Caramella, A Shepherdess. Act I, Scene is "The village of Villasuburba, at the foot of the Pass of Pizzicatto, in Tyrol." Act II, Scene is "Highroad through a Spanish Forest" Act III, Scene 11 "Clubland—the Vampire club on fete." Scene II is "The Arctic Regions." With Frankenstein by Nellie Farren; Tartina by Miss Marion Hood; Viva by Miss Florence Dysart; II Capitano Maraschino by Miss Jenny Rogers; Mary Ann by Miss Maria Jones; Risotto by Miss Jenny M'Nulty, Tamburina, Goddess of the Sun, by Miss Sylvia Grey; Caramelia by Miss Emma Gwynne; Vanilla by Miss Sybil Grey; Susanna by Miss Lizzie Wilson; the Monster by Fred Leslie; Visconti by E. J. Lonnen; The Model by George Sione; Domenincho by John D'Auban; Mandelico by Cyril Maude; Schwank by Frank Thornton; Dotta by Charlie Ross. Forry remarks that this play is "so removed ... from Shelley's story that the reader has the impression that neither of its two playwrights ever read the novel" (p. 63). In fact Vampire's Victim includes only one major scene from the novel: the demand for a mate" (p. 64). As Forry observes, this play was "the first dramatization to place on stage the creations of Mary Shelley and John

1726. FILM: FRANKENSTEIN. SILENT SCREENWRITER: J. SEARLE DAWLEY; DIRECTED BY J. SEARLE DAWLEY 1910 BY EDISON FORRY, HIDEO US PROGENIES: DRAMA TI7A TIONS, PP. 80-1 Charles Ogle as the Creature; Augustus Phillips as Frankenstein; Mary Fuller as the fiancee. This silent film was apparently the first cinematic version of the novel.

1727. PLA Y: THE LAST LAUGH PLAYWRIGHTS: PAUL DICKEY AND CHARLES GODDARD; PRODUCED BY THE SHUBERTS 29 APRIL 1915 AT APOLLO THEATRE, ATLANTIC CITY

FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP.85 "Deposited with Library of Congress on 19 May 1915," reports Forry. 1728. PLA Y: THE LAST LAUGH PLAYWRIGHTS: PAUL DICKEY AND CHARLES GODDARD; PRODUCED BY THE SHUBERTS 12 MAY AT COURT THEATRE, BOSTON FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, P. 85. 1729. PLA Y: THE LAST LAUGH PLAYWRIGHTS: PAUL DICKEY AND CHARLES GODDARD; PRODUCED BY THE SHUBERTS 29 JULY 1915 AT THIRTY-NINTH STREET THEATRE, NYC (52 PERFORMANCES) FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, PP. 85-7, 122 Forry notes that "nowhere in the play is the name of Frankenstein mentioned. ... The Frankenstein figure in Last Laugh is an aging anatomist whose act of creation is witnessed by three assistants ... "—p. 87.

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SHELLEY in him for us to remember that he is the handwork of the shadowy Frankenstein. And we are constantly forgetting why the still more shadowy creatures who cluster so stupidly about him should necessarily abhor him and withhold from him the knowledge that all men have the right to possess. The play is obviously designed, however, to emphasize the tragic aspect of Frankenstein's life. We see him as a passionate student, who, having devoted himself to the search for the principle of life, is trembling with hopes and fears over the imitation of a human being which he has manufactured. In the inevitable thunderstorm he endows it with vitality and in succeeding scenes we are made to see how he soon comes to realize that he has set in motion a force beyond his power to control. His sense of having encroached on divine prerogative is hardly touched upon, nor is it explained why he stops short of doing what is necessary ro render this force independent. Our interest in the monster, who thrills the nerves less than he shakes the heart, carries us through the dull middle reaches of the play to the final scene in which the pathetic creature kills the master who will not provide him with a "a mate," and is himself killed by lightning. The death of Frankenstein seems to settle nothing, and the stroke of lightning appears to cut a knot which it would have been interesting to see unraveled. Mr. Hamilton Deane's monster is nearly all of the play that is worth watching, but that is much. It is an extremely fine study in the macabre. The rest of the play that is worth watching consists of the pleasant, flamboyant flashes of Mr. Hallat's Frankenstein. Nobody else has a chance or can be expected to succeed in making one.

1730. PLAY: FRANKENSTEIN: AN ADVENTURE IN THE MACABRE PLAYWRIGHT: PEGGY WEBLING 7 DEC 1927 AT EMPIRE, PRESTON, ENGLAND (4 PERFORMANCES) FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, PP. 90-2, 122 The text of this play has a somewhat complicated history that Forry has sorted out. He notes a typescript in the British Library—LCP 1927 B. Further productions occurred (see below), and this text provided a basis for the famous 1931 Universal film with Boris Karloff (see also below). 1731.

PLAY: FRANKENSTEIN: AN ADVENTURE IN THE MACABRE PLAYWRIGHT: PEGGY WEBLING 10 FEE TO 12 APR 1930 AT LITTLE THEATRE, LONDON (72 PERFORMANCES) LCLPA CLIPPING OF LONDON TIMES (11 FEE 1930); FORRY, "HIDEOUS PROGENIES," P. 28; FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP. 91, 122 Forry reports that "this play is a revision of the 1927 typescript. It was deposited with the Library of Congress on 7 September 1928. T. S. D86262"—p. 122. Baron Frankenstein by Stuart Lomath; Henry Frankenstein by Henry Hallat; Dr. Waldman by G. Malcolm Russell; Frankenstein by Hamilton Deane; Baroness Frankenstein by Clare Lindsay; Katrine by Dora Mary Patrick; Emilie Lavenza by Kathleen Grace; Elizabeth by May Grimshaw. The New York Public Library Billy Rose Collection at The Lincoln Center for the Performing Arts Library has two clippings, the first dated 11 Feb 1930 from the London Times, which gives "Frankenstein" at the "Little Theatre," and reports that Miss Webling, translating into terms of the theatre Mary Shelley's one lasting and original conception, has unquestionably succeeded in bringing the monster to life; but the play in which she exhibits this wild beast is as flimsy as a bird cage. The monster bursts through the bars and insists on exhibiting himself in a light rather less subdued than that of the play. He appeals to our sympathy, not as the hideous phantasm of a man created by a presumptuous student for his own chastisement, but rather as a symbol of humanity itself adrift in an uncaring void. There is altogether too much life

Forry says that "Peggy Webling's Frankenstein: An Adventure in the Macabre (1927), rewritten 1928, rewritten by John Balderston (1930) contains no laboratory assistant. Nevertheless, Fritz was reintroduced into the story when Universal Studios purchased the dramatization on 8 April 1931 as a basis for the

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SHELLEY James Whale's Frankenstein (Universe Books, 1974). With Boris Karloff as the Monster, Mae Clark as Elizabeth, Colin Clive as Dr. Henry Frankenstein, Dwight Frye as Fritz the Dwarf; Edward Van Sloan as Dr. Waldman; Frederick Kerr as Baron Frankenstein; Lionel Belmore as Herr Vogel, Burgomaster; and John Boles as Victor Mortiz. This film won an award for Best Picture at the Venice Film Festival. Maltin calls this an "impressive production, although creaky in plot." The Facets Catalog offers a "restored version (containing footage not seen since censors cut the film at the time of its original release.") The Billy Rose Theatre Collection of the New York Public Library holds about four dozen black-and-white publicity photos. This story was indeed very often remade in cinema form. At least fifty-four filmed versions repeating, extending, or spoofing the original story appeared, beginning with this one in 1939, and continuing with successive versions in 1935, 1939, 1942 (two), 1944, 1948, 1957 (two), 1958 (four), 1960, 1961, 1964 (three), 1965 (three), 1968, 1969 (two), 1970 (three), 1971 (three), 1972 (two), 1973 (three), 1974 (four), 1975 (two), 1977, 1979, 1980, 1981, 1982, 1983, 1984, 1988, 1990, 1991 (two), 1993, and 1995. See below.

screenplay of its 1931 film classic, starring Boris Karloff'—Forry, p. 28. 1732. PLAY: FRANKENSTEIN. 3 ACTS PLAYWRIGHT: PEGGY WEBLING (MON) 25 AUG 1930 AT BRIXTON, LONDON BL BILLS (VOL 438); LCLPA CLIPPINGS "From Mrs. Shelly's [sic] Wonderful story," says the bill. Baron Frankenstein by Stuart Lomath; Henry (his son) by G. Malcolm Russell; Dr. Waldman by Desmond Green; Victor Moritz by Ivan Butler; Frankenstein by Hamilton Deane; Baroness Frankenstein by May Grimshaw; Katrina (her daughter) by Dora Mary Patrick; Emile Lavenza by Maud Long; Elizabeth by Eileen O'Connor. This is the complete cast from which the monster, remarkably enough, seems to be missing—unless he/it has been de-mogrified into a character called "Frankenstein." 1733. PLAY: FRANKENSTEIN PLAYWRIGHT: JOHN BALDERSTON NEVER PERFORMED FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 122-3 Forry notes that this was "A complete revision of Webling's Adventure in the Macabre ; carbon typescript registered and desposited in the Copyright Office of the Library of Congress on 11 March 1931."

1735. PLAY: FRANKENSTEIN: A NEW VERSION OF AN OLD "THRILLER" PLAYWRIGHT: GLADYS HASTINGS-WALTON 1933 IN GLASGOW, SCOTLAND FORRY, "HIDEOUS PROGENIES," P. 28; FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP. 116, 123 Forry reports that this was the "first dramatization of Shelley's novel undertaken after the Universal film. Hastings-Walton rewrote [R. B. Peake's] Presumption to include a few new characters—Dr. Waldman, Justine, and, from Bleak House, Nemo—and presented a fully articulate Creature. The Creature dies in an avalanche of rocks (rather than snow), but Victor, Elizabeth and Justine all survive." Forry reports a typescript in the British Library.

1734. FlUvl: FRANKENSTEIN. BLACK-AND-WHITE. 71 MIN SCREENWRITERS: ROBERT FLOREY, GARRETT ELSDEN FORT, & FRANCIS FARAGOH; ADAPTED BY JOHN L. BALDERSTON; DIRECTED BY JAMES WHALE; CINEMATOGRAPHY BY ARTHUR EDESON; SETS BY HERMAN ROSSE; MAKEUP BY JACK PIERCE; SPECIAL EFFECTS BY JOHN P. FULTON 1931 BY UNIVERSAL, WARNER BROTHERS; AVAILABLE FROM MCA HOME VIDEO, FACETS MULTIMEDIA, RCA VIDEODISC POTOMAC VIDEO CATALOG (FALL/WINTER, 1986-1987); KODAK VIDEO TAPE AND DISC GUIDE, P. 180; FILM FANATIC, P. 161; MALTIN'STV MOVIES AND VIDEO GUIDE (1987), P. 335; ENSER, FILMED BOOKS AND PLAYS: 1928-1986, (1987), P. 604; FACETS VIDEO CATALOG NUMBER 8, P. 105; COREL ALL-MOVIE GUIDE 2 (CD-ROM); LCLPA PHOTOGRAPHS X B FILE; FORRY, "HIDEOUS PROGENIES," P. 28 This was adapted from the play by Peggy Webling, which was never published in the UK. The complete script by Balderston et al. is available in Richard J. Anobile, ed.,

1736. FILM: THE BRIDE OF FRANKENSTEIN. BLACKAND-WHITE. 75 MIN SCREENWRITERS: JOHN L. BALDERSTON & WILLIAM HURLBUT; DRECTED BY JAMES WHALE; PRODUCED BY CARL LAEMMLE, JR.; CINEMATOGRAPHY BY JOHN MESCALL; MUSIC COMPOSED BY FRANZ WAXMAN; MAKEUP BY JACK PIERCE; ETAL 1935 BY UNIVERSAL (USA) COREL ALL-MOVIE GUIDE 2 (CD-ROM)

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SHELLEY Guide further remarks that "though Mel Brooks' Young Frankenstein has rendered Son of Frankenstein virtually impossible to take seriously, the film remains an excellent marriage of the "New Universal's" slick, sanitized production values and the gothic Zeitgeist of the earlier Frankenstein epics.

John Carradine as the Huntsman; Colin Clive as Henry Frankenstein; Dwight Frye as Karl; Gavin Gordon as Lord Byron; Valerie Hobson as Elizabeth Frankenstein; Boris Karloff as the Monster; Elsa Lanchester as Mary Shelley and the Bride; Una O'Connor as Minnie; Ernst Thesiger as Dr. Septimus Pretorius; Douglas Walton as Percy Shelley; Norman Ainsley as the Archbishop; et al The Corel Guide says that "The Frankenstein monster (Boris Karloff) survives the fire that destroyed the mill at the end of Frankenstein, and goes on a new rampage in the countryside. Meanwhile, Dr. Henry Frankenstein (Colin Clive), recovering from his injuries suffered battling the monster, is approached by his former colleague Dr. Pretorius (Ernest Thesiger) about building another artificial human—this time, a woman. He resists, but when Pretorius has the monster kidnap Frankenstein's wife (Valerie Hobson), the doctor is forced to go along, and the results are even more macabre, amid the bizarre performances, black comedy, and Wagnerian splendor of this greatest of 1930's horror movies. Director James Whale, who was also responsible for Frankenstein and The Invisible Man, never made a more horrific, comical, or enduring movie than this."

1739. PLA Y: GOON WITH THE WIND PLAYWRIGHT: UNKNOWN 1940 AT FAIRMONT PUBLIC SCHOOL, MANION, INDIANA FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS P. 123.

1740. FILM: THE GHOST OF FRANKENSTEIN. BLACKAND-WHITE. 68 MIN SCREENWRITER: SCOTT W. DARLING; DIRECTED BY ERIE C. KENTON; PRODUCED BY GEORGE WAGGNER; CINEMATOGRAPHY BY MILTON KRASNER; MUSIC DIRECTED BY CHARLES PRE VIN; MUSIC COMPOSED BY HANS S ALTER; ET AL 1942 BY UNIVERSAL COREL ALL-MOVIE GUIDE 2 (CD-ROM) Lionel Atwill as Dr. Bohmer; Ralph Bellamy as Erik; Lon Chancy, Jr., as the Monster; Sir Cedric Hardwicke as Frankenstein; Bela Lugosi as Igor; Evelyn Ankers as Elsa; et al.

1737.

PLAY: FRANKENSTEIN PLAYWRIGHT: UNKNOWN 22 JUNE 1939 AT HARTFORD, CONNECTICUT (9 PERFORMANCES) FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 123 Forry could find only one reference to this production—in the New York Post (17 June 1939).

1741.

FILM: FRANKENSTEIN MEETS THE WOLFMAN. COLOR. 73 MIN SCREENWRITER: CURT SIODMAK; DIRECTED BY ROY WILLIAM NEILL; PRODUCED BY GEORGE WAGGNER; CINEMATOGRAPHY BY GEORGE ROBINSON; MUSIC COMPOSED BYHANS S ALTER; SPECIAL EFFECTS BY JOHN P. FULTON; MAKEUP BY ELLIS BURMAN AND JACK PIERCE; ETAL 1942 BY UNIVERSAL COREL ALL-MOVIE GUIDE 2 (CD-ROM) Lionel Atwill as the Mayor; Lon Chancy, Jr., as Wolf Man and Lawrence Talbot; Rex Evans as Vazec; Dwight Frye as Rudi; Dennis Hoey as Inspector Owen; Patric Knowles as Dr. Mannering; Bela Lugosi as the Monster; Maria Ouspenskaya as Maleva; Ilona Massey as Baroness Elsa Frankenstein; et al. This was Universal's fifth "Frankenstein" film, which combines monsters from previous box-office successes.

1738.

FILM: SON OF FRANKENSTEIN. COLOR. 99 MIN SCREENWRITER: WILLIS COOPER; DIRECTED BY ROWLAND V. LEE; PRODUCED BY ROWLAND V. LEE; CINEMATOGRAPHY BY GEORGE ROBINSON; MUSIC DIRECTED BY LIONEL NEWMAN, COMPOSED BY FRANK SKINNER; COSTUMES BY VERA WEST; SPECIAL EFFECTS BY JOHN P. FULTON; ETAL 1939 BY UNIVERSAL (USA) COREL ALL-MOVIE GUIDE 2 (CD-ROM) Lionel Atwill as Inspector Krogh; Donnie Dunagan as Peter von Frankenstein; Josephine Hutchinson as Elsa Frankenstein; Boris Karloff as The Monster; Bela Lugosi as Ygor; Edgar Norton as Thomas Benson; Basil Rathbone as Baron Wolf von Frankenstein; Lionel Belmore as Emil Lang; Perry Ivins as Fritz; et al. The Corel ALL-MOVIE Guide remarks that this is "the most elaborate-and longest-of Universal's Frankenstein series," and contains Boris Karloff s last appearance as the Monster. This is an extension of the story beyond the confines of Mary Shelley's original romance. The Corel

1742. FILM: HOUSE OF FRANKENSTEIN. BLACK-ANDWHITE. 71 MIN SCREENWRITER: EDWARD T. LOWE 1944 BY UNIVERSAL

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SHELLEY 1746. FILM: THE CURSE OF FRANKENSTEIN. COLOR. 83 MIN SCREENWRITER: JIMMY SANGSTER; DIRECTED BY TERENCE FISHER; PRODUCED BY ANTHONY HINDS; CINEMATOGRAPHY BY JACK ASHER; MUSIC COMPOSED BY JAMES BERNARD AND LEONARD SALZEDO; MAKEUP BY JACK PIERCE 1957 BYHAMMER STUDIOS, WARNER BROTHERS AVAILABLE FROM WCI HOME VIDEO VIDEO GUIDE (1985), P. 62; FILM FANATIC, P. 109; SEE MALTIN'S TV MOVIES AND VIDEO GUIDE (1986), P. 206; ENSER, FILMED BOOKS AND PLAYS: 1928-1986, (1987), P. 604; COREL ALL-MOVIE GUIDE 2 (CD-ROM); FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 108 With Peter Gushing as Baron von Frankenstein; Christopher Lee as The Creature; Hazel Court as Elizabeth; Valerie Gaunt as Justine; Noel Hood as Aunt Sophia; Robert Urquhart as Paul Krempe; Anne Blake as the Burgomaster's Wife; Henry Caine as the Schoolmaster; et al.. Obviously, substantial differences in plot between the novel and film exist. Forry calls this "the first of the Hammer cycle" of films from the novel—Forry (p. 108).

COREL ALL-MOVIE GUIDE 2 (CD-ROM) Lionel Atwill as Inspector Arnz; John Carradine as Count Dracula; Lon Chancy, Jr., as Lawrence Stewart Talbot; Peter Coe as Carl Hussman; Anny Gwynee as Rita Hussman; Boris Karloffas Dr. Gustav Hiemann; J. Carrol Naish as Daniel; Sig Rumann as Bugomaster Russman; Glen Strange as The Monster; et al. This story obviously wanders well beyond the plot and characters of Mary Shelley's original. Yet the Corel Guide opines that "in many ways [this is] the most endearing of Universal's B-grade 'monster rallies' of the 1940s." The films is worth citing in the present list mainly to demonstrate the lengths to which modern filmmakers would go in order to import the beloved monster of Dr. Frankenstein's creation. 1743.

FILM: ABBOTT & COSTELLO MEET FRANKENSTEIN. BLACK-AND-WHITE. 83 MIN SCREENWRITERS: JOHN GRANT, ROBERT LEES, AND FREDERIC I. RINALDO; DIRECTED BY CHARLES BARTON; PRODUCED BY ROBERT ALAN ARTHUR; CINEMATOGRAPHY BY CHARLES VAN ENGER; MUSIC COMPOSED BY FRANK SKINNER; MAKEUP BY BUD WESTEMORE 1948 BY UNIVERSAL COREL ALL-MOVIE GUIDE 2 (CD ROM); FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS, P. 108 Bud Abbot as Chick Young; Lenore Abuert as Sandra Mornay; Lon Chancy, Jr., as Lawrence Talbot/The Wolf Man; Lou Costello as Wilbur Grey; Frank Ferguson as McDougal; Bela Lugosi as Dracula; Jane Randolph as Joan Raymond; Glenn Strange as The Monster; et al. The Corel Guide thinks this is "not only one of the teams best films, but also one of the best horror-movie spoofs ever concocted."

1747.

FILM: I WAS A TEENAGE FRANKENSTEIN. BLACK-AND-WHITE & COLOR. 72 MIN SCREENWRITERS: ABEN KANDEL & KENNETH LANGTRY; DIRECTED BY HERBERT L. STOCK; PRODUCED BY HERMAN COHEN; CINEMATOGRAPHY BY LOTHROP B. WORTH; MUSIC DIRECTED BY PAUL DUNLAP AND COMPOSED BY PAUL DUNLAP; ET AL 1957 BY AMERICAN INTERNATIONAL (USA) COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Whit Bissell as Professor Frankenstein; Robert Burton as Dr. Karlton; Phyllis Coates as Margaret; Gary Conway as the Teenage Monster; Marshall Bradford as Dr. Randolph; Claudia Bryar as Arlene's Mother. The Corel Guide says, "A mad scientist constructs a monster out of spare body parts, including the head of a teenager. The last few minutes of the film are in color." This film was apparently different from another film, called "Teenage Frankenstein" in 1958 (see below).

1744. PLA Y: FRANKENSTEIN PLA YWRIGHT: KENNETH MONK 14 MAR 1950 AT BRIGHTON PLAYHOUSE, BRIGHTON FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 123. 1745. FILM: FRANKENSTEIN, IN TALES OF TOMORROW. BLACK-AND-WHITE SCREENWRITER: UNKNOWN 195? BY ABC, GEORGE F. FOLEY AVAILABLE FROM NOSTALGIA MERCHANT; KODAK VIDEO TAPE AND DISC GUIDE, P. 477; NOT IN ENSER This is one several "Tales of Tomorrow," made for television in the early 1950's, and in which a version of Frankenstein is featured.

1748. PLAY: FRANKENSTEN; OR, THE MODERN PROMETHEUS BY MARY SHELLEY PLAYWRIGHT: JOHN EDWARDS 20, 21 NOV 1958 AT WRIGHT COLLEGE THEATRE, CHICAGO (?); DAYTON (?), OHIO LCLPA MWEZ / N.C. / 17,987; FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP. 112,123 Forry reports that the playwright claims that "our

283

SHELLEY SCREENWR1TER: NONE? DIRECTED BY RICHARD E. CUNHA; PRODUCED BY MARC FREDERIX; CINEMATOGRAPHY BY MEREDITH NICHOLSON; MUSIC COMPOSED B^ NICHOLAS CARRAS; MAKEUP BY HARRY THOMAS 1958 BY ASTOR COREL ALL-MOVIE GUIDE 2 (CD-ROM) John Ashley as Johnny Bruder; Sandra Knight as Trudy Morton; Harold Lloyd, Jr., as Don; Donald Murphy as Oliver Frank; Sally Todd as Suzie; et al. The Corel Guide calls this a "cult low-budget horror film in which a descendant of Frankenstein creates a teenage female monster."

production is the novel—just as Mary Shelley wrote it—without a line changed or re-written.'"

1749. FILM: TEENAGE FRANKENSTEIN. BLACK-ANDWHITE. 72MIN SCREENWRITER: UNKNOWN; DIRECTED BY HERBERT L. STOCK 1958 BY COLUMBIA COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Whit Bissell, Robert Burton, John Cliff, Phyllis Coates, Gary Conway, and George Lynn. Says the Corel Guide, "A descendant of Dr. Frankenstein is determined that he can correct his ancestor's mistakes and successfully create life. But his teenage Frankie is still a monster, and he terrorizes the campus coeds." This was apparently a separate film from the one called "I Was a Teenage Frankenstein," in 1957 (see above). The cast and crew are substantially similar, however.

1752. FILM: THE REVENGE OF FRANKENSTEIN. COLOR. 91MIN SCREENWRITERS: H. HURFORD JANES & JIMMY SANGSTER; DIRECTED BY TERENCE FISHER; PRODUCED BY ANTHONY HINDS; CINEMATOGRAPHY BY JACK ASHER; MUSIC COMPOSED BY LEONARD S ALZEDO; MAKEUP BY PHIL LEAKEY 1958 BY COLUMBIA (UK) COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Peter Gushing as Dr. Victor Stein; Eunice Gayson as Margaret; Michael Gwynne as Karl; Lionel Jeffries as Fritz; Francis Matthews as Dr. Hans Kleve; John Welsh as Bergman; Arnold Diamond as Molke; et al. The Corel Guide says, "In this horror movie, Baron von Frankenstein is up to his old tricks. This time, the doctor takes an alias and gets a job at a hospital where he can continue his experiments in peace. Once again, the basically well meaning scientist creates a creature, and again something goes horribly wrong. This time the monster becomes a cannibal and must be destroyed. The special effects in this film are especially stomach churning."

1750. FILM: FRANKENSTEIN 1970. BLACK-AND-WHITE. 83MIN SCREENWRITERS: RICHARD LANDAU AND GEORGE WORTHING YATES; DIRECTED BY HOWARD W. KOCH; PRODUCED BY AUBREY SCHENK; CINEMATOGRAPHY BY CARL E. CUTHRIE AND CARL GUTHRIE; MUSIC COMPOSED BY PAUL DUNLAP; MAKEUP BY GORDON BAU; ETAL 1958 BY ALLIED ARTISTS AVAILABLE FROM UNKNOWN DISTRIBUTOR MALTIN'S TV MOVIES AND VIDEO GUIDE (19X1), P. 335; COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Boris Karloff (again) as Baron Victor von Frankenstein; Tom Duggan as Mike Shaw; Jana Lund as Carolyn Hayes; Donald Barry as Douglas Row; Rudolph Anders as Wilhelm Gottfried; Charlotte Austin as Judy Stevens; et al. The Corel Guide calls this "one of the more off-beat entries into the Frankenstein sub-genre," reporting that "it features the original Creature, Boris Karloff (who really hams it up) playing the disfigured grandson of the famed mad baron in a style that combines gothic horror with the awe and fear created by the newly dawned atomic age. The story begins in the title year and finds Victor the III living in the ancestral castle and strapped for the cash he needs to resurrect his grandfater's experiments." Maltin dismisses this version as "Poor sci-fi, almost sacriligious to the name of Frankenstein: no monster, just talk. Karloff is lost in this jumble." Still, the idea lives on ... and on. 1751. FILM: FRANKENSTEIN'S DAUGHTER. AND-WHITE. 85MIN

1753. PLAY: FRANKENSTEIN: THE GIFT OF FIRE PLAYWRIGHT: DAVID CAMPTON 16 JULY 1959 AT LIBRARY THEATRE, SCARBOROUGH LONDON: J. GARNET MILLER, 1973 FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 123. 1754. PLAY: FRANKENSTEIN AND HIS BRIDE. PLAYWRIGHT: UNKNOWN 1955-1959 AT STRIP CITY, LOS ANGELES FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 123. 1755. FILM: ORLAK, THE HELL OF FRANKENSTEIN.

BLACK-

284

SHELLEY The tiny clipping reads entirely "Frankenstein,/ Paul Stockman plays the Monster in Peggy Webling's adaptation of Mary Shelley's 'Frankenstein', which opened at the Little Theatre Club, Garrick Yard, W. C. 2 on Tuesday last. Also in the cast are Consuela Burke, Victor Bailey, Bill Corderoy, Thomas Deville, Kathleen Grace, Roy Gavin, Valesta Hardy and Ralph Wilson. Paul Stockman directs. Press Representative: Harry Whitehead."—Stage, London. Note that Kathleen Grace was also in the 1930 production.

BLACK-AND-WHITE. 103 MIN SCREENWRITER: ALFREDO RUANOVA & CARELOS ENRIQUE TABOADA; DIRECTED BY RAFAEL BALEDON; PRODUCED BY RAFAEL BALEDON; CINTEMATOGRAPHY FERNANDO ALVAREZ GARCES COLIN; et al 1960 BY FILMADORA INDEPEN (MEXICO) COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Carlos Ancira, Armando Calvo, Joaquin Cordero as Jaime/Orlak; Pedro de Aguillon; Rosa de Castilla as Estela; and Andres Soler as Dr. Frankenstein; et al Says the Corel Guide, "In this Mexican horror story, an evil ex-con frees the imprisoned Dr. Frankenstein from prison and forces him to resuscitate his monster so that the convict may exact his revenge upon those that sent him to prison. To bring the monster back, the doctor shocks him with 100,000 volts, causing the creature's face to melt. From then on, the monster wears a metal helmet. In the end, the monster wins the love of the exconvict's girl friend."

1759. FILM: EVIL OF FRANKENSTEIN. COLOR. [84] 87 MIN SCREENWRITERS: JOHN ELDER AND ANTHONY HINDS; DIRECTED BY FREDDIE FRANCIS; PRODUCED BY ANTHONY HINDS; CINEMATOGRAPHY BY JOHN WILCOX; MUSIC COMPOSED BY DON BANKS; MAKEUP BY ROY ASHTON; SPECIAL EFFECTS BY LES BOWIE 1964 BY UNIVERSAL (GREAT BRITAIN); AVAILABLE FROM FACETS MULTIMEDIA COREL ALL-MOVIE GUIDE 2 (CD-ROM); FACETS VIDEO CATALOG NUMBER 8, P. 105; NOT IN MALTIN (1988); NOT IN ENSER (1987); NOT IN DIMMITT I'm not certain of the date of this film. The Facets catalog shows the date as 1936, but also shows this to be a film with Peter Gushing, as Baron von Frankenstein. Gushing appears in another, 1957, "Frankenstein" film—see above. The Corel Guide remarks that this is the third Frankenstein tale from the Hammer Studios. "Baron Frankenstein recovers his monster, who was frozen in a cavern, and enlists a hypnotist to help him control the creature's mind. ... " Peter Gushing as Baron Frankenstein; Sandor Eles as Hans; Duncan Lament as Chief of Police; James Maxwell as a Priest; Peter Woodthorpe as Prof. Zoltan; Tony Arpino as the Bodysnatcher; Kiwi Kingston and Derek Martin as The Creature; et al.

1756. FILM: FRANKENSTEIN, THE VAMPIRE AND CO. COLOR. 80 MIN SCREENWRITER: ALFREDO SALAZAR; DIRECTED BY BENITO ALAZRAKI; PRODUCED BY GUILLERMO CALDERON; CINEMATOGRAPHY BY ENRIQUE WALLACE 1961 BY CALDERON (MEXICO) COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Antonio Bravo, Quintin Bulnes, Marta Elena Cervantes; Jorge Mondragon, and Nora Veryan. "In this comical Mexican horror film, a blatant knock-off of 1948's Abbot and Costello Meet Frankenstein, comedians Loco Valdes and Jasso must deliver a vampire and the famous monster to a dark and scary castle. Unbeknownst to them the vampire is planning to steal Valdes' brain and place it in the head of the creature. Fortunately for the comics, the werewolf shows up to warn them."

1757. PLAY: GET THE PICTURE PLAYWRIGHT: UNKNOWN 1963-1969 AT LE SHOW, CHICAGO FORRY, HIDEOUS PROGENIES: DRAMA TIZA TJONS, P. 123.

1760. FILM: FRANKENSTEIN CONQUERS THE WORLD. COLOR. 87 MIN SCREENWRITER: KAORUMABUCffl; DIRECTED BY INOSHIRO HONDA; PRODUCED BY TOMOYUKI TANAKA; CINEMATOGRAPHY BY HAJIME KOIZUMI; MUSIC COMPOSED BY AKIR IFUKUBE 1964 BY AMERICAN INTERNATIONAL COREL ALL-MOVIE GUIDE 2 (CD-ROM) Nick Adams as Dr. James Bowen; Kumi Mizuno as a Woman Doctor; Tadao Takashima as a Scientist; et al. "Some time during the chaos of WW II, evil Nazis smuggled the heart of Frankenstein's monster into Hiroshima Japan. Unfortunately, the Bomb is dropped and the irradiated heart takes on a life of its own."

1758. PLAY: FRANKENSTEIN PLAYWRIGHT: PEGGY WEBLING; DIRECTED BY PAUL STOCKMAN 9 APR 1964 AT LITTLE THEATRE CLUB, GARRICK YARD, LONDON LCLPA CLIPPING; FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 122

285

SHELLEY 1761.

PRODUCED BY ANTHONY NELSON KEYS; CINEMATOGRAPHY BY ARTHUR GRANT; MUSIC DIRECTED BY PHILIP MARTELL; MUSIC COMPOSED BY JAMES BERNARD; MAKEUP BY GEORGE PARTLETON; SPECIAL EFFECTS BY LES BOWIE; ETAL 1965 BY SEVEN ARTS, HAMMER Peter Gushing as Baron Frankenstein; Susan Denburg as Christine Kieve; Duncan Lament as a Prisoner; Robert Morris as Hans; Thorley Walters as Dr Hertz; Barry Warren as Karl; et al. "The fourth and best of the Gushing Frankenstein movies," the Corel Guide opines, adding that this is the sequel to "Evil of Frankenstein" and a prequel to "Frankenstein Must be Destroyed."

FILM: MR. MAGOO: SHERLOCK HOLMES/DR. FRANKENSTEIN. COLOR. 50 MIN SCREENWRITER: UNKNOWN/NA 1964 BY UNKNOWN STUDIO COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Jim Backus. Says the Corel Guide says, "This animated cartoon features Mr. Magoo playing Watson from the classic Sherlock Holmes and then the evil Dr. Frankenstein."

1762. PLAY: FRANKENSTEIN PLA YWRIGHT: UNKNOWN; DIRECTED BY JULIAN BECK; A LIVING THEATRE PRODUCTION 26 SEPT 1965 TEATRO LE PERL A, VENICE LCLPA CLIPPING FROM THE LONDON TIMES (1 OCT 1965); FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS, PP. 123 NEW YORK: BOBBS-MERRIL, 1970 Says the special correspondent to the Times, "It is thanks to an Italian state subsidy ... that American's 'Living Theatre' has been able to stage the premiere of its new production, Frankenstein, as part of this year's Venice Theatre Festival. Julian Beck and Judith Malina insist that the production is the result of a communal creative effort by 30 people, with themselves ... as guides. The literary sources are described as 'Mary Shelley, The Movies, Henrik Ibsen and Aeschylus. Mary Shelley's novel is of course only a pretext, though the monologue spoken by the Creature borrows some of her words, and, like the character in her book, the Dr. Frankenstein of this work is at first misguided by Paracelsus who here leads him, as Virgil led Dante, to an inferno in search of the secret of life.

1765. FILM: FRANKENSTEIN MEETS THE SPACE MONSTER. BLACK-AND-WHITE. 80 MIN SCREENWRITER: GEORGE GARRETT; DIRECTED BY ROBERT GAFFNEY; PRODUCED BY ROBERT MCCARTHY; CINEMATOGRAPHY BY SAUL MIDWALL; ETAL 1965 BY ALLIED ARTISTS COREL ALL-MOVIE GUIDE 2 (CD-ROM) Marilyn Hanold as Princess Marcuzan; Jim Karen as Dr. Adam Steele; David Kerman as Gen. Bowers; Nancy Marshall as Karen Grant; Lou Cutell as Nadir; Robert Reilly as Col. Frank Saunders and as Frankenstein. "A robot sent into outer space goes berserk and has some destructive encounters with aliens and Puerto Rican disco dancers," the Corel Guide reports, indicating just how far away from Mary Shelley we have by this time wandered. 1766. FILM: JESSE JAMES MEETS FRANKENSTEIN'S DAUGHTER. COLOR. 95 MIN SCREENWRITER: CARL HITTLEMAN; DIRECTED BY WILLIAM BEAUDINE; PRODUCED BY CARROLL CASE; CINEMATOGRAPHY BY LOTHROP B. WORTH; MUSIC COMPOSED BY RAOUL KRAUSHAAR; MAKEUP BY TED COODLEY; ETAL 1965 BY CIRCLE (USA) COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Cal Bolder as Hank Tracy and Igor; Jimmy Lynn Davis as Marshal McFee; Estelita by Juanita; Steven Geray as Rudolph Frankenstein; John Lupton as Jesse James; Raymond Barnes as Lonny; William Fawcett as Jensen; Narda Onyx as Maria Frankenstein; et al. The Corel Guide says, "Actually, Jesse James meets Frankenstein's granddaughter: She's a doctor with some monstrous ideas she wants to try out when she's asked to treat Jesse's wounded cohort. Final film of veteran director William Beaudine."

"The company started thinking about this work last year when they were in London, and they have been rehearsing it during their European wanderings this year." This production traveled, appearing for example in Dublin in 1967 and Philadelphia in 1968 (see below).

1763. PLA Y: MY FAIR ZOMBIE PLAYWRIGHT: CARROLL BORLAND 31 OCT 1965 BY COUNT DRACULA SOCIETY, LOS ANGELES FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 123. 1764. FILM: FRANKENSTEIN CREATED WOMAN. COLOR. 92 MIN SCREENWRITERS: JOHN ELDER, & ANTHONY HINDS; DIRECTED BY TERENCE FISHER; 286

SHELLEY at the audience for a half hour before they got down to the business at hand.

1767. TELEPLAY: FRANKENSTEIN SCREENWRITER: HIGH WHITMORE

13OCT1966BYBBC2

... as the players sat cross-legged, it was announced that there would be several minutes of concentrated meditation which would lead to levitation. If it succeeds the play is consummated," the program says. "If it fails it becomes a victimization." It fails. ...

FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, P. 123. 1768. PLAY: FRANKENSTEIN! PLAYWRIGHT. JOSEPH SINGER POSSIBLE PRODUCTIONS CA 1966 AT UNKNOWN LOCATION FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 123 Forry notes a typescript in the Library of Congress, and that the play was registered on 14 November 1966.

As Ernest Schier says for the Evening Bulletin, This 'Frankenstein,' only skimpily based on Mary Shelly's original, but with more than a nod of recognition in the direction of Boris Karloff, is a vision of the Apocalypse and an awesome attempt to define and diagnose the spirit and consciousness of man.

1769. PLAY: FRANKENSTEIN PLAYWRIGHT: UNKNOWN; A LIVING THEATRE PRODUCTION; DIRECTED BY JULIAN BECK AND JUDITH M A L I N A ; S T R U C T U R A L AND ELECTRICAL ENGINEERING BY WILLIAM SHARI; MECHANICAL DIRECTION BY LUKE THEODORE; COSTUMES BY BIRGIT KNABE; CARPENTRY BY GUNTHER PANNEWITZ 3-5 OCT 1967 AT OLYMPIA, DUBLIN LCLPA PROGRAMME This was a "Living Theatre" performance that appeared both in Italy and in the US (see above and below). The company included Sourka Zeller, Petra Vogt, Gianfranco Mantegna, Jim Tiroff, Frank Hoogeboom, Diana Van Tosh, Henry Howard, Roy Harris, Jim Anderson, Gunthur Pannewitz, Sandy Linden, Rod Beere, Birgit Knabe, et al.

1772. PLAY: THE BATTLE OF THE MONSTERS PLAYWRIGHT: PAUL GUAY 1968 AT ST MATTHEW'S EPISCOPAL DAY SCHOOL, SAN MATEO, CALIFORNIA FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 123 1773. FILM: FRANKENSTEIN'S BLOODY TERROR. COLOR. 83MIN SCREENWRITERS: LOUIS MALLE, JACINTO MOLINA, & ROGER NEMIER; DIRECTED BY LOUIS MALLE; PRODUCED BY JEAN THUILLIER; CINEMATOGRAPHY BY HENRI DECAE & EMILIO FORISCOT; MUSIC COMPOSED BY ANGEL ARTEAGA AND MILES DAVIS; MAKEUP BY BORIS DE FAS; ET AL 1968 BY MAXPER, INDEPENDENT (SPANISH) COREL ALL-MOVIE GUIDE 2 (CD-ROM) Paul Naschy as Count Waldemar Daninsky; Julian Ugarte as Mikelhov; et al Says the Corel Guide, "Distraught werewolf Waldemar Daninski (played by Spain's most popular horror movie star Paul Naschy) becomes so desperate to find a cure for his lunar-influenced affliction that he visits occult shopkeepers to find a cure. Unfortunately, those who seem anxious to help him turn out to be ruthless bloodsuckers. Originally filmed in 3-D, this film was a major hit in Spain. Before getting US released it had 45 minutes hacked away and was transferred to regular twodimensional films. Naschy, using his birth name Jacinto

1770. PLAY: FRANKENSTEIN PLAYWRIGHT: UNKNOWN 1967 IN SAN FRANCISCO, CALIFORNIA FORRY, HIDEOUS PROGENY: DRAMA TIZA TIONS, P. 123 Forry reports this to have been a production by the San Fransico Mime Troupe. 1771. PLAY: FRANKENSTEIN PLAYWRIGHT: UNKNOWN; A LIVING THEATRE PRODUCTION (SUN) 24 NOV 1968 AT FLEISHER AUDITORIUM, PHILADELPHIA (?), PA LCLPA CLIPPINGS OF PHILADELPHIA INQUIRER (26 NOV 1968) & EVENING BULLETIN (26 NOV 1968) Says Henry T. Murdock, for the Inquirer, "On Sunday night the cast of the Living Theatre started and hummed

287

SHELLEY LCLPA CLIPPING Milton Shulman, in the Evening Standard thought that "Based upon last night's experience at the Round House, The Living Theatre of New York is a company that manages to embody in its production of FRANKENSTEIN most of the things I dislike about the theatre.

Molina, wrote the script." Only the dimmest ghost of the original idea remains here.

1774. PLAY: FRANKENSTEIN PLA YWRIGHT: UNKNOWN; DIRECTED BY JULIAN BECK AND JUDITH MALINA; SCENERY BY JULIAN BECK; STRUCTURAL AND ELECTRICAL E N G I N E E R I N G BY W I L L I A M SHARI; MECHANICAL SOUND BY LUKE THEODORE; COSTUMES BY BIRGIT KNABE; CARPENTRY BY GUNTHER PANNEWITZ (FRI) 4 OCT 1968, (TUES) 25, 28, 29 MAR 1969 AT BROOKLYN ACADEMY OF MUSIC, BROOKLYN LCLPA CLIPPING AND PROGRAMME This was a Living Theatre Production, which had appeared in Venice, Dublin, Philadelphia, and now came to New York. A clipping from the New York Times (13 Oct. 1968) says, "'FRANKENSTEIN,' a production of The Living Theater under the direction of Julian Beck and Judith Malina, drew enthusiastic reviews from four critics, but was turned down by two others. Clive Barnes, in the affirmative: 'What I presume is happening here is the development of the theater as a place of wonderment and miracles, a circus-like home of rituals to be celebrated by a generation that has lost the time and the place for ritual. The evening is at times repetitious, at times banal, here and there (and only here and there) a little boring. But the overwhelming impression is of a new physical style of theater, raw, gusty and vital."

They struck me as a group of actors whose approach to drama was cultish, self-indulgent, pretentious and snobbish. They treat audiences as something to be manipulated, despised and barely tolerated. Having been invited to arrive at 8 p.m. the customers were penned up in the foyer milling about for no apparent reason until almost 8:30 p.m. I am told this was designed to get us into a proper mood for edgy anticipation. Finally seated, we were told in four languages that the cast were going to levitate a thin blonde who was sitting cross-legged in the center of the stage. The female announcer, ticking off the minutes like some launch to the moon, aroused our expectations for the coming ascent of the blonde only to dampen our hopes with the words, 'She has failed to levitate.' Since I understand that blonde has never yet levitated—and the cast one day expects her to achieve this supernatural feat—and since the incident has little to do with the play, I would have thought that the cast might just as well treat us to their prospects of the world coming to an end.

1775. PLAY: FRANKENSTEIN PLAYWRIGHT: EDWARD FIELD POSSIBLE PRODUCTION CA 1968 AT UNKNOWN PLACE FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, P. 123 Forry notes a typescript copy deposited with the Library of Congress on 12 Nov. 1968.

The play itself is a series of hysterical tableaux loosely based upon the Frankenstein legend. On a three-tiered scaffold, the cast first proceeds to hang, decapitate, electrocute, shock, crucify and garrotte itself.

1776. PLAY: FRANKENSTEIN. MUSICAL PLAYWRIGHT: MICHAEL SARNE APR 1969 AT UNKNOWN THEATRE LCLPA CLIPPING FILE; FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS,?. 123 The clipping once existed, perhaps; but the folder is now empty.

Alas, one feels this company has no sense of humour at all. They are so busy making gurgling noises about the Apocalypse, forming themselves into sinewy montages about the Beginning of Man, creating lighting effects about the World Being Born or the Earth People Fleeing, that they cannot

1777. PLAY: FRANKENSTEIN PLAYWRIGHT: UNKNOWN; A LIVING THEATRE PRODUCTION 4 JUNE 1969 ROUND HOUSE, LONDON

288

SHELLEY possibly see how ludicrously pretentioius they really are.

Films with this title were made at least three times (see below, 1971, 1972).

1778. FILM: FRANKENSTEIN MUST BE DESTROYED. COLOR. 97MIN SCREENWRITER: BERT BATT; DIRECTED BY TERENCE FISHER; PRODUCED BY ANTHONY NELSON KEYS; CINEMATOGRAPHY BY ARTHUR GRANT; MUSIC DIRECTED BY PHILIP MARTELL, COMPOSED BY JAMES BERNARD; MAKEUP BY EDDIE KNIGHT; COSTUMES BY ROSEMARY BURROWS; ETAL 1969 BY WARNER BROTHERS COREL ALL-MOVIE GUIDE 2 (CD-ROM) Veronica Carlson as Anna Spengler; Peter Gushing as Baron Frankenstein; Freddie Jones as Prof. Richter; Simon Ward as Dr. Karl Hoist; Maxine Audley as Ella Brandt; Geoffrey Bayldon as the Police Doctor; et al. Says the Corel Guide, "This is the fifth entry in Hammer's series of 'Frankenstein Films.' This time the malevolent Dr. F. attempts to bust an insane brain surgeon out of an asylum so he can help him with his latest project. To help him, Frankenstein forcibly enlists the aid of a young physician and his girl friend using blackmail. Unfortunately, during the escape, the brain surgeon ends up dead, causing the desperate Frankenstein to transplant the surgeon's steaming brain into the head of a hapless employee. The recipient seems okay., but for the horrifying ring of sutures around his head ... " As a sequel to "Frankenstein Created Woman" (1965), which was a sequel to "Evil of Frankenstein" (1964), this is a kind of echo of a ghost of a shadow.

1780. PLAY: FRANKENSTEIN'S WIFE PLAYWRIGHT: TOM EYEN 5 FEB 1969 AT CAFE LA MAMA, NYC FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 108 Forry reports that this "mocked the pretentiousness of the then popular Living Theatre Frankenstein" — see above. 1781. FILM: BLOOD OF FRANKENSTEIN. BLACK-ANDWHITE. 91MIN SCREENWRITERS: WILLIAM PUGSLEY & SAMUEL M. SHERMAN; DIRECTED BY AL ADAMSON; PRODUCED BY AL ADAMSON & JOHN VANDOM; CINEMATOGRAPHY BY PAUL GLICKMAN & GARY GRAVER 1970 BY INDEPENDENT-INTERNATIONAL (USA) COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Forrest J. Ackerman, John Bloom, Regina Carrol, Lon Chaney, Jr., Anthony Eisley, J. Carrol Naish, and Zandor Vorkov. The Core Guide, which calls this a "low-budget horror outing," says that "the mad Dr. Frankenstein, now in a wheelchair, disguises himself as the curator of a horror museum so he can work on a new blood serum that will revive the dead. He is helped by a murderous zombie who slays young women to be used as subjects. Meanwhile the super-hip version of Dracula has been digging around and unearths the corpse of the doctor's original monster. The vampire and the doctor become partners to help restore the creature. Dracula really wants the experiment to succeed so he can experience daylight again."

1779. FILM: DRACULA VS. FRANKENSTEIN. COLOR. 91MIN SCREENWRITER: UNKNOWN; DIRECTED BY TULIO DEMICHELI & HUGO FREGONESE 1969 BY UNKNOWN STUDIO (GERMANY, ITALY, SPAIN) COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Karin Dor, Paul Naschy, Michael Rennie, and Patty Shepard. "This is not the same film as the gosh-awful 1970 Al Adamson epic with J. Carroll Naish, Lon Chancy, Jr.

Originally

titled

Assignment

Terror,

1782. FILM: DR FRANKENSTEIN ON CAMPUS. COLOR. 83 SCREENWRITERS: DAVID COBB, BILL MARSHALL, 6 GILBERT W. TAYLOR; DIRECTED BY GILBERT W. TAYLOR; PRODUCED BY BILL MARSHALL; CINEMATOGRAPHY BY JACKSON SAMUELS; COSTUMES BY HEATHER MCINTOSH & ROGER PALMER; ETAL 1970 BY AGINCOURT, GLEN W (CANADA) COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Ty Haller as Tony; Tony Moffat-Lynch as David; Kathleen Sawyer as Susan Harris; Robin Ward as Viktor Frankenstein; and Austin Willis as Cantwell. "In this sci-fi horror outing, Dr. Frankenstein works as a professor at a Canadian university and secretly begins researching into using electronics to control human behavior while simultaneously having an affair with a

this

German/Spanish/Italian stars Michael Rennie as an extraterrestrial invader. Unlike the pacifistic Klaatu, his character, in The Day the Earth Stood Still, Rennie is a warmonger this time out, hoping to destroy the earth. To that end, he harnesses the awesome powers of Dracula, Frankenstein's monster et al. Rennie is foiled (curses!) By a conscience-stricken werewolf."—The Corel Guide.

289

SHELLEY 1787. FILM: DRACULA VS. FRANKENSTEIN. COLOR. 90 MIN SCREENWRITER: UNKNOWN; DIRECTED BY AL ADAMSON 1971 BY INDEPENDENT-INTERNATIONAL (SPAIN, USA) COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Lon Chancy, Jr., Jimmy Lynn Davis, Anthony Eisley, J. Carrol Naish, Russ Tamblyn, Zandor Vorkov, Forrest J. Ackerman, John Bloom, Regina Carrol, and Angelo Rossitto. The Corel Guide says that this is a "low-budget horror tale in which Dracula makes a deal with Dr. Frankenstein, supplying him with bodies provided he can feast on their blood. Final film appearances of J. Carrol Naish and Lon Chancy, Jr." This was the second of three films by this title (see above and below in 1969, 1972).

pretty young student. Trouble erupts when some disgruntled students get the innocent doctor arrested for selling marijuana. Frankenstein gets his revenge by using his newly invented electronic box to control a student with a black-belt in karate." Of none of this could Mary Shelley have dreamed.

1783. FILM: THE HORROR OF FRANKENSTEIN. COLOR. 93MIN SCREENWRITERS: JEREMY BURNHAM & JIMMY SANGSTER; DIRECTED BY JIMMY SANGSTER; P R O D U C E D BY JIMMY SANGSTER; CINEMATOGRAPHY BY MORAY GRANT; MUSIC COMPOSED BY JAMES BERNARD & MALCOLM WILLIAMSON; MAKEUP BY TOM SMITH; ETAL 1970 BY LEVITT-PICKMAN COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Bernard Archard as Elizabeth's Father; Ralph Bates as Victor Frankenstein; Veronica Carlson as Elizabeth; Kate O'Mara as Alys; Dennis Price as a Grave Robber; Joan Rice as the Graver Robber's Wife; David Prowse as The Monster. The Corel Guide calls this a "tongue-in-cheek look at the criminal activities of the monster-making Baron Frankensten."

1788. FILM: SANTO CONTRA LA HIJA DE FRANKENSTEIN. COLOR. 97 MIN SCREENWRITER: FERNANDO OSES; DIRECTED BY MIGUEL M. DELGADO; PRODUCED BY GUILLERMO C ALDERON; CINEMATOGRAPHY BY RAUL MARTINEZ SOLARES 1971 BY C ALDERON (MEXICO) COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Carlos Agosti, Alejandro Cruz as Santo; Sonia Fuentes, Lucy Gallardo, and Gina Romand; et al.

1784. PLAY: I'M SORRY THE BRIDGE IS OUT, YOU'LL HAVE TO SPEND THE NIGHT PLAYWRIGHTS: SHELDON ALLMAN AND BOB PICKETT 28 APR 1970 AT CORONET, HOLLYWOOD FORRY, HIDEOUS PROGENY: DRAMATIZATIONS, PP. 108, 124 Forry calls this a "merciless spoof."

1789. PLAY: FRANKENSTEIN PLAYWRIGHT: TIM KELLY 28 FEE 1972 AT STAGEBRUSH THEATRE, SCOTTSDALE, ARIZONA FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP. 112, 124 NEW YORK: SAMUEL FRENCH, 1974 Forry notes that this version aspires to be '"perhaps the truest adaptation of Mary Shelley's classic yet'"—Forry, p. 112.

1785. PLAY: FRANKENSTEIN PLAYWRIGHTS: PETER FERNANDEZ, CLAIRE G. MILLER & SELMER R. BRODY 1970 AT UNKNOWN PLACE FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS, P. 123.

1790. PLAY: FRANKENSTEIN PLAYWRIGHT: SALLY NETZEL SUMMER 1972 AT DALLAS THEATRE, DALLAS FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 124.

1786. FILM: FRANKENSTEIN. COLOR. 90 MIN SCREENWRITER: UNKNOWN; DIRECTED BY HOWARD KOCH; MUSIC COMPOSED BY PAUL DUNLAP 1971 BY UNKNOWN UK COMPANY COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Ian Holm. This seems to have been Howard Koch's second experiment with Frankenstein materials—the first having been in 1958 (see above).

1791. PLAY: FRANKENSTEIN'S GODFATHER PLAYWRIGHT: GILBERT GARCIA POSSIBLE PRODUCTIONS CA 1972 AT UNKNOWN THEATRE 290

SHELLEY FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS: P. 124 Forry notes American copyright taken on 18 December 1972.

SPRING 1973 AT MADISON SQUARE GARDEN THEATRE, NYC FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 124.

1792. PLAY: H. R. PUFFNSTUFF PLAYWRIGHT: UNKNOWN 1972 AT VARIOUS LOCATIONS IN THE USA FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 124 Forry, citing Glut, reports that this "toured the United States."

1796. PLAY: THE ROCKY HORROR SHOW PLAYWRIGHT: RICHARD O'BRIEN 19 JUNE 1973 AT ROYAL COURT THEATRE UPSTAIRS, LONDON FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 124 Was this really related to the Frankenstein story? Forry asserts that it was.

1793. F/ZMDRACULA VS. FRANKENSTEIN. COLOR. 84 MIN SCREENWRITER: JESS FRANCO; DIRECTED BY JESS FRANCO; CINEMATOGRAPHY BY JOSE CLIMENT 1972 BY INDEPENDENT-INTERNATIONAL (SPAIN) COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Fernando Bilbao, Albeto Dalbes, Genevieve Deloir, Mary Frances, Josianne Gibert, Dennis Price, and Howard Vernon. The Corel Guide says that "Blood, monsters, eroticism, and graphic gore combine to create this confusing mishmash that has Dr. Frankenstein restoring the crucified body of Count Dracula using the blood serum of a beautiful female singer. Frankenstein then enslaves the great vampire and forces him to get at the body of the monster. Things are looking bleak until the werewolf and Jonathan Harker show up to defeat the terrors." This was the third of three "Dracula vs. Frankenstein" films (see above, 1969, 1971).

1797. PLA Y: THE ROCKY HORROR SHOW PLAYWRIGHT: O'BRIEN 3 NOV 1973 AT KING'S ROAD THEATRE, LONDON FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, P. 124 Was this really related to the Frankenstein story? Forry says so. 1798. TELEPLAY: FRANKENSTEIN SCREENWRITER: JOHN STEVENSON 2 SEPT 1973 BY ITV FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 124 For a series entitled "Once Upon a Lifetime." 1799. PLAY: FRANKENSTEIN PLAYWRIGHT: UNKNOWN 1 DEC 1973 AT SOCIETY FOR ETHICAL CULTURE, NYC FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 124 Forry reports that this was by the Off-Center Theatre Group—which did the play again (see below, 1976).

1794. FILM: LADY FRANKENSTEIN. COLOR. 84 MIN SCREENWRITER: UNKNOWN; DIRECTED BY MEL WELLES; CINEMATOGRAPHY BY RJCCARDO PALLOTTINI 1972 BY CONDOR (ITALY) COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Sara (Rosalba Neri) Bay; Joseph Gotten as the Baron; Mickey Hargitay as Captain; Paul Muller as Marsh; and Rosalba Neri as Tanya; et al Says the Corel Guide, "Baron Frankenstein's daughter proves to be a chip off the old block when it comes to creating monsters, but she's cranked out her latest creation for purposes her father never imagined: her own sexual gratification."

1800. PLAY: FRANKENSTEIN'S NEPHEW ON HIS FATHER'S SIDE PLAYWRIGHT: STEW ART M. ALDOWITZ POSSIBLE PRODUCTION CA 1973 AT UNKNOWN PLACE FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, P. 124 For notes that American copyright was filed in 1973.

1795. PLAY: THE WORLD FESTIVAL OF MAGIC & OCCULT PLAYWRIGHT: UNKNOWN

1801. FILM: [ANDY WARHOL'S] FRANKENSTEIN. COLOR. 95 MIN SCREENWRITER: UNKNOWN; DIRECTED BY PAUL 291

SHELLEY they say Frankenstein: The True Story, they mean the story as originally related by Mary Shelley in 1818, as opposed to the 1931 Hollywoodization starring Boris Karloff. This time, Dr. Frankenstein's (Leonard Whiting) paste-up job is no monster, but a handsome young man of high intelligence (Michael Sarrazin). In fact the doctor and his creature are the best of friends until the latter's body begins to deteriorate. This sends the creature over the bend into insanity, prompting Frankenstein—with the help of his evil mentor Dr Polidori (James Mason), a character not in the Shelley novel—to try, try, again to create a viable synthetic human. The film ends more or less as the novel does, with the outcast Frankenstein and his creature expiring in the frozen wastes of Antarctica. Adapted for television by Christopher Isherwood, Frankenstein: The True Story was originally telecast in two parts on November 30 and December 1 1973." This commentator's interpretation of the phrase "The True Story" testifies to a magical confusion that the proliferating versions have bred. Given this plot summary, the story is not much closer to Mary Shelley's original than was the "original" film of 1931. The liberties of the modern cinematic tradition of the Monster and his fellow characters approach the oral tradition of an earlier era in its freedom from any bonds of "accuracy" or "truth."

MORRISSEY 1973 [1974] BY VIDEO GEMS (USA); AVAILABLE FROM FACETS MULTIMEDIA FACETS VIDEO CATALOG NUMBER 8, P. 105; COREL ALL-MOVIE GUIDE 2 (CD-ROM); LCLPA CLIPPING FILE UNDER "FICTITIOUS CHARACTERS, FRANKENSTEIN, WOMEN'S WEAR DAILY (13 MAY 197'4) With Joe Dallesandro, Monique Van Vooren, and Udo Kier. This film, which was in 3-D, was one of Andy Warhol's contributions to the genre. For another, see below, 1983. This is " ... the ultimate 3-D movie, the ultimate stomach turner, but surprisingly cognizant of the original story"—Howard Kissel, in Women's Wear Daily.

1802. FILM: FRANKENSTEIN. COLOR. 130MIN SCREENWRITERS: SAM HALL AND RICHARD LANDAU; ADAPTED BY SAM HALL & DAN CURTIS; DIRECTED BY GLENN JORDAN; MUSIC COMPOSED BY ROBERT COBERT; ETAL 1973 BY 20TH CENTURY FOX; AVAILABLE FROM THRILLER VIDEO VIDEO GUIDE (1985), P. 101; COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Robert Foxworth, Susan Strasberg, Willie Ames, John Carlen, Robert Gentry, Philip Bourneuf, George Morgan, Heidi Vaughan, Jon Lormer, Brian Avery, William Hansen, Malila Saint Duval, Edgar Daniels, Edgar Justice, and Bo Svenson. Says the Corel Guide, "Made-for-television adaptation of Mary Shelley's novel, in which Dr. Frankenstein makes a man from the body parts of corpses and brings it to life." The monster would seem to have come home again to something like his original plot.

1804. PLAY: FRANKENSTEIN IS A SOUL BROTHER PLAYWRIGHT: LEMUEL E. HARRIS UNKNOWN PRODUCTIONS POSSIBLY CA 1974 FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 124 Forry reports that American copyright was filed 30 January 1974. 1805. PLAY: FRANKENSTEIN MEETS DRACULA PLAYWRIGHT: DEL TENNEY UNKNOWN PRODUCTIONS POSSIBLY CA 1974 FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 124 Forry reports that American copyright was filed 22 February 1974.

1803. FILM: FRANKENSTEIN: THE TRUE STORY. COLOR. 200 MIN SCREENWRITERS: CHRISTOPHER ISHERWOOD & DON BACHARDY; DIRECTED BY JACK SMIGHT; MUSIC COMPOSED BY GIL MELLE; PRODUCED BY HUNT STROMBERG, JR 1973 BY UNIVERSAL / NBC TV COREL ALL-MOVIE GUIDE 2 (CD-ROM); LCLPA CLIPPING (UNDER "FICTIONAL CHARACTER": FRANKENSTEIN), MARK SHIVAS, "IS THERE A DOCTOR IN THE HOUSE?" NEW YORK TIMES (24 JUNE 1973) With Tom Baker, Sir John Gielgud, Margaret Leighton, James Mason, David McCallum, Agnes Moorehead, Sir Ralph Richardson, Michael Sarrazin (as the Creature), Jane Seymour, Leonard Whiting, and Michael Wilding. Of the production in which this spectacular cast appeared, the Corel Guide reports as follows: "When

1806. PLAY: FRANKENSTEIN PLAYWRIGHT: SAMUEL A. RULON (BOOK); & JOHN L. CHAMNESS (MUSIC) UNKNOWN PRODUCTIONS POSSIBLY CA 1974 FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, P. 124 Forry reports that American copyright was filed 8 July 1974.

292

SHELLEY HINDS; DIRECTED BY TERENCE FISHER; PRODUCED BY ROY SKEGGS; CINEMATOGRAPHY BY BRIAN PROB YN; MUSIC COMPOSED BY JAMES BERNARD; ETAL 1974 BY HAMMER FILMS/PARAMOUNT COREL ALL-MOVIE GUIDE 2 (CD-ROM); LCLPA C L I P P I N G , "FICTIONAL CHARACTERS, 'FRANKENSTEIN'", "HAMMER POUNDING OUT 7TH 'FRANKENSTEIN' PIC," VARIETY (2O SEPT 1972) With Shane Briant as Dr. Simon Helder; Peter Gushing as Dr. Victor Frankenstein; Bernard Lee as Tarmut; David Prowse as the Monster; Madeleine Smith as Sarah; John Stratton as the Asylum Director; Patrick Troughton as The Body Snatcher; et al. Anthony Hinds had had prior experience re-writing the Frankenstein materials (in 1957—see above). Peter Gushing had played Dr. Frankenstein before—in 1957, 1964, 1965, and 1969. The Corel Guide reports that "Dr. Frankenstein runs a hospital for the criminally insane. When a deranged doctor who is experimenting with human bodies is committed to the asylum, the two doctors begin experiments together, creating a creature with a craving for human flesh." Now cannibalism has invaded the story.

1807. PLA Y: FRANKENSTEIN PLAYWRIGHT. DAVID COMPTON; DIRECTED BY JIM WIGGINS; DESIGNED BY ALEXBUNN; MUSIC BY ILONA SCKACZ (TUES) 17, 30 SEPT, 5, 19 OCT 1974 AT VICTORIA THEATRE, STOKE-ON-TRENT LCLPA CLIPPING FILE "David Compton's thriller is an adaptation of the novel for theatre in the round," says the program. It also notes that this had first been produced (dates not given) at the Library Theatre, Scarborough, and later at the Municipal Hall, Newcastle "by Stephen Joseph's company." Victor Frankenstein by Graham Watkins; Henri Clerval by Alan Bond; Elizabeth by Katherine Iddon; Justine by Ruth Seglow; Mme. Couper by Elizabeth Mickery; M. Clerval, Snr., by Robert Aldous; The Creature by Dyfed Thomas. 1808.

PLA Y: FRANKENSTEIN: THE MAN WHO BECAME GOD PLAYWRIGHT: ALDEN NOWLAN & WALTER LEARNING 17 JULY 1974 AT FREDERICTON, NEW BRUNSWICK FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP. 112, 113, 124 TORONTO: CLARK, IRWIN, 1976 This "opens aboard Walton's ice-bound ship with Walton reading from his diary-like letters," says Forry.

1811. FILM: YOUNG FRANKENSTEIN. BLACK-ANDWHITE. [105] 106 [108] MIN SCREENWRITERS: GENE WILDER & MEL BROOKS; DIRECTED BY MEL BROOKS; PRODUCED BY MICHAEL GRUSKOFF; CINEMATOGRAPHY BY GERALD HIRSCHFELD; MUSIC DIRECTED AND COMPOSED BY JOHN MORRIS; MAKEUP BY WILLIAM J. TUTTLE 1974 BY 20TH CENTURY FOX (USA); AVAILABLE FROM FACETS MULTIMEDIA FACETS VIDEO CATALOG NUMBER 8, P. 62; MALTIN'S TV MOVIES AND VIDEO GUIDE (1986) P. 1142; COREL ALL-MOVIE GUIDE 2 (CD-ROM); REVIEW FROM NEW YORK POST (28 MAY 1974) IN LCLPA CLIPPING FILE—UNDER FICTIONAL CHARACTERS; SEE NEW YORK TIMES, "MEL MAKES A MONSTER" (24 JUNE 1973), P. 15, SECT 2 With Gene Wilder as Dr. Frederick Frankenstein; Peter Boyle as the Monster; Marty Feldman as Igor; Ten Garr as Inga; Madeline Kahn as Elizabeth; Cloris Leachman as Frau Blucher; Kenneth Mars as Inspector Kemp; Leon Askin as Herr Waldman; and Richard Haydn as Herr Falkstein. This was nominated for several Academy Awards. The Corel Guide calls this an "hilarious spoof of the 1930s 'Frankenstein' films." Maltin thinks this a "finely tuned parody of old FRANKENSTEIN pictures." Mel Brooks himself called it "a salute, not a spoof —quoted in NY Post.

1809. PLAY: FRANKENSTEIN PLAYWRIGHT: MEGAN TERRY (BOOK AND LYRICS); MUSIC BY DAN NEWMARK 26 JULY, OCT 1974 AT SCORPIO RISING, LOS ANGELES, CA LCLPA CLIPPING; FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP. 116, "As tomorrow turns into yesterday, Megan Terry's devices become as predictable and mannered as a minuet. Her book and lyrics for Scorpio Rising's Frankenstein, with music by Dan Newmark, was premiered under Louis Newmark's direction. Set in a future when citizens were harnessed into nightclub silver breechclouts or bikinis, the mini-allegory told its tired old story in commonplace, cloddish gutter banalities and effortfully performed movement. Frankenstein was Chris Powell, a young man of handsome presence and pleasing voice"—After Dark (Oct. 1974), 75. 1810. FILM: FRANKENSTEIN AND THE MONSTER FROM HELL. COLOR. 93 MIN SCREENWRITERS: JOHN ELDER & ANTHONY

293

SHELLEY 9 APR 1975 IN VANCOUVER FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, P. 125.

1812. PLAY: FRANKENSTEIN SLEPT HERE PLA YWRIGHT: TIM KELLY 1974 AT PIONEER DRAMA, DENVER FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP. 108, 125.

1818. PLAY: FRANKENSTEIN PLAYWRIGHT: BUDDY STERN 5 DEC 1975 AT ST JOHN-ST MATTHEW EMMANUEL LUTHERAN CHURCH, BROOKLYN FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 125.

1813. FILkl: DOCTOR FRANKENSTEIN'S CASTLE OF FREAKS. COLOR. 87 MIN SCREENWRITER: UNKNOWN; DIRECTED BY JEAN YARBROUGH 1974 BY MAGNUM ENTERTAINMENT COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Rossano Brazzi, Michael Dunn, and Edmond Purdom. "No matter what we might think of Doctor Frankenstein's Castle of Freaks, you'll want to see it for its title alone. This little gem mostly takes place in the label of eeeevil scientist Rossano Brazzi. That's right, the same Rosanno Brazzi from South Pacific. Actors must eat. Stealing the show is diminutive Michael Dunn, a by product of Brazzi's mutation experiments. Edmund Purdom, another major name fallen upon hard times, also takes the money and runs in this Italian gorefest, which is also known as Castle of Freaks and The Mutations, " says the Corel Guide.

1819. PLA Y: THE MONSTER FRANKENSTEIN PLA YWRIGHT: ALAN ORMSBY UNKNOWN PRODUCTIONS POSSIBLY CA 1975 NEW YORK: SCHOLASTIC BOOK SERVICES, 1975 FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 125.

1820. FILM: VICTOR FRANKENSTEIN. COLOR. 92 MIN SCREENWRITER: CALVIN FLOYD; DIRECTED BY CALVIN FLOYD; PRODUCED BY CALVIN FLOYD; CINEMATOGRAPHY BY JOHN WILCOX; ETAL 1975 BY UNKNOWN STUDIO (IRELAND, SWEDEN) COREL ALL-MOVIE GUIDE 2 (CD-ROM) CAUTION—SEE NEXT ENTRY, "TERROR OF FRANKENSTEIN." This almost certainly duplicates the following entry:

1814. PLAY: DR. CRANKENHEIM'S MIXED-UP MONSTER. MUSICAL COMEDY PLAYWRIGHT: TONY CONNOR 12 DEC 1974 AT OXFORD PLAYHOUSE FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, PP. I l l , 124.

1821. FILM: TERROR OF FRANKENSTEIN [VICTOR FRANKENSTEIN]. COLOR. 91 MIN SCREENWRITER: CALVIN FLOYD; DIRECTED BY CALVIN FLOYD 1975 BY UNKNOWN SWEDISH-IRISH PRODUCERS; AVAILABLE FROM UNKNOWN DISTRIBUTOR MALTIN'S TV MOVIES AND VIDEO GUIDE (1986), P. 969; COREL ALL-MOVIE GUIDE 2 (CD-ROM); NOT IN ENSER With Olof Bergstrom as the Father; Harry Brogan as the Blind Man; Nicholas Clay as Henry; Stacy Doming as Elisabeth; Henricsson as Capt. Waldon; Archie O'Sullivan as Prof. Waldheim; Jan Ohlsson as William; Per Oscarsson as The Monster; and Leon Vitali as Victor Frankenstein. Maltin calls this a "literate, well-made adaptation of the classic story, definitely worth a look for horror buffs." The Corel Guide says that this film "avoids the gimmickry and anachronisms which have distinguished previous versions of the Frankenstein story. This is done through the simple expedient of returning to the source, the original 19th century Mary Shelley novel. Terror is virtually a page-by-page retelling of the Shelley book,

1815. PLA Y: THURSDAY MEETS THE WOLFMAN PLAYWRIGHT: WILLARD SIMMS UNKNOWN PRODUCTIONS POSSIBLY CA 1974 DENVER: PIONEER DRAMA, 1974 FORRY, HIDEO US PROGENIES: DRAkIA TIZA TIONS, P. 124. 1816. PLAY: FRANKENSTEIN PLAYWRIGHT: UNKNOWN 8 FEE 1975 AT HENRY STREET SETTLEMENT, NYC FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, P. 125. 1817. PLA Y: THE CRIME OF DR FRANKENSTEIN: A POP MYTH AND MONSTER SHOW PLAYWRIGHT: THEODORE ROSZAK

294

SHELLEY 1826. FILM: FRANKENSTEIN—ITALIAN STYLE. COLOR. 97MIN SCREENWRITERS: MASSIMO FRANCIOS A & LUIS A MONTAGNANA; DIRECTED BY ARMANDO CRISPING; PRODUCED BY FILIBERTO BANDING; CINEMATOGRAPHY BY GIUSEPPE AQUARI; MUSIC COMPOSED BY STELVIO CIPRIANI; ETAL 1977 BY EURO INTERNATIONAL (ITALY) COREL ALL-MOVIE GUIDE 2 (CD-ROM) Ninetto Davoli as Igor; Aldo Maccione as The Monster; Jenny Tamburi as Janet; Gianrico Tedeschi as Professor Frankenstein; et al. The Corel Guide says that "Dr. Frankenstein's creation wreaks havoc with his master while having great fun servicing the evil doctor's new bride and female associates in this vulgar Italian horror comedy."

taking us from Dr. Frankenstein's earliest efforts to create synthetic life, progressing through the creation of his monster and the horrible consequences, and ending with the Doctor dead and his doleful monster exiled to an ice floe. This would remain the most faithful version of the classic horror novel until Kenneth Branagh's overproduced, underdeveloped version of 1994 [see below]. Curiously, Terror of Frankenstein (also known as Victor Frankenstein) has been generally overlooked by film buffs, probably because it lacks star names or a 'cult' director at the helm."

1822. PLAY: FRANKENSTEIN PLAYWRIGHT: UNKNOWN; AN OFF CENTER THEATRE PRODUCTION JUNE-JULY 1976 AT CENTRAL PARK, NYC LCLPA CLIPPING "FRANKENSTEIN (FICTITIOUS CHARACTER), JO MARTIN, "TRIPS & TREATS," NEW YORK DAILY NEWS (25 JUNE 1976); FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS, P. 125. There had been an earlier (1973) Off-Center production of a Frankenstein play. "A 'Frankenstein" more silly than scary begins the Off Center Theatre's ninth season of free Sunday shows in Central Park. The doctor and his monster will appear every week, at 2 and 3:30 p.m., through July in the Park at 79th St. and Fifth Ave.," says the Daily News notice. The Off Center Theatre apparently did this show again in 1983 (see below).

1827. PLAY: FRANKENSTEIN FOLLIES. MUSICAL COMEDY PLAYWRIGHTS: PETER WALKER & KATHERINE JEAN LESLIE UNKNOWN PERFORMANCE POSSIBLY CA 1977 ELGIN, ILLINOIS: PERFORMANCE PUBLISHING, 1977 FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP. I l l , 125 Forry calls this a "juvenile comedy that utilizes the familiar plot of the lost vacationers who inadvertently come across a haunted castle."

1823. PLA Y: BRIDE OF FRANKENSTEIN PLAYWRIGHT: TIM KELLY 1976 AT PIONEER DRAMA, DENVER FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP. 108, 125.

1828. PLAY: FRANKENSTEIN'S RIB PLAYWRIGHT: GEORGINA TOLSON 21 JAN 1978(?) AT 18TH STREET PLAYHOUSE, NYC FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 125.

1824. PLAY: FRANKENSTEIN PLAYWRIGHT: STEPHEN C. WATHEN 5 MAR 1977 AT SARATOGA CIVIC THEATRE, SANTA CLARA, CALIFORNIA FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, P. 125 Forry reports a filing for American copyright on 5 February 1976.

1829. PLAY: FRANKENSTEIN PLAYWRIGHT: TIM KELLY; DIRECTED BY ROY DOLINER 29 JUNE - 23 JULY 1978 AT ACADEMY ARTS THEATRE, NYC LCLPA CLIPPING; FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS, P. 125 With Stephanie Beswick, Ellen Brown, Terence Cartwright, Don Hogle, Mark Isaacs, Christopher Olsen, and Christine Rogers.

1825. PLAY: FRANKENSTEIN PLAYWRIGHT: DALLAS MURPHY 11 MAY 1977 AT AMERICAN CONSERVATORY THEATRE, SAN FRANCISCO, CALIFORNIA FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 125.

1830. PLA Y: A TASTE OF ROCKY HORROR PLAYWRIGHT: UNKNOWN JULY 1978 AT SAN DIEGO COMIC CONVENTION, EL CORTEZ HOTEL, SAN DIEGO, CALIFORNIA

295

SHELLEY FORRY, HIDEOUS PROGENIES: DRAkIA TIZA TIONS, P. 125.

1837. PLAY: FRANKENSTEIN; OR, THE DOCTOR MADE ME DO IT PLAYWRIGHT: E .BURNS ELLISTON, JR. 19 AUG 1980 AT GOLDEN SHOWBOAT NOSTALGIA THEATRE, ST LOUIS, MO FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 125.

1831. FILM: FRANKENSTEIN '80. COLOR. 88 MIN SCREENWRITER: UNKNOWN; DIRECTED BY MARIO MANCINI 1979 BY MPI HOME (GERMANY, ITALY) COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Dada Galloti, Gordon Mitchell, Leila Parker, John Richardson, and Marisa Travers. The Corel Guide reports this to be a "Gory Italian version of Mary Shelley's novel, in which Dr. Frankenstein makes a monster that claims a lot of victims."

1838. FILM: DOCTOR FRANKER COLOR. 100 MIN SCREENWRITER: UNKNOWN; DIRECTED BY MARVIN J. CHOMSKY & JEFF LIEBERMAN 1980 BY TITUS PRODUCTIONS (USA) MALTIN'S TV MOVIES AND VIDEO GUIDE (1986), P. 249; COREL ALL-MOVIES 2 (CD-ROM) Starring Robert Vaughn as Doctor Franken; Robert Perrault as John Doe (The Monster); David Selby, Teri Garr (who was in her second Frankenstein film), Josef Sommer, and Cynthia Harris. This had not evidently become available in video fonnat by the end of 1986. The Corel Guide remarks that "This TV movie might just as well have been titled Frankenstein Takes Manhattan. Robert Vaughn stars as Doctor Franken, a dedicated Manhattan medico who becomes obsessed with the theory of artificial life. This is understandable, since the doctor is a descendant of a certain foreign gentleman named Frankenstein. He takes an arm here and an organ there from his hospital's storage bank and tries to repair the cadaver of an unclaimed accident victim. The result is a complex creature named John Doe (Robert Perrault), a reasonably friendly chap who has inherited the character traits and emotions of all those people whose body parts he has 'borrowed.' To their credit, everyone involved in Doctor Franken takes the script seriously—perhaps too seriously for any network or sponsor to care enough to purchase this pilot film for a weekly series berth."

1832. PLAY: LOVE OF FRANKENSTEIN PLA YWRIGHT: STEVEN OTFINOSKI; DIRECTED BY JACK ROSS 21 JAN 1979 AT ACTOR'S PLAYHOUSE, NYC FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, PP. 108, 124. 1833. PLA Y: END OF THE LINE FOR FRANKENSTEIN PLAYWRIGHT: PAUL GUAY 5 APR 1979 AT MUDD THEATRE, CLAREMONT, CALIFORNIA FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS, 125.

P.

1834. PLAY: THE FRANKENSTEIN AFFAIR PLA YWRIGHT: KEN EULO 13 NOV 1979 AT COURTYARD PLAYHOUSE, NYC FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, PP. 113, 125 Forry notes that this play "presents a provocative biographical reading of Shelley."

1839. PLAY: FRANKENSTEIN. PLAYWRIGHT: VICTOR GIALANELLA; DIRECTED BY TOM MOORE; SCENERY BY DOUGLAS W. S C H M I D T ; COSTUMES AND P U P P E T CONSTRUCTIONS BY CARRIE F. ROBBINS; LIT BY JULES FISHER; SPECIAL EFFECTS BY BRAN FERREN; MUSIC BY RICHARD PEASLEE (SCHEDULE FOR OPENING) 18 DEC 1980, (ACTUAL OPENING) 4 JAN 1981 AT PALACE THEATRE, NYC LCLPA PHOTGRAPHS X B FILE—INCLUDING PHOTOGRAPH OF POSTER; LCLPA PROGRAMME; LCLPA CLIPPING UNDER "FRANKENSTEIN, FICTITIOUS CHARACTERS," REVIEW IN NEW YORK DAILY NEWS (31 DEC 1980); FORRY, HIDEO US PROGENIES: DRAMATIZATIONS: PP. 112, 125-6

1835. PLAY: FRANKENSTEIN PLAYWRIGHT: VICTOR GIALANELLA 1979 AT LORETTO-HILTON REPERTORY THEATRE, ST LOUIS, MISSOURI FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P.P 125-6. 1836. PLAY: FRANKENSTEIN PLAYWRIGHT: JAMES GILLHOULEY LATE 1970'S AT HAMMERSMITH, LONDON FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 125.

296

SHELLEY "It was just another talky, boring play, and it wasn't even as tedious as the season's other one-night flops, 'Tricks of the Trade' and 'Onward Victoria.' Nor was 'Frankenstein morally offensive: the money had not been spent to humor a self-indulgent director, but to build huge sets and special effects that were visible to the audience. Besides, one could mount 18 productions of 'Frankenstein' for the cost of one 'Heaven's Gate.' By show-biz standards, the disaster at the Palace was almost a bargain. "There is, however, one lesson to be learned from 'Frankenstein,' and it involves those special effects. Though colorful and loud, this shows magic tricks were actually pointless from both an artistic and commercial standpoint. If the script had been fun, no one would have demanded electronic effects as well. After all, the 1977 stage version of 'Dracula' was a hit without the added boost of exploding laboratories and fake fires. ... "In any case, theatrical special effects — even those as accomplished as the ones in 'Frankenstein'—offer diminishing returns in the era of such movies as 'Star Wars' and 'Close Encounters of the Third Kind.' Stage technology, no matter how costly, will always look primitive and hokey compared with the optical and sonic devices of today's movies. That is why Bran Ferren, who devised the pyrotechnics for 'Frankenstein,' was able to design far more exciting effects for the current movie 'Altered States.' ... It's a losing proposition for Broadway to try to beat Hollywood at its own game. If the theater is to flourish, the play must continue to be the thing." The production values of this staging suggest a new status of relations between the cinema and the theatre, in which the latter attempts to imitate the former, even sofar as to the cinema's attempts to imitate the narrative. For, as Forry observes, the play "begins with a voice-over in which Walton narrates his letters to his sister" —Forry, p. 112.

With David Dukes as Victor Frankenstein; Dennis Bacigalupi; John Glover; Keith Jochim as The Creature; Richard Kneeland; Jill P. Rose; Scott Schwartz; Douglas Scale; John Seitz; Dianne Wiest; and Kate Wilkinson, and John Carradine. "In association with Twentieth Century Fox Productions," says the typescript note on the back of the promotional photographs in the Lincoln Center collection—repeating language on the programme. About a dozen black-and-white publicity stills are available in this collection. Suzanne Golubski reported in the New York Daily News that "the new 'Frankenstein' at the Palace Theatre will be closer to Mary's original than anything done before, according to co-producer Joe Kipiness. '"Mary was inspired by a folk legend from about 1550,' Kipness said, 'of how a Rabbi created life out of a clay statue called a golem.' "The clay man is brought to life through the power of the proper combination of letters of the divine name written on its forehead. Once alive, it continues to grow and become more powerful. It can only be stopped by rubbing out the first letter of the word on its forehead. The golem would then collapse and return to inanimate clay, as a good monster should." But this fantasy was not to come to stage life for very long. As Carol Lawson reported in The New York Times (7 January 1981), CIS, '"Frankenstein Nearly Came Back to Life," that "'Frankenstein,' the $2 million Broadway production that closed Sunday night at the Palace Theatre after giving one performance to disappointing reviews, almost came back to life last night at the Palace. Efforts to resurrect 'Frankenstein'—the most expensive dramatic production in Broadway history—began Monday morning after the play was pronounced dead and continued until 5 o'clock yesterday afternoon, when the producers finally gave up. "The attempt to keep the play alive began hesitantly—it was on and off at first—but was so intense yesterday that for most of the afternoon Shubert Alley was abuzz with the rumor that 'Frankenstein' would indeed reopen. "On Monday morning, the producers met and agreed that, because the reviews were so poor, they would close the show right away " A few weeks later, Frank Rich concluded in The New York Times, (5 Feb. 1981), "Demise of 'Frankenstein' Not a True Horror Flop," saying "Aside from the $30 top ticket price at 'Amadeus," January's most talked-about Broadway phenomenon may well have been 'Frankenstein.' This horror play, which came and went in one night to the tune of $2 million, is discussed with the pity, awe and gallows humor that only recently had been reserved exclusively for Michael Cimino's $30 million film catastrophe, 'Heaven's Gate.' If my ghoulish friends are any indication, theatergoers who didn't see 'Frankenstein' are envious of those who did....

1840. PLAY: FRANKENSTEIN. THE MONSTER PLAY PLAYWRIGHT: CHRISTOPHER O'NEAL 1980 AT SCHULENBURG, TEXAS FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP. 113, 125 There seem to have been several "Frankenstein" plays in Schulenburg, Texas, during this theatrical season—see below, for "The Frankensteins Are Back in Town." 1841. PLAY: FRANKENSTEIN PLAYWRIGHT: FRED FONDREN 27 FEE 1981 AT NATIONAL ARTS THEATRE, NYC FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, PP. 112, 126 Forry reports that this is one of the plays in which "the

297

SHELLEY 1847. PLAY: FRANKENSTEIN PLAYWRIGHT: MARJORIE BICKNELL 3 DEC 1981 AT THEATRE BUILDING, CHICAGO FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 126.

Creature expresses enormous sensitivity and intelligence." He also notes a later production—see below, October 1986. 1842. PLAY: FRANKENSTEIN CRANKENSTEIN; OR, BODY BUILDING FOR BEGINNERS PLAYWRIGHT: ROGER DAVID LEWIS (BOOK & LYRICS); & MUSIC BY LLOYD LOCKWOOD MAY 1981 AT NELL GWYNNE, HEREFORD FORRY, HIDEO US PROGENIES: DRAMA TI2A TIONS, PP. 126.

1848. PLAY: FRANKENSTEIN PLAYWRIGHT: UNKNOWN 23 DEC 1981 AT ECHO THEATRE, LONDON FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 126.

1843. PLAY: A DREAM OF FRANKENSTEIN: A BLACK COMEDY OF MATERNAL DARKNESS PLA YWRIGHT: DAN DULING 9 MAY 1981 AT FIFTH STREET THEATRE, LOS ANGELES, CA FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP. 116, 126 Forry notes that this play "deliberately alludes to James Whale's film when at its pyrotechnic conclusion the exhausted Frankenstein cries: 'It lives! It lives!'"

1849. PLAY: FRANKENSTEIN IN LOVE; OR, THE LOVE OF DEATH (A GRAND GUIGNOL ROMANCE) PLAYWRIGHT: CLIVE BARKER 13 APR 1982 AT COCKPIT THEATRE, LONDON FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP. 116, 126. 1850. PLAY: FRANKENSTEIN AUS DEM LEBEN DER ANGESTELLTEN PLAYWRIGHT: WOLFGANG DEICHSEL 25 SEPT 1982 AT THEATRE AM NEUMARKT, ZURICH FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 124.

1844. FILM: FRANKENSTEIN ISLAND. COLOR. 97 MIN SCREENWRITER: UNKNOWN; DIRECTED BY JERRY WARREN 1981 BY MONTEREY STUDIO (USA) COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Steve Brodie, John Carradine, Robert Clarke, Andrew Duggan, Cameron Mitchell, and Katherine Victor. "A group of mad scientists try to create a new human being out of the body parts of others," says the Corel Guide.

1851. FILM: FRANKENSTEIN. COLOR. ANIMATION. [81] 90 MIN SCREENWRITER: UNKNOWN/NA; DIRECTED BY JAMES ORMEROD [1982] 1984 BY VESTRON VIDEO/NORTHSTAR PRODUCTIONS, YORKSHIRE TV; AVAILABLE FROM VESTRON VIDEO VIDEO GUIDE (1985), P. 101; KODAK VIDEO TAPE AND DISC GUIDE, P. 180; ENSER, FILMED BOOKS AND PLAYS: 1928-1986, (1987), P. 604; COREL ALLMOVIE GUIDE 2 (CD-ROM) Enser, the Corel Guide, and the Video Guide may not refer to the same film. Enser gives this as coming from Yorkshire TV. With Carrie Fisher, Sir John Gielgud, Robert Powell, and David Warner.

1845. PLA Y: FRANKENSTEIN. MUSICAL COMEDY PLAYWRIGHT: GREG SANDOW AND THOMAS DISCH 26 JUNE 1981 AT C. W. POST, LONG ISLAND FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS: PP. I l l , 126. 1846. PLA Y: THE FRANKENSTEINS ARE BACK IN TOWN PLA YWRIGHT: TIM KELLY 1980-1 AT SCHULENBERG, TEXAS FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP. 108, 113, 125 This was one of several "Frankenstein" plays in Schulenberg, Texas, in 1980-1—see also above, "Frankenstein: The Monster Play."

1852. PLAY: FRANKENSTEIN PLAYWRIGHT: UNKNOWN; AN OFF CENTER THEATRE PRODUCTION AUG 1983 AT LINCOLN CENTER, NYC LCLPA CLIPPING UNDER "FRANKENSTEIN 298

SHELLEY (FICTITIOUS CHARACTER)"—NEW YORK TIMES (18 AUG 1983) "The Off Center Theater production told the familiar tale of the scientist (Victor Frankenstein) who tries to make a perfect human being but ends up with a monster. It was done by five actors plus a sound-effects man, who used his voice to create creaking doors, a growling stomach, thunder, footsteps, burps and punches"—AT Times review. This had apparently been shown before, in 1973, and in Central Park in June and July 1976.

1857. PLA Y: THE DOOM OF FRANKENSTEIN PLAYWRIGHT: GEOFFREY SHERMAN; SET AND LIT BY PAUL WONSEK; COSTUMES BY BILL WALKER 1984 AT STUDIO ARENA THEATRE, BUFFALO, NY LCLPA CLIPPING "FICTIONAL CHARACTER, 'FRANKENSTEIN,'" "MURDER, MAYHEM, AND MYSTERIOUS EVENTS: THE FRANKENSTEINS," VARIETY (MAY 1988).

1853. FILM: FRANKENSTEIN'S GREAT AUNT TILLIE. COLOR. 99MIN SCREENWRITER: UNKNOWN; DIRECTED BY MYRON G. GOLD 1983 BY VIDEO CITY COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Yvonne Furneaux, Zsa Zsa Gabor, Donald Pleasence, Aldo Ray, June Wilkinson. The Corel Guide says that this is a "horror spoof in which Dr. Frankenstein faces eviction from his manor due to back taxes."

1858. FILM: FRANKENWEENIE. BLACK-AND-WHITE. 27 MIN SCREENWRITER: UNKNOWN OR N/A; DIRECTED BY TIM BURTON 1984 BY WALT DISNEY COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Shelley Duvall, Joseph Maher, Barrett Oliver, Daniel Stern, and Paul Bertel. Says the Corel Guide, "This was the fabled experimental film that Tim Burton made way back when he was a Disney animator. In emulation of Dr. Frankenstein (or rather Colin Clive, star of the first Frankenstein talkie of 1931), young Barrett Oliver experiments with creating artificial life. His sole goal is to revitalize Sparky, his faithful and now deceased family dog. Oliver succeeds beyond his wildest expectations. ... Frankenweenie was unable to secure a general theatrical release until after Tim Burton rose to fame by virtue of such features as Pee-\vee 's Big Adventure ('86) andBatman ('88). The short subject's American debut occured on cable TV's Disney Channel—operated by the same folks who laid Burton off back in 1984."

1854. FILM: FLESH FOR FRANKENSTEIN SCREENWRITER: UNKNOWN; PRODUCED BY ANDY WARHOL 1983 COREL ALL-MOVIE GUIDE 2 (CD-ROM) Andy Warhol seems to have played some part in this film—as he had in an earlier 1974 film (see above). 1855. PLAY: FRANKENSTEIN / THE BROADWAY VERSION PLAYWRIGHTS: GIALANELLA & DIAZ 29 MAR 1984 AT JIM DIAZ GALLERY, NYC FORRY, HIDEOUS PROGENIES: DRAkfA TIZA T1ONS, P. 126 Forry reports that this was a "revised, shortened version of Gialanella's Frankenstein ."

1859. PLAY: MARY SHELLEY'S FRANKENSTEIN. 2 ACTS PLAYWRIGHT: LAURENCE MASLOW [ADAPTED FROM A TREATMENT BY BOB HALL & DAVID RICHMOND]; DIRECTED BY CRAIG D. KINZER; SCENIC DESIGN BY GERRY LANTAIGNE; WARDROBE BY SU JANE STOKER; ETAL 21 APR (PREVIEWS), (PREMIERE) 24 NOV 1985/1986 AT UNKNOWN THEATRE, NYC (?) [CSC REPERTORY] LCLPA PHOTGRAPHS / X B FILE; FORRY, HIDEOUS PROGENIES: DRAMATIZATIONS, PP. 112, Professor Waldman by Frank Dwyer; Boy by David Sennett. Victor Frankenstein by Tom Spackman; The Creature by Guy Paul; Elizabeth Lavenza by Susan Bruce; Henry Clerval by Patrick Egan; Justine by Erika Petersen; et al. This was the City Stage Company. Forry reports that this was a production in which "the Creature expresses enormous sensitivity and intelligence"—as in Fred Fondren's 1981 Frankenstein play (see above).

1856. FLA Y: SPARKS PLA YWRIGHT: LIBBY JACOBS 15 NOV 1984 AT COACH HOUSE THEATRE, AKRON, OHIO FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, PP. 112, 126 Forry relays the information that Jacobs intends the that the "creature who confronts Victor is not the clenched monster of the Hollywood versions of the novel, but is instead the flawed, articulate innocent conceived by Mary Shelley.'"

299

SHELLEY

1860.

DESIGNED BY G. W. MERCIER; LIT BY STUART DUKE; COSTUMES AND MAKEUP BY BILL WALKER; SOUND BY MICHAEL BOSWORTH; ET AL 1987 AT INDIAN REPERTORY THEATRE LCLPA CLIPPING IN "FICTIONAL CHARACTERS, "MURDER, MAYHEM AND MYSTERIOUS EVENTS: THE FRANKENSTEINS," VARIETY (MAY 1988).

PLAY: FRANKENSTEIN'S WIFE PLAYWRIGHT: PHILLIS CRAIG DECEMBER 1985 AT COURT THEATRE, NYC FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, P. 126. 1861. PLAY: FRANKENSTEIN, THE MODERN PROMETHEUS. BALLET. 33 MIN PLA YWRIGHT: N/A; CHOREOGRAPHY BY WAYNE EAGLING 19, 20, 21 FEE, 6, 11, 15, 18 MAR 1986 AT COVENT GARDEN, LONDON SCHEDULE IN OXBODJJ.

1867. FILM: FRANKENSTEIN GENERAL HOSPITAL. COLOR. 90 MIN SCREENWRITERS: ROBERT DEEL & MICHAEL FRANCIS KELLY; DIRECTED BY DEBORAH ROBERTS; PRODUCED BY DIMITRI VILLARD; CINEMATOGRAPHY BY TOM FRISBY FRASER; MUSIC COMPOSED BY JOHN ROSS; MAKEUP BY KIM CLOUSER; COSTUMES BY VIRGINIA KRAMER; ET AL 1988 BY NEW STAR ENTERTAINMENT (USA) COREL ALL-MOVIE GUIDE 2 (CD ROM); LCLPA CLIPPING UNDER "FICTIONAL CHARACTER, 'FRANKENSTEIN'," : Mark Blankfield as Dr. Bob Frankenstein; Katie Caple as Nurse Verna; Lou Cutell as Dr. Saperstein; Irwin Keyes as the Monster; et al. The Corel Guide reports that this is a "horror satire in which a descendant of Frankenstein carries on the family tradition with his experiments performed in the basement of a hospital."

1862. PLA Y: FRANKENSTEIN: A MODERN PROMETHEUS PLAYWRIGHT. L. K. AUBREY, MARK GATES, & STEPHEN PELL 6 AUG 1986 AT TWEED ENSEMBLE, SOLEBURY SCHOOL, NEW HOPE, PENNSYLVANIA FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 126. 1863. PLAY: FRANKENSTEIN'S FOLLY PLAYWRIGHT: FRED FONDREN 25 OCT 1986 AT PROMETHEUS THEATRE, NYC FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, P. 126.

1868. PLAY: FRANKENSTEIN PLAYWRIGHTS: JAY JULIAN & ELAINE GERDINE 1988 AT MAIN STREET THEATRE, HOUSTON REFERENCE IN LCLPA CLIPPPING UNDER "FICTITIONALCHARACTERS, 'FRANKENSTEIN.'"

1864. PLAY: HAVE I GOT A GIRL FOR YOU: THE FRANKENSTEIN MUSICAL PLAYWRIGHT: PENNY ROCKWELL & JOEL GREENHOUSE (BOOK); DICK GALLAGHER (MUSIC) SPRING 1986 AT INROADS THEATRE, NYC FORRY, HIDEOUS PROGENIES: DRAMA TIZA TIONS, P. 126 This was the preview for the main production, below..

1869. PLAY: FRANKENSTEIN PLA YWRIGHT: APRIL DE ANGELIS; DIRECTED BY CHRIS FISHER 5-29 APR 1989 AT LATCHMERE THEATRE, LONDON LCLPA MWA 81-478, LONDON THEATRE RECORD (26 MAR - 8 APRI 1989), 410-411 This was "Presented by the London Actors Theatre Company, in association with Buster Theatre. With Bill Cashmore as Captain Walton, Frankenstein Senior, Safie and the Monster; Angela Clerkin as Young Elizabeth, Sydney Flynn, William, The Monster, Blind Father, and Justine Audrey; John Davitt as Young Victor, Harry Tipstaff, Henry Clerval, and The Monster; and Nick Kemp as Mr. Smith, Victor Frankenstein, and Felix; Anastasia Malinoff as John Evans, Elizabeth, and Agatha.

1865. PLAY: HAVE I GOT A GIRL FOR YOU: THE FRANKENSTEIN MUSICAL PLAYWRIGHT: PENNY ROCKWELL & JOEL GREENHOUSE (BOOK); DICK GALLAGHER (MUSIC) 29 OCT 1986 AT SECOND AVENUE THEATRE, NYC FORRY, HIDEO US PROGENIES: DRAMA TIZA TIONS, P. 126. 1866. PLAY: FRANKENSTEIN PLAYWRIGHT: TOM HAAS & ROBERT GROSS; 300

SHELLEY interpretation. I would like to see her approach to Bram Stoker's Dracula in the same vein.

The reviewer for City Limits (13 Apr '89), as reprinted in the London Theatre Record opines that Mary Shelley has here inspired a gruesome monster, a mis-shapen beast of a play that lumbers on for what seems far longer than its 80 minutes. Flashes of Gothic style in the writing, and some potentially interesting ideas about sex, feminism and revolution are surrounded by kapok dialogue and soliloquies in which characters explain their every emotion. Admittedly the cast, with the exception of Anglea Clerkin, are stilted enough to make this exposition necessary, but fumbling direction fails to impose any discipline on the proceedings. A set which operates most of the time as a Krypton Factor obstacle course completes the excruciation.

1870. PLAY: FRANKIE. MUSICAL PLAYWRIGHT: GEORGE ABBOTT 25 JUNE 1889 AT COCOANUT GROVE PLAYHOUSE, MIAMI LCLPA CLIPPING "FICTITIONAL CHARACTERS, 'FRANKENSTEIN', NEW YORK TIMES (16 JUNE 1889) "On June 25, George Abbott is to celebrate his 102d birthday; today he celebrates his newest musical. It's called 'Frankie' and is loosely based on 'Frankenstein.' Music is by Joseph Turrin, lyrics by Gloria Nissenson, and it will have a reading at 4:45 this afternoon at Cocoanut Grove Playhouse in Miami. Happy birthday, Mr. Abbott!"

1871. PLAY: FRANKIE PLAYWRIGHT: GEORGE ABBOTT; MUSIC BY JOSEPH TURRIN; LYRICS BY GLORIA NISSENSON 6-29 OCT 1989 AT YORK, NYC LCLPA CLIPPING. "FICTIONAL CHARACTER 'FRANKENSTEIN'" "A NEW ABBOTT PREMIERE," NEW YORK TIMES (28 JULY 1989): C2

On the other hand, the reviewer for What's On (12 Apr '89) thought that With such an emotive title, conjuring up worn images of lightning, clanking chains, and frightened villagers, it is refreshing to see a new angle on Mary Shelley's classic. The play not only explores the consequences of modern scientific aims pursued recklessly, and without regard for the human repercussions, but also gets closer to the heart of the novel on a more meaningful level. Essentially a tale of a man begetting a monster through the misuse of science—and getting his comeuppance, writer April de Angeles debates the failed paternity of Victor Frankenstein, and examines the deadly rivalry that can exist between a father and a son ... . Not as innocent as a child, but neither monstrous, the creature shambles around trying to make sense of itself and of the world, and discovering that fathers are neither as loving nor as wise as mothers.

George Abbott says that he chose the Frankenstein legend as the subject of 'Frankie,' his new musical, because 'I thought of a new angle for it.' It's set in modem times but anything else you want to know you have to pay to find out," said the 102-year-old director and writer who, over the years, has been associated with some 120 productions. The play, which was written by Mr. Abbott and which he will co-direct with Donald Sadler, will have its world premiere at the New York Theatre, where it will play from Oct. 6 to 29. Joseph Turrin and Gloria Nissenson are responsible for the music and lyrics. A note in the Los Angeles Times of 15 Oct. 1989 also indicates that this show was playing in New York at the time.

The cast are superb, the action is slick and fairly rattles along. Many of the scenes are borrowed from Hollywood gothic, but with a vitality and irreverence of their own. April de Angelis is imaginatively daring in her

1872. PLA Y: FRANKENSTEIN. 2 ACTS PLAYWRIGHT: R. N. SANDBERG; ANDREW J. TRAISTER; MUSIC AND SOUND BY LARRY DELINGER; SET BY JEFFERY A. FRKONJA;

301

SHELLEY COSTUMES BY FRANCES KENNY; LIT BY RICHARD DEVLIN (OPENING) 4 OCT 1989 AT INTIMAN PLAYHOUSE, SEATTLE, WASHINGTON LCLPA CLIPPINGS Victor Frankenstein by Stephen Godwin; The Creature by David Drummond; Elizabeth by Julia Fletcher; Walden/Father/Professor by Clayton Corzatte; Mate/Mother/Justine by Jane Jones. A review clipped from Variety (25 Oct. 1989), pp. 76-7, in the New York Public Library's Billy Rose collection calls this "a complex psychological drama," noting the "Freudian undertones" of the themes such as "career v. Family, freedom vs. responsibility and inclination vs. Duty." Dr. Frankenstein is "a Promethean scientist who attempts the unthinkable and sets in motion a terrible chain of events.

Frankenstein is for people. There's a built-in interest factor.' As a former dancer/choreographer, Julian has utilized movement—plus a Greek-style chorus—to break up the narrative. 'You recognize the story,' he said. 'But because it is based on Shelley's actual work, there are elements you might not have seen in other treatments. The creature is not as stumbling goon with bolts in his head. He's not evil. He just cannot find compassion or love from another living thing—and so he becomes frustrated, resorts to drastic means. One of the themes of the book is that we must take responsibility for our creations. We cannot just make them, then leave them—Los Angeles Times (15 Oct 1989).

Or does he? Is the monster real? Or is he an elaborate mental creation that haunts the scientist as he attempts to come to terms with his life? The answer depends upon interpretation of the play's events, which open during Frankenstein's dying moments aboard a ship in the Arctic. Throughout the play, Frankenstein's feverish mind alternates between illusion and reality as he recalls his life and lapses into nightmare reveries of his past.

1874. FILM: FRANKENSTEIN UNBOUND. COLOR. 86 MIN SCREENWRITERS: ROGER CORMAN, F. X. FEENEY, MICHAEL MINER, & ED NEUMEIER; DIRECTED BY ROGER CORMAN, PRODUCED BY ROGER CORMAN, KOBI JAEGER, & THOM MOUNT; CINEMATOGRAPHY BY ARMANDO NANNUZZI & MICHAEL SCOTT; MUSIC COMPOSED BY CARL DAVIS; MAKEUP BY NICK DUDMAN; ETAL 1990 BY 20TH CENTURY FOX (USA) COREL ALL-MOVIE GUIDE 2 (CD-ROM) Nick Brimble as the Monster; Catherine Gorman as Justine; Bridget Fonda as Mary Godwin; John Hurt as Dr. Joseph Buchanan; Michael Hutchence as Percy Bysshe Shelley; Raul Julia as Baron Frankenstein; Mickey Knoc as the General; Jason Patric as Lord Byron; Catherine Rabett as Elizabeth; et al. "Robert Gorman and F. X. Feeney adapted the Brian Aldiss novel for this fascinating, handsome blend of science fiction and horror, in which a scientist from the future is plunged into the eighteenth-century for an encounter with Mary Shelley, the 'real' Dr. Frankenstein, and his monstrous creation," reports the Corel Guide.

1873. PLAY: FRANKENSTEIN PLAYWRIGHT: JAY JULIAN & ELAINE GERDINE; MUSIC BY JUSTIN MATHEWS (OPENING) 14 OCT 1989 INTERNATIONAL CITY THEATRE, AT LONG BEACH, CALIFORNIA LCLPA CLIPPING UNDER "FICTIONAL CHARACTERS, 'FRANKENSTEIN'" All bolts are off: another new 'Frankenstein' is on the loose. Opening this weekend at Long Beach' s International City Theatre is Jay Julian and Elaine Gerdine's new adaptation of the Mary Shelley novel, with a modern musical score by Justin Matthews. (It joins another musical adaptation, 'Frankie,' playing in New York.) 'I've always been fascinated by the story,' said Julian, who first mounted the piece last year at Houston's Main Street Theatre. But I didn't think to do it till I realized what an attention-grabber

1875. TELEPLAY: FRANKENSTEIN'S BABY SCREENWRITER: EMMA TENNANT BBC 1 1990 LCLPA CLIPPING UNDER "FICTITIOUS CHARACTERS, FRANKENSTEIN" Mary Beard's review of 21 Sept. 1990, "Undisputed Paternity," reads in part as follows: Despite its good credentials (notably a

302

SHELLEY "PLAYING WITH FIRE (AFTER FRANKENSTEIN), NEW YORK TIMES (3 FEE 1993): CIS

script by the novelist Emma Tennant), Frankenstein's Baby turned out to be traditional patriarchal fantasy, merely masquerading as wry feminist comedy. Paul Hocking (Nigel Fisher (?)) was the architect who had everything—everything, that is, except a baby. His girlfriend Jane (Kate Buffery) preferred her career in international aid, saving the babies of the Sudan rather than marrying Paul and producing one of her own. Only by the intervention of Dr Eva Frankenstein (presumably some descendant) was the stalemate broken and a foetus implanted in Paul himself: 'a baby doesn't need a womb', she assured him, 'just growing space.'

At the North Pole, gun in hand, angry creator confronts anguished creation. God and man? Yes—and no. The two figures are actually the grizzled Dr. Victor Frankenstein and his Creature, grappling with their personal pasts and with questions like the relationship between God and man, and the consequences and responsibilities that attend creation. The drama flashes between the confrontation at the North Pole and the story of young Victor's loss of his mother, his cold scientific approach to life, his romance with his cousin Elizabeth, his schooling with the elderly Professor Krempke and the creation of Adam, the Creature, which ends with the first act in a swirl of smoke. The Frankenstein story is revisited in a manner that mingles a touching tale with eternal questions to increasing effect as the play approaches its resolution. In a fresh and credible cast, Aloysius Gigl is particularly effective as the Creature, who, in his long wanderings after the slayings of Frankenstein's brother and wife, has schooled himself at the Sorbonne and is particularly familiar with 'Paradise Lost.' Fine, too, are Jeff Sugarman as the older Frankenstein, Paul Anthony Stewart as the cold, all-too-scientific young Victor, Jennifer Petsche as the ill-fated Elizabeth, Doug Von Nessen as Adam and Garrison Phillips as Professor Krempke. Literally and figuratively, "Playing with Fire" takes a while to work up a head of steam, but in the end the play has its rewards."—Lawrence Van Gelder, N. Y. Times.

1876. FILM: FRANKENSTEIN: A CINEMATIC SCRAPBOOK. 60MIN SCREENWRITER: N/A; DIRECTED BY TED NEWSOM 1991 BY RHINO HOME COREL ALL-MOVIE GUIDE 2 (CD-ROM) This is a compilation film that includes behind-thescenes facts about the Monster, with information about the stars who played him, and film clips of the movies.

1877. FlUvi: FRANKENSTEIN: THE COLLEGE YEARS. COLOR. 100 MIN SCREENWRITER: UNKNOWN; DIRECTED BY TOM SHADYAC; MUSIC COMPOSED JOEL MCNEELY 1991 BY SPRIT PRODS/FNM FILMS COREL ALL-MOVIE GUIDE 2 (CD ROM) With Chris Barnes, Larry Miller, Andrea Nelson, William Ragsdale, Patrick Richwood, and De Voreaux White. "This is about as loosely based on the original Mary Shelley novel as you could ever get. A college experiment goes on to become the REALLY Big Man on Campus—amazing the student body on the dance floor and the football field"—the Corel Guide. 1878.

PLAY:

PLAYING

WITH

FIRE

(AFTER

FRANKENSTEIN). DRAMA PLAYWRIGHT: BARBARA FIELD; DIRECTED BY CHARLES R. JOHNSON; COSTUMES BY AMANDA J. KLEIN; LIT BY NANCY COLLINGS; SET BY EVELYN SAKASH FEE 1993 AT CHURCH OF THE HOLY TRINITY, NYC LCLPA CLIPPING IN "FICTIONAL CHARACTER, 'FRANKENSTEIN'"—LAWRENCE VAN GELDER,

1879. FILM: FRANKENSTEIN. COLOR. 117 MIN SCREENWRITER: UNKNOWN; DIRECTED BY DAVID WICKES; MUSIC COMPOSED BY JOHN CAMERON 1993 BY DAVID WICKES PRODUCTIONS COREL ALL-MOVIE GUIDE 2 (CD-ROM) With Patrick Bergin, Fiona Gillis, Sir John Mills; Randy

303

SHELLEY Quaid as the Monster, Timothy Stark, Lambert Wilson, and Jacinta Mulcahy. The Corel Guide reports that "made for cable TV, this is yet another outing for 1818 Mary Shelley novel. Believing that science can cure all ills, even death, Dr. Frankenstein once again creates his monster (Quaid) and finds that he cannot control him. Familiarity breeds a slow-moving story, but the monster in this one is at least intelligent enough to make a good enemy against the doctor."

chiller, rolls into theaters Friday with an all-star cast: ... ."—NY Post. As the title suggests, the plot is basically faithful to the plot of the original novel, although the episode of the female monster—manufactured for the pleasure and solace of the male monster out of parts of Dr Frankenstein's recently murdered beloved wife and beloved female family retainer—is an extrapolation from the original. The locales, sets, costumes, makeup, and especially the early medical apparatus, have an authentic look and feel. The music is appropriately melodramatic, although the pneumatic sound effects seem to come a little too much from star wars-style science fiction. Reviewers were not overly impressed. For a British review, see Julie Burchill, "Charge of the Fright Brigade," The Sunday Times, Section 10, (6 Nov. 1994): 6-7. Following are two commentaries from The Washington Post: Says Desson Howe,

1880. FILM: MARY SHELLEY'S FRANKENSTEIN. COLOR. 123 MIN SCREENWRITERS: FRANK DARABONT & STEPH LADY; DIRECTED BY KENNETH BRANAGH, ANDREW MARCUS, & CHRIS NEWMAN; PRODUCED BY FRANCIS FORD COPPOLA, FRED FUCHS, JIM V. HART, & JOHN PATRICK VEITCH; CINEMATOGRAPHY BY ROGER PRATT; MUSIC DIRECTED BY IVAN SHARROCK; MUSIC COMPOSED BY IVAN SHARROCK; MAKEUP BY JAMES ACHESON; COSTUMES BY JAMES

There are things to enjoy in 'Mary Shelley's Frankenstein,' Kenneth Branagh's energetic adaptation of the 19th-century classic. But there are just as many things to dislike. As this movie switches, unevenly, from swashbuckling adventure to classic horror to frilly-shirted romance to campiness to graphic gorefest, there's no telling what you're watching. There's something over-anxious (even boring) about the project, as if the British director thinks he might get points for frenetic editing, restless camera movement, over-squalid sets, bloodiness and genre hopping. Directing the picture and casting himself as Frankenstein—the quasi-mad, dashing genius at the center of it all—Branagh comes across as a rather bad Orson Welles.

ACHESON; ETAL 1994 BY TRI STAR (UK)/ ZOETROPE COREL ALL-MOVIE GUIDE 2 (CD-ROM); LCLPA CLIPPING "DRAMA: FICTIONAL CHARACTER, 'FRANKENSTEIN,'""IT'S 1931 ALL OVER AGAIN," VARIETY (21 SEPT 1992): 15; V. A. MUSETTO, "NUTS AND BOLTS OF MONSTER LEGEND," NEW YORK POST (2 NOV 1994): 35 Kenneth Branagh as Dr Frankenstein, and Robert De Niro as the Monster, Helena Bonham Carter as Dr Frankenstein's fiancee, Tim Hulce as Henry Clerval, Ian Holm as Victor's Father; and John Cleese as Dr Waldman; et al. Apparently one visit to gothic horror isn't enough for Francis Coppola. Just as Columbia Pictures readies its November release of his 'Dracula,' sister studio TriStar Pictures is attempting to assemble a version of 'Frankenstein' under Coppola's Zoetrope production single. Set as executive producer on 'Frankenstein' is Zoetrope president Fred Fuchs, while Coppola and 'Dracula' screenwriter Jim V. Hart are earmarked as producers"—Variety.

'Frankenstein' has some familiar episodes—the Creature encountering an innocent child; the business with the flower; the Creature's meeting with a friendly blind man (Richard Briers), and so on. But its Creature is a departure from the traditional Boris Karl off model. De Niro has no flat head or neck bolts. In fact, he talks and reads better than many people I went to college with. But after introducing us to this sown-up tender being (with an interesting American accent), Branagh reduces the dramatic impact.

Said V. A. Musetto, "Alive! It's Alive! 'Mary Shelley's Frankenstein,' director Kenneth Branagh's lavish retelling of the venerable Gothic

304

SHELLEY The birthing scene in which a shirtless Frankenstein brings his creation to life via a combination of electricity and amniotic fluid provides the only true moments of excitement. But then, Frankenstein inexplicably declares his experiment a grotesque failure and, with the unnamed offspring hanging from the rafters, unceremoniously takes to his sickbed. And because Branagh doesn't reveal the monster to us, the sequence doesn't have a satisfying dramatic payoff. As a result, the subsequent unveiling of De Niro's Creature—and the actor's monstrous makeup—is something of an anticlimax. Branagh's conception of both the doctor and his monster is closer to Shelley's book than to James Whale's mythic 1931 film version. ... De Niro's Creature could never be accused of being an upbeat kind of guy, but then again, he isn't very scary either. More misunderstood than evil, he's also much more talkative, and that, combined with the superficiality of Branagh's approach, robs the beast of its primal power. We should quake at the very sight of him, and we don't. This is more Branagh's failing than it is De Niro's. Though the director moves briskly through his story, with both his characters and his camera in constant dizzy motion, the production doesn't have the necessary Gothic energy. ... Thematically, this "Frankenstein" is as lifeless as the hunks of flesh out of which the doctor creates Ms monster. It's a horror movie without any blood in its veins.—Hal Hinson, "Mary Shelley's Frankenstein," The Washington Post (4 Nov 1994).

De Niro, despite a valiant performance, becomes increasingly silly and ineffectual. There are good parts dotted about. But they stand out in isolation. ... Unfortunately,... the story [is] as badly patched together as De Niro's Creature. Although there are intriguing intellectual moments when Frankenstein bickers with the known scientists of the day and talks about omniscient creativity, the central stories—Branagh's relationship with De Niro and Carter—are emotionally unengaging. Its bloody finale seems to be an a p o l o g y — a g r i s l y consolation—for the preceding boredom: "If we can't thrill you," the filmmakers seem to be saying, "at least we can gross you out."—Desson Howe, The Washington Post (4 November 1994) A second Washington Post review reads in part as follows: At the crucial moment when the doctor utters the famous words "It's alive!" in "Mary Shelley's Frankenstein," he's certainly not talking about the movie. All too faithfully adapted by Kenneth Branagh, the film is the last thing that one would expect of a contemporary highbrow version of this ageless horror classic. It is, in a word, dullsville. Perhaps wisely, Branagh has chosen to avoid any reference to the memorable Boris Karloff "Frankenstein," but he hasn't come up with a vivid counterpart for it either. ... What's missing ... are the fundamentals—a grasp of the story's subtext and a genuine sense of terror—and without these, the rest is essentially meaningless. In presenting his version, Branagh gives us both more and less of what other adaptations have included. The film starts out where Shelley's did, somewhere near the North Pole, where Captain Walton (Aidan Quinn) and his crew encounter an exhausted Victor Frankenstein, who, with his dying breath, recounts his fantastic tale. But this framing device adds nothing crucial to the story ...

1881. PLA Y: FRANKENSTEIN. MARIONETTE VERSION PLAYWRIGHT: BRYN MAGNUS & LASKO; MUSIC BY MICHAEL ZERANG; LIT BY CHRISTINE A. SOLGER; COSTUMES BY TONI HILL; BY REDMOON MAY 1996 AT STEPPENWOLF STUDIO THEATRE, CHICAGO LCLPA CLIPPING OF WALL STREET JOURNAL (2 MAY 1996) Now, after a year's preparation, Redmoon is offering an adaptation of 305

SHELLEY Mary Shelley's 'Frankenstein.' As Mel Brooks demonstrated with his s i d e - s p l i t t i n g film 'Young Frankenstein,' this material is easy to spoof. There have in fact been more than 30 Frankenstein films. But Redmoon's 'Frankenstein' is the most faithful rendering of that surprisingly affecting novel that I have seen in any medium, including Kenneth Branagh's clueless 1994 film"—Joel Hennings, in Wall Street Journal.

UNDATED PRODUCTIONS 1882.

PLAY: FRANKENSTEIN; OR, THE MODERN PROMETHEUS PLAYWRIGHT: JOHN EDWARDS; DIRECTED BY IVOR ROGERS; SETS BY IVOR ROGERS; LIT BY JOHN GRABOWSKI UNKNOWN TIME PERHAPS CA 1975, IN CHICAGO LCLPA CLIPPING (UNDATED) This was a "Chamber Theatre" production. I infer that it may have been in or near Chicago because of a casual reference to Northwestern University in the undated program notes. Nick Grippa as The Monster; Dolly Pavlovitch as Elizabeth; Nina Fisher as Justine.

306

MRS. FRANCES SHERIDAN (1724-1766)

SELECT PUBLICATIONS Mrs. Frances Sheridan, who was the mother of the playwright Richard Brinsley Sheridan, appears in the British Library General Catalogue of Printed Books to 1975 with several titles to her name, including four comedies: Discovery (1763), Court and City (1829), A Journey to Bath (1761), and The Dupe (1764), as well as a novel Eugenia and Adelaide (1791), The History of Nourjahad (1767), and the Memoirs of Mrs. Sidney Bidulph (1761).

THE HISTORY OF NOURJAHAD (1767) About nine editions of this story appear in the British Library General Catalogue of Printed Books to 1975. A hand-written note in the fly-leaf of the copy in the British Library says "by Mrs. Sheridan, mother to R. B. Sheridan." 20° This was one of the "Persian Tales." The characters include Schemzeddin, Nourjahad, Hasem, Mandana (who is reported to die in childbirth), Zamgrad, Cadiga, Cozro, and Schemerzad. The scene is Persia. "Illusions" in 1870201 had nothing to do with Mrs. Sheridan's book. An "Illusion" play in 1890 had nothing to do with Mrs. Sheridan's novel.202

EUGENIA AND ADELAIDE (1739) The novel197 was published posthumously, and is set in Salerno to begin with. The characters include Adelaide, Eugenia, Don Clement Pimenteles, a Marquis, one Clementina, Madame Burganeze, Donna Violante, Don Raphael, Madame Dessari, Donna Cynthia, Donna Clara, etal. It is remotely possible that two plays in New York may bear some relationship to Mrs. Sheridan's novel, Eugenia and Adelaide: "Eugenia; or, the New Found Home,"198 and "Eugenia" by Charles Bernard and Albert Parsons.199

Published dramatizations: Anon. Illusions; or, the Trances of Nourjahad; an oriental romance, in three acts, founded on a Persian tale, written by Mrs. Sheridan, as now performed at the Theatre-Royal, Drury Lane. London: J. Barker, 1813.

1884. PLAY: ILLUSION; OR, THE TRANCES OF NOURJAHAD. MELO-DRAMATICK, ORIENTAL 1883. PLA Y: EUGENIA AND ADELAIDE. COMIC OPERA PLAYWRIGHT: ALICIA SHERIDAN UNKNOWN PERFORMANCES DNB '"Eugenia and Adelaide' ... was published after her [Frances Sheridan's] death, and adapted for the stage as a comic opera by Alicia, her elder daughter."

200

Anon. ["The Editor of Sidney Bidulph"]. The History of Nourjahad. London: J. Dodsley, 1767. 240 pp. (Shelfmark 17987). In addition to the first, was The History of Nourjahad: the Persian ... Embellished with a superb engraving. (London: C. Cooke, 1798[?]). Still further editions appeared in 1803, and afterwards. 201

See Add Mss 53086 (A). This is a two-act comedy by Joseph Dilley to be produced at the Royal Charing Cross Theatre, in the Strand, London. The ms is on 48 folios each measuring about 8.25" wide by 10.5" high. The characters include Sir Boert Arkleigh, Bart., Colonel Stoneheart, Dr. Bolder, Jack Hendle, Mary, et al. The scenes are laid on the Grounds of Arkleigh House, and on the banks of the Thames.

197

Eugenia and Adelaide. A Novel (London: C. Dilly, 1791)-two volumes now in a single binding. 198

Performed at the Winter Garden on 17 Dec. 1860- see Odell (VII, 324).

202

See Add Mss 53453 (G). This is Pierre Leclercq's original play with characters unrelated to the Persian.

199

Performed at Daly's, 18-23 Feb. 1884-see Odell (XII, 221). 307

SHERIDAN Hassan [Assan] by Smith; Mandane by Mrs. Horn; Zulima by Miss Poole; et al.

SPECTACLE. 3 ACTS PLAYWRIGHT: ANON [MRS. SHERIDAN? SOPHIA LEE?—SUGGESTED BY DNB ENTRY FOR FRANCES SHERIDAN]; MUSIC BY KELLY; OVERTURE FROM MOZART (THURS) 25-27, 29-30 NOV, 1-4, 6-11, 13-18, 20-23 DEC 1813, 27, 29 JAN, 11, 14, 22 FEE, 5 MAR, 11, 27 APR, 6, 20 MAY, 24, 28 JUNE 1814 AT THEATRE ROYAL, DRURY LANE, LONDON BL BILLS (VOL 13,1, HARRIS COLLECTION; 46) ADD MSS 42927 (FF 196-234) LONDON: J. BARKER, 1813-OCTAVO The ms in the Lord Chamberlain's papers is the published version of 1813, with substantial hand-written amendments interleaved as well as written on the pages of printed text-preparatory to the 1834 production at the English Opera House-see below. The printed leaves are about 5.25" wide by 8.5" high. "Founded on the popular PERSIAN ROMANCE, written by the late Mrs. Sheridan," says the bill. The published version opens with an "Advertisement" that reads in part as follows:

1885. PLAY: ILLUSION; OR, THE TRANCES OF NOURJAHAD. MELO-DRAMATICK ORIENTAL ROMANCE PLAYWRIGHT: ANON (FRI) 28 OCT 1814, (TUBS) 28 MAR 1815 AT THEATRE ROYAL, DRURY LANE, LONDON BL BILLS (VOL 13, 2, HARRIS COLLECTION) Schemzaddin by Rae; et al. 1886. PLAY: NOURJAHAD. GRAND OPERA PLAYWRIGHT: ANON (MON) 14-17, 19, 21-26, 28-31 JULY, 1, 2, 4-9, 12-16, 18-23 AUG 1834 AT ENGLISH OPERA HOUSE [LYCEUM], LONDON BL BILLS (VOLS 326,360) ADD MSS 42927 (196 & FF) A kind of cover-page to the printed text reads "Illusions-or the Trances of Nourjahad ... 12th July 1834. GC. [George Colman?] New Theatre Royal/ English Opera house/ July 7 1834. Sir/ This Piece having already been licensed, the songs to be excepted, is proposed to be performed at this theatre, with the sanction of the Rt. Honble. The Lord Chamberlain/1 have the honor to be/ your most obdt sernt/ for/ S. J. Arnold/ RBPeake/ George Colman, Esq." This was a substantially amended version of the play earlier performed at Drury Lane. The text submitted to the Lord Chamberlain for licensing is the published version of 1813, with substantial hand-written amendments interleaved as well as written on the pages of printed text-preparatory to the 1834 production at the English Opera House-see below. The text is 38 folios, some printed others hand-written. The printed leaves are about 5.25" wide by 8.5" high; the hand-written leaves are about 4.87" wide by almost 8" high. "Founded on Mrs. Sheridan's Persian Tale," says the bill. Schemzeddin, Sultan of Persia, Wilson; Nourjahad by H. Phillips; Cosro by Minton; Hasem by Keeley; Hassan [Assan] by J. Bland; Mandane by Mrs. F. Healey; Zulima Miss E. Romer; et al. This is the cast given on the copy submitted for license.

The following Drama is founded on Mrs. Sheridan's well known Persian Tale of Nourjahad. The volume was put into the hands of the present Author, or arranger, (whichever the Critics please) some months ago, by Mr. Whitbread, with a suggestion, that it afforded a good scope for Dramatic effect. Upon his recommendation a Theatrical Version was attempted, and great progress made in the arrangement of a Plot, necessarily deviating from the original Tale, when a French Piece, from the same source, called "Nourjahad, et Cheredin, ou LTmmortalite a L'Epreuve," in four Acts, accidentally fell into his hands-from this Piece some useful hints in regard to arrangement and situation have been taken; but those acquainted with Mrs. Sheridan's elegant and interesting Tale, and with the French Drama, will observe in Illusion such essential deviations from both, as to entitle the writer, in his attempt to dramatize this Story, to the claim of some little invention, though the merit of improving the Fable should be denied him.

1887. PLAY: NOURJAHAD. GRAND OPERA PLAYWRIGHT: ANON; MUSIC BY LODER (MON) 20, 22, 24 OCT 1834, 9, 11, 13, 19 JUNE 1835 AT ENGLISH OPERA HOUSE, STRAND, LONDON BL BILLS (VOL 326) Schemzeddin by Wilson; et al.

Schemzeddin, Sultan of Persia, by Rae; Nourjahad by Elliston; Cosro by R. Phillips; Hasem by Lovegrove; 308

HARRIET BEECHER STOWE (1811-1896)

in two acts [and in prose] from Mrs. B. Stowe's Popular Novel. In New British Theatre, no. 549. London: np, nd [1854]—Duodecimo

SELECT PUBLICATIONS The following titles by Harriet Beecher Stowe appear in the British Museum Catalogue of Printed Books to 7955): Uncle Tom's Cabin; or, Negro Life in the Slave States of America (1831! sic! )-see Standard Novels', Uncle Tom 's Cabin (1841 sic!)—see Collection of British Authors: Uncle Tom's Cabin (1847 sic!)—see Parlour Library, and Uncle Tom's Cabin; or, Life Among the Lowly (1852)—about seventy-five British editions by 1949; Agnes oj'Sorrento (1862); Augusta Howard(1853); Betty's Bright Idea, and other stories (1876); The Chimney Corner, tales (1856); The Coral Ring (1853); The Daisy's first Winter, and other stories (1867); The Dancing School (1859); A Dog's Mission; or, The Story of the OldAvery House, and other stories (1887); Dred, a tale of the Great Dismal Swamp (1841)—a least six editions; Edward Howard, Cousin William, and other interesting tales (1862); The History of Tip-Top (1897); Little Pussy Willow (1871); The Mayflower (1844); The Minister's Wooing (1841); My Wife and I; or, Henry Henderson's History (1871); Old town Fireside Stories (1871); Oldtown Folks (1869); Our Charlie and What to Do With Him (1859); Our Dogs and Other Stories (1886); Palmetto Leaves (1873); The Pearl of Orr's Island, a story of the Great Coast of Maine (1861); Pink and White Tyrrany (1871); Queer Little People (1867); Six of one by Haifa Dozen of the Other. An everyday novel (1872); The Squirrels that live in a house (1897); Thirtieth Thousand (1854); Tales of Truth and Kindness (1862); Temperance Tales, No. 1, The Pledge Taken (1853); Uncle Sam's Emancipation (1853); The Unfaithful Steward and other tales (1853); We and our neighbours; or, the record of an unfashionable street (1874); Worldly Amusements; or, the dancing school, a tale for Christian mothers (1853).

Unknown. Dred. London: Green, Webb, nd

1888. PLAY: DRED; OR, THE DISMAL SWAMP. DPvAMA. 3 ACTS PLAYWRIGHT: UNKNOWN MARCH 1856 AT MARYLEBONE, LONDON DAYBOOKS SHOW LICENSE 1 MAR; LC—AD MSS 52964 (X); NICOLL (V, 669) The ms in the Lord Chamberlain's collection of plays is 23 folios of light blue paper each measuring about 8" wide by 12.5" to 13" high. The handwriting is easy to read, and the copy is fair, and not amended. The ms has two penny postage stamps on the back page—indicating how these plays were often delivered to the Examiner. Indeed, this one arrived postage due. The title page says "Dred!/ Or the Dismal Swamp./ Act I/ Licensed March 18th 18577 Marylebone Theatre 1856-7/ ... ["Dram. Pers"] To be produced at/ the Marylebone Theatre/ Monday 16 Febr. 1857." Nicoll shows the date as 1856, but an early 1857 date is probably more nearly accurate. The "Dram. Pers." [on the title page] are as follow: Tom Tit (the Slave Child); Edward Clayton; Harry Gordon; Peter Tidmarsh; Tom Gordon; Frank Russell; Dred (of the Dismal Swamp); Ben Wakin; John Cripps; Uncle John Gordon; Abe Pineapple "[one of the niggers]"; Pete & Cliff, "Plantation Negroes"; Ducimer; Nina Gordon; Aunt Nesbitt; Anne Clayton; Lisette; Aunt Milly; Nancy Cripps; Emma Cripps; Fanny & Biddy "Cripp's [sic] children"; Mrs. John Gordon. Scene 1st is "Drawing Room. Elegantly furnished." Scene 2nd is "Enter Female Slaves." Act I ends with a "Picture." Act 2nd, Scene 1st is "Chamber." Scene 2nd is "Wood." Scene 3rd is "Harry's Cabin." Scene 5th [numbering non-consecutive] is "The Dismal Swamp." Act 3rd, Scene 1st begins with "Willy" saying "Dat am right honeys. When you knows den letters I showed, an sez dem all boy hart, den we hab hollumday." Scene 3rd [numbering non-consecutive] begins with Gordon saying "Then you promise one implicit obedience." In some way this play may possibly be related to a play called "Dominique the Deserter," which Nicoll locates at the Marylebone Theatre on 4 March 1857 (see below), and which he indicates also was at the Lord

DRED: A TALE OF THE GREAT DISMAL SWAMP (1856) Published dramatizations: Suter, William E. Dred, A Tale of the The Dismal Swamp. A drama in two acts [and in prose] [from Mrs. B. S' 'S Popular novel]. In Lacy's Acting Edition of Plays, Vol. 57. London: Lacy, 1850—Duodecimo. Suter, W. E. Dred, a tale of the dismal swamp, a drama

309

STOWE least successful of three produced about that time in New York. I am very sorry to record practical failure for Brougham, whose venture was going none too well. Dred ran but little over two weeks (usually in company with Pocahontas), yielding, on October 15th, to Retribution ... ."

Chamberlain's office as "Dred; or, the Dismal Swamp." There had been several earlier "Dominique the Deserter" plays, including for example one allowed on 4th April 1838 by George Colman, which was itself "altered from the Original" London play, and which was to play at the Theatre Royal, Edinburgh.203

1891. PLAY: DRED PLAYWRIGHT: H. J. CONWAY 16 OCT TO 22 NOV 1856 AT BARNUM'S, NYC ODELL (VI, 565) Uncle John by Bridgman; Tom Gordon by E. F. Taylor; Harry Gordon by C. W. Clarke; Edward Clayton by Levick; Frank Russell by Bleecker; Judas Jekyll by J. Herbert; Cipher Cute by Hadaway; John Cripps by G. Clark; Obadiah Orthodox by Cavanaugh; Ben Dakin by G. Lingard; Bije Skinflint by Duncalf; Dred by Havelock; Tom Tit by Tom Thumb; Old Tiff by J. Lingard; Pomp by Cunningham; Nina by Miss E. Mestayer; Mrs. Nesbitt by Mrs. Dickson; Mrs. John Gordon by Miss Palmer; Lisette by Mrs. Radinski; Mrs. Cripps by Miss Orton; and Aunt Milly by Mrs. Lingard. Odell notes that "The appearance of General Tom Thumb, in the part played at the National by Cordelia Howard, naturally created a stir. The Tribune of October 18th, states that, by omitting many characters entirely, changing the individuality of others, leaving out situations which did not suit him, by killing some of the characters before their time, and suffering others that Mrs. Stowe had sent to an early grave to live and get married, in other words, by discarding the story of the book and inventing a new catastrophe, Conway had produced an entertaining play "

1889. PLAY: DRED, A TALE OF THE DISMAL SWAMP PLAYWRIGHT: UNKNOWN 22 SEPT 1856 AT NATIONAL, NYC (FOR 5 WEEKS) ODELL (VI, 557) Edward Clayton by G. C. Howard; Peter Tidmarsh by G. L. Fox; Harry Gordon by J. H. Allen; Tom Gordon by F. E. Aiken; John Cripps by T. Hampton; Old Tiff by C. W. Taylor; Dred by J. Reed; Tom Tit by Cordelia Howard; Nina Gordon by Mrs. G. C. Howard (later by Miss Hathaway); AuntNesbittby Mrs. E. Fox; Mrs. Gordon by Mrs. Wray; Lisette by Miss F. Herring; Aunt Milly by Mme. De Mello (later by Mrs. Howard). "The first version of the story ran for a week, and was succeeded by an improved drama, on the 29th." Odell quotes the Tribune of 24th Sept. to the effect that the play was '"creditable,' though the chronological order of the events in the novel had been changed, and much of the dialogue had been rewritten. And a happy ending with a 'joyful marriage,' had been substituted for 'an untimely death. With these trifling differences, the play gave a very fair idea of the novel.'" 1890. PLAY: DRED, A TALE OF THE DISMAL SWAMP PLAYWRIGHT: UNKNOWN 29 SEPT 1856 AT BROUGHAM'S, NYC ODELL (VI, 547) Uncle Jack by Brougham; Old Tiff by T. D. Rice; Harry Gordon by J. E. McDonough; Tom Gordon by A. T. Morton; Dred by Conrad Clarke; Carson by Whiting; George Emmons by James Dunn; John Cripps by Davidge; Edward Clayton by Duncan; Tom Tit by Denham; Old Hundred by W. H. Bailey; Father Bonnie by Bellamy; Jim Stokes by Post; Peacock by Barry; Harry Dreadnaught by Hodges; Will Hardy by Carpenter; Nina Gordon by Mme. Ponisi; Mrs. Cripps by Miss K. Reignolds; Lisette by Miss F. Denham; Mme. Gordon by Mrs. Hield; Mrs. Nesbitt by Mrs. Carpenter; Polly Skinflint by Miss McDonough; Fanny by Miss E. Reignolds; Teddy by Miss Lizzy Wallis. Odell reports that "this version of Mrs. Stowe's story was the

1892. PLAY: DRED! A TALE OF THE GREAT DISMAL SWAMP. DRAMA. 2 ACTS PLAYWRIGHT: H. YOUNG 27 OCT 1856 "AND ALL THE WEEK" AT VICTORIA, LONDON DAYBOOKS SHOW LICENSE 24 SEPT 1856; LC—ADD MS 52962 (G) LONDON THEATRE MUSEUM POSTER The ms in the Lord Chamberlain's collection of plays is 104 folios each measuring about 6.75" wide by 9" high. The hand is crabbed and difficult to read, but the copy is fair and not amended. The first page is a note from Johnson Towers at the Victoria Theatre to the Examiner, dated 22 Sept. 1856, requesting permission to produce. The subsequent title page reads "Dred/ As a tale of the/ Great Dismal Swamp/ by H. Young/ Author of Uncle Tom's Cabin." The characters are Mr. Clayton, a staunch abolitionist of Magnolia house; Jekyl, a lawyer; Judge Oliver; Dr Buster; Thomas Gordon, a brutal slave holder of the crop in estate; Bill Akers ... , Tom Gordon's boon companions; Jim Dexter, Trumpet of Freedom; Kite

203

See Add ms 42921 (ff 181 & ff). The "Dramatis Personae" were Dominique, Devagne (?), La Lache, D'Anville, Louis Captain of the Guard, The Lady Blanche, Genevieve, Jeannette, and Susette. This could not of course have had any connection to Harriet Beecher Stowe's novel Dred.

310

STOWE "Street." Sc 5th begins with "The Dredful Servant Enter Tiff." Sc 6th is "A Street." The whole ends with a dance.

Douglas and Southern, overseers; Dred, an outlaw'd son of Denmark Vesy of North Carolina and Recluse of the Dismal Swamp; Tom Tit, a little upshot of Miss Nesbits, more plague than profit; Old Hundred Coachman to Nina—"a lazy aristocratic, lying, impudent, reasoning nigger;" Poor Old Tiff, ... Polly Skinflint, Rose, et al. Act 1st, Scene 1st is "The Slaves—Happy Home—The Estate of Canema in South Carolina. An elegant saloon window opening to a terrace which descends to the garden and pleasure grounds at back." The Act end with a tableau. Scene 2nd is "The cabin of Cripps, a kind of deposit for old rubbish. A ladder leading to a loft... . ." The scene numbering is non-consecutive? Scene 5th is "The Conspirators. The Pine Forest" Act 2 is "Lynch Law (?)/ Scene 1st is "An Apartment in the House of Tom Gordon." Scene 2nd is "Pleasure Grounds at Canema." Scene 3rd is "A Wild & Woody Landscape—leading to the great Dismal Swamp." Scene 4 is "The Desert. A Part of the Swamp." Scene 5 is "The Great Dismal Swamp." Scene 6 is "Same as 2nd scene of 1st Act." Scene 7 is "The Cloud Bursts. The Habitation of Crayton—Magnolia Grove on the Sea Shore " Scene 8 is "A Street in Wilmington—The Evening after." Scene 9 is "The Trial. The Supreme Court." The poster in the London Theatre Museum comments extensively on the play, referring to Young's earlier adaptation of Stowe's Uncle Tom's Cabin. The Lord Chamberlain's Examiner of Plays ordered omission of a Biblical paraphrase.

1894. PLAY: DRED, A TALE OF THE DISMAL SWAMP; OR, POOR UNCLE TIFF. DRAMA. 2 ACTS PLAYWRIGHT: ANON (MON) 29, 30 SEPT, 1-4, 6-11, 13-18, 20-25 OCT 1856 AT BRITANNIA, HOXTON (LONDON) DAYBOOKS SHOW LICENSE 26 SEPT BL BILLS (VOL 376, 1); NICOLL (V, 670) LC—ADD MS 52962 (H) The ms in the Lord Chamberlain's collection of plays is 28 folios, each measuring about 6.75" wide by 9" high. The copy is fair without amendment, and the hand is legible, though heavily slanted. The title page reads "23/9A56//26/9/56 suspended till/further notice/k./ 24/ 9/ 56/ by private letter./ Britannia Saloon/ Hoxton/ Samuel Lane/Proprietor/ Septr 1856/Dred/ A Tale of the Dismal Swamp/ or/ Poor Uncle Tiff/ Act ISt" The "Characters" are Dred, Tom Gordon, Harry, Jekyll, Edward Clayton, Mr. Carson, Mr. Cripps, Uncle Tiff, Tom Tit, Abigail Skinflit, Teddy Cripps, Nina Gordon, Mrs. Nesbit, Aunt Milly, Mrs. Cripps, Polly Skinflint, Fanny Cripps, and Lisette. Act 1st, Scene 1st is "A miserably poor apartment. Bed in corner on which Mrs. Cripps is lying in a dying state. As the scene opens old Tiff a negro 50 years old is discov'd sitting on stool little Teddy a child 5 years old standing beside Tiff who is mending a pair of Child's stockings." Scene 3rd is "An elegant apartment at Canemas " Act 2nd begins with a note "I have rejected the 8th scene of this act to be canceled 24/ 9/56" Act 2nd, Scene 1st is "The Hotel as before ... ." Scene 2nd is "Front Chamber." Scene 3rd is "Apartment in Nina's House." Scene 4th is "Open country near the Market Place." Scene 5th is "Library at Canema." Scene 6th is "Landscape." Scene 7th is "The Dismal Swamp. A Huge Pine Tree stans amidst the swamp towering high above a mound of green moss." Scene 8th is a "Landscape." The "Last Scene" is "Swamp as before." The censored scene reads in part as follows:

1893. PLAY: DRED. BURLESQUE. 1 ACT PLAYWRIGHT: W. TOWNSEND [MY INFERENCE FROM SIGNATURE AT END OF MS IN BL] 16 OCT 1856 AT BOWER SALOON, STANGATE, (LONDON) LCADDMS52961(P) NICOLL (V, 670) The ms in the Lord Chamberlain's collection of plays is 9 folios each measuring about 8" wide by 11.3" high. The copy is fair though difficult to read because the folios have been written verso and the ink shows through. The title page reads "15/10/56//16/10/56// Dred/ a./ Burlesque/in/One. Act/ ... ['Characters represented'] Bower Saloon/ Stangate/ 14th October 1856/ W. Dean Manager." The "Characters represented" are Solomon Dred, Foxglove Floss; Number 56, Shanks, Uncle Tiff, Take a Lawyer, Lucy Withers, Mrs. Burnette, and Betsy Winkles. Sc 1 is "A Mean Miserable Garrett. Lucy seated at work The Curtain rises to the air Song of the Shirt. Lucy Puts down her work with a heavy sigh rises." The dialogue is then in rhyming couplets. Sc 2nd is "A Street. Enter Floxglove Floss." Sc 3rd is "Same as Sc. 1." Sc. 4th is

Tom

Now Jeykll Sir determine to have that fellow Harry—I've published a proclamation of out-lawry, and I've put out a reward of 10,000 dollars for his head. Jekll Pit you could not catch him alive and make an exampe of him. Tom

I know it. I'll flay every inch of his flesh. I'll tke him the long way round that I would—I had hoped to gt hold of the fellow's wife, but she has slipped thro' my fingers somehow. Some of these rascally niggers are in league with him. I'll twist their necks if I could find who the

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STOWE Exasperation," as well as the "Flight of the Orphans to the Wilderness," "The Dismal Swamp in the Wilderness," "The Negro Misanthrope & the Hunted Slave," "The Slave Hunter and His victim," "Outcasts Armed for Vengeance," "Adjuration of the Avenger! The Bloodhounds on the Track!" and the "Tyrant Falls and Justice is Appeased." The whole ended with a "Striking Tableau."

thief was. Entr Jim. Jim Please Massa Hack am come back., Tom

Bring him here at once. This fellow is believed to be in communication with Harry. [Hack is brought in] Now you young nigger where did you go last night? Jack I went no where, I was on plantation alle de time.

1895. PLAY: DRED PLAYWRIGHT: UNKNOWN 27 OCT, 1, 12, 14, 17 NOV 1856 AT THEATRE ROYAL, SHEFFIELD SHEFFIELD CITY LIBRARY BILLS CAT This was not a continuous run, although there may have been other performances of "Dred" than those noted. But "Hamlet" and "Money" both intervened.

Tom

It's a lie you rascal. You did go to see Harry, out with it, for I know it to be true. Speak you scoundrel [Tom takes his cowhide, hits him repeatedly across the face, the blood flows freely.] Tom

Will you speak now. [Silence]. Strip him lads, go fetch the whip [Exit Jim. The Negroes strip Hack to the Waist] Now will you confess, you won't, then hold him lads. Tom lashes him till he can no longer hold the whip—then turns to the men.]

1896. PLAY: DRED. A TALE OF THE [GREAT] DISMAL SWAMP. DRAMA. 2 OR 3 ACTS PLAYWRIGHT: ANON [ FREDERIC LAURENCE PHILLIPS & J. COLMAN] OCT, (MON) 10-15, 24-29 NOV, 1-5 DEC 1856 AT SURREY, LONDON DAYBOOKS SHOW LICENSE 16 OCT; LC—ADD MS 52961 (N) LONDON THEATRE MUSEUM BILLS; BL BILLS (VOLS 388; 390, II); NICOLL (V, 522) The ms in the Lord Chamberlain's collection of plays is 75 folios each measuring about 9.5" wide by 15" high. The pages of this ms have been laminated in plastic. The several hands are legible, but there are numerous amendments. The title page says "14/10/567 [and then] 16/10/56. / Surrey Theatre/ Dred/ a/ Tale of the Great Dismal Swamp/ In 3 Acts./ Act 1." There is no list of characters, but the people of the play from the text include the following: Nina, Aunt Nesbitt, Tom, Tom Tit, Melly, Lisette, Harry, Crips, Mrs. Cripps, Tiff, Dred, a Negro Woman, Clayton, Polly, Jekyl, Tom Gordon, Polash. Act 1st is "interior of the London Marsion of Canema. Scene 2nd is "The Exterior of the Log Cabin of Harry everything marking ease and comfort. Lissette ironing outside door. She sings. She walks on de verandah And she laughs out of de door And she dances like de sunshine Across de parlour floor." Scene 3rd is "Interior of a Wretched Pine log Hut—in one corner a woman stretched on a straw mattress—a ... Child's bed on the other." Scene 4th is "Room at Canema." Act 2, Scene 1st is "The Magnolia Grove." Last Scene of Act 2 is "The plantation of Tom Gordon on one side a house with a verandah running along it

Tom

Now you black rascals lash on till you drop—the first that flinches shall share his fate—stay, fetch the shingles and the water. That will touch him home I guess. Jem exits and returns with a bunch of shingles and a pot of boiling water. Tom Now Jim you turn too You have a powerful arm. You'll make him speak no doubt. Jim takes the shingle hits a few blows pours the hot water over the wounds. Jim Pease Massa, him dead enough. Tom

Are you sure of that. Well, throw his carcass to the dogs. Take him away. Come along Jekyll {They exeunt]." This was stuff too strong for the examiner of plays. "An entirely New Drama, full of deep Pathos and Striking Situations, founded on the Popular New Work by Mrs. BEECHER STOWE, (the talented Authoress of 'Uncle Tom's Cabin,') and embracing all the strongest points, most Interesting Characters, and Powerfully Effective Incidents of the Novel adapted to the Stage with consummate skill, by one of the most successful Writers for this Establishment," says the bill. Dred ("an outcast inhabiting the Dismal Swamp") by C.J. Bird; Tom Gordon by C. Pitt; Harry by W. Smith; Jekyll by C. Williams; Uncle Tiff by W. R. Crauford; Sam by W. Rogers; Polly Skinflint by Miss Pettifer; Mrs. Nisbett by Mrs. S. Cowle; Mrs. Cripps by Mrs. E. Yarnold; Aunt Milly by Miss Brock; Lisette by Miss Green; et al. The scenes especially promoted on the bill included "The Dying Mother & the faithful Negro," "The Rich Heiress and her Half-Caste Brother," "The Legitimate Brother and the Half-Caste," and a "Tableau of Rage and 312

STOWE Tom Gordon, Harry Gordon, Dred, Cripps, Uncle Tiff, Jim, Hack, Tomtik,a lad, Teddy, a little boy, Mily, Lisette, Aunt Nesbit, Katy, and Fanny, a girl. Sc 1 Act 1 is "Apartment looking on to a plantation." Sc 2 is a "Front Chamber." Sc 3 is "The Country." Sc 4 is "Log Hut." Act 2, Sc 1 is "Chamber." Sc 2 is a "Portion of Plantation." Sc is a "Dense wood in the neighbourhood of the Swamp." Scene 4 is "Commencement of the Swamp." Sc 5 "and last. The Great Dismal Swamp—by Moonlight." "Founded (by one of the most popular Dramatist [sic] of the day,) on the last New and Powerful Work of Mrs. H. B. Stowe, the celebrated Authoress of 'Uncle Tom's Cabin,'" says the bill. Harry Gordon by Butler; Tom Gordon by G. Kingston; Dred by Charles Sennett; Uncle Tiff by Randall; Mr. Cripps by Crosby; Hark by Fortune; Jem by Manders; Tom Tim by Master Clarke; Milly by Mrs. J. Parry; Aunt Nesbitt by Miss Rodes; Katy by Miss Bennett; Polly Skinflint by Miss Palmer; and Fanny by Miss M. Rodes; etal The bill gives good detail about the scenario, which included for example, scenes set in an "Apartment Looking on Plantation," a "Chamber in Cordon's Mansion," "The Old Log Hut," "The Burning Roof," a "Distant View of the Plantation," a "Dense Wood near the Swamp," and "The Great Dismal Swamp." The whole ended with the "Destruction of the Villain Gordon."

ascended by a flight of steps. Beyond the cotton fields in which Negroes are at work. Two or three posts driven into stage to fasten up slaves for punishment." Act 3rd is "The Library at Canema—large open French Windows reaching down to the ground." Then a "Front Scene—Another part of the Swamp." "Scene last" is "The Swamp with Dreds retreat by moonlight occupying the whole stage. Boxes corded and bundles as ready for a journey." The Surrey bills as early as September of 1856 began to promise this play. The Lord Chamberlain's Deputy, the Examiner of Plays, required fairly considerable omissions in Act I, Scene 3, of lines suggesting an angelic presence, and in Act II, scene 3, of references to "the father." Religious references disturbed the licenser. Edward Clayton by F. Charles; Dred by Norman; et al. The bill gives elaborate detail about the production, including "The Exterior of Harry Gordon's Cottage," "The Old Log Hut in the Pine Forest," A Part of the Swamp by Sunset," Retreat of Dred in the Wild & Impervious Jungle, "The Chamber of Nina Gordon," "Cripp's Pine Log Hut," "Tom 'Gordon's Dwelling," "The Wilderness," and the "Great Dismal Swamp" by moonlight. This was on a double bill with "Rob Roy" through some of its run.

1897. PLAY: DRED; OR, [THE] [FREEMAN OF THE] [GREAT] DISMAL SWAMP. DRAMA. 2 ACT PLAYWRIGHT: WILLIAM E. SUTER (SAT) 1 NOV, 3-8, 10-15, 17-18, 20-22 NOV 1856, (SAT) 20, 23, 26 JUNE 1857 AT QUEEN'S THEATRE, LONDON W. E. SUTER, DRED: A TALE OF THE DISMAL SWAMP. A DRAMA IN TWO A CTS [AND IN PROSE] [FROM MRS. B. S. 'S POPULAR NOVEL] LACY'S ACTING EDITION OF PLAYS VOL. 57, 1850—DUODECIMO—BL SHELFMARK 2304.f.2; ALSO W. E. SUTER, DRED, ... A DRAMA ... FROM MRS. B. S. 'S POPULAR NOVEL [1854]—DUODECIMO—BL SHELFMARK 11771.aa.3 b. TOY THEATRE: GREEN, WEBB BL BILLS (VOL 381); SPEAIGHT; NICOLL (V, 587, 819) LC—ADD MS 52962 (L) The ms in the Lord Chamberlain's collection of plays is 53 folios on light blue lined paper (probably from a ledger torn in half) measuring about 6" wide by 7.75" high. The hand is hasty and difficult to read; the text is sometimes amended. The title page reads "247107 56 77 17 117 567 To be produced at the Queens Theatre/ C. Dance (?)/ Dred/ or the/ Great Dismal Swamp/ A Drama/ in 2 Acts. The list of characters given on the title page is as follows:

1898. PLAY: DRED PLAYWRIGHT: UNKNOWN 3 NOV 1856 AT THEATRE ROYAL, ADELPHI, SHEFFIELD SHEFFIELD CITY LIBRARY BILLS. 1899. PLAY: DRED, A TALE OF THE DISMAL SWAMP. EQUESTRIAN DRAMA. 2 ACTS PLAYWRIGHT: ANON (SAT) 15 NOV 1856 AT ASTLEY'S ROYAL AMPHITHEATRE, LONDON LC—ADD MS 52962 The ms in the Lord Chamberlain's collection of plays is 57 folios each measuring about 6.75" wide by 9" high. The text is fair copy, virtually never amended, and easy to read. The title page says "17/11/56//18/11/56// Dred/ A Tale of/ The Dismal Swamp/ An Equestrian Drama/ in/ Two Acts/ to be performed at/ Astley's Royal Amphitheatre/ on Saturday Novr. 15 1856/ W. Cooke/ Lessee & Manager' W. West/ Stage Manager; To the Licenser of Plays." The "Drams Pers" are Dred, Tom Gordon, Harry Gordon, Mr. Clayton, Jekyll, Bill Dexter, Sam Akins, Ned Shortly, Uncle Tiff, Tom Tiff/ Old Hundred, No. 17 313

STOWE PLAYWRIGHT: ANON (TUES) 15 SEPT 1857 AT THEATRE ROYAL, DUNDEE POSTER IN DDLLHC Edward Clayton by Clarine; Jekyl by Ferguson; Dred by Bruce Norton.

Jim, Cripps, Nina Gordon, Cora Gordon, Lisette, Aunt Nesbitt, Rosa, Fanny Cripps, Teddy Cripps. Act 1st, Scene 1st is "The Mansion of Canema." Scene 2nd is "A Chamber in anema House." Scene 3rd is "Exterior of Lisette's Cottage." Scene 4th is "The chamber of Cora Gordon on the Sherman (?) Estate." Scene 5th is "The Cabin of Cripps and windon (?)." Scene 6th "A front Garden at Canema." Scene 8th is "A Landscape." Scene 9th is "The pleasure grounds of Canema." Act 2nd, Scene 1st is "Back portion of Canema House." Scene 2nd is "Landscape or Swamp. A large tree." Scene 3rd is "The Double Ser. Representing the stables on one side. The Coach House the other." Scene 4th is "A front Wood." Scene 5th, "The Thicket." Scene 6th, "The Stewart Plantation." Scene 7th "A Swamp."

1903. PLAY: DRED; A TALE OF THE DISMAL SWAMP. DRAMA PLAYWRIGHT: ANON (WED) 20, 22 OCT 1858 AT VICTORIA, LONDON BL BILLS (VOL 391, 2); NICOLL (V, 670) LC Nicoll locates two manuscript versions of Dred in Birmingham. Clayton by Fredrick Byfield; Yekyl by Henderson; Dred by W. H. Pitt; Harry by J. H. Rickards; et al. This was offered on alternating days with "Uncle Tom's Cabin."

1900. PLAY: DOMINIQUE THE DESERTER [DRED; OR, THE DISMAL SWAMP]. DRAMA PLAYWRIGHT: UNKNOWN 4 MAR 1857 AT MARYLEBONE, LONDON NICOLL (V, 669) LC There does not seem to be a "Dominique the Deserter" play for this period in the Lord Chamberlain's collection of manuscripts. Nicoll indicates that "Dominique the Deserter" is an alternative title for "Dred; or, the Dismal Swamp," and that this manuscript appeared at the Lord Chamberlain's office on 4 March 1857. There was an earlier production, in 1856, of a "Dred" play—at the Marylebone; and there had been earlier "Dominique the Deserter" plays (see above, 1856, at the Marylebone). So perhaps this was a kind of confutation of two plays., or simply a retitling of a previous play. See Add Mss 42921 (ff 181 &ff).

1904. PLAY: DEED PLAYWRIGHT: UNKNOWN NOV 1858 AT BOWERY, NYC ODELL (VII, 137) With the Howards.

1905. PLAY: DRED PLAYWRIGHT: UNKNOWN 2 APR 1860 AT BOWERY, NYC ODELL (VII, 242) Cordelia Howard as Ida May; Mrs. Howard as Aunt Venus; Howard as Ernest May; Fox as Hazel Jenks; C. W. Taylor as James Bell; Hanley as Walter Varian; Nunan as Mort Kelly; Mrs. France as Mrs. Bell; Miss Fisher as Mabel; Fanny Herring as Bessy Laurel." Odell thought this a "really fine Bowery cast."

1901. PLAY: DRED; A TALE OF THE GREAT DISMAL SWAMP! ROMANTIC DRAMA PLAYWRIGHT: ANON (MON) 13 APR 1857 AT THEATRE ROYAL, BIRMINGHAM BL BILLS (VOL 201) "Founded on the popular work by Mrs. Harriet Beecher Stowe (the talented authoress of 'Uncle Tom's Cabin'), embracing all the strongest points, most interesting Characters, and powerfully effective incidents of the novel," says the bill. The bills give very elaborate details about the production. They were about 10" wide by 31" high, and replete with 10-12 point type. Immediately under the title, the bill quotes Lord Brougham at some length.

1906. PLAY: DEED. DRAMA PLAYWRIGHT: UNKNOWN 24 APR 1865 AT GRECIAN, LONDON NICOLL (V, 670).

1907. PLAY: DEED. DRAMA PLAYWRIGHT: WALTER BANKS 11 NOV 1872 AT PRINCE WOLVERHAMPTON NICOLL (V, 248).

1902. PLAY: DRED. ROMANCE

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OF

WALES,

STOWE The present generation, who are prone to regard "Uncle Tom" actors as a joke, will be greatly surprised by glancing over the programs of the early productions of the play to find the names of many famous actors of whom they have only heard as being connected with the classic drama. The financial returns of dramatists are always interesting and much curiosity exists concerning them. Among theatrical people it is well known that an author who writes one play that will run for two or three seasons is made almost independent for life, and if the play be taken from a copyrighted book, the author of the book will also receive royalties amounting to a small fortune. "Trilby," "Sherlock Holmes," "The Little Minister," "David Harum" and "The Prisoner of Zenda" are notable examples. This being true, you will undoubtedly wonder what must have been the returns to the author and dramatizer of the play that has exceeded in the number of its representations all those mentioned by thousands of performances. The answer is a surprise, for the dramatizer of the most successful version (there were several different dramatizations, as will be seen later) received a gold watch, valued at about fifty dollars, and the author of the book received not a single penny. Mrs. Stowe, never dreaming of the fame that awaited her book, nor foreseeing its dramatic possibilities, failed to file the necessary papers, which, according to the then existing copyright law, was necessary to protect her dramatic rights; consequently these were public property. The man who received the munificent reward of a watch for constructing this most remarkable play has been given no place in the list of our American dramatists, and not one student of the drama out of a hundred could tell you his name. George L. Aiken was his name. He was one of four brothers, three of whom were actors. Albert and Frank E. Aiken were the actor-brothers, only one of whom (Frank E.) is still alive.

1908. PLAY: DRED, OR THE DISMAL SWAMP PLAYWRIGHT: UNKNOWN 23 FEE 1882 AT BEVERLY SHEPPARD.

UNCLE TOM'S CABIN (1852) Uncle Tom's Cabin appeared first in The National Era, v. 5, no. 23; v. 6, no 14; from June 5, 1851 to April 1, 1852—with no installments in the Aug. 1, Oct. 30, or Dec. 18, 1851 issues. This serialized version was the first appearance of the novel, which was issued in book form in 1853. The history of the stage versions of Uncle Tom's Cabin began early to be written, as for example by Emmett C. King,204 who says, If you were to ask a thousand people to name the play that had the right to be called "The Great American Drama" the chances are that not one would select "Uncle Tom's Cabin." Yet this time-worn, often despised and everpresent drama, the butt of jokes and cartoons, has probably played to more people, earned more money, and given employment to more actors than any dozen plays ever written. For fifty-seven years it has been performed by from ten to twenty companies in the United States and from three to five in Great Britain—where "they don't like American plays". Besides this, it has been translated into and played in nearly every language on the globe where the theater exists. After more than half a century it is still delighting rural audiences in America and England, there being not less than ten companies playing "Uncle Tom's Cabin" in this country at the present time, and in England at least two may be found, with Uncle Tom and Eva speaking with most pronounced Cockney accents.

204

"The Great American Drama," Metropolitan Magazine (1909) pp. 326 -334. 315

STOWE George L. Aiken was born in Boston, December 19,1830, and was at various times connected as an actor and dramatist with the Arch Street Theater, Philadelphia, Baraum's Museum, New York, and the Troy Museum, where he wrote "Uncle Tom's Cabin." Besides this play, George Aiken wrote several original plays that were performed at the leading theaters throughout the country, as well as in New York. "Helos the Helot," a blank verse tragedy, was written especially for John R. Scott, the well-known tragedian and was played by him with considerable success in New York and other cities. He also dramatized "The Woman in White," "The Moonstone," "Griffith Gaunt" and many other novels. Not only did Aiken write plays for other people, but he wrote several in which he starred himself through the West and South. He died in 1876. Strange to say, the first dramatization of the story was a failure. It was the work of Charles Western Taylor, an actor in the company at Purdy's National Theatre, New York, where the play was produced August 13, 1852, thereby preceding Aiken's version at Troy by one month and four days. The Taylor play was taken off after a life of eleven nights. The play contained no Topsy and no Eva, which may have accounted to some extent for its failure. As it was a failure it need not be considered further and Aiken's version may rightly be called the original one. The "original" production, then, of "Uncle Tom's Cabin, or Life Among the Lowly," which was its full title, was that at the Museum, Troy, New York, September 17, 1852, the dramatization being that of George Aiken. A ... farce was played after the drama, in which Charles Fox was featured as Peter Paul ... . The prices of admission to the two performances were, according to the advertisement in the Daily Whig (now The Budget): "Admission 25 cents; Children halfprice. Boys to gallery 12 cents. Box seats 12 cents extra." The play was an instantaneous success, holding the boards for one hundred

nights, and this in a town of thirtythousand inhabitants. No other play can boast of even an approach to this record. A remarkable feature of this cast was the relationship which existed between so many of the principals, making the production almost a family affair, three generations in one line being represented in it. Mrs. Emily Fox was the mother of Charles Fox and Cordelia Howard was the daughter of Mr. and Mrs. George C. Howard and therefore the granddaughter of Mrs. Fox; and finally George and Frank Aiken were brothers, and nephews of Mrs. Fox. George Aiken was the "juvenile man" and dramatist of the company (nearly every stock company had a dramatist in those days)—a versatile and useful man. The dramatization was made expressly to exhibit the ability of Little Cordelia Howard, then only four years old. Mr. C. Leslie Allen, one of the surviving members of the original cast, gives the following account of the writing and casting of the play. The play was first written in four acts, closing with the death of Eva. After a run of several weeks people began to suggest that a play giving a further account of Uncle Tom's life on Legree 's plantation would be still more interesting. Acting on the suggestion, George Aiken wrote another four act play which was produced under the title of "A Sequel to Uncle Tom's Cabin." This new play also enjoyed a ... run of several weeks, and then the two plays were combined in one six act play, and in this form was continued throughout the run in Troy, and is the play as we have known it ever since. When it came to casting the play there was trouble; ... Germon, the leading man, was cast for Uncle Tom and Mrs. Germon was cast for Topsy. Both rebelled, for up to that time the only type of negro man ever seen on the stage was the 'Jim Crow' darkey, and the appearance of an actor made up for a 'nigger' was the signal for shrieks of laughter, and no woman had ever been

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STOWE representations during the season. The following season it was again demanded, and was put on at various intervals until it had been performed nearly two hundred and fifty times.

asked to 'black up.' Manager Howard finally persuaded Germon that Uncle Tom was a new type, demanding the ability of a leading man to bring out the sweetness and pathos of the character, and that to cast a 'nigger actor' for the part would ruin the play. Germon at last consented, and his success was so great that he played no other part up to the time of his death. Mrs. Germon was obdurate, and for a while it was thought that Topsy would have to be changed to a boy, but this was found impracticable, as the only man in the company who had played negro parts was six feet tall. When he had almost despaired of getting anyone to play Topsy, Mr. Howard suddenly turned to his wife, who was the leading lady of the company, and asked her to play Topsy. To everyone's surprise she consented, and not only played Topsy, but with gray wig and pads, went on for old Aunt Chloe in the first act. Mrs. Howard made such a hit as Topsy that she played the part for the next thirty-five years—until she retired from the stage. W. J. Lemoyne also kicked at being cast for an 'old man,' when he aspired to play 'low comedy.' He, too, was finally won over, and with his wellknown talent succeeded in making a comedy hit out of the supposed 'straight part' of Deacon Perry. Marks was the most insignificant part in the play, being nothing more than a 'leader.' It was found that he could not be doubled with any of the other characters, and it finally became necessary to entrust the part to Frank F. Aiken, who was a mere boy at that time, visiting his brother George. He thus became the 'original' of what afterward turned out to be one of the most famous comedy parts of the American stage. Closely following the Troy production, a version of the story by H. J. Conway was put on at the Museum in Boston, November 15, 1852. This version was also a great success, having a run of eighty-three consecutive performances, and afterward was revived and played by special request and for benefits, until it reached one hundred and five

Before Mrs. Stowe's story was dramatized a play called "Uncle Tom's Cabin As It Is" was produced at the Museum in Baltimore, January 5, 1852. The play was taken from the book written by William L. G. Smith, which was a Southern protest against Mrs. Stowe's story. It was played in several Southern cities, and was afterward taken to Boston. It was not a success. A. H. Purdy, manager of Purdy's National Theatre, in Chatham Street, New York, brought out the Aiken play at his house July 18, 1853. Mr. and Mrs. Germon and Cordelia Howard were engaged for their original parts, as well as Charles K. Fox. Mr. Purdy's own company made up the rest of that cast, among whom were George L. Fox, afterwards the great Humpty Dumpty, and Mrs. W. G. Jones. This engagement is said to have been the first in New York where one play constituted an entire evening's entertainment, the custom having been, up to that time, to give two dramas and a farce as an evening's bill. The success of the play was so great that the management raised the prices of admission, a thing which had never been done before, and which was regarded by many as ruinous, but the crowds did not diminish, and the play achieved the hitherto unprecedented run of three hundred and twenty-five performances. Mrs. Howard made an enormous success as Topsy, but little Cordelia, on account of her extreme youth (she was then in her sixth year) was the sensation of the day. It is said that William Cullen Bryant and Edwin Forrest were made to weep like children by the wonderfully pathetic acting of Little Cordelia. People who had never been inside a theatre before went to see "Uncle Tom's Cabin," and

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STOWE the same success that had been accorded it at Troy and New York.

toward the end of the engagement it was found necessary to give three performances a day, morning, afternoon, and night. Manager Purdy had his portrait painted with the Bible in one hand and a copy of "Uncle Tom's Cabin" in the other, and hung in the lobby of the theatre. Despite the great success of the play Purdy did not make a fortune out of the engagement, as was generally supposed. He spent enormous sums in advertising, especially after the Conway "Uncle Tom" was brought out at Barnum's Museum on November 7, in the same year, so that he had very little to show at the end of the epochmaking run at his theater. Mrs. Stowe's husband, Professor Calvin E. Stowe, in a letter to a friend at this time says: "The drama 'Uncle Tom' has been going on in the National Theater of New York all summer with most unparalleled success. Everybody goes night after night. The enthusiasm beats that of the run in the Boston Museum out and out. The Tribune is full of it. The Observer and the Journal of Commerce, and all that sort of fellows, are astonished and nonplussed. They do not know what to make of it. At the conclusion of the engagement at the National, a "monster benefit" was given to Cordelia Howard, after which, she, with her mother and father, toured the country, and in 1856 went to England, where they met with pronounced success both in London and the provinces. Cordelia Howard left the stage at twelve to complete her education, and never returned to it. In 1871 she was married to Mr. Edward Macdonald, and took up her residence in Cambridge, where she still lives. Mr. and Mrs. Howard continued to play "Uncle Tom" until 1887, when Mr. Howard died. Mrs. Howard then retired to Cambridge with her daughter, where she died October 15, 1908, at the age of seventy-nine. The George Aiken version of "Uncle Tom's Cabin" was put on at the Chestnut Street Theater, Philadelphia, September 26th, 1853, and met with

Mrs. Stowe's novel had had a tremendous sale in England, and three dramatizations of it were put on in London almost simultaneously with those in America. France, too, caught the "Uncle Tom" fever, for in 1853 two versions of the story were being played in Paris at the same time. All Europe soon followed France, and it was not long before the piece was being played in every large city on the continent. Nearly every stock company in the country played the piece sooner or later, and the list of actors who took parts in it, and who afterward became famous, is along and interesting one. John McCullough played Tom, and Helen Dauvray played Topsy in the same company. Frank Mayo played Tom, and Lawrence Barrett played both Tom and George Harris. Frank C. Bangs was the Tom in the Boston Theater production in 1869, and later in the same year, Louis Aldrich played Tom to the Topsy of Lotta and the Eliza of Agnes Booth. Louis James was the Tom in the revival at this house in 1878. Bijou Heron succeeded Cordelia Howard as Eva, and Mrs. Fiske (Minnie Maddern) as a child played Eva many times. Every few years has seen a revival of the play with a big-name cast. One of these was made by Jarrett and Palmer at Booth's Theater in 1878. After the run at Booth's, the company was sent to London, where it met with such success that a second company was sent over, which played matinees at the Aquarium, while the first company gave evening performances at the Princess. At the termination of the London engagement the company toured the continent, visiting Austria, Hungary, Switzerland, Germany, and Holland. A tour of France was abandoned on account of the sudden death of manager Harry Palmer. Jarrett and Palmer were among the first to introduce the "Jubilee Singers" 318

STOWE and has always maintained that the book was a libel and an insult to that part of the country. There is no question that Mrs. Stowe's book did a great deal to arouse the North against slavery, and many have held that if "Uncle Tom's Cabin" had never been written there would have been no war. Be this true or otherwise, there is no doubt that the play did as much to shape public opinion as the book itself. A company attempted to play the piece in Georgia in the early '80's, and met with most disastrous results. They refused to heed the warning of the citizens of the town in which they were billed to appear, not to play, and the result was that the performance was broken up, the scenery wrecked, and the company barely escaped being mobbed. So intense is the feeling in the South against "Uncle Tom's Cabin," that the legislature of the State of Kentucky has recently enacted a law forbidding the performance of this play in the Sate, or, "any play that appeals to class or race prejudice." Other Southern States are contemplating passing a familiar law.

into the play. The innovation was so successful at that it soon became impossible to book an "Uncle Tom" show without "Jubilee Singers." A story in connection with this will bear repeating. An actor who had played Legree in "Uncle Tom's Cabin" for a number of years came to the conclusion that he was about the best Legree in the country, and that as long as "Uncle Tom" was played he was certain of a job. Having this idea thoroughly fixed in his mind he became careless in his work, and finally found that no one wanted him. After having been "up against it" for some time, he suddenly came into some money. He resolved to revenge himself upon the managers who had refused to engage him. Having been connected with "Uncle Tom" shows so long, he knew all the "Jubilee Singers" in the profession. He hunted them up, and by paying them some advance salary, got them all to sign contracts with him for the following season. When the manager, who controlled most of the "Uncle Tom" shows in the country, came to hire his "Jubilee Singers," he found that there was none in the market. He was compelled to go to his cast-off Legree and ask for terms. The actor, after holding off until the season was nearly at hand, agreed to let his former manager take over his contracts with the darkies, in consideration of a handsome bonus and a five-year contract for his own services at an increased salary. This is the only instance on record where a "corner" was ever made on actors. The last "all-star" cast seen in New York was that at the Academy of Music in 1901. Although this was a new version by Harkins and Barber, with only one scene to an act (the old versions were mostly in six acts and twelve or thirteen scenes), it drew splendid houses, undoubtedly due to the excellent acting of the company.

Many changes and innovations have been made in the old play since "the early days" and as the three-ring circus has superseded the good old one-ring affair, so we now have a "Grand Spectacular Double Uncle Tom's Cabin," in which two Topsies and two Marks appear at every performance. But while the performance of "Uncle Tom's Cabin" has thus degenerated and the significance of the play is lost on a great part of its audiences, its popularity is perennial and it bids fair to be played when "The Old Homestead," "Way Down East" and other present-day favorites are dead and forgotten. Not long after King's 1909 article, Frank Parker Stockbridge wrote a piece that focuses especially on the Uncle Tom's Cabin Companies that toured the rural areas of the United States for decade after decade.205 He

Although the greater part of the country has gone to see "Uncle Tom" through more than three generations, the South has never countenanced it,

205

"The Most Popular American Drama" for the The Green Book Magazine (1927?), 80 & ff. The

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STOWE

Figure 8 Numbers of stage productions and screen adaptations of Uncle Tom's Cabin per decade (excluding almost all provincial US productions—i.e., those outside large cities). reports driving to a town on the shores of Lake Ontario, and encountering "a strange caravan."

faced boy often or so. As the caravan approached, I saw that half a dozen dogs of various breeds were running under the second wagon, tied to the rear axle.

First came a big, high-sided covered wagon, drawn by a pair of weary horses, and driven by a man who might have served as an artist's model for "Desperate Desmond," with his curled black mustache and shiny silk hat. The next wagon, also covered, was drawn by a pair of mules and driven by an old negro. Then came two or three more wagons with a dozen men and women in them, and last of all a little buggy, drawn by a pair of ponies and driven by a rather hard-

This was Selden's Uncle Tom's Cabin Company, playing in Sodus Village that very night. Admission was two cents. Stockbridge reports meeting "Tom" companies in the Ozarks, Ohio, and "the far Northwest" and numerous other "remote rural districts." He reports that these companies travelled by wagon and railroad, and in every performance filled the house. If anyone doubts that Uncle Tom's Cabin is still the most popular the advertisements for actors in any one of the periodicals that circulate exclusively among stage people. Not a number but contains the advertisements of at least one "Tom" company, looking for performers and often there are a dozen represented. These advertisements have, in the course of sixty years, become reduced almost to fixed formulas. Every character in "Uncle Tom's theatrical production, let him glance over Cabin" is a definite theatrical type. To the

clipping in the New York Public Library's Billy Rose Collection housed at the Lincoln Center for the Performing Arts is not dated, but must derive from some time after 1913—because it refers to its author's early memory of seeing a touring Tom company near Sodus Bay "sixty years" after the first productions of plays based on the novel. It is probably not much later than about 1927—because it refers to a "very elaborate production of the old drama by one of the large moving picture concerns," which sounds as if it may be the 1927 Universal Pictures production.

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STOWE plays in the British Library, London.206 "The Slave Hunter; or, The Half Caste and Life in New Orleans" was a drama at the City of London Theatre in 1866 that had little or nothing to do with

old-timer in the theatrical business, it is a sufficient description of an actor to say, "he's a good Legree," or "she's a Miss Ophelia."

Uncle Tom's Cabin.207

Parker quotes some of the advertisements for "Tommers," demonstrating how the shorthand used to name characters and characteristics of individual traveling companies indicate a whole industry and theatrical subculture existed. He notes as well that Mrs. Stowe never made any money from any of this commercial activity. He reports that

Published dramatizations: Aiken, G. L. Uncle Tom's Cabin ... Dramatized by G. L. Aiken from the novel by Mrs. Stowe, NP: np, nd [1868?]—Duodecimo Aiken, G. L. Uncle Tom's Cabin; or, Life Among the Lowly. A domestic drama in six acts [dramatizedfrom Mrs. Stowe's Novel], 1883(7), in Dicks' Standard Plays, no 342—London: Dicks, nd [1883?]. BL Shelfmark 11770.bbb.4

careful estimates by theatrical men place the amount at more than $5,000,000. Up to very recent times, if not now, there were more than 600 actors making their living entirely out of playing parts in "Uncle Tom," and it is a proverb in the theatrical profession that no "Uncle Tom" company has ever been stranded, although it has been produced more than 23,000 times in America.

Aiken, G. L. Uncle Tom's Cabin, based on the dramatizatoin by G. L. Aiken of the novel byH. B. Stowe, NP: np: 1937—Octavo. Aiken, G. L. Uncle Tom's Cabin. In Dicks, no 9. London: Dicks, nd [CA 1853?— (NUC'S CONJECTURE); 1883? B L C ' S CONJECTURE].

The vast majority of these productions are not recorded in the present records, which number only about 575 plays. The best I can hope for is that the plays cited hereafter constitute a representative selection of urban and metropolitan productions of Uncle Tom's Cabin plays. The data that follows does, however, show something that the early historians would have taken for granted, but that we today may have forgotten: how the theatres and touring companies of the nineteenth century, both in the US and the UK, were often family businesses. The most obvious theatrical family to appear in the vast phenomenon of the dramatizations of Uncle Tom's Cabin is the group of the Howards and the Foxes, who intermarried and who spent much of their professional lives playing characters in G. L. Aiken's stage version of Harriet Beecher Stowe's story. Cordelia Howard consumed her childhood playing Little Eva, while her mother acted Topsey well into middle age. Yet the Howards were hardly the only family to spend substantial time together as characters from the novel. The Harry Webbers, the Partingtons, Mr. and Mrs. Charles Hermann, Mr. and Mrs. Charles Thorne, Kate and Harry Jordan, and the Slavin family are further examples of the phenomenon. A few plays not from Uncle Tom's Cabin are worth noting. One piece from 1893 that has been mistakenly called "Uncle Tom" but is actually "Uncle John" appears in the Lord Chamberlain's collection of

Aiken, G. L. "Uncle Tom's Cabin," in Representative plays by American Dramatists , Vol. 2, Moses, Montrose Jonas, ed. Pp. 603-693. New York: np: 1925. Aiken, G. L. Uncle Tom's Cabin. Chicago: Dramatic Publishing Co., nd Aiken, G. L. Uncle Tom's Cabin. Clyde, Ohio: A.D. Ames, nd. Aiken G. L. Uncle Tom's Cabin. New York: Dick & Fitzgerald, nd;

Aiken, G. L. Uncle Tom's Cabin; or, Life Among the Lowly. A Domestic Drama in Six Acts. In French's Standard Drama, no. 217. London & New York: French, nd [ 1868?]. BL Shelfmark 11791.cc.23.(l.). These several French issues seem to refer to a text from and for the Troy, New York, production. Aiken, G. L. & Thomas, A.E. [revised by]. Uncle Tom's Cabin. Revised version by A. E. Thomas. New

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206

See Add Ms 53523 (G).

207

See Add ms 54052 (I).

STOWE York & London: Appleton Century, 1934-8vo. BL Shelfmark 11778.ppp.24.

Anon. "Scene from Uncle Tom's Cabin," in Little Plays, ed. L. Dalkeith. NP: np, nd.

Aiken, G. L. "Uncle Tom's Cabin," in Dramas from the American Theatre 1862-1909, Ed. Richard Moody. Cleveland: World, 1966.

Taylor, Tom & Lemon, Mark. Slave Life; or, Uncle Tom's Cabin. A drama in three acts. NP: np, nd [1852]-BL Shelfmark 2304.b.20

Caryl, Ivan & Sims, George. Uncle Tom's Cabin. Musical Tableaux Vivants. London: Hopwood & Crew, 19—?

Townsend, Charles. Uncle Tom's Cabin. In Roorbach 's American Edition of Acting Plays, no. 81. New York: H. Roorbach, 1889--12VO; U.S. Dramatic Copyright applied for 9 Dec. 1889

Cooper, George & Millard, H. Uncle Tom's Cabin. Opera. New York: S. T. Gordon, 1882—duodecimo. Fitzball, Edward. Uncle Tom's Cabin; or, Negro Life in American ... The only edition correctly marked by permission, from the prompter's book to which is added, a description of the costume, cast of characers, the whole of the stage business, situations, entrances, exits, properties, and directions, as performed at the London Theatres. London: Buncombe, nd [1852?].

1909. PLAY: UNCLE TOM'S CABIN AS IT IS; OR, THE SOUTHERN UNCLE TOM PLAYWRIGHT: PROFESSORHEWETT 5 JAN 1852 AT BALTIMORE MUSEUM AND GALLERY OF FINE ARTS, BALTIMORE BIRDOFF, P. 21; BROWN I, 314 "The very first dramatization," says Birdoff, who describes an anti-Uncle Tom play '"from the slavery viewpoint, an answer to Mrs. Stowe's libel.1" Birdoff calls it a "flat failure." It was nevertheless revived in Richmond.

Hermann, Charles. Uncle Tom's Cabin: A drama of real life in three acts ... Adapted from Mrs. B. S. 's Celebrated Novel, in Lacy's A cting Edition of Plays, vol 12. London: Lacy, nd -1850]. BL Shelfmark 2304.d. 16.

1910. PLAY: UNCLE TOM'S CABIN AS IT IS PLAYWRIGHT: HEWETT AFTER 5 JAN 1852 AT MARSHALL THEATRE, RICHMOND, VIRGINIA BIRDOFF, P. 23; BROWN I, 314 " ... receiving the same cold reception [as in Baltimore], reports Birdoff."

Holroyd, G. H. "Uncle Tom's Cabin" in Plays from literature, ed. & dramatized byu George H. Holroyd.. NP: np, 1958. BL Shelfmark W. P. 16822/4. Neale, Frederick [Lee, Nelson?]. [Harlequin] Uncle Tom [and Lucy Neale]; or Harlequin Liberty and Slavery NP: Green, nd—a toy theatre. CAUTION.

1911. PLAY: UNCLE TOM'S CABIN. 3 ACTS PLA YWRIGHT: CHARLES WESTERN TAYLOR 23 AUG 1852 FOR TWO WEEKS, 10 SEPT, 29 NOV, 4 DEC AT NATIONAL [FORMERLY CHATHAM], NYC (ELEVEN PERFORMANCES) ODELL (VI, 147, 229-238); BIRDOFF, P. 24; LCLPA CAT; IRELAND; BROWN (I, 311, 314) Odell gives the entire cast: Edward Wilmot by W. G. Jones; Uncle Tom by C. W. Taylor; Burley Hammond by N. B. Clarke; Joseph Skeggs by J. Herbert; Rory Marks by Toulmin; Arthur Sedley by J. M. Cooke; Joe Adams by S. M. Siple; Sam Springer by Stafford; Bill Rawsonby Carter; Little Ariel by Master J. Murray; Sam Jenks by Marsh; Andy Smutt by Fredericks; Jake Jarvis by Cline; Seth Crank by Mack; Landlord by Mitchell; Morna Wilmot by Mrs. H. F. Nichols; Crazy Mag of the Glen (apparently wandering in from the stagings of Sir Walter

Morton, Charles. Uncle Tom's Cabin. Chicago: Chicago Manuscript Co., 1912. U.S. Copyright applied for on 7 MAR 1912 for Alexander Byers of Chicago. Parker, Rose E. Uncle Tom's Cabin. Topsy and Eva ... Two short scenes from 'Uncle Tom's Cabin'. London: J. Curwen, 1920. BL Shelfmark 11971.dg.18. Rowe, George Fawcett. Uncle Tom's Cabin. Dramatized by George Fawcett Rowe ... [1878] and printed for private ciruclation only. This seems to be in the University of Chicago library.

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STOWE adaptation" and an "inept affair" (pp. 24-5) It was, in any case, a kind of false start in the long story of "Uncle Tom's Cabin" plays.

Scott-"Guy Mannering" had played the Chatham in June 1852) by W. G. Jones; Mrs. Arthur Sedley by Mrs. Bannister; Aunt Chloe by Miss Thompson; Emmeline Le Thoux by Miss Barber. Odell says, "Mrs. Stowe's famous story had finished its course in the National Era, on April 1, 1852; it had been published in book-form a short time previously. Why, with the passion for turning novels into plays and with the facility of many hack-writers in accomplishing such feats, New York waited till August 23rd for its first stage version of Uncle Tom's Cabin, I cannot say. Perhaps theatre-folk, always timid and conservative in such matters, feared adverse public sentiment. Certainly in 1852 Abolitionists were by no means in the majority. And when C. W. Taylor's adaptation finally reached the stage, on August 23, the names of the characters were different, and the denouement was entirely changed ... . This version entirely omitted the St Clair-Eva-Topsy material, and made what should have been an excellent play out of the fortunes of Edward and Morna Wilmot (George and Eliza Harris). It also brought the piece to a happy conclusion. All this may be learned from the synopsis of scenes, copied from the bill of September 10th, with all the inconsistency of "act"-printing, so detestable to a modern compositor's eye: [Here Odell prints what I would call a scenario.] In regard to this play the Herald of September 3rd animadverts that 'any such representation must be an insult to the South~an exaggerated mockery of Southern institutions~and calculated ... to poison the minds of our youth with the pestilent principles of abolitionism. The play, as performed at the National, is a crude and aggravated affair, following the general plot of the story, except in the closing scene, where, instead of allowing Tom to die under the cruel treatment of his new master in Louisiana, he is brought back to a reunion with Wilmot and his wife-returned runaways-all of whom, with Uncle Tom and Aunt Chloe, are set free, with the privilege of remaining upon the old plantation. ... We have the most extravagant exhibitions of the imaginary horrors of Southern slavery. ... "Odell quotes this review at further length, pp. 229-230. The review concludes: " ... We would ... advise all concerned to drop the play ... at once and for ever. The thing is in bad taste-is not according to good faith to the constitution and is calculated, if persisted in, to become a firebrand of the most dangerous character to the peace of the whole country" (p. 230). Odell continues immediately, "It is generally asserted that this Uncle Tom's Cabin was a failure; judged by the extraordinary run of Aiken's version, produced at the same theatre nearly eleven months later, it would indeed appear to have been so. Yet it ran uninterruptedly-except for a benefit night—for two full weeks. ... " (pp. 230-1). Birdoff, who observes many differences between the novel and this play, calls the play a "catch-house"

1912.

PLAY: UNCLE TOM'S CABIN; OR, THE NEGRO SLAVE [THE S L A V E ' S LIFE IN AMERICA--BIRDOFF]. PANTOMIME. [DRAMA?] TWO ACTS PLAYWRIGHT. UNKNOWN 13 SEPT 1852 AT STANDARD, LONDON TOY THEATRES: WEBB, ANDREWS, GLOBE DAYBOOKS SHOW LICENSE 9 SEPT; N1COLL (V, 761); BIRDOFF, 147, 149; SPEAIGHT; NO BRITISH LIBRARY BILLS LC—ADD MS 52934 ( C) The ms in the Lord Chamberlain's collection of play is 56 light blue folios, each measuring about 7" wide by 9" high. The copy is fair and not amended; the handwriting is sometimes cramped but generally quite legible. The title page reads "1852 Manuscript received, September 8/ License sent 9/ W. B. D. Uncle Toms Cabin/ or the/ Negro Slave/ A Drama in 2 Acts For Representation/ at the Standard Theatre / Act 1st" There is no list of characters, but the people of the drama from the text are Sam, Audy, Aunt Chloe, Haley, Shelby, Eliza, George, Soker, Manks, Van, Tom, Harry, 1 Scene is "Mr. Shelby's Plantation on one side a neat Nigger Hut (Uncle Tom's Cabin) at the Upper part of the stage a portion of the dwellings seen with Verandah the whole seen rich in Cultivation, Flower Trees, etc." 2 Scene "The Forest, a Storm is raging Thunder & Lightning." 3 Scene is "The Ferry House." 4 Scene "A Front Chamber. 5 Scene "A Mountain Road." Act 2, 1 Scene "Inside of Neat Cottage." 2 Scene "Interior of Room." 3 Scene "Front Wood." 3 Scene [number repeated] "The Plantation of Mr. Legree." Birdoff says, "The Standard theatre's pantomime satirized the times, and, of course, Uncle Tom came in for his share: With clever mechanical changes, Andover Union was altered into an old soldier's asylum, and Uncle Tom's Cabin transformed into the proposed Wellington Arcade; in the scenic street from Whitechapel to Houndsditch, there was introduced artfully the cabin of another Uncle Tom~a pawnbroker; and the avuncular Tom joined a highly-polished ebony lady, Aunt Sally, and Uncle Graby, in a comic Pas de Trois\ Speaight does not show this as a pantomime. Nor does the ms show any signs of a pantomime. Birdoff is either mistaken, or he refers to another play at the Standard-perhaps a Christmas season spoof of its own, earlier, "serious" offering, which is entirely possible. 1913. PLAY: UNCLE TOM'S CABIN; OR, NEGRO LIFE IN AMERICA [OR, THE HORRORS OF SLAVERY]. 2

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STOWE smoking and drinking. Slaves working in the background." Scene 5 "Outside of Uncle Tom's Cabin." "Scene the Last:" Inside of Tom's Cabin. The bill gives the cast as follows: Mr. Shelby ("a Kentucky Planter") by C. Bender; Mr. Bird ("Senator of the United States") by Edgar; George Harris (a Mulatto Slave") by W. Farren, Jun.; Uncle Tom ("a Negro Slave") by G. Cooke; Haley ("a Slave Speculator") by Hoskins; Mr. Tobias Budd ("Keeper of the Ohio Ferry") by Kinloch; Little Harry ("George's Child") by Master Sanger; Andy and Mungo by Sanger and Tanner; Uncle Sam's Children by Misses Lightfoot and Gilbert; Mrs. Shelby by Miss Isabel Adam; Mrs. Bond by Miss Lucy Rafter; Eliza ("George's Wife, a Quadroon Slave") by Mrs. Walter Lacy; Chloe ("Tom's Wife, a Negress") by Mrs. B. Bartlett; Topsy ("a Black Girl") by Mrs. A. Phillips; Jane & Rose by Miss Shalders and Miss H. Pitt; Mrs. Budd by Miss Ellen Turner. This is the complete cast of a version without Little Eva. Act I included "OUTSIDE of UNCLE TOM'S CABIN. Mr. Shelby's Parlour. INTERIOR of UNCLE TOM'S CABIN. THE FERRY HOUSE OF THE OHIO With Snowy Descent and the Ohio Frozen." Act II included "MR BIRD'S BREAKFAST ROOM/ NEGRO CABIN & PLANTATION NEAR HALEY'S DWELLING. HALEY'S HOUSE Surrounded by Plantations. THE OLD CABIN AGAIN." Act III included "Characteristic Negro Dance." The scene was "America," and the "Period, THE PRESENT DAY." The bills feature a kind of "bent-wood" lettering about 1.5" high for the main title, "Uncle Tom's Cabin." They explicitly acknowledge that this is "founded on Mrs. Harriett Beecher Stowe's Popular American Novel." Later versions of the bill included the following language: "And, oh, if it be possible there CAN be any human heart, that advocates the cause of slavery, let it turn hither, and contemplate the real felicity of a true Christian, who has broken the chain of bondage, and set captivity FREE."

ACTS. THE ONLY EDITION CORRECTLY MARKED, BY PERMISSION, FROM THE PROMPTER'S BOOK. TO WHICH IS ADDED, A DESCRIPTION OF THE COSTUME, CAST OF CHARACTERS, THE WHOLE OF THE STAGE BUSINESS, SITUATIONS, ENTRANCES, EXITS, PROPERTIES, AND DIRECTIONS, AS PERFORMED AT THE LONDON THEATRES. EMBELLISHED WITH A FINE ENGRAVING, BY MR. BARRETT ... 36 PP. PLAYWRIGHT: EDWARD FITZBALL (1792-1873) (OPENING MON) 20-25, 27-30 SEPT, 1, 2, 4-9, 11-16, 18-23, 25-30 OCT, (MON) 1-6. 8-13, 15-20, 22-24 NOV, (THURS) 16, 20-24 DEC 1852 AT OLYMPIC, LONDON LONDON: DUNCOMBE, 1852? DAYBOOKS SHOW LICENSE 17 SEPT; BL BILLS (VOL 380, 1); NICOLL (V, 368); FITZBALL, THIRTY-FIVE YEARS, II, P. 261; PETTINGELL CAT, 34; NUC, VOL 572; NUC VOL 174 P. 245; BIRDOFF, 147 LC—ADD MSS 52934 (G) The ms in the Lord Chamberlain's collection of play is 75 folios each about 7.5" wide by 10" high, in fair copy, slightly amended, with the hand hasty but usually quite legible. The title page says "1852 Manuscript received September 167 License sent 177 W. B. D./ Royal Olympic Theatre/ Uncle Tom's Cabin/ A Drama in two Acts/ Proposed day of representation Monday 20th Septr 18527 W Dunn [?]/Manager." A second title page gives "Uncle Tom's Cabin/ Drama in two acts/ (adapted from, & founded on the Popular American Novel)/ By Author of/ The Pilot, The Flying Dutchman, the/ Red Rover, &c. &c." "Dram Pers" are Senator Bird, Mr. Shelby, Haley, George, Uncle Tom, Jonathan Budd, Little Harry ... ; Mrs. Bird; Eliza; Mrs. Shelby; Chloe; Mrs. Budd; and Topsy. Little Eva and Simon Legree both seem to have been omitted. Act I, Scene 1st is "Outside of Uncle Tom's Cabin by Moonlight: the rays of a cheerful fire beaming through the window. The half moon shines low, through the foliage. Music. Negroes, discovered dancing as the curtain rises." Scene 2 is "A Parlour in Mr. Shelby's House in Kentucky. A fire burning. Snow seen falling, through the window. An air of great domestic comfort is displayed around." Scene 3rd is "Inside of Uncle Tom's Cabin." Scene 4th is "A Lone Ferry House on the the banks of the Ohio river: the snow is falling: roof of the house is covered with snow: and the river crowded with huge masses of moving ice, which glitter in the bright moonlight." Act 2nd is "The Breakfast Parlour at Senator Bird's: the tea table set: Mrs. Bird seated, at her knitting. Topsy brings in the tea-kettle." Scene 2nd is "A Thick Plantation." Scene 3rd is "Outside of Haly's Residence: an awning over the door, 'neath which he is

1914. PLAY: UNCLE TOM'S CABIN; OR, THE FUGITIVE SLAVE. DRAMA. TWO ACTS PLAYWRIGHT: UNKNOWN 20 SEPT 1852, (MON) 17-22,24-29 JAN, 12,14, 15,18 FEE 1853 AT VICTORIA, LONDON (110 PERFORMANCES) DAYBOOKS SHOW LICENSE 14 SEPT; BL BILLS (VOL 391, 2); NICOLL (V, 761); FROW, OH, YES IT IS, P. 141 LC—ADD MS 52934 (F) The ms in the Lord Chamberlain's collection of plays is bound in gray boards, is 21 folios each about 7" wide by 9" high of light blue paper. The title page reads "Victoria Theatre/ Uncle Tom's Cabin:/ or, the Fugitive Slave!/ A Drama in/ Two Acts/ Eliza Vincent/ 1852 Mss

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STOWE Misses West & Smith; Antony by Jones; Mr. Shelby by F. Ede; George Shelby by Master Wilkins; Tom Loker by Randall; George Harris by W. Milborne; Mr. Legree by H. Reeves; Eliza Harris by Miss Danson; Aunt Chloe by Miss Simpson; Mrs. Shelby by Miss Seagrave; Emmeline by Mrs. Eustance; et al. (There would indeed seem not to have been any Topsy or Little Eva characters here). The scenery promoted on this yellow-paper bill included "Plantation, with Uncle Tom's Cabin, Sunset," "Snow Landscape," "Ferry House and River," "Frozen Forest and Ice Dell," "Romantic View and Bridge of the Ravine," "The Shantee," "The Market Place & Slave Sale," "The Bloodhound," and "The Plantation."

received September 147 License sent 157 W. B. D." A second page has a note from Eliza Vincent "To the Examiner of Stage Representations." Act 1, scene 1st is a "Chamber." Scene 2nd is a "Landscape." Scene 3rd is "Uncle Tom's Cabin." Scene 4th is a "Landscape" again. Scene 5th is a "Tavern in Kentucky." Scene 6th is "A Wild Landscape." Scene 7th is "A Neat Kitchen." Act 2, Scene 1st is "Deck and Hold of the Slave Ship." Scene 2nd is "A Tavern in New Orleans." Scene 3rd is "Slave Market at Orleans." Scene 4th is "A Room in Shelby's House." Scene 5th is "The Outside of Legree's House." Scene 7th is "Another portion of the plantation." The whole ends with a "Tablelau." The bills for the week of 17-22 January advertise the 95th-100th nights" of the play's performance. The bill proclaims: "If anything were wanting to prove (beyond the Hundreds of Thousands of Persons who have flocked to witness the Excellence and Superiority of the Great Victoria Version of UNCLE TOM'S CABIN, it is the Brilliant and Extraordinary Career announced as above—few Dramas have enjoyed a like Reputation, which can only find a parallel on the Surrey Side of the Water, in 'Black Ey'd Susan,' 'Jonathan Bradford,' 'Jack Sheppard,1 'Oliver Twist,1 'My Poll and my Partner Joe,1 and 'Susan Hopley.' The Ice Scene' as pourtrayed at this Theatre, is acknowledged by all, to be on the most Effective and Extensive Scale ever yet attempted. The Perilous Escape of Lizzy, who springs from Block to Block of Ice, and then from Block to Blocks of Ice again innumerable, gives the most truthful Realization of the Exciting Scene yet placed upon the London Stage. Miss VINCENT thanks the Public at Large, for their Warm Support of this beautiful and Noble Drama, and begs to announce once more to her Patrons the 100th Night of Uncle Tom's Cabin. Being a Glorious Consecutive Career, of upwards of One Third of a Year, 'Hip, Hip Hip, Hurrah! Hip, Hip, Hip, Hurrah! Hurrah! Hurrah! Hurrah! One Cheer More, Hurrah!" Mr. Shelby by Morrison; Robert Shelby by Raymond; Simon Legree by Bradshaw; George Harris by J. T. Johnson; Uncle Tom by T. E. Mills; Lizzy by Mrs. Henry Vining; Cassey by Mrs. Elmore; Aunt Chloe by Mrs. Manders; et al. This was apparently a version that omitted Little Eva.

1916. PLAY: UNCLE TOM'S CABIN. 4 ACTS PLAYWRIGHT: GEORGE L. AIKEN [WITH ALTERATIONS BY HOWARD] 27 SEPT AND PERIODICALLY UNTIL 25 OCT 1852 AT TROY MUSEUM, TROY, NEW YORK ODELL (VI, 237); BIRDOFF, 39-45; NUC, VOL 5; BROWN (I, 314-5) This version was not, apparently, published. NUC says "Uncle Tom's Cabin (twelve single 24 parts) [185-?]/ ... Play in four acts and [?] scenes. Manuscript carries note "Parts copied 16." Adapted by Walter Burnot from G. L. Aiken's version (original cast 25 characters)/ First performed at Troy Museum, Sept. 1852. cf. Quinn, p. 2887 Property of Asa Cushman." G. C. Germon as Uncle Tom; G. C. Howard as St Clair; G. L. Aiken as Geo. Harris and George Shelby; Charles K. Fox as Phineas Fletcher and Gumption Cute; W. J. Lemoyne as Mr. Wilson and Deacon Perry; Asa Cushman as Loker; Frank E. Aiken as Marks; C. Leslie Allen as Shelby; Mrs. G. C. Howard as Topsey and Chloe; Mrs. E. Fox as Aunt Ophelia; Little Cordelia Howard as Eva; Mrs. G. C. Germon as Eliza; et al. Cordelia Howard had earlier played Oliver in the tale from Dickens. Birdoff reports that Aiken observed enough material in the novel for three distinct plays. At the same time, Birdoff reports that Aiken completed the job of dramatizing the novel in a week. "It was not difficult, for the novel was mostly in dialogue, and he faithfully copied entire speeches; thus were the local color, the Sunday-school beatitudes of Little Eva, the fervor of the devoted slave retained—Aiken's pen moved swiftly," (p. 40). Birdoff reproduces a playbill, (p. 44). The running time was three hours and fifteen minutes. Birdoff reports, "The play kept growing, day by day, and lines were incorporated from the predecessor, Oliver Twist. We heard Eliza saying now, Tm running away, Uncle Tom ... ' And Cordelia, as in her portrayal of Little Dick, repeated, 'I'm going there.' When Tom asked, 'Where, Miss Eva?' she pointed to the sky, Tm going there, to the spirits bright, Tom; I'm going before

1915. PLAY: UNCLE TOM'S CABIN; OR, THE NEGRO SLAVE. DRAMA PLAYWRIGHT: J. B. JOHNSTONE (MON) 20-25, 27-30 SEPT, 1, 2, 4-9, 11-16, 18-23, 2530 OCT, 1-6,8-13 NOV 1852 AT QUEEN'S THEATRE, LONDON BL BILLS (VOL 381); NICOLL (V, 762) Uncle Tom by W. Warmer; Pompey and Caesar by

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STOWE long.1 The catch-lines had never been used with so sure a touch"1 (p. 45).

House the Settlement of Mrs. Halliday." The text is discontinuous after the end of Act I, on folio 16. Act 2nd (folio 21), Scene 1st is "Deck of a Steamboat on the Mississippi, laden with Cotton Bales, luggage, &c., &c, on which are seated St Clair, and his Daughter." Scene 3rd is "A Splendid Apartment in the House of St Clare." Scene 4th is "A Pass of Cotton Plants." Scene Last is "Borders of a rich Cotton Plantation." Shelby by Palmer; Haley by Garratt; Legree by Montague; Uncle Tom by Burton; Billy Bombast by H. R. Power; Cassy by Eliza Clayton; Eliza by Mrs. W. H. Maddocks; George Harris by Sawford; Eva seems to be missing from the play. Two plays from Uncle Tom's Cabin appeared at the Pavilion in this season-see below, openiong 12 December.

1917. PLAY: UNCLE TOM'S CABIN; OR, THE FUGITIVE SLAVE PLA YWR1GHT: ANON [JOHN BEER JOHNSTONE] 24, (TUES) 28 SEPT 1852 AT ADELPHI, EDINBURGH POSTER AND BILL IN EDINBURGH CITY LIBRARY; BIRDOFF Tom by Barry. This was a version without Eva or Topsy. 1918. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: CLIFTON W. TAYLEURE 2 OCT 1852 AT DETROIT THEATRE, DETROIT, MICHIGAN BROWN (I, 315) Brown gives cast: Lancing K. Dougherty as Uncle Tom; George Harris "by the dramatist"; W. Powell as Haley; J. B. Tozer as Sam; W. C. Dunnavat as Shelby; Cordelia Cappell as Eliza; Josie Cappell as Eva; Mrs. S. Cappell as Mrs. Shelby; Miss Jackson as Topsy.

1921. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 18, 19, 21 OCT 1852 AT THEATRE ROYAL ADELPHI, SHEFFIELD SHEFFIELD CITY LIBRARY BILLS CAT This seems to have been a short run, perhaps of a touring company, since on the 16th "Pizarro" was the offering, on the 20th, "Hamlet" was staged, and on the 23 "Susan Hopley" was the play of the evening.

1919. PLAY: UNCLE TOM'S CABIN; OR, LIFE AMONG THE LOWLY PLAYWRIGHT: UNKNOWN 4 OCT 1852 AT MARYLEBONE, LONDON L.C.'S REGISTER; NICOLL (V, 762) I have not found the manuscript. Unfortunately, no bills for this production—or any other in the period—appear in volume 378 of the British Library's collection.

1922. PLA Y: UNCLE TOM'S CABIN. DRAMA PLAYWRIGHT: J. B. JOHNSTONE; MUSIC BY H. REED; DIRECTED BY WARDE (TUES) 9 NOV 1852, 13 MAY 1853 AT THEATRE ROYAL, PLYMOUTH BL BILLS (VOL 263, 2) Uncle Tom by J. W. Ray; George Shelby by Miss Miles; Haley by W. Cooke; George Harris by Warde; Eliza Harris by Madame Leclercq (by Miss F. Bennet in May);

1920. PLAY: UNCLE TOM'S CABIN; OR, NIGGERS IN AMERICA! DRAMA PLAYWRIGHT: GEORGE DIBDIN PITT (SAT) 9, 11-16 OCT, 6-11 NOV 1852 AT PAVILION, LONDON [gone by 27 Nov.] LONDON THEATRE MUSEUM BILLS LC—ADD MS 52935 (I). The ms in the Lord Chamberlain's collection of plays is 43 folios each about 7.25" wide by 9" high, fair copy on light blue paper. The title page reads Uncle Tom's Cabin/ A Nigger Drama in 2 Acts/ by / G. D. Pitt, Esqr./ Act 1st' Intended for representation/ at the R. Pavilion/ Theatre Saturday Oct 9/ 1852/ 1852 Mss received October II License sent 9/ W. B. D." No list of characters appears in the ms. Act 1 Scene 1 "Chamber with Veranda." Scene 2nd "Plantation." Scene 3rd "Uncle Tom's Cabin." Scene 4th "Plantation." Scene 5th "Cliff. River. Block of Ice." [Scene 6 not numbered] Scene 7 Interior of an Inn. Scene 8th "Plantation." Scene 9 "Interior of Quakers

etal. By May the play had grown a "second part" and now ended with "Uncle Tom's Happy Death!" 1923. PLAY: [HARLEQUIN] UNCLE TOM [AND LUCY NEALE]; OR HARLEQUIN LIBERTY AND SLAVERY. [OR, BRITANNIA, THE PRIDE OF THE OCEAN AND GUARDIAN GENIUS OF THE SLAVE]. PANTOMIME. 2 ACTS [EQUESTRIAN SHOW?] PLAYWRIGHT: FREDERICK NEALE [NELSON LEE?] 12, 27-31 DEC 1852, 10-15,17-22, 24-29 JAN 1853 AT PAVILION, LONDON (gone by 7 Feb) TOY THEATRE: GREEN L.C.'S REGISTER; LONDON THEATRE MUSEUM BILLS; NICOLL (V, 501, 761); BIRDOFF, 148-9; SPEAIGHT; FROW, OH, YES IT IS, P. 141 There were two Uncle Tom plays at the Pavilion at this

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STOWE House." Act 2nd is missing from the binding. From the bill the cast included Mr. Shelby by Dixon; Simon Legree by C. Rice; George Harris by R. Phillips; Uncle Tom by Eaton O'Donnell; Eliza by Jane Coveney; Eva by Harriet Coveney. The play ends with Tom's death. The music included "Sun is Setting in the West," "Sleep on, Sleep on, baby dear," "Take 'em Supper," "Wretched and Forlorn," "Beneath our barque the waters glide," "Wheresoe'er our footsteps wanders," "When my boat on river is gliding," "Buffalo girls just list to me," "Rosira the Bean," and "Hail Blessed Liberty." These are all the songs listed on the poster. The play shifted to low on the bill in November, and was gone by early December.

period—one a drama, and this second one a pantomime, as the bills show and Nicoll confirms. The association of the name "Lee" with the name Elphinstone occurs at the Pavilion about this time, as for example in connection with a "Bleak House" play, which bears the name "Lee" on the ms. title page in the Lord Chamberlain's collection, but which Nicoll gives to Elphinstone and Neale. Here Birdoff gives Lee as the author, but Nicoll gives Neale. Neale and Elphinstone managed the Pavilion.

1924. PLAY: UNCLE TOM'S CABIN; OR, THE FUGITIVE SLAVE! OPERATIC MELODRAMA. 2 ACTS PLAYWRIGHT: EDWARD FITZBALL (MON) 25-31 OCT, 1-6, 8-13, 15-20, 29, 30 NOV, 1-3 DEC 1852 AT GRECIAN, LONDON L.C.'S REGISTER; NICOLL (V, 368); FITZBALL, THIRTY-FIVE YEARS II: 261; BIRDOFF, 147; BL BILLS (VOL 370) The ms in the Lord Chamberlain's plays is 20 folios each about 6.75" wide by 9" high. The copy is fair; the handwriting is large, loose but legible; there are virtually no amendments. The title page reads "1852 Mss received October 207 License sent 227 W.B. D.7 Uncle Tom's Cabin/ Operatic Melodrama &c &c/ 2 Acts./ Act ISt" There is no reference to the theatre, but the dates of production, the subtitle "Operatic Melodrama," and the cast given under "Dram Pers " on folio 2 make it certain that this was the Grecian Theatre's version. "Dram Pers" are Mr. Selby, "Kentucky Settler;" Young Halliday; George a Mulatto Slave; Uncle Tom a Slave; Legree a Slave Buyer; St Clair a Gentleman; Little Harry George's child; Toms Children; Grin and Lash ("Two Overseers"); Eva St Clair, Eliza, wife to George; Rachel Halliday ("Quakeress"); Topsey a Negress; Chloe (wife to Tom), People, Negroes, Slaves, &c. Black Ben, and Ophelia—these last two added in pencil. Act 1st, Scene 1st is "Outside of Mr. Shelby's House surrounded by Plantations as Sunset with Negro cabins in distance. A table and rustic chairs near the door." Scene 2nd is "Inside of Tom's Cabin. A neat white Bedstead R in which is a black child, while Chloe is undressing another, and at the same time rocking the cradle with her foot—A bright fire burning L on a low hearth—Implements of Cookery hanging about—Rude chairs, Stools, etc." Scene 3rd "A small Public House by the Road Side, almost embedded in Beech Trees. A low window. Door. Night." Scene 4th "The Ohio covered with moving masses of Ice by Moonlight on the L. H. is an old upright hull of a vessel set into the earth so as to form a sort of Boat House. On the R is an immense mass of ice, conducting to other masses, which form a perspective set of steps right—across the river. The snow falls—the ice spreads itself almost up to the Ferry

1925. PLAY: THE DEATH OF UNCLE TOM; OR, THE RELIGION OF THE LOWLY. 4 ACTS. PLAYWRIGHT: AIKEN AFTER 25 OCT 1852 AT TROY MUSEUM, TROY, NEW YORK BIRDOFF, P. 46 "Another New Drama on the Subject of UNCLE TOM'S CABIN/ Dramatized by G. L. Aiken." This was a sequel to the earlier play by Aiken, which began its stage life in Troy, New York—see above. It ran for a few weeks. G. L. Aiken as George Shelby; L. Moyne as Deacon Perry; C. M. Davis as Legree; C. K. Fox as Gumption Cute; Mrs. Howard as Topsey; Mrs. Germon as Cassy; Miss Emmons as Emmaline. Eventually, this version was amalgamated with Aiken's earlier version, to produce the famous, long-lived, historic, (often six-act) drama. 1926. PLAY: UNCLE TOM'S CRIB; OR, NEGRO LIFE IN LONDON [AMERICA]. [DRAMATIC SKETCH] BURLESQUE. 1 ACT; 3 SCENES PLAYWRIGHT: WILLIAMBROUGH 25 OCT 1852 AT STRAND, LONDON DAYBOOKS SHOW LICENSE 9 OCT; BIRDOFF, 154 LC—ADD MS 52925 (T) The ms in the Lord Chamberlain's collection of play is 31 folios of blue paper about 7.5" wide by 12.75" high. The copy is fair and the handwriting(s) easy to read. The title page says "Uncle Toms Crib!/ or/ Nigger Life in London!!/ A/ Dramatic Sketch/ in/ Oct Act/ Strand Theatre/ Intended for Representation/ on Thursday 14 October 1852/ 1852. Manuscript received October II License set 9/ W. B. Donne." The Characters are Uncle Tom (Proprietor of the 'Nigger Head' A House of Call for Ethiopian Serenaders); Mr. Caesar Augustus Squashtop (a crossing sweeper & lecturer upon the rights of man and the wrongs of

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STOWE Africa), Dandy Jim (late of Carolina), Ginger Crow, and Dark Joe, Ethiopian Serenaders; Dinah (Uncle Tom's Daughter). Scene 1st is "Uncle Tom's Crib." Scene 2nd is "Exterior of Uncle Tom's Crib." Scene 3rd is same as Scene 1st. "This bagatelle afforded burlesque, but the insinuating reference to the prevailing craze about 'niggers' was by no means relished by the public. The Crib soon went into receivership," reports Birdoff.

brought in." Scene 3 is "Bird's House in Ohio." Scene 4th is "A Wild Spot in the Ohio." Scene 5th I "A Wild Pass with Rocks." A Tableau was to finish the act. Act 3, Scene 1 is "Interior of the Pavilion of St Clair." Scene 2 was "Portion of Legree's House on his Plantation." Scene 3 I "Lower Room in Legree's Pavilion." Scene 5th was "The Outside of Pavilion which is burning. Slaves are in riot, as George is seeing bearing Eliza from buring mass of the buildings." Birdoff calls this "the best of the five" first versions in London. The bill notes that this play has been "adapted from the celebrated American Work, by Mrs. Harriet Beecher Stowe," and quotes the verse Better to sit in Freedom's Hall With a cold, damp floor and mouldering wall, Than to bow the head and to bend the knee In the proudest palace of slavery. Mr. Shelby by W. Robertson; Young George Shelby by Miss Johnstone; Andy by Harwood Cooper; Sam by H. Rivers; Loker by Butler; Marks by R. Green; Dick Willis by J. Davis; George Harris by Creswick; Budd by Young; Wilson by A. Younge; St Clair by J. Howard; Legree by T. Mead; Sambo by Roberts; Quashee by Mathews; Uncle Tom by H. Widdicomb; Mose by Master Johnstone; Peter by Master Morris; Mr. Bird by Fenton; Phineas by Phelps; Mrs. Bird by Miss Gregory; Eliza by Miss Clara Wynne; Aunt Ophelia by Miss Clarisse Doria; Topsy by Miss Lebatt. ACT FIRST included "Room in the Pavilion of Mr. Shelby," "Grounds on the Shelby Estate," "Uncle Tom's Cabin," "Exterior of the Ferry House on the Ohio River," "Perilous Escape of Eliza and her child over the Floating Blocks of Ice!" ACT SECOND included "Kentuckian Inn, An Apartment in the Inn, The Slave Warehouse, Home of Mr. Bird, Wild Pass & Distant View! The Locks and Chasm." ACT THIRD included "House and Grounds of St Clair, The Grove, and Legree's Plantation." Frow says, in discussing the "rather dull" stagings of Uncle Tom's Cabin in London, that "At the Surrey, we are told, 'the audience were evidently little interested either in the horrors of slavery or the particular fate of Uncle Tom, and kept up a succession of noisy demonstrations from beginning to end.'"

1927. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN OCT 1852-UNTIL EASTER 1853 AT QUEEN'S THEATRE, DUBLIN BIRDOFF. 1928. PLAY: UNCLE TOM'S CABIN. DRAMA. 3 ACTS PLAYWRIGHT. JOHN COURTNEY; SCENERY BY DALBY ET AL\ COSTUMES BY T. BROWN; MACHINERY BY T. COOPER; APPOINTMENTS BY T. EALLETT; MUSIC BY ISAACSON (OPENING MON) 1-6, 8-13, 15-20, 22-27, 29-30 NOV, 1, 3, 4, 6-11, 13-18, 20-22, 27-30 DEC 1852, (MON) 3-8, 10-15, 17-22, 24-29, 31 JAN, 1-4, 8, 11 FEE (AND CLOSING THEN) 1853 AT SURREY, LONDON L.C.'S REGISTER; BL BILLS (VOL 390, 2); NICOLL (V, 326); PETTINGELL CAT DOES NOT KNOW PLAYWRIGHT-SEE AMENDED LIST, P. 32; BIRDOFF, 147; MY DISS; FROW, OH, YES IT IS, P. 141 LC—ADD MS 52934 (K) The ms in the Lord Chamberlain's collection of play is 36 folios each about 7" wide by 9" high, of light blue paper, in fairy copy only very slightly amended. The title page reads "1852 Mss received October 277 License sent 287 W. B. D. Act 1st/ Uncle Tom's Cabin/ A Drama in Three Acts/ To the Examiner of Plays/ Messrs Shepherd and Creswick/ Royal Surrey Theatre." The characters are Mr. Shelby, Haley, George Harris, Uncle Tom, Sam, Andy, Loke, Manks, Harry Eliza's Child, George Shelby, Eliza, Mrs. Budd, and Chloe. In the second act the characters were the same, with the addition of Jane, Andy, Peter, Mors, Dick Willis, Skeggs, Legree, Landlord, Cudgoe (?), Mr. Wilson, Jim, and Mrs. Bird. In the third Act St Clair, Sambo, Quimbo, Miss Ophelia, Topsy, Rosa, and Flora were added. Little Eva was never a character, however. Act I, Scene 1 was "Parlour of Shelbys." Scene 2 "Grounds Upon the Estate of Mr. Shelby." Scene 3 is "Uncle Tom's Cabin." Scene 4 is "Interior of Ferry House." Scene 5 is "The outside of the Ferry House." Act 2, Scene 1 was "A Tavern in Kentucky." Scene 2 is "Apartment in the Inn." Scene 2 [repeated number] is "A Room in the Slave Sale. A Party of Slaves are

1929. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 8 NOV 1852 AT LIVING MARIONETTES, LONDON NICOLL (V, 761); BIRDOFF, 148. 1930. PLAY: UNCLE TOM'S CABIN; OR, LIFE AMONG THE LOWLY PLAYWRIGHT: HENRY J. CONWAY; MUSIC BY THOMAS COMER; SCENERY BY GEO. CURTIS;

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STOWE PLA YWR1GHT: AIKEN; MUSIC BY HOWARD 15 NOV TO (CLOSING) 1 DEC 1852 AT TROY MUSEUM, TROY, NY (100 NIGHTS) BIRDOFF, 48 & FF; PETTINGELL CAT; NUC G. L. AIKEN, UNCLE TOM'S CABIN DRAMATIZED BY. G. L. AIKEN FROM THE NOVEL BY MRS. STOWE, 1868?—DUODECIMO—BL SHELFMARK 11791.cc.23.(l.); ALSO UNCLE TOM'S CABIN fDRAMATIZED FROM MRS. STOWE'S NOVEL], 1883(7), DICKS' STANDARD PLAYS NO 342—BL SHELFMARK 11770.bbb.4; ALSO UNCLE TOM'S CABIN, BASED ON THE DRAMA TIZA TIONBY G. L. AIKEN OF THE NOVEL BY H. B. STOWE, 1937—OCTAVO DICKS NO 9, CA 1853? (NUC'S CONJECTURE); ALSO IN MOSES, MONTROSE JONAS, ED. REPRESENTATIVE PLAYS BY AMERICAN DRAMATISTS, VOL. 2, PP. 603-693. NEW YORK: 1925; ALSO: CHICAGO: DRAMATIC PUBLISHING CO., N.D. (IN 76 PP). ALSO: CLYDE, OHIO: A.D. AMES, N.D. (This version, in 56 pages, has "added a description of the costumes-cast of the characters-entrances and exits-relative positions of the performers on the stage, and the whole of the stage business, ALSO NEW YORK: DICK & FITZGERALD, N.D.; ALSO FRENCH'S STANDARD DRAMA, THE ACTING EDN., NO. CCXVIII, ND, CA 185-; BDL CAT, P 704 This was a grand combination of two dramas. Reports Birdoff, "On November 15th the Troy newspapers carried this announcement: 'Grand Combination of the two dramas on the same evening. The last week of Uncle Tom's Cabin, or Life Among the Lowly, and Death of Uncle Tom or Religion Among the Lowly. Little Cordelia Howard as Eva. The desire of the entire community being to see the work from beginning to end, and the manager wishing to gratify all patrons, is why this immense work is undertaken in one evening. Owing to the length of the drama, no other piece will be played. Change of time, doors open at 7, to commence at 1/4 to 8.' "This exigency, as we shall see, brought a radical change to the American stage. In those days an evening's entertainment began at seven, or seven-thirty o'clock, at the very latest. It consisted of a five-act tragedy, a melodrama in two or three acts, The whole to conclude' with the afterpiece, usually a burlesque, rounding out the fare toward one in the morning. The several entr-actes regaled the audience with singing, dancing, etc. The public certainly got is money's worth-at twenty-five cents for the dress circle, and twelve and one-half cents for the pit. "Later, when Manager Howard's play began its amazing run in New York, his innovation became permanent. Howard was right, afterward, in claiming: 'I was the first, I may say, to introduce one-play entertainments.

MACHINERY BY J. A. JOHNSON; PROPERTIES BY JEFFRIES (OPENING) 15 NOV 1852 AT BOSTON MUSEUM [RAN 107 PERFORMANCES] CASHIN'S BOSTON THEA TRES & HALLS; BIRDOFF, 86; LCLPA CAT; BROWN (I, 315-6) LCLPA CAT shows 1852 programme & cast list. A clipping in the New York Public Library Billy Rose Collection from a paper published about twenty years after this production—upon the occasion of the death of Helen Western— confirms most of the cast given by Brown and others. W. Warren as Penetrate Partysides; E. F. Keach as Geo. Harris; J. Davies as Simon Legree; Frank Whitman as Uncle Tom; T. Joyce as Haley; J. A. Smith as St Clare; J. P. Price as Driver John; G.H. Finn as Adolph; J. Adams as Sam; S. Palmer as Loker; D. Ralton as Marks; J. L. Monroe as Wilson; Ramsy as Andy; Ed. Gray as Pompey; A. L. Thayer as Ginger (with a banjo solo); D. Ralton as Sambo; George as Skeggs; Master Preston as Little Mose; Miss Lucy Cutler as Mrs. Shelby; Helen Western (or Louisa Parker) as Eva; Cordelia Cappell (or Mrs. Wulf Fries) as Eliza; Mrs. Tyrrell (or Mrs. Vincent) as Cassy; Miss Parker as Emeline; Mrs. Wulf Fries as Eliza; Miss Garrinski as Topsy; Miss Fredericks as Mammy; et al. Birdoff reports that this was "presented as a more truthful portrayal of Southern life than even the original. Further, Topsy was a pointless caricature, and the lightest hand touched the scene of the slave auction. The dramatist omitted the final tragedy, and added a happy ending, with Uncle Tom rescued by George Shelby from Legree. "Conway's work, shorn of its salient points, derived new interest through excellent scenery—'scenes in living pictures'" (p. 86). The production "had such a lasting effect upon two members of the cast, John Davies (Simon Legree) and J. P. Price (Drover John), that when they retired from the stage they both hit upon the idea of lecturing with panoramas" (p. 86). "Mrs. Stowe later saw this same Conway adaptation at Hartford. ... she sat profoundly surprised. ... she left the theatre in disgust" (p. 87). 1931. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: CONWAY AFTER NOV 1852 AT KIMBALL'S MUSEUM, BOSTON ["TWO HUNDRED SUCCESSIVE NIGHTS"] BIRDOFF, 88--QUOTING BARNUM'S ADVERTISEMENT TO THE NEW YORK PRODUCTION.

1932. PLAY: UNCLE TOM'S CABIN [CHECK PRECISE TITLE! j. SIX ACTS AND EIGHT TABLEAUX. 28 PP

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STOWE 1933.

L.C.'S REGISTER; LC-ADD MS 52936 (A) NP:NP, ND[1852] BL BILLS (VOL 369, 1); NICOLL (V, 592); PETTINGELL CAT, 50; BROWN (I, 315); BIRDOFF, 147; WEBSTER; FROW, OH, YES IT IS, P. 141 The ms in the Lord Chamberlain's collection of play is 158 folios of size varying slightly from 7" wide by 9.5" high to 8" wide by 11" high. Several scribes made the copy, and some of the text is difficult to read, some of it easy. Some amendments do appear. The title page reads "1852. Mss received Novembl5 15/ License sent 157 W. B. D7 Slave Life/ from/ Uncle Tom's Cabin/ a Drama/ in/ Three Acts." On the reverse of the title page is the following note: "By the kind permission of the Lord Chamberlain/ this piece will be acted at the Adelphi Theatre/ on Monday 22nd inst/ From Benj. Webster/ Nov llth 1852." The play seems to have opened a week later than Benjamin Webster had planned. Act 1, Scene 1 is "A large shed with opening at back showing a house with closed Verandah's [sic] through opening.—Various implements of Slave husbandry (to be hereafter described) hung about the building. On one side Cotton bales." Scene 2 is "Interior of a Tavern—Balcony ... ." Scene 3 is "Near Mr. Shelby's House." Scene 4 is "A Double Room the larger part shows the dressing room of Mr. Shelby, the smaller part the bed chamber of Eliza. On a little. cot Harry is sleeping. A bright fire in Mrs. Shelby's room. Mrs. Shelby is reading." Act 2, Scene 1 is "A wooded place where two roads meet." Scene 2 is "Interior of Uncle Tom's Cabin. A great pile of com cake on the table—cups and saucers. In one corner a bed with a snow white cover, with a piece of carpet beside it. In the other corner a rude bed. Scriptural prints and a portrait of Washington on the walls, a rough bench in corner." Scene 3 is "Interior of a Ferry House—a practicable door in front which when open would show a bed room within." Scene 4 is "The Banks of the Ohio. Large blocks of ice in the river,—the waters roaring and surging up." Scene 5 is "The banks of a creek leading to the Ohio-with the exterior of the 'Jeffersons head' Tavern—Lights are seen burning through the window. The landscape is wintry and the night is gathering in." Scene 6 is "The Jefferson's Head. Interior of a Rough Tavern. At the back a rude bar. Tables, benches and chairs." Act 3, Scene 1 is "Legrees plantation on the Red River. The House which is large, but dilapidated, stretches obliquely up the stage, showing a broad Verandah half ruinous and with a thick growth of Tropical creepers about its pillars and roof. In the distance are seen the negro quarters with the cotton fields." Scene 2 is "An apartment in Legree's House, doors set on right and left and a large window, practicable but closed as the scene opens. Rough and dilapidated. A fire place with transparent fire in Scene. A noise of wheels heard without."

PLAY: UNCLE TOM'S CABIN. 2 ACTS PLAYWRIGHT: H. YOUNG (MON) 22 NOV, 22 DEC 1852, 3-8, 10-15, 17-22, 24-29, 31 JAN, 7-12, 14-19 FEE 1853 AT ASTLEY'S, LONDON L.C.'S REGISTER; LC—ADD MSS 52935 (FF) BL BILLS (VOL 173); NICOLL (V, 636); BIRDOFF, 148 The ms in the Lord Chamberlain's collection of plays is 15 folios, each measuring about 6.75" wide by 9" high. The copy is fair, and the hand is clear, with only a few amendments. The title page says "1852 Mss received November 137 License sent 157 W. B. D. To the Licenser of Plays this/ an/ Equestrian Version of/ 'Uncle Tom's Cabin'/ being a Hippo-Drama in Two Acts/ To be performed at Astley's/ Amphitheatre on/ Monday Novr 22nd 18527 Proprietor Manager W. M. Batty." At the bottom on the page is an illegible signature of the Stage Manager, and what would seem to be some financial calculation in pounds, shillings, and pence. "Dram Pers." are George Harris, Harry his child; Mr. Shelby; Mr. Haley; Andy and Sam ("Blacks"); Phineas; Halieray (?); Loker; Marks; Mr. Wilson; Unce Tom; George Kelly; Sambo; St Clair; Legree; Mark Wilton; Michael Kimbo; Auctioneer; Eliza; Mrs. Shelby; Chloe; Ophelia; Topsy; and Cassy. Act 1st, Scene 1st was "Interior of Mr. Shelby's House. Slaves discovered in the back ground attending horses; Female Slaves children. Enter Eliza. To begin." Scene 2nd is "The Open Lawn before Mr. Shelby's House." Scene 3rd is "A Front brim (?); Scene 4th is "Interior of Uncle Tom's Cabin. George Shelby with Uncle Tom Discovered at Table. Aunt Chloe cooking. Children playing about." Scene 5th is "The exterior of the Inn on the banks of the river. A Window in ... The wing an apartment. A Placard on the Wall.—'Run away my mulatto George Harris &c.'" Scene 6th is "The Quaker's House. Scene 7th was "A Rocky view. The wagon arrives on in which are Phineas, George, Eliza, Harry & Jem." Scene 8th "The Gorge by Moonlight. George and his Party Enter in Waggon." The second act is missing from the ms. This was indeed an Uncle Tom on horseback, in which Eliza escapes "across the ice on a Mazeppa steed ... 'that loves liberty"1.

1934. PLAY: SLAVE LIFE; OR, UNCLE TOM'S CABIN. 3 ACTS PLAYWRIGHT: TOM TAYLOR & MARK LEMON (OPENING MON) 29-30 NOV, 1-4, (MON) 6-11,13-18, 20-24, (MON) 27-31 DEC 1852, 1, 3-8, 10, 13, 15, 1722, 24-27, 29, 31 JAN, 3-5, 7-12, 14, 15, 17, 21-26,28 FEE, 1, 3, 5, 8, 10, 12 MAR 1853 AT ADELPHI, LONDON (AT LEAST 78 PERFORMANCES) 330

STOWE dozen" of Uncle Tom plays being performed in London at the time. "Not one of all these drams but must do its portion of good; not one of them but must perform its share in bringing to the eyes and hearts of English men and English women the terrible truths which Mrs. Stowe has set forth in a form so appealing and yet so fascinating to the reader; not one of them but is nightly setting hundreds of spectators thinking upon the woes and wrongs of 'Slave Life.' We rejoice that the genius of a powerful writer, who puts forth her strength in the cause of humanity, has laid such hold upon the public that it demands her pictures to be placed in action, and simply repays even the least elaborate efforts to reproduce those startling scenes in dramatic shape." The Sunday Times reports that Madame Celeste, "during her recent tour of the United Sates, visited the localities in which the action of the drama is supposed to take place." The Dispatch thought that this, "the last of the numerous stage versions of Mrs. Stowe's Uncle Tom's Cabin, was decidedly the best" of the plays. It has less in common with the novel than other adaptations, and is more effective as a theatrical piece." At the end of its run in March 1853, this was alternating with "Jack Sheppard."

Birdoff reports that the playbill explains "the liberties taken with the novel, for the adaptors felt that Mrs. Stowe had not designed it with the stage in mind. In their 'interweaving of threads,1 as they called it, Messrs. Lemon and Taylor invented new situations. Uncle Tom was not the hero, and Legree, instead of whipping him to death, made short work of it—with a bowie-knife! There was really next to nothing of Tom, and neither an Eva, nor an Aunt Ophelia, and comparatively little of Mr. Shelby, and when George Harris ran away, he took along Topsy." The bill actually says in part that "The interest of Mrs. Stowe's story runs in three distinct channels, following successively the fortunes of Eliza and George, of Uncle Tom and Eva, and ofEmmeline and Cassy. For dramatic effect it is necessary that these threads should be interwoven, and that what cannot be connected with them should be abandoned. This is what has been attempted in the Drama of'SLAVE LIFE,1 ... ." Mr. Shelby by Cullenford; Simon Legree by S. Emery; George Harris by Alfred Wigan; Uncle Tom by O. Smith; Sol by Romer; Tom Loker by C. J. Smith; Skunk by Wye; Sambo by Sanders; Quimbo by Woolgar; Sam by Lindon; Cassy by Madame Celeste; Topsey by Mrs. Keeley; Mrs. Shelby by Miss Emma Harding; Aunt Chloe by Miss Collins; et al. The scenery included in Act I, "MR. SHELBY'S CORN PLANTATION, LIBERTY HOTEL, MRS. SHELBY'S BOUDOIR, ELIZA'S BED ROOM. CASSY'S STORY OF HER LIFE;" in Act II, "THE TWO TRACKS TO THE OHIO, UNCLE TOM'S CABIN, INTERIOR OF THE FERRY HOUSE, PASSAGE OF THE OHIO, THE PUBLIC ROOM OF THE JEFFERSON HEAD. LEGREE'S DREAM OF THE PAST AND FUTURE;" in Act III, "LEGREE'S COTTON PLANTATION NEAR THE RED RIVER. A ROOM IN LEGREE'S HOUSE. ROCKS & TORRENT ON THE RED RIVER. ESCAPE OF THE SLAVES AND THE FATE OF LEGREE." The Adelphi printed a red-bordered poster with "Opinions of the Public Press" displayed on it; this appears in the British Library (vol. 369, 1). The Times thought that Lemon and Taylor changed the story so that it would have "something like completeness in itself, [deciding] ... not to raise a mere heap of scenic crudities. The disjointed character of Mrs. Stowe's novel, in which two, if not three, disconnected stories are carried on at once, may have prompted them to attempt a reformation in the art of dramatising, for certainly the want of unity, which is felt to be a defect, even in the popular narrative, becomes still more objectionable in dramatic works, where oneness of purpose is always desirable. At all events, they have evidently gone about their task with a firm conviction that a remodelling was necessary, and the ingenuity of the authors, in tying a number of diverging threads into one knot, is greatly to be commended " The Morning Chronicle reported its estimate of "a round

1935. PLAY: NEW SCENE, FROM "UNCLE TOM'S CABIN," COMPOSED EXPRESSLY FOR MISS REBECCA ISAACS PLAYWRIGHT: ANON; MUSIC BY J. DURRNER (TUES) 30 NOV 1852 AT THEATRE ROYAL, DUNDEE POSTER DDLLHC This was one of several entertainments on a bill, including "The Highland Reel," "No Song! No Supper!" and "Gilderoy." It was a mere song, presumably, set against a single backdrop or perhaps at most a stage set. 1936. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: MRS. DAN MARBLE 13 DEC 1852 AT JOHN B. RICE'S THEATRE, CHICAGO, IL [FOR THREE CONSECUTIVE WEEKS] BIRDOFF, 118. 1937. PLA Y: UNCLE TOM'S CABIN; [OR, THE HORRORS OF SLAVERY]. DOMESTIC DRAMA. 3 ACTS PLAYWRIGHT: EDWARD FITZBALL (MON) 27-31 DEC 1852, 1, (MON) 3, 4, 6-8 JAN 1853 AT DRURY LANE, LONDON BL BILLS (VOLS 38 & 375, 1); NICOLL (V, 368); FITZBALL, THIRTY-FIVE YEARS, II, P. 261; BIRDOFF, 148; MY DISS; FROW, OH, YES IT IS, P. 141

331

STOWE LC—ADD MS 52936 (Q) An ms in the Lord Chamberlain's collection of plays—probably for this production (see below in this entry)—is 56 folios each measuring about 7.5" wide by 9" high. The copy is fair and the hand is legible. The title page gives "1852 Mss received December 187 License sent 207 W. B. D.7 Uncle Tom's/ Cabin/ a/ Drama in Three Acts/ Act ISt" There is no indication of the theatre, the manager, or the author. "Dram Per" are St Clair; Mrs. Shelby; Haley & Legree "Two Slave Dealers"; George Harris; Uncle Tom; Jonathan Slingsby, a Yankee Pedlar; Mr. Adolph-Eugene Albert & Pompey Lillysnow, "Nigger Valet to St Clair; Eliza Harris, George's Wife; Eva; Cassy, Topsey; Mrs. Shelby; Mrs. Jakes; Chloe,Tom's Wife; and Ophelia. Scene 1st is "Inside of Mrs. Shelby's apartment." Scene 2nd is "Another room in Shelby's House—Eliza enters, pale and agitated." Scene 3 is "Interior of Tom's Cabin—The black children in bed.—Chloe cooking at the Fire—Tom at the Supper Table." Scene 4th is "A Frozen Wood—enter Slingsby who is supporting Eliza as almost overcome by terror—she brings on Harry in her arms." Scene 5th "The Ferry House on the Banks of the Ohio, which is covered with huge masses of ice—undulating beneath the still struggling force of the waters. A broken stairway leads from the back of the house to one prominent mass of ice—which seems almost drifted beyond the river's Edge." A "Memorandum" at the end of Act I says "During this scene, the Snow Storm should increase—and the rocks of ice be driven against each other, with great violence, and a crushing sound—as drop falls." Act Second, Scene 1st is "The Slave Market at New Orleans. Auctioneer ... ." Scene 2nd is "A Chamber in the House of St Clair." Scene 3rd is "Exterior of Legree's House & Plantation. Slaves discovered at work. Scene 4th is "A dreary chamber in Legree's House." Scene 5th is "A ... Swamp. Enter Eliza & Cassy as if pursued." Scene 6th is "A Room at St Clair's." Scene 7th is "Legree's House & Plantation. Slaves discovered attending Horses preparing to renew the hunt." This act ends with a "Grand Tableau." Act 3rd, Scene 1st is "The weighing house—opening to a Cotton Plantation." Scene 2nd is "Cassy's chamber." There seems to be no Scene 3rd. Scene 4th is "Legree's Bed Chamber." Scene the Last is "An immensely large tree with a hole in the trunk—at top—This tree fills nearly all the stage. At the back the Mississippi beneath the tree. The fallen trunk of another—on which the Pedlar is discovered, asleep—a deserted Buffalo Lodge R—dogs are heard in the distance." Says Birdoff, "As the world-famous Drury Lane had undergone such a deterioration and loss of patronage, during the years, the lessee, the Duke of Bedford, was determined on its demolition. But now the unwashed inhabitants of the transpontine districts flocked to its doors to see Uncle Tom's Cabin." The implication here

is that this play alone saved the fortunes of the playhouse; such may not have been the case, however, because only a modest number of performances took place, as the bills make clear. Mr. Shelby ("a Slave Owner") by Bromley; Mr. St Clare by Moorhouse; Uncle Tom by Henry Wallace ("his first Appearance these Six Years"); George Harris ("a Slave") by Henry Betty ("his First Appearance"); Jonathan Slingsby ("a Yankee Pedlar") by George Wild; Simon Legree ("a French Planter") by Charles Selby; Haley by H. Lee; Simon by Lickfold; Adolphe Lilly Nose ("Nigger Valet to Mr. St Clare") by Yarnold; Eliza by Miss Augusta Clifton ("from the Theatre Royal, Glasgow, her First Appearance"); Cassy ("a Slave") by Mrs. Lewis; Eva by Miss Ellen Feist; Topsy ("a slave Girl—with a Song") by Miss Newcombe; Mrs. Shelby by Mrs. Fosbroke; Chloe ("Wife to Uncle Tom") by Mrs. Griffiths; et al. Almost needless to say, there was not a single black person in the cast. Among the scenes especially promoted was "Mrs. Shelby's Apartment, opening to a Plantation," "The Ferry," "Ice Fields and Snow Storm on the Ohio. The Escape!" Act 2 "Quaker Settlement—The Pedlar's Stratagem," "Deck of the American Steamer," "Gully Pass of the Cotton Mountain," "The Weighing House and Cotton Plantation," "Dream of a Slave Owner," a "Mahogany Wood," etc. This was on a bill with "Harlequin Hudibras! or, Old Dame Burden." A small mystery exists as to which theatre filed this particular play for license to produce. Drury Lane staged "Harlequin Hudibras" at this time, together with its production of "Uncle Tom's Cabin"—the bills attest. The copy of "Harlequin Hudibras" in the Lord Chamberlain's papers is similarly not identified as to the theatre of its origin. The list of characters and the scenario, however, make it just possible that this ms is for the present Drury Lane production. The two mss are lettered consecutively in the Lord Chamberlain's plays. I have therefore concluded that the ms numbered 52936 (Q) supplies the text for this production. 1938. PLA Y: SCENES AND SONGS FROM UNCLE TOM'S CABIN PLAYWRIGHT: N/A (MON) 27 DEC 1852 AT CABINET THEATRE (LIVERPOOL STREET, KING'S CROSS) LONDON BL BILLS (VOL 376, 3) This seems to have been a medley of songs more than a play. The Overture was "Slave Life" by Alfred Mellon. The songs were "The Slave Girl's Love," "The Slave Wife," "The Fugitive Slave," "Emmeline," "The Slave's Prayer," "Eliza's Dream," "Eva," "Eva's Last Request," "The Little Evangelist," "Uncle Tom's Dream of Eva," and "Poor Uncle Tom." As these songs were sung 332

STOWE 1941. PLAY: [UNCLE TOM'S CABIN]. PANTOMIME PLAYWRIGHT: UNKNOWN DEC 1852 AT SADLER'S WELLS, LONDON BIRDOFF, 149 This does not appear in the bills in the British Library (vol. 386, 1) for December.

"upwards of six hundred feet of canvas" painted by George Fisher gave their "dioramic effects." Edward M. Jolly played the piano, and Miss Jolly and Miss C. Jolly assisted. The composers included E. J. Loder, Henry Farmer, et al.

1939. PLA Y: HARLEQUIN UNCLE TOM; OR, BRITANNIA, THE PRIDE OF THE OCEAN, AND GUARDIAN GENIUS OF THE SLAVE. PANTOMIME PLAYWRIGHT: ANON (MON) 27 DEC 1852 AT ROYAL EFFINGHAM SALOON, WHITECHAPEL ROAD, LONDON LC—ADD MS 52936 (AA) The ms in the Lord Chamberlain's collection of play is 22 folios each measuring about 7.5" wide by 12.5" high. The several hands are legibile and the copy is fair. The title page says "18527 Mss received December 227 License sent 237 W. B. D.7 Harlequin Uncle Tom/ or/ Britannia/ The Pride of the Ocean/ and/ Guardian Genius of the Slave/ Mr. Digges very respectfully wishes to produce this Pantomime on Monday next/ the 27th InSt/ Edmund Green/ Acting Stage/ manager/ Royal Effmgham/ Saloon/ Whitechapel Road." There is no list of characters, but the people of the play include Legree, the 1st Demon of Slavery; Shelby, Haley, Tom, Chloe, Eliza, George, Scene 1st is "Abode of Legree the Demon of Slavery. Fetters—Chains—Cat o nine tails—whips—and Demon Sprites dis[covered]." A new "scene opens and discovers a beautiful drop." A third scene "opens and discovers a grand fairy scene." Next scene "discovers a transparency of Britannia on her throne with a slave in chains kneeling to her." Then "Shelby's apartment." Next "Uncle Tom's Cabin." Next a "Front Garden." Then a "Rocky Pass," followed by the transformation scene and "Enter Legree." And another transformation "scene opens and discovers Britannia and Groups of Fairies." Then comes a "Soup Kitchen," the "Emigration Office," a "Clothes Shop & Betting Office," an "Eel Pie Shop," and a "Pawnbrokers & Model Lodging House." Finally comes a "Comic scene Queens Arms Inn and Barber's Shop. Militia Papers in Window.

1942. PLAY: [UNCLE TOM'S CABIN]. PANTOMIME PLAYWRIGHT: HARRINGTON DEC 1852 AT BILSTON BIRDOFF. 1943. PLA Y: NEGERSLEBEN IN NORD-AMERIKA PLAYWRIGHT: G. DANKWARDT & W. KAHLEIS; MUSIC BY HAUPTNER DEC 1852 IN BERLIN BIRDOFF, 180. 1944. PLA Y: B ARBIER UNO NEGER, ODER ONKEL TOM IN DEUTSCHLAND. 2 ACTS PLAYWRIGHT: ERNEST NONNE; MUSIC BY HAUPTNER DEC 1852 OR JAN 1853 IN BERLIN BIRDOFF, 180. 1945. PLAY: ONKEL TOM'S HUTTE PLAYWRIGHT: THERESE VONMEGERLE DEC 1852 OR JAN & LATER 1853 IN BERLIN BIRDOFF, 180 "Advertised as a 'Schauspiel,' wherever given, the drama captured such towns as Leipzig, Frankfort-on-the-Main, Laibach, Freiburg, Funfkirchen, Troppau, Rostock, Lemberg, Linz, Mainz, ... Augsburg, Baden-Baden, Coblenz, and Hermannstadt," reports Birdoff. 1946. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1852 AT SOCIAL HALL IN SALT LAKE CITY, UTAH BIRDOFF, 224 "David Mckenzie was the first Uncle Tom in Salt Lake, and Herbert J. Grant, President of the Mormons, "made his first and only appearance on the boards—as a pickaninny! The Mormons gave the play again in January 1872 [see below]."

1940. PLAY: UNCLE TOM'S CABIN; OR, LIFE AMONG THE LOWLY PLAYWRIGHT: HENRY J. CONWAY 1852-1853 AT HARTFORD, CONNECTICUT BIRDOFF, 87 Birdoff reports that Mrs. Stowe saw this Conway adaptation, which originated in Boston, while it was in Hartford. He reports that she was "profoundly surprised ... [and] ... left the theatre in disgust" (p. 87).

1947. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1 JAN 1853 AT THEATRE ROYAL, BATH

333

STOWE REFERENCE IN DAVEY Mrs. Macready reopened the theatre.

Tom's Cabin" production at the City of London in March 1853, which was a diorama.

1948. PLA Y: ONKEL TOM, DE BERLINER NEGERSLAVE! PUPPEN-KOMODIE. 3 ACTS PLAYWRIGHT. UNKNOWN 1853--EARLY? BIRDOFF, 180 Birdoff can mention productions in Danish, Dutch, Finnish, Flemish, Bohemian, Hungarian, Illyrian, Polish, Portuguese, Spanish, Swedish, Servian, Wallachian, Armenian, Romaic, Greek, and Arabic, pp. 181-2.

1950. PLAY: UNCLE TOM'S CABIN; OR, NEGRO LIFE IN THE SLAVE STATES OF AMERICA. DRAMA PLAYWRIGHT: ANON (MON) 3 JAN 1853 AT THEATRE, EXMOUTH BL BILLS (VOL 277) Mr. Shelby by Miller; Uncle Tom by Dalton; Tom Loker by Thornhill; Eliza by Miss Bertram; et al.

1951. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: H. J. CONWAY 10 JAN 1853 AT MUSEUM, PROVIDENCE, RHODE ISLAND BROWN (I, 315).

1949. PLAY: [OUR] UNCLE TOM'S CABIN PLA YWRIGHT; JOHN WILKINS; DIRECTED BY WM. SEARLE; MUSIC BY RUSSELL & MINGAYE 3, (SAT) 15, 17, (MON) 24-29 JAN, 7, (SAT) 12, 14-19, 21-26 FEE 1853 AT CITY OF LONDON THEATRE, LONDON DAYBOOKS; BLBILLS (VOL 370); NICOLL (V, 761); BIRDOFF The ms in the Lord Chamberlain's collection of plays is 60 folios of light blue paper, in fair copy and in clear hand. The title page says "18537 Mss received January I/ License sent 3/ W. B. D./ Uncle Tom's Cabin/ Act I/ Messrs. Johnson and Nelson Lee/ City of London Theatre/ Norton Folgate/ 1852." The Characters are Mrs. Shelby; Phineas Fletcher; Haley; Tom Loker; George Shelby; Uncle Tom; Mose; Peter; Sam; Andy; Little Harry; George Harris; Eliza; Mrs. Shelby; Aunt Chloe; and [illegible]. In second act are St Clare, Phineas, Simeon Halliday, Snag, Sawyer, Haley, Tom, Waiter, George Harris, Little Harry, Eliza, Eva, Miss Ophelia, Toby, Rachel Halliday. In the 3rd Act the characters are; Simon Legree, Haley, George Shelly, George Harris, Little Harry, Skeggs, Uncle Tom, Sambo, Quimbo, Phineas Fletcher, Auctioneers, Ophelia, Eliza, Cassy, and Topsy. Scl "Interior of Mrs. Shelby's dining room." Scene 2 is "A Garden." Scene 3rd is "Interior of Tom's Cabin." Scene 4 is "A View of the River." In the second Act the scenes are as follow. Scl "Deck of La Belle Riviere, showing the Upper and Lower deck of the ship." Scene 2 "Picture - Closed in Cabin." Scene 3 "Interior of a Kentucky Tavern." Scene 4 "Interior of Halliday's House." Scene 5 "The Crags." Act III, Sc is is "The Slave Market;" Scene 2 is "A Chamber. Enter Ophelia." The whole ends with a tableau. Shelby by Saville; Geo. Shelby by Lacy; Col. St Clare by Rowbotham; Geo. Harris by Travers; Ophelia by Miss Love; Eliza by Miss Marian Lacey; Eva by Miss A. Downing; Topsy by Mrs. R. Barrett; "With appropriate Negro melodies." In late February, the piece could be viewed for half price. See below for another "Uncle

1952. PLAY: UNCLE TOM'S CABIN. ROMANTIC DRAMA. 3 ACTS PLAYWRIGHT: ANON (MON) 17 JAN 1853 AT THEATRE, BELFAST BL BILLS (VOL 271) The bill calls this "an entirely New Romantic Drama of deep and powerful interest ... most faithfully illustrating 'Negro Life in the United States, and the Horrors of Slavery.'" It quotes a few lines of verse: Better to sit in Freedom's hall, With a cold damp floor and mouldering Wall, Than to bow the head and to bend the knee In the proudest place of Slavery. The bill notes that this is "founded on the celebrated American Novel of the same name, so universally read and admired by all classes, and at present attracting the attention of all Europe and America." St. Clair by G. Stanley; George Harris by Wolfenden; Young George Selby by Mrs. Lacey; Mr. Shelby by Cunningham; Uncle Tom by Robert Ross; Tom Loker by Murray; Simon Legree by Pritchard; Eliza Harris by Mrs. Charles Poole; Little Harry by Miss Reynolds; Topsy by Miss Morris; et al. The bill gives extensive details about the production. 1953. PLAY: L'ONCLETOM PLAYWRIGHT: L. DE WAILLY AND EDMUND TEXIER 23 JAN 1853 AT GAIETE THEATRE, PARIS (33 DAYS) BROWN (I, 315); BIRDOFF; STOCKBRIDGE Birdoff summarizes, pp. 172-4. 334

STOWE from the text include Joshua Winter, Grantem, Alley Snyder, Bashton, Grant, Henry, Clair, Butler, Dinah, Adolph, Marie, Tom, John, Cemo, Haley, Covey, Cassy, Topsy, Ophelia. Act 1, Sc 1 is "A Gambling House at Louisville." Scene 2 I "Kitchen in St Clair's House." Scene 3 is "Deck of Steamer." Scene 4 is "Chamber in Mandeville's House." Scene 5 is "Chamber." Act 2, Scene 1 is "Butler's House Plantation." Sc 2 is "Kitchen in St Clair's house." Scene 4 is "A Wood." Sc 5 is "The Swamp." Sc 6 is "Corridor" [but this scene is blank]. Scene 7th is "A Corridor in St Clair's House." Scene 7th is "Exterior of St Clair's House." The whole ends with a tableau. The Victoria's earlier version had apparently omitted the Death of Little Eva. This addendum now rectified that oversight, as it was "founded on that portion of the celebrated Work of Uncle Tom's Cabin not before dramatized," and included both Cassy's story and the death of Little Eva. Henry Mandeville by Raymond; "Poor Uncle Tom" by T. E. Mills; Cassy by Mrs. W. Vining; Eva St Clair by Miss Phoebe Johnson; Topsy by Miss Laporte; et al. The scenery here included "Splendid Interior of an American Gambling House," "Kitchen in St Clair's House, New Orleans," "Deck of 'La Belle Riviere' Steamer," "Moving Panorama of the Voyage," "The Last Leap—The Slave Mother Seeks a Watery Grave," "Handsome Mansion of Mandeville, New Orleans," "Realization of the Picture of 'Cassy's Happy Days,'" "House and Rich Plantations of Augustine St Clair," "Lone Deep Cellars in Butler's House," "The Dungeon of Cassy," "The Chamber of Sorrow," where "The Death of Eva" was a tableau, "Mansions and Rice Plantation of Morcar Butler," "The Escape of Cassy and Emmeline," "The Wild and Dismal Swamp," the "American Slave Hunt with Real Dogs," and the "Frightful Termination of the Career of Morcar Butler and the Fate of the Noble Generous St Clair."

1954. PLAY: LA CASE DE L'ONCLE TOM. 8 ACTS [SIC] PLAYWRIGHTS: DUMANOIR AND D'ENNERY 10 JAN 1853 AT AMBIGU COMIQUE, PARIS LCLPA MWEZ / + / N.C. 4278; BROWN (I, 315); BIRDOFF, 167; STOCKBRIDGE PARIS: CALMANN LEVY, ED.. M. Bird by Chilly; Harris by Bresil; Haley by PaulinMenier; Shelby by Alexandra; Saint-Clair by M. Coste; Edouard by Ch. Lemaitre; George by Dumaine; Tom by Machanette; Bengali by Laurent; Philemon by Vollet; Un Commissaire-Priseur by Stainville; L'Inspecteur des Ventes by Ph. Muetee; Tomkins by Thiery; Mathews by Jules; Elisa by Mme. Emile Guyon; Dolly by Mme. Maria Rey; Madame Bird by Mme. Dharville; Chloe by Mme Lemaire; Une Vielle Mulatrese by Mme Amedee; Une Jeune Fille by Clemence. The playwrights took "all sorts of liberty," reports Birdoff, who gives several pages of summary of this eight-act immensity. Of the two French versions, this one was the more popular, says Birdoff. 1955. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN [AIKEN?] 17 JAN 1853 AT ALBANY, NY BIRDOFF, 54-55 With Madame de Marguerittes as Little Eva. "She wanted to be Topsy, too, but the frantic pleas of playwright Alfred B. Smith made her relinquish it," reports Birdoff, p. 54. 1956. PLA Y: THE SLAVE HUNT; OR, ST CLARE AND THE HAPPY DAYS OF UNCLE TOM PLAYWRIGHT: H. YOUNG (MON) 21-26, 28 FEE, 2, 4, 7-12, 28-31 MAR, 1, 2, APR 1853 AT VICTORIA, LONDON (AT LEAST 30 PERFORMANCES) LC—ADD MS 52937 (V) BL BILLS (VOL 391, 2); NICOLL (V, 636) The ms in the Lord Chamberlain's collection of plays is 34 folios, some light blue-gray, some yellowed white, measuring about 7.5" wide by 9" to 9.5" high. Two hands, both legible, with some amendments. The title page says "The/ Slave Hunt!/ or, St Clare & the Happy Days of Uncle Tom/ including/ Cassy's Storey & the Death of Eva/ Being an Entirely New Version of/ Uncle Tom's Cabin./ in Two Acts/ 1853/ Mss received Feb 15 Victoria Theatre Feby. 14th 1853/ License sent 17 W. B. D./ Sir, With the permission of the/ Lord Chamberlain of Her Majesty's/ Household this Drama will be repre-/ sented on Monday next Feb.y 21St/ Yr Obe Svt/ Eliza Vincent/ To the Examiner of/ Stage Plays." There is no list of characters, but the people of the pay

1957. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 26 JAN 1853, IN EXETER REFERENCE IN DAVEY. 1958. PLA Y: UNCLE TOM'S CABIN; A DRAMA OF REAL LIFE. 3 ACTS. PLAYWRIGHT: CHARLES HERMANN (MON) 1 FEB 1853 AT THEATRE ROYAL, MANCHESTER BL CAT; STOCKBRIDGE UNCLE TOM'S CABIN. A DRAMA OF REAL LIFE. IN THREE ACTS [AND IN PROSE]. ADAPTED FROM MRS. B. S.'S CELEBRATED NOVEL. LACY'S ACTING EDITION OF PLAYS, VOL. 12

335

STOWE JAN OR FEB 1853 AT ALBANY, NY BIRDOFF, 55-6; BROWN (I, 315).

[1850]—DUODECIMO—BL SHELFMARK2304.d.l6 LACY'S BDL; NICOLL (V, 419); PETTINGELL CAT, 41; BLC CAT; BIRDOFF, 151 This was revived in 1892.

1967. PLAY: UNCLE TOM'S CABIN; OR, LIBERTY AND SLAVERY. DRAMA. 3 ACTS PLAYWRIGHT: FITZBALL; C. J. JAMES (MON) 28 FEB, 1, 3-5, 7-12, 15, 17, 19 MAR 1853 AT QUEEN'S THEATRE, LONDON BL BILLS (VOL 381) This was the "Drury Lane Version," the bill announces. The Queen's, in Tottenham Court, now produced a second version of the novel—having finished with a first as recently as November 1852. Shelby by Randall; St Clair by J. Butler; Mr. Legree by H. Reeves; Uncle Tom by T. E. Evans; George Harris by W. Milborne; Eliza Harris by Miss Dansor; Cassey by Mrs. J. Parry; Topsey by Miss Fanny Williams ("with an original song"); Aunt Chloe by Miss Simpson; Ophelia by Miss Hackman; Eva by Miss Greville; et al. The major scenes included "INTERIOR OF UNCLE TOM'S CABIN," "A FROZEN WOOD," "THE FERRY HOUSE ON THE BANKS OF THE OHIO AND FOREST OF ICE," "SECTION OF A STEAMER ON THE MISSISSIPPI," "CHAMBER AT HALLIDAY'S," "SUDDEN APPEARANCE OF THE SLAVE DEALER," "APARTMENT IN St CLAIR'S VILLA," "GLOOMY CHAMBER AT LEGREE'S," "THE PERILOUS ASCENT AND FATAL RAVINE, BY MOONLIGHT," " WEIGHHOUSE HOUSE & COTTON PLANTATION," "LEGREE'S BEDCHAMBER," "A BUFFALO LODGE ON THE BANKS OF THE MISSISSIPPI," and "INNOCENCE TRIUMPHANT AND DEATH OF UNCLE TOM!"

1959. PLAY: [SCENES IN A REVUE] PLAYWRIGHT: UNKNOWN 15 FEB 1853 AT THEATRE ROYAL, GLASGOW BIRDOFF Here, Birdoff reports, St Clair lives, Legree is arrested as a felon, etc. 1960. PLAY: ELISA, OU UN CHAPITRE DE L'ONCLE TOM. COMEDY. 2 ACTS PLAYWRIGHT: ARTHUR BEAUPLAN 21 FEB 1853 AT THEATRE DU GYMNASE, PARIS BIRDOFF, 175 The Emperor and Empress attended opening night. 1961. PLAY: ELIZA AND THE FUGITIVE SLAVES; OR, UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN FEB 1853 AT FRANCON'S CIRQUE, PARIS BIRDOFF, 148. 1962. PLAY: UNKN/[INFRENCH] PLAYWRIGHT: UNKNOWN "ALL DURING THE YEAR" VAUDEVILLE, PARIS BIRDOFF, 175.

[1853]

AT

1963. PLAY: CASINE DE L'ONCLE THOMAS. PARODY PLAYWRIGHT: DORMEUIL 1853 AT THEATRE DU PALAIS ROYAL, PARIS BIRDOFF.

1968. PLA Y: LA CASE DE L'ONCLE TOM PLAYWRIGHT: DUMANOIR & D'ENNERY 5 TO 26 MAR 1853 AT BATIGNOLLES, PARIS BIRDOFF, 175.

1964. PLAY: CAVE DE L'ONCLE POMME. PARODY PLAYWRIGHT: PAUL MICHEL (?) 1853 AT BATIGNOLLES, PARIS BIRDOFF, 176.

1969. PLAY: UNCLE TOM'S CABIN. TWO PARTS. A DIORAMA PLAYWRIGHT: J. E. CARPENTER; MUSIC BY CARPENTER (MON) 21-26 MAR 1853 AT CITY OF LONDON THEATRE, LONDON BL BILLS (VOL 370) "Highly successful New Vocal, Pictorial, Poetical, historical and Musical Illustration of ... Uncle Tom's Cabin. The SCENES (which are comprised of upwards of Six hundred feet of Canvas, from the Pencil of Mr. George Fisher) ... Novel Dioramic effects ... ." This proceeds only through the "Pursuit and Fall of Tom Loker."

1965. PLAY: [UNKN] [IN FRENCH]. PARODY PLAYWRIGHT: UNKNOWN 1853 AT THEATRE LYRIQUE, PARIS BIRDOFF, 176. 1966. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN 336

STOWE American Slave Sale," "The Plantation," and finally "Death of Poor Uncle Tom!" On 6th April and afterwards, "Eliza's Terrific Flight Across the Ice!" was alleged to be 'the most impressive and startling scene ever beheld." The bills for 18 April proclaimed "the Success which crowned the production of this memorable Drama, and which has been nightly continued with undiminished interest, is unprecedented in Dramatic Annals, and can be paralleled only by that of the universally popular Work upon which it is founded. It abounds with the most exciting and extraordinary Stage Effects, aided by new and beautiful Scenery and appropriate Mechanical Appliances, which every Evening elicit the greatest Astonishment and vehement Applause;—it is enlivened by Mirth-creating Situations, and is replete with the most touching Incidents, which on each Representation draw forth the tears of crowded and sympathetic Audiences." After the end of its consecutive run of performances, "Uncle Tom's Cabin" recurred perhaps once a week or once every other week during the summer of 1853. In June (15th) a production called The White Slave" continued to exploit ihe frisson surrounding American slavery. Nor had the appeal of "Uncle Tom's Cabin" entirely exhausted itself by the end of the summer: The Theatre Royal, Birmingham, revived the play the next fall (see below, 24 October 1953). Even afterward the memory lingered, so that on Monday, 19th February 1855 the Theatre Royal offered "Uncle Tom's Cabin," with pretty much the original cast performing "a Selection of the principal Scenes from the renowned Drama ... compressed into one act."

Between parts one and two there would seem to have been other entertainments—a "Musical Melange," some "Ebony Marionettes," and only then "Part II.—Uncle Tom's Cabin."

1970. PLA Y: LA CASE DE L'ONCLE TOM PLA YWRIGHT. DUMANOIR & D'ENNERY 26 MAR TO 13 APR 1853 AT MONTMARTRE, PARIS BIRDOFF, 175 Birdoffadds that this play appeared in the spring of 1853 in Havre, Bordeaux, Nantes, Lyons, Dijon, Marseille, Strasbourg, Toulouse, and Amiens. 1971. PLA Y. UNCLE TOM'S CABIN. DRAMA PLAYWRIGHT: ANON; SCENERY BY JAMES GATES; DRESSES BY MASSEN AND MISS DALE; MECHANICAL EFFECTS BY LOBLEY, BERGUIN, ET AL\ MUSIC COMPOSED, SELECTED, AND ARRANGED BY H. F. ALDRIDGE (OPENING EASTER MON) 28-31 MAR, 1, 2, 4-9, 1116, 18-23,25-30 APR, 2-7. 9-14,23 MAY, 3, 10, 13, 20, 24 JUNE, 1 JULY 1853 AT THEATRE ROYAL, BIRMINGHAM BL BILLS (VOL 200) One or two bills were printed on bright yellow paper. Perhaps as a build-up to, and certainly just before the production of "Uncle Tom's Cabin," the Theatre Royal, Birmingham, gave in quick succession "The Yankee Pedlar; or, Old Times in Virginia" (8,14th March 1853), and a "new drama" called "Yankee Land; or, the Foundling of an Apple Orchard" (9, 10, March). See British Library bills vol. 200. The bills for 15-18 March 1853 notes that "On Easter Monday will be produced a Drama of powerful and extraordinary interest, (which has been some Months in preparation), entitled UNCLE TOM'S CABIN founded upon Mrs. Harriet Beecher Stowe's celebrated work." Mr. Shelby ("a Slaver Owner") by Gardiner; George Shelby ("his son") by Fred. Charles; Haley ("a slave dealer") by Barton; Tom Loker ("a Slave Hunter") by Garden; George Harris ("a fugitive Slave") by James Bennett; Uncle Tom ("a slave") by Atkins; Simon Legree ("a French Planter") by H. Cooke; Aunt Chloe ("Wife to Uncle Tom") by Mrs. Garden; Eva by Miss Lemmon; Topsy ("Ts so drefful wicked,'") by Miss Cuthbert. The "scenic effects" were especially important. A few of the many scenes promoted on the bill are as follow: "The Buyer and Seller of Human Flesh," "Stolen Interview between George Harris and his beloved Wife," "Interior of Uncle Tom's Cabin," "Parting of Uncle Tom and Aunt Chloe," "Exterior of the Ferry House on the River Ohio," "The Slave Mother and her Infant," "Eva Rescued from a Watery Grave by Uncle Tom," "The Bluff & Pass of Single Rock," "The Slave Market," "Horrors of an

1972. PLAY: UNCLE TOM'S CABIN. OPERA PLAYWRIGHT: UNKNOWN APR 1853 AT WOOD'S THEATRE, NYC ODELL (VI, 327) Harvard theatre collection gives cast. 1973. PLA Y: UNCLE TOM'S CABIN; OR, THE FUGITIVE SLAVE. PLAYWRIGHT: PLAYWRIGHT: UNKNOWN 6, 28 MAY 1853 AT THEATRE ROYAL, SHEFFIELD SHEFFIELD CITY LIBRARY BILLS & CAT This play was revived in January of 1854, at the same house, for a long, successful run—see below. 1974. PLAY: THE SLAVE HUNT; OR THE FATE OF St CLAIR PLAYWRIGHT: UNKNOWN AFTER EASTER 1853 AT QUEEN'S THEATRE, DUBLIN BIRDOFF, 157.

337

STOWE

1975.

Brown reports, "Shortly afterwards James W. Lingard acted Uncle Tom; and J. B. Howe, St Clair. Howe had but just arrived from England, after a voyage of forty-three days on a sailing vessel, and this was his American debut. He sang 'St Clair to Eva.' This song, although claimed to be original with G. C. Howard, was an old English one, entitled 'Can I E'er Forget the Valley?' (p. 312). The bills advertised that "the play is beautifully interspersed with Singing and Dancing," noting in particular that Uncle Tom sang "Old folks at Home," and "Uncle Tom's Religion," and Topsy sang and danced, and St. Clair sang "To Little Eva in Heaven." Odell comments that "Memories of our childhood show that these were the high lights of that version of the play with which our young imaginations were fed. The first National cast of Uncle Tom's Cabin was something of a family of Foxes, Mrs. Howard having been the Caroline Fox of but a few years before. ... Uncle Tom's Cabin ran nightly, with matinees Wednesday and Saturday soon introduced, far into the season of 1853-1854. And, reader, without accompanying farce or entertainment! Over three hundred performances were piled to its credit, before it was staled in public esteem. This unprecedented history marked an era in New York theatricals. "I must state that, beginning on August 15th, Purdy provided 'a neat and comfortable parquette' for the accommodation of respectable colored persons 'front seats for females accompanied by males, and no female admitted unless with male company.' The admission was 25 cents, and the place was entirely separate from other parts of the house, with special entrance."— Odell, p. 238. Odell shows illustrations with Mrs. G. C. Howard as Topsy. Birdoff reports, p. 67, "The evening began with a melange of Negro airs, to a boot-heel accompaniment marking time to the music. ... The first scene was a short one—just a few minutes—in which Eliza, in her natural whiteness, met her husband. The flickering gas-jet footlights revealed that George's countenance was made up in red, and Little Harry (seen late) also appeared red-faced. The scene was similar to most dramas where lover and mistress part. ... "Then the curtain rose on Haley and another slave buyer, Shelby, discussing the purchase of a slave. And now the play really began, for the first scene had been a kind of prologue. Anticipating the possible hostility of the listeners, [p. ch. to p. 68] the two actors forgot their lines. . . " (Birdoff, pp. 67-68). Birdoff shows playbill from National Production with original cast. Purdy had to enlarge the house by moving the orchestra into the wings, and beginning to offer matinee performances in order to try to accommodate the demand. Birdoff reports, "Captain Purdy, having aimed at the lowest classes, now discovered his theatre filled by society's elite. ... the ladies usurped the entire dress

PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: ROBERT MARSH UNKN TIME IN SYRACUSE, NY BIRDOFF "When the Howard family first took their play to New York the lessee of the Troy Museum, Mr. Hough, also left the scene of that first triumph. He produced another dramatization of Uncle Tom, by Robert Marsh, at the Syracuse Theatre. Hough played Gumption Cute and evolving versions of this play, which was often close to that devised by Howard & Aiken, played in Oswego, Auburn, and Utica. 1976. PLAY: UNCLE TOM'S CABIN; OR, LIFE AMONG THE LOWLY. SIX ACTS. THIRTY SCENES PLAYWRIGHT: GEORGEL. AIKEN (MON) 18, 26 JULY, 31 AUG 1853, 19 APR, 13 MAY 1854 AT NATIONAL [FORMERLY CHATHAM?], NYC (MORE THAN 300 PERFORMANCES) LCLPA MWEZ / + / N.C. 4278—PHOTOSTATIC COPY; ODELL (VI, 237-8, 309); BIRDOFF, 67 & FF; LCLPA CAT, XXVIII, 256; IRELAND; BROWN (I, 312) This ran three times a week after 19 April. The National was managed by Purdy. The bills explicitly note that this was "dramatised from Mrs. Harriet Beecher Stowe's world renowned work by G. L. Aiken, Esq. expressly for Mr. G. C. Howard." Uncle Tom by G. C. Germon; St Clair by George C. Howard; Gumption Cute by Charles K. Fox; Phineas Fletcher by George L. Fox; Marks by J. Herbert; Tom Loker by Geo. Lingard; Mr. Wilson by Toulmin; Eliza by Mrs. W. G. Jones; Chloe by Mrs. J. Lingard; Haly by Ed. Lamb; Geo. Shelby by H. F. Stone; Mrs. Shelby by Rose; Eva by Cordelia Howard; Aunt Ophelia by Mrs. Bradshaw; Geo. Harris by S. M. Siple; Legree by N. B. Clarke; Deacon Perry by Jas. W. Lingard; Emeline by Miss M. Barber; Cassy by Mrs. Bannister; Topsy by Mrs. G. C. Howard. The playbills promote "the youthful wonder, Little Cordelia Howard, generally called the Child of Nature." Brown reports that "after her final appearance at Purdy's National Theatre, she went on a starring tour with her parents, in 'Uncle Tom,' visiting all the principal cities South and West, and England, Ireland, and Scotland," (p. 314). Charles Kemble Fox made his first appearance in New York as Gumption Cute. The tableaux were "THE ESCAPE OF ELIZA, THE TRAPPERS ENTRAPPED, THE FREEMAN'S DEFENCE, DEATH OF LITTLE EVA, THE LAST OF ST. CLARE, TOPSY BUTTING THE YANKEE, CASSY HELPING UNCLE TOM, AND DEATH OF UNCLE TOM." 338

STOWE 1978. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1853 AT UNKNOWN THEATRE, CHICAGO LCLPA MWEZ + N.C. 6304—CLIPPING With Charles Whittle in the Marsh Troupe.

circle, ladies who rarely went to a playhouse, except to hear Jenny Lind sing or to see Fanny Elssler dance. ... Very respectable Christians occupied whatever seats they could obtain, and overlooked the proximity to certain rather repulsive-looking individuals attracted to the theatre solely on worldly principles. One saw Quakers, wearing hats of ... orthodox breadth, who had arrived at a decision to depart from the sect's rule prohibiting attendance at 'places of diversion.'" (p. 74) "Fully one-third of the audience was composed of church members and their pastors, of many sects and denominations, who looked upon Uncle Tom's Cabin as in the line of Biblical education, and the tableaux, especially, were to them like many religious paintings. Clergymen from every State attended the matinees, including Henry Ward Beecher, Dr. Bellows, and many other eminent divines. Edified and delighted, they recommended it later in their pulpits, where all praise was accredited to the proprietor [Purdy]. The lobby of the National was thronged daily, a rendezvous for consistent church members who wished to meet their clergymen" (p. 75, Birdoff). Birdoff reports, "William Lloyd Garrison ... 'went on Saturday evening to see the play of Uncle Tom's Cabin, at the National Theatre, invited thereto by the description in the Times ... That description does no more than justice to the play. It is better by one hundred percent than the version of the Boston Museum. ... It was noticeable that the people, after witnessing the death of Uncle Tom, went out of the house as gravely and seriously as people retire from a religious meeting! I wish every abolitionist in the land could see this play as I saw it . . ." (p. 77) "The play was spontaneously subtitled, 'Abolition Dramatized!'" (p. 77). Many songs from the play were sold separately in sheets. Brown reports that this creation shared the stage at the National with "Little Katy, the Hot Corn Girl," by C. W. Taylor.

1979. PLAY: UNCLE TOM PLA YWRIGHT: [UNKN BRITISH PLAYWRIGHT] 1853 (?) AT WELCH'S NATIONAL AMPHITHEATRE, PHILDAELPHIA BIRDOFF, 107 "Shortly after the novel's publication," says Birdoff. "After struggling through two acts, the manager was compelled to ring down the curtain," reports Birdoff, who is silent about the exact date of this aborted production to which Southern medical students objected and which they prevented, despite the full house opening night. 1980. PLAY: UNCLE TOM'S CABIN. PLA YWRIGHT: UNKNOWN- AIKEN? MARSH? 8 AUG 1853 AT WILLIAMSBURG, BROOKLYN ODELL(VI, 277) "Robert Marsh inaugurated ... a week's run of Uncle Tom's Cabin, himself playing Uncle Tom, with Mary Guerineau Marsh as Eva, 'a part rendered by her in the principal western cities.' Odell gives partial cast: Fanny Herring as Topsy; Miss C. Taylor as Ophelia; Mrs. H. P. Grattan as Cassy; Turner as Legree; Spencer as St. Clair; Lemoyne as Deacon Perry. 1981. PLAY: UNCLE TOM'S CABIN. A SERIES OF TABLEAUX IN THREE PARTS AND TWENTY-FIVE PICTURES. PLAYWRIGHT: UNKNOWN 12 SEPT 1853 AT FRANKLIN MUSEUM, NYC ODELL (VI, 328); BROWN, I, 316 Odell says that "Allston Brown asserts that these were magic lantern views, and that many a country cousin, lured by the fame of the National play, found himself unwittingly in the Franklin Museum, looking at these views."

1977. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: MRS. ANNA MARBLE 1852-1853 AT RICE'S THEATRE, CHICAGO BROWN, I, 315; BIRDOFF, 120. CAUTION Brown says that Cordelia Howard played Eva, George C. Howard St Claire, Mrs. G. C. Howard Topsy (Cordelia's mother), Mrs. Fox (her grandmother) Aunt Ophelia. "Thus three generations appeared on the same stage at the same time." However, Birdoff strongly implies that 10 Dec 1853 was the date of this production, and that it was not the Howards' version. They, says Birdoff, did not arrive until February 1854-although this could be their second Chicago appearance.

1982.

PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN 26 SEPT 1853 AT CHESTNUT STREET THEATRE, PHILADELPHIA, PA BROWN (I, 315); STOCKBRIDGE John Gilbert as Uncle Tom; Aug. Fenno as Geo. Harris; Joseph Jefferson as Gumption Cute; Jos. Parker as Phineas Fletcher; R. A. Sheppard as St Clair, Walters as Tom Loker, Mason as Legree, A. H. Davenport as Haley,

339

STOWE PLA YWRIGHT: H. J. CONWAY; DIRECTED BY C. W. CLARKE; SCENERY BYDELAMERE; MACHINERY BY BURNS 7 NOV 1853 AT BARNUM'S AMERICAN MUSEUM, NYC ODELL (VI, 316-7); BIRDOFF, 87; BROWN (1,72,316) Odell says and Birdoff repeats that this piece had been '"written eighteen months previously,' and having been in rehearsal for twenty weeks. Odell says ... "This cast I gladly repeat not only from the historical importance of any version of Uncle Tom's Cabin, but to convey an idea of the numerical strength of Barnum's company [the dramatis personae included forty characters.] ... I wish I could give the entire synopsis of scenes. The play, one would then see, has a happy ending. But that immense synopsis I reluctantly omit." ~ Odell, p. 317. Birdoff, who seems to be working from the same sources as Odell, also reports that "Eva's fall overboard, while the ["real"] steamer was in motion, and her rescue by Uncle Tom, caused intense excitement in the audience." (p. 87). George Harris was in his list of dramatis personae. Brown gives the cast as including: Mr. Shelby by Sylvester Bleeker; Geo. Shelby by Sallie Bishop (1st Act) and by Geo. C. Charles; Tom Loker by Mr. Charles; Peter by Master Smith; Uncle Tom by J. L. Munroe; ... Legree by H. F. Daly; ... Eliza by Emily Mestayer; ... Topsy by Mary Ann Charles; ... Sambo by G. Clarke; ... Geo. Harris by G. C. Howard. ... Brown later adds that one Milnes Leverick debuted as George Harris in this production of UTC-Brown (I, 396). This production was in direct and open competition with the play at the National.

John Jack as Alf Mann, Uhl as Old Shelby, Briggs as George Shelby, John S. Clarke as Marks, Allen as Skeggs, William Looinis as Wilson and Deacon Perry, Lizzie Weston as Topsy, and Mrs. J. Gilbert as Aunt Ophelia. 1983. PLAY: HAPPY UNCLE TOM PLAYWRIGHT: UNKNOWN MID OCT 1853 AT UNKNOWN THEATRE, PHILADELPHIA, PA BIRDOFF, 141 This was "performed ... by the New Orleans Opera Troupe ... under Sam S. Sanford's management. ... Sanford sold manuscript copies to other minstrel troupes, which he regretted later on. His own was called Sanford's Southern Version of Uncle Tom's Cabin, and glorified slavery with song and dance. One of his playbills, of August 18, 1861, four months after the outbreak of the Civil War, bore this rime at the foot Oh! White folks, we'll have you to know, Dis am not de version of Mrs. Stowe: Wid her de Darks am all unlucky, But we am de boys from Old Kentucky. Den hand de Banjo down to play, We'll make it ring both night and day; And we care not what de white folks say Dey can't get us to run away. 1984. PLAY: UNCLE TOM'S CABIN. DRAMA PLAYWRIGHT: ANON; SCENERY BY JAMES GATES; DRESSES BY MASSEN AND MISS DALE; MECHANICAL EFFECTS BY LOBLEY, BERGUIN, ET AL; OVERTURE AND MUSIC BY H. F. ALDRIDGE (MON) 24-27, 29, 31 OCT, l,-5 NOV 1853 AT THEATRE ROYAL, BIRMINGHAM BL BILLS (VOL 200) This essentially continued the production begun the previous season in Birmingham (see above). Mr. Shelby by Gardiner; Tom Loker by Leigh; George Harris by James Bennett; Uncle Tom by Atkins; Aunt Chloe by Mrs. Davis; Eliza by Miss Edwards; Eva by Miss Lemmon; Topsy by Miss Laura Honey; et al.

1987. PLA Y: BLACK AND WHITE; OR, ABROAD AND AT HOME PLAYWRIGHT: H. PLUNKETT "TOWARD THE CLOSE OF 1853" AT BURTON'S THEATRE, NYC BIRDOFF, 121 Says Birdoff, "the scene was laid in England, and contrasted English miseries with the so-popular Southern variety. One of the characters, a Mr. Crab, resented his wife's concern for the Negroes rather than for the homegrown wretches. Mrs. Stowe was caricatured as Mrs. Skreecher Crow ... " (p. 121).

1985. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN OCT 1853 (OR 1852) AT QUEEN'S THEATRE, MANCHESTER BIRDOFF, 151 F. B. Egan produced the play and found it a "gold mine."

1988. PLAY: UNCLE TOM'S CABIN, OR FREEDOM AT THE NORTH AND SERVICE AT THE SOUTH PLAYWRIGHT: UNKN-GEORGE KUNKEL? FALL OF 1853 AT UNKNOWN THEATRE, CHARLESTON, SOUTH CAROLINA BIRDOFF, 122 Birdoff says of the anti-Uncle-Tom plays, " . . . not a

1986. PLAY: UNCLE TOM'S CABIN 340

STOWE REPORTS ODELL, P. 312. REVIVED 14 JUNE WITH SLIGHTLY NEW CAST-SEE ODELL, PP. 312-3. "ON JUNE 11TH UNCLE TOM'S CABIN BEGAN A RENEWED RUN, WITH THE HOWARDS. IT WAS GIVEN ALMOST NIGHTLY, WITH SOME IRREGULAR MATINEES, THROUGHOUT THE REMAINING WEEKS OF JUNE," REPORTS ODELL, VI, 377. BIRDOFF SAYS THAT THE REVIVAL BEGUN JUNE 19 'DID NOT SURVIVE BEYOND A NIGHT OR SO. ODELL (VI, 310; 377); BIRDOFF Says, Odell, "From January 16th, the National encountered the rivalry of the Bowery Uncle Tom's Cabin, with the interesting T. D. Rice as Tom. Nevertheless, undaunted, it had presented on January 9th (the 186th performance) an entirely fresh version, introducing new characters. New and magnificent scenery was prepared, at a cost of $2000. Let me quote the cast from the bill of January 23~the 196th performance: [Odell gives cast and tableau, including J. Lingard as Uncle Tom, J. J. Prior as George Harris, N. B. Clarke as Legree, Herbert as Marks, J. B. Terry has Haley, Mrs. G. C. Howard as Topsy, Mrs. J. J. Prior as Eliza, and Cordelia Howard as Little Eva.] ... The tense moments included Eliza's Escape on the Ice, Mrs. Bird's Benevolence and Sorrow, the Negro Mother's Despair and Death, Eva Saved by Uncle Tom, The Trappers Entrapped, The Freeman's Defense, Death of Little Eva, Last of St Clair, Topsy Butting the Yankee, Cassy. Helping Uncle Tom, Death of Uncle Tom. The two hundredth performance was scheduled for January 26. "Perhaps I may be pardoned for presenting at this point a belated estimate of the performance culled from successive issues of the Spirit of the Times. The more serious papers seldom noted the offerings of the very democratic National; one turns, therefore, to the more complaisant Spirit of the Times for what proves to be an increasingly friendly attitude toward Uncle Tom's Cabin. On August 6, 1853, the paper reports that 'we do not approve of the spirit of this piece, with all its crudities and absurdities, but what little there is to act is well performed. ... It is creditably put on the stage, and the little morality which here and there peeps out unexpectedly, tells well with the audience.' "A wanner note appears in the issue of September 10th: 'If a constant succession of crowded houses for now nearly nine weeks be any evidence of the popularity of the piece, or of the good reputation of the house, then is the National on very sure ground. ... Eva, by Little Cordelia Howard, is performed extremely well ... and the plaudits of the audience attest how highly they appreciate her performance.' Weekly the Spirit of the Times chronicles unvarying success; on January 21st, it recants and states that 'the various characters are admirably enacted, and hosts of people have, 'with moist eyes and refined feelings' admitted this fact. Whatever

single play which tried to show that Uncle Tom's Cabin was a misrepresentation ever won an audience. This is the more amazing because the theatre-going public was in the prosperous slave-holding cities, like Baltimore, Richmond, New York, New Orleans; while the abolition movement centred in New England towns, where all playhouses were subject to taboo, and shunned. Those plays that did procure patronage for a while were takeoffs or minstrel burlesques of the drama then sweeping the nation. 1989. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: PARTLY AIKEN, PARTLY COLONEL ROBERT E. J. MILES 5 DEC 1853 AT MELODEON GRAND CONCERT HALL, CINCINNATI, OHIO BIRDOFF, 114. 1990. PLAY: SLAVERY PLAYWRIGHT: UNKNOWN 16, 18, 20, 23, 30 JAN, 3, 6, 10, 13, 17 FEE, 3 APR 1853 AT THEATRE ROYAL, SHEFFIELD BIRDOFF, 159; SHEFFIELD CITY LIBRARY BILLS CAT These dates indicate a long run; but the recurrences of the play were interrupted on 27 Jan., for example, by a production of "Father Paul." 1991. PLAY: UNCLE PAT'S CABIN. BURLESQUE. 3 ACTS PLAYWRIGHT: H. J. CONWAY 23-30 MAY 1853 AT BURTON'S, NYC BIRDOFF; ODELL (VI, 211) Uncle Pat by Dyott; Micky Malone by B. Williams; Lanty by Lefevre; Squire Blake by Holman; Count Germaine by Norton; Grindem by Howard; Brian by Skerrett; Lace Sleeve by Lawson; Widow Casey by Mrs. B. Williams; Norah by Mrs. Hughes. 1992. PLAY: UNCLE TOM'S CABIN. SEVEN ACTS, TWELVE TABLEAUX, THIRTY-FOUR SCENES PLAYWRIGHT: AIKEN WITH EXTENSIVE REVISIONS BY C. W. TAYLOR, TO WHICH AIKEN OBJECTED 9-23 JAN, 19 JUN 1854 AT NATIONAL, NYC (AT LEAST 196 PERFORMANCES); AND RUNNING AT LEAST OCCASIONALLY UNTIL 13 MAY, WHEN CORDELIA HOWARD HAD A BENEFIT AND THE SHOW CLOSED. ODELL SAYS THAT IRELAND SAYS THAT THIS WAS THE 230TH PERFORMANCE; "BUT THE ADVERTISEMENT OF JUNE 19TH STATES THAT THE PLAY HAD BEEN GIVEN 325 NIGHTS [TIMES?] SUCCESSIVELY,"

341

STOWE Jerusha Jenkins by Miss Herring, Mrs. Van Krout by Mrs. James Dunn, and Aunt Chloe by T. Wemyss. Brown and Odell both give cast: Uncle Tom by T. D. Rice; St. Clair by J. Dunn; Drover John by Winans, Adolph by Reed; Mr. Shelby by W. Hamblin; Haley by Collins; Simon Legree by Stone; Tom Loker by Stout; Marks by Lamb; George Harris by R. Johnston; Little Harry by Miss Gallott; Van Kroat by Sam Glenn; Eliza by Mrs. Woodward; Sambo by S. Byrne; Quimbo by Calladine; Mrs. Shelby by Mrs. Broadley; Cassy by Mrs. Howard; Aunt Chloe by Wm. Hamilton; Mr. Shelby by Wm. H. Hamblin; Eva by Caroline Whitlock; Topsy by Gertrude Dawes; St Clair by Jas. Dunn. Birdoff remarks that "Daddy" or "T.D. Rice", was the father of Ethiopian minstrelsy. " ... his personation of the Negro was expected to lure audiences from both the American Museum and the National." Odell reports that The Spirit of the Times thought "Rice's Uncle Tom the best yet seen in New York." This says a good deal about the conception of African-Americans then prevalent in the audiences, and anticipates the later negative response of black America to these materials. The Bowery seems to have produced a separate version of "Uncle Tom's Cabin" in the late spring—see below, in May.

may be the prejudices, political or otherwise, for or against the 'colored bredren1 [sic] of this country, the feelings provoked by the representation of 'Uncle Tom's Cabin' do us credit.' By March 11th 'Uncle Tom's Cabin' holds out yet at the Bowery and National theatres. The slavery agitation has been augmented by the passage of the Nebraska-Kansas bill, and a little zest is given to the votaries of negro freedom by an attendance at the Bowery or National. The performance of this drama has made converts to the abolition doctrine many persons, we have no doubt, who have never examined the subject, and know nothing of its merits. . . We have nothing to do here with the matter, politically, but we can perceive what the drama may do to foster or eradicate passions and prejudices of high or low degree.' Finally, on April 15th, Mrs. Howard, 'in her excellent performance of Topsy, delights crowds ... all the time'; and Cordelia Howard's Eva1 has made the character and the performer subjects of interest'" (p. 311). Birdoff reports that the January 9th version by Taylor "consisted of seven acts, twelve tableaux, and thirty-four scenes. "Two whole scenes were added to the original Howard-Aiken representation. ... In fact, the play at the National Theatre had been revised so much by 1854 that it hardly resembled the one compiled in Troy." (p. 101). A dispute arose over the authorship of Uncle Tom's Cabin plays, and the New York Atlas felt compelled to remind people that "no one is entitled to any great credit for dramatizing Uncle Tom's Cabin. The work of Mrs. Stowe is exceedingly dramatic from beginning to end, and anyone who will divide it into dialogue, will find a perfect drama at his hands. All who have dramatized it, have detracted from its merits by lugging in expletive characters, such as Yankees and Dutchmen. Play the book as it came from the hands of Mrs. Stowe, and it will best suit the wishes and tastes of the public." (Quoted by Birdoff, p. 102).

1994. PLAY: SLAVERY! OR, LIFE AMONG THE LOWLY. 4 ACTS PLAYWRIGHT: UNKNOWN 16, 17, 23, 24, 25, 26, 30, 31 JAN, 3, 4, 6, 7, 8, 9, 10, 11, 13, 14, 15, 16, 17, 18, 20, 22, 23, 24, 26 FEE, 27 MAR, 3 APR 1854 AT THEATRE ROYAL, SHEFFIELD (38 times) SHEFFIELD CITY LIBRARY BILLS This production was apparently a big hit. It included material not earlier staged.

1993.

1995.

PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: HENRYE. STEVENS 16 JAN 1854 AT BOWERY, NYC (UNTIL 11 MARCH) ODELL (VI, 306, 310); IRELAND; BROWN (I, 130, 316); BIRDOFF, 102 Odell says, "Uncle Tom's Cabin, having run for six months at the National, having been seen at Barnum's, and having been presented as a series of tableaux at the Franklin Museum, had, in 1853-1854, about all the attention, one might suppose, that a town of something over half a million inhabitants could bestow upon it. The Bowery management thought otherwise, and, apparently, with justice. A version of the all-devouring story was brought out here, on January 16th. [Odell gives complete cast] ... . This version, without curtain-raiser or afterpiece, ran continuously, until March 11th. In its last days, Derr played Tom Loker, and new parts were added:

PLAY: UNCLE TOM PLAYWRIGHT: UNKN-S.E. HARRIS? FEE 1854 AT N A T I O N A L THEATRE, PHILADELPHIA, PA BIRDOFF, 108 Birdoff describes a dispute between Harris, who managed the National in Philadelphia, and Purdy who managed the National in New York, over who had rights to this play.

1996. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN? FEE 1854 AT UNKNOWN THEATRE, CHICAGO BIRDOFF, 120 With the Howards.

342

STOWE 1997. PLAY: CABIN OR PARLOUR, OR A PICTURE ON THE OTHER SIDE OF JORDAN TO UNCLE TOM'S CABIN PLAYWRIGHT. B. YOUNG MAR 1854 AT U N K N O W N THEATRE, PHILADELPHIA, PA BIRDOFF, 108 Another "Anti-Uncle-Tom play.

Birdoff says that "The Bowery Theatre substituted a far different version of May 8th, with two well known burnt-corkers in the leads, Frank B rower [Bowers?—so says Odell] as Uncle Tom and John Mulligan as Topsy. Here the theatrical chroniclers seem almost as confusing as the playbills themselves might be, with their uncertain spellings. Probably, however, various actors and actresses circulated through various parts in this play, and the compositors grew weary, confused, indifferent.

1998. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: H. J. CONWAY 8 MAR 1854 AT ADELPHI, SAN FRANCISCO BIRDOFF, 186.

2004. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 29 MAY 1854 AT KNICKERBOCKER, NYC ODELL (VI, 331).

1999. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN UNKNOWN TIME CA 1854 AT UNKNOWN THEATRE, SPRINGFIELD, IL BIRDOFF, 187-8 Abraham Lincoln is supposed to have assisted Joseph Jefferson at obtaining a license to produce an "Uncle Tom" play in Springfield.

2005. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: H. J. CONWAY BEFORE AND AFTER 19 JUNE 1854 AT BOSTON MUSEUM LCLPA CAT, XXVIII, 256; BIRDOFF, 110 The star was William Warren. The theatre was under the management of Kimball. 2006. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN 19 JUNE 1854 AT NATIONAL, BOSTON BIRDOFF, 110 With the Howards, who came to Boston from New York. This may have been the version that Harriet Beecher Stowe saw, in company with Francis R. Underwood, who describes the event in The Atlantic Monthly, which Birdoff quotes at some full length (pp. 190-1). He says it was in the Winter of 1852 or 1853, however, so I have some doubt. It may have been at a later date in the same year that Stowe attended. This play may well have run into the fall and winter. Birdoff remarks that Underwood must be wrong about the date. It was more probably the Conway version that Mrs. Stowe witnessed (see above, in Hartford, Connecticut, item number 335).

2000. PLAY: UNCLE TOM'S CABIN; OR, HEARTS AND HOMES. BURLETTA PLAYWRIGHT: UNKNOWN 10 APR 1854 AT UNKNOWN THEATRE CHRISTY & WOODS MINSTRELS [WOODS?] BIRDOFF, 138. 2001.

PLAY: UNCLE TOM'S CABIN. A DIORAMA PLAYWRIGHT: UNKNOWN 22 APR 1854 AT FRANKLIN MUSEUM, NYC ODELL (VI, 329); BIRDOFF. 2002. PLAY: UNCLE TOM'S CABIN. DRAMA. PLAYWRIGHT: ANON 29-30 APR, 1-3 MAY 1854 AT PAVILION, LONDON LONDON THEATRE MUSEUM BILLS.

2007. PLAY: UNCLE TOM'S CABIN. DRAMA. 2 ACTS PLAYWRIGHT: ANON (SAT) 23, 26, 27 SEPT 1854 AT THEATRE ROYAL, DUNDEE POSTERS IN DDLLHC "And, oh, if it be possible there can be any human heart that advocates the cause of Slavery, let it turn hither and contemplate the real felicity of a true Christian, who has broken the chain of bondage, and set captivity free," proclaims the bill. Eliza Harris by Miss Eliza Collier; Topsy by Miss Mary Newton; Uncle Tom by C. Lloyds.

2003. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 8 MAY 1854 AT BOWERY, NYC ODELL (VI, 308); BROWN, I, 132; BIRDOFF, 141 Says Odell," ... And I find an odd Uncle Tom's Cabin, with Bowers as Uncle Tom, and Miss Mulligan as Topsy. ... " Odell, p. 308. But Brown says that this production featured James Lingard as Uncle Tom and Mrs. G. C. Howard as Topsy. 343

STOWE George Harris by T. C. Harris; Uncle Tom by Barry; Solomon by Shalders; Tom Loker by Soutar; Skunk by Blyth; Adolph by Kelsey; Sambo by Sheppard; Quimbo by Marchant; Topsy by Mrs. Keeley; Aunt Chloe by Miss Nash;

2008. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKN- PROBABLY AIKEN 26 SEPT 1854 AT CHESTNUT STREET THEATRE, PHILADELPHIA, PA LCLPA CAT, XXVIII, 2556; BIRDOFF Mr. and Mrs. Joseph Jefferson were the Gumption Cute and Marie roles, reports Birdoff, who remarks also that "Philadelphia now had two rival plays, which were received in quite a different manner from that early unfortunate presentation at Welch's Theatre. The slightest hiss at either theatre was drowned out by a united roar of 'Order!'" (Birdoff, p. 109) Harris and Purdy had their rival versions in direct competition in the City of Brotherly Love.

etal. This seems to be a version without Little Eva.

2014. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN [AIKEN?—MY INFERENCE] 30 MAY, 11 JUNE 1855 AT NATIONAL, NYC ODELL (VI, 377) After June 11 it was given almost nightly, says Odell. G. C. Howard as St. Clair; Mrs. Howard as Topsy; Cordelia Howard as Eva; C. K. Fox as Gumption Cute; George L. Fox as Phineas Fletcher and Deacon Perry; Mrs. E. Fox was Miss Ophelia; Uncle Tom by C. W. Taylor; George Harris by George Aiken; Legree by Frank Aiken; Marks by Asa Cushman; Eliza by Miss Hathaway; Cassy by Fanny Herring; Emeline by Miss Horton; Chloe by Mrs. Parker; Marie St. Clair by Miss Hampton; et al. Odell reports that "tender memories were awakened on May 30th, when the Howard family gave a testimonial, afternoon and evening, for the benefit of Purdy. The cast of Uncle Tom's Cabin showed great changes."

2009. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN 2 OCT 1854 AT UNKNOWN THEATRE, DETROIT BIRDOFF, 118; STOCKBRIDGE With Aiken himself as George Harris.

2010. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 19 FEE, MAR 1855 AND CONTINUOUSLY INTO EARLY MARCH AT BARNUM'S AMERICAN MUSEUM, NYC ODELL (VI, 397) Odell reports that this had "all the original scenery."

2015. PLAY: UNCLE TOM'S CABIN. DIORAMA PLAYWRIGHT: UNKNOWN 31 MAY 1855 AT AFRICAN METHODIST EPISCOPAL CHURCH, BRIDGE STREET, NYC ODELL (VI, 422).

2011. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN (OPENING) 16 APR 1855 AT UNKNOWN THEATRE, BALTIMORE, MD BIRDOFF, 111 With the Howards.

2016. PLAY: UNCLE TOM'S CABIN. DIORAMA PLAYWRIGHT: J. N. STILLS 5 JUNE 1855 AT DR. PENNINGTON'S CHURCH, PRINCE STREET, NYC ODELL (VI, 412).

2012. PLAY: SLAVERY PLAYWRIGHT: UNKNOWN 20, 22 APR, 7 MAR 1855 AT THEATRE ROYAL, SHEFFIELD SHEFFIELD CITY LIBRARY BILLS CAT.

2017. PLAY: UNCLE MIKE'S CABIN. BURLESQUE PLAYWRIGHT: UNKNOWN UNKNOWN TIME AT UNKNOWN THEATRE BIRDOFF. 2018. PLAY: UNCLE CROTCHET'S BURLESQUE PLAYWRIGHT: UNKNOWN UNKNOWN BIRDOFF, 121.

2013. PLA Y: UNCLE TOM'S CABIN; OR, LIFE IN SOUTH [SIC] AMERICA. 2 ACTS PLAYWRIGHT: ANON (THURS) 24,25,26 MAY 1855 AT SADLER'S WELLS, LONDON BL BILLS (VOL 386, 2) "The celebrated Adelphi Version," says the Sadler's Wells bill. Mr. Shelby by G. Fisher; Simon Legree by E. F. Edgar;

PARLOUR.

2019. PLAY: UNCLE DAD'S CABIN. BURLETTA 344

STOWE (MON) 17, 18 DEC 1855 (?) AT COPPIN'S OLYMPIC, UNKNOWN CITY BILL IN FOLGER (HENDERSON, VOL 12, F 101) The bill, which is printed on distinctive red paper, has no year on it. However, 17 Dec. was a Monday in 1849, 1855, and 1860, according to the Document Dating Aid. Any of these years is possible. Uncle Tom by W. A. Porter; George Harris by D. F. Boley; Little Eva by Miss Julia Mathews; Topsey by Jerry Bryant; et al. This was on a bill with a "Mary Stuart" play that was probably from Sir Walter Scott's novel, The Abbot.

PLAYWRIGHT: UNKNOWN 1855 BIRDOFF, 121. 2020. PLAY: HAPPY UNCLE TOM. BURLETTA PLAYWRIGHT. UNKNOWN 25 APR 1855 AT UNKNOWN HOUSE, NEWARK, NJ BIRDOFF, 121, 141-2.

2021. PLAY: UNCLE TOM AND HIS CABIN. BURLETTA PLAYWRIGHT: UNKNOWN UNKNOWN BIRDOFF, 121.

2027. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1855 AT BRISTOL THEATRE PASCOE Mrs. W. H. Kendall (nee Madge Robertson).

2022. PLAY: AUNT DINAH'S CABIN. BURLETTA PLAYWRIGHT: UNKNOWN 1855 BIRDOFF, 121.

2028. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 16 APR 1856 AT THEATRE ROYAL, SHEFFIELD SHEFFIELD CITY LIBRARY BILLS CAT.

2023. PLA Y: UNCLE TOM IN ENGLAND; A PROOF THAT BLACK'S WHITE; A ECHO TO THE AMERICAN 'UNCLE TOM'. A LAMPOON PLAYWRIGHT: UNKNOWN UNKNOWN TIME, CA 1855, AT RICHMOND THEATRE, RICHMOND BIRDOFF, 121.

2029. PLAY: THE SLAVE HUNT; OR, LEGREE'S BLOODHOUNDS! AND THE HAPPY DAYS OF UNCLE TOM PLAYWRIGHT: UNKNOWN [H. YOUNG7--MY CONJECTURE] 5 MAY 1856 AT THEATRE ROYAL, OLDHAM BIRDOFF.

2024. PLAY: THE CHRISTIAN SLAVE. FOR STAGED READINGS PLAYWRIGHT: HARRIET BEECHER STOWE 6 DEC 1855 AT UNKNOWN PLACE READ BY MRS. MARY WEBB JUI, P. 13; BIRDOFF, 192 This was read at anti-slavery meetings and on this occasion, Longfellow heard Mrs. Webb perform. It was never staged.

2030. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 11 JUNE 1855 AT CHATHAM, NYC BROWN (I, 324).

2031. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? LATE AUG 1855 AT BROOKLYN MUSEUM, BROOKLYN (FOR THREE WEEKS) ODELL(VI, 419) With Mrs. G. C. Howard, Cordelia Howard, and C. K. Fox.

2025. PLAY: UNCLE TOM'S CABIN. A DANCE PLAYWRIGHT: Wk 15 DEC 1855 AT CITY OF LONDON THEATRE, LONDON BL BILLS (VOL 168, 1) This appeared after "Lucia di Lammermoor," and was promoted as being performed by "the Great Spanish Dancer, Senora Ana de la Fuente."

2032. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 13 SEPT 1855 AT BROOKLYN ODELL (VI, 507) With the Howards.

2026. PLAY: UNCLE TOM'S CABIN; OR, LIFE AMONG THE HAPPY. OPERATIC BURLETTA. 2 ACTS PLAYWRIGHT: ANON 345

STOWE ODELL (VI, 558) With Cordelia Howard.

2033. PLAY: UNCLE [TOM'S CABIN] PLAYWRIGHT: UNKNOWN (WED) 9, 10 APRIL 1856 AT UNKNOWN PLAYHOUSE [ ... ULTON HALL], LANCASTER, PA LCLPA PROGRAMME The badly damaged programme gives Sanford as Uncle Tom. See entry above for 1853, when Sanford played the part. The universal calendar gives 9 April as a Wednesday in 1851, 1856, and 1862. Any one of these years might be possible.

2039. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 31 OCT 1856 AT CHATHAM, NYC BROWN (I, 328). 2040. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 20-25 JULY 1857 AT NATIONAL, NYC ODELL (VI, 560).

2034. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 21 APRIL 1856 AT BARNUM'S AMERICAN MUSEUM, NYC ODELL (VI, 475) With the Howards in their original parts; Odell gives partial cast, including J. Lingard as Uncle Tom; Levick as George Harris; Hadaway as Phineas Fletcher; E. F. Taylor as Simon Legree; Cunningham as Haley; G. Clark as Tom Loker; G. Lingard as George Shelby; Mrs. Frank Drew as Eliza; Mrs. France as Miss Ophelia; Mrs. Lingard as Aunt Chloe; and Mrs. Burroughs as Cassy.

2041. PLAY: UNCLE TOM'S CABIN; OR LIFE AMONG THE LOWLY. 3 ACTS PLAYWRIGHT: ANON [AIKEN-HOWARD?] 1857-1858 AT MARYLEBONE, LONDON LC—ADD MS 52964 (H) BIRDOFF, 163 The ms in the Lord Chamberlain's collection of plays is 25 folios of very light blue paper about 8" wide by 12.75" high. The copy is fair without amendment, and the handwriting is small and legible. The title page says "Uncle Tom's Cabin/ or/ Life among the Lowly/ ... Marylebone Theatre/ 26 Jan 1857." The "Dram. Pers" (on the title page) are as follow: Uncle Tom, George Harris, St Clare, Phineas Fletcher, Mr. Wilson, Haley, Shelby, Like, Marks, Adolph, Doctor, Waiter, Harry the Child, Plantation Slaves, Eliza, Eva, Topsy, Ophelia, Marie, Chloe, Waiting Maids, and Plantation Saves, Slave Catchers, Fugitives, and Passengers. Act 1st, Scene 1 is "Chamber furnished. Enter Eliza, meeting George." Scene 2nd is "The Exterior of Uncle Tom's Cabin." Scene 3rd is "Room in Tavern by the River Side." Scene 5th [numbering inconsistent] is "Enter Eliza with Harry in her Arms." Scene 5th is "Representing the Ohio River." Act 2nd, Scene lstis"St Clare's House—a Handsome parlor." Scene 3rd is "The Tavern by the River." Scene 4th is "A Plain Chamber." Scene 5th is "A Plain Chamber" (again). Scene 6th begins with Phineas saying "Out with you in a twinkling every one." This act ends with a "Picture." Act the Third, Scene the First is "St Clare, Tom, Ophelia and Topsy." Scene 2 begins with Eva saying "I see a lake of glass mingled with fire." Scene 3d begins with Ophelia saying "Uncle Tom, what ... ." Scene 5th begins with Topsy saying "Oh! Dear! Oh dear! Poor Miss Eva, she is gone ... ." The whole ends with "The Vision of Eva in Picture. Tableau."

2035. PLA Y: UNCLE TOM'S CABIN; OR, NEGRO LIFE IN AMERICA PLAYWRIGHT: ANON 9, 12 JUNE 1856 AT SOHO, LONDON BL BILLS (VOL 377, II) The great success attendant upon the production of Jack Sheppard has induced the management to revive another great popular drama.

2036. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN SUMMER 1856 AT ROYAL PARK, LIVERPOOL BIRDOFF, 161 Birdoff calls this "a new adaptation." 2037. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 30 AUG, 18 OCT 1856 AT CHATHAM, NYC--A MATINEE, "FOR THE 374TH TIME" BROWN (I, 327-8) Cordelia Howard was in the company. 2038. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 27 OCT, 8 NOV 1856 AT NATIONAL, NYC

2042. PLAY: THE DEATH OF EVA. A SCENE

346

STOWE BL BILLS (386, II); BIRDOFF, 163-4 "Eva (the Flower of the South)" by "Little Cordelia Howard," says the bill. Topsey by Mrs. G. C. Howard. "The 1857 American dramatization of the familiar old work was compressed within the limits of a three-act drama, ending with Eva's death. Omitted were the episodes of Cassy, Legree, and all that follows, the interest solely centering in the St Clair family and Topsy. "London was naturally curious to see the American interpretation," says Birdoff. Apparently her refers to more than one production here ...

PLAYWRIGHT: AIKEN-HOWARD, REVISED 23 FEE 1857 AT STRAND, LONDON LONDON THEATRE MUSEUM BILLS; BL BILLS (VOL 388); BIRDOFF, 162-3 With the Howards. Reviewed in Era, which Birdoff quotes: "Mrs. Howard's Topsy strikes us as an admirable performance -indeed, as such a perfect embodiment of Mrs. Beecher Stowe's Topsy that one would imagine both ladies had studied from one model. Yet it is not the Topsy we have been familiar with on the stage- it is not merely the droll half idiot, wholly ignorant Topsy of the English stage, but the shrewd, cunning, naturally wicked, almost impish Topsy of reality—the child from whom nobody cared, that in a figurative sense may be said with perfect truth 'never to have been born,' that 'never had no fader, nor moder, nor broder, nor sister, nor aunt-no, none on em—that never had nothin' nor nobody.1 At one moment she is stubboron, insensate, and uimpressionable-anon, she flies into an ungovernable, almost demonic rage, and her cunning and revenge exhibit in a wonderful degree the effects of bad passions, allowed to grow up unchecked, like weeds in the fair garden of the breaSt Her elf-like figure,and the strange, wild, screaming chant in which she sang the song Tse So Wicked,' was something quite suigeneris unlike anything we have before seen; but it seemed to us to realize the picture of the authoress, and we believe that it is a truthful representation of the original.'" (Birdoff, pp. 162-3).

2045. PLAY: UNCLE TOM'S CABIN. DRAMA. 4 ACTS PLAYWRIGHT: FRANK FOWLER; SCENERY AND PANORAMA BY HAYES (TUES) 15 DEC 1857 AT BOSTON THEATRE LCLPA PROGRAMMES The bills promoted this as a "new edition" of the play. It was arranged in four "Leafs," or acts, ending with the "Fall of the Last Leaf," in the "Chamber and Death bed of Eva." The whole concluded with "The Slave Disenthralled." Uncle Tom by Charles Thome; Topsy by Mrs. Charles Thome; Eva by Miss A. M. Quinn (especially featured as a child actress), Cassy by Mrs. Abbott; George Harris by J. B. Howe; Eliza by Miss Lizzie Emmons; Haley by W. A. Donaldson; Simon Legree by Cowell; et al. 2046. PLAY: THE DEATH OF EVA PLAYWRIGHT: UNKNOWN-AIKEN? 15 TO 22 FEE 1858 AT BARNUM'S AMERICAN MUSEUM, NYC ODELL (VII, 59) Says Odell," ... little Cordelia Howard and her parents gave matinees, on Monday, Tuesday, Thursday and Friday, of a condensation of Mrs. Stowe's novel, called The Death of Eva. Eva was now growing up and out of her career on the stage. A version, by G. L. Aiken, of The Scarlet Letter, on February 24th, had Cordelia for little Pearl, Mrs. Howard for Hester ... " reports Odell, p. 59.

2043. PLAY: LIFE & DEATH OF POOR UNCLE TOM. 3 ACTS PLAYWRIGHT: ANON (MON) 23, 24, 26-28 MARCH 1857 AT BRITANNIA, HOXTON, LONDON BL BILLS (VOL 376, 1) The is billed as a "new version" of the novel. Eva. St Clare by Miss Clara St Casse (especially featured in large, boldfaced type) (and singing Sir Henry Bishop's "Come Uncle Tom, and I will Twine," an aria "Take this Flower," a ballad "My Pretty Jane," and "Eva's Dying Song, 'Oh! my dear Father, calm thy brow'," composed by G. Barker); Uncle Tom by W. R. Crauford, Dan Daley by Parry; George Harris by C. J. Bird; Simon Legree by C. Pitt; Ophelia by Mrs. E. B. Gaston; Topsy by Miss Pettifer; Aunt Chloe by Miss Melrose; et al. The scenery especially featured included "Kentucky," "Eva's Home," "Down South," "Legree'sPlantation," and "The Horrors of Slavery."

2047. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 20 JUL 1858 AT CHATHAM, NYC BROWN (I, 329) Brown reports, "Mr. and Mrs. G. C. Howard and Cordelia Howard made their reappearance July 20 after their European tour, of course, in "Uncle Tom."

2044. PLAY: DEATH OF EVA. 3 ACTS PLAYWRIGHTS: AIKEN & HOWARD 13, 16, 17, 18 APR 1857 AT SADLER'S WELLS, LONDON

2048. PLAY: UNCLE TOM'S CABIN; OR, THE FUGITIVE SLAVE 347

STOWE PLAYWRIGHT: ANON (MON) 11-16, 19, 21, 28 OCT 1858 AT VICTORIA, LONDON BL BILLS (VOL 3 91,2) Shelby by Morrison; Robert Shelby by F. Byfield; Daniel Haley by F. H. Henry; Simon Legree by Cecil Pit; George Harris by H. W. Pitt; Uncle Tom by S. Sawford; Mrs. Shelby by Mdlle. Theodore; Lizzy by Miss Jane Dawson; Cassey by Miss Julia Seaman; Aunt Chloe by Mrs. Manders; et al. This seems to have been the version that omits Little Eva and Topsy. The Victoria had done this version before, of course. On two days, 20, and 22 October, the Victoria offered "Dred," which was also from Mrs. Stowe.

ODELL (VII, 155) With the Howards. 2053. PLAY: UNCLE TOM'S CABIN; OR LIFE AMONG THE LOWLY. DRAMA. 4 ACTS PLAYWRIGHT: ANON-AIKEN? (MON) 31 OCT 1859 FOR SIX NIGHTS AND INTERMITTENTLY UNTIL APRIL 1860 AT NEW BOWERY, NYC LCLPA PROGRAMME; ODELL (VII, 239, 243); LCLPA CAT, XXVIII, 256; BROWN (II, 190, 191) With the Howards. St. Clair by G. C. Howard; Uncle Tom by J. W. Lingard; Phineas Fletcher by G. L. Fox; George Harris by J. R. Nagle; Marks by C. K. Fox; Eva by Cordelia Howard; Topsey by Mrs. G. C. Howard; Eliza Harris by Mrs. W. G. Jones; Aunt Chloe by Miss Archer.

2049. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 22 NOV TO 4 DEC 1858 AT BOWERY, NYC ODELL (VII, 137) With the Howards; Loveday as George Harris, Rynar as Legree.

2054. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN 1859 AT PINE STREET THEATRE LCLPA CAT, XXVIII, 256 Stars Cordelia Howard and Mr. and Mrs. G. C. Howard.

2050. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN 14 DEC 1858, 5 JAN 1859 AT BURTON'S TPJPLER HALL, NYC ODELL (VII, 115-6); LCLPA CAT, XXVIII, 256; BROWN (I, 444) This was played as a matinee for Wednesday, Saturday, and Holidays until 4 Jan. 1859, and thereafter as the main feature until 7 January. Delmon Grace as George Harris; Ada Clifton as Eliza Harris; Mrs. H. Jordan as Aunt Ophelia, Lizzie Walton as Marie St Clair, Miss White as Chloe, H. C. Jordan as Uncle Tom, T. Baker as Marks, Delmon Grace as Geo. Harris, Cordelia Howard as Eva, Mrs. G. C. Howard as Topsy, G. C. Howard as St Clair, Carroll Hicks as Phineas, J. Whiting as Wilson, and Wm. Ward as Shelby.

2055. PLAY: [THE OLD PLANTATION; OR, THE REAL UNCLE TOM] PLAYWRIGHT: JAMIESON 21 JUNE 1860 AT WINTER GARDEN, NYC ODELL (VII, 216) Says Odell, "This seemed to be a season of reviving pieces not successful in former productions. Jamieson's futile effort to counteract the influence of Uncle Tom's Cabin~his play of The Old Plantation, or The Real Uncle Tom-was again attempted, on June 21st, this time with Mrs. Hayne as Mad Hetty, Jamieson as Uncle Tom, Harry Jordan as Pete; Bland as Talbot; Barton Hill as Robert; Ringgold as Edward Melville; H. Howard as Scorem; Craig as Muirson; Ward as Abram; Sara Stevens as Daisy; Mrs. Bland as Virginia; Miss Wallis as Mrs. Brown; Miss Denham as Aunt Hester; Mrs. Reeves as Faith. Odell reports that this competitor to "Uncle Tom's Cabin" failed again.

2051. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: HO WARD-AIKEN 1858 AT MCVICKER'S THEATRE, CHICAGO BIRDOFF, 120 McVicker played Gumption Cute; John D. Dillon played Deacon Perry. Mary McVicker debuted in this show at the age of nine, as Eva.

2056. PLAY: UNCLE TOM'S CABIN. GREAT AMERICAN DRAMA. PLAYWRIGHT: ANON (MON) 13-14 MAY 1861 AT EFFINGHAM SALOON, LONDON BL BILLS (VOL 398) Mr. Shelby by G. Lewis; Robert Shelby by T. J. Yanes; Simon Legree by Charles Morton; Daniel Haley by J. Carter; Uncle Tom by S. Sawford; George Harris by C. J. Bland; Cassy by Miss Murray; Aunt Chloe by Miss E.

2052. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 16MAY1859 AT BARNUM'S AMERICAN MUSEUM, NYC 348

STOWE It closed in a week, reports Birdoff—as Odell confirms.

Ashton; et al. This seems to have been a version that lacked Little Eva and Topsy. On 14 May this shared the stage with a production of "Nicholas Nickleby." Effmgham Saloon did this play again the following season (see below, 17 November 1862).

2060. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 25 FEE 1862 AT OLD BOWERY, NYC ODELL (VII 401-2); BIRDOFF, 198 Says Odell, " ... catching the recently re-awakened epidemic of Uncle Tom's Cabin, Stickney put it on, on February 25th, as an equestrian show of magnitude and splendour; real horses, dogs and mules made the whole thing as real as a menagerie. This brilliant idea was entirely original, but, oddly enough, the public did not respond."

2057. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 25 FEE 1862 AT BURTON'S TRIPLER HALL, NYC BROWN (I, 453) Fanny Brown as Topsy. 2058. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN (OPENED) 25 FEE TO 8 MAR 1862 AT WINTER GARDEN, NYC ODELL (VII, 392); LCLPA CAT., MVA/+ SHOWS REVIEWS FROM SPIRIT OF THE TIMES, N.S. (3)V. 6., P. 16. REV. MAR. 8, 1862; BIRDOFF, 198 Walcot as Uncle Tom; Barton Hill as Simon Legree; Davidge as Phineas Fletcher; Harry Hotto as Gumption Cute; A. H. Davenport as George Harris; N. C. Forrester as St. Clair; Josephine Myers as Eva; Annie Wilkes as Eliza; Mrs. H. P. Grattan as Cassy; Mrs. Walcot as Aunt Ophelia; Fanny Browne as Topsy. Says Odell, "on February 25th, the Winter Garden succumbed to the prevailing epidemic of Uncle Tom's Cabin, which infected four theatres simultaneously-Wallack's old house at Broome Street and both Bowerys being the others. I suppose the war was responsible. At the Winter Garden young Walcot played Uncle Tom (I dare say a brother to his Uncle Pete of The Octoroon) ... Just why the Winter Garden, home of the most reputable stars, should have indulged in this freak, I cannot imagine," opines Odell, p. 392. Here the subject "suffered from hurried production," reports Birdoff, noting that the scenery failed to arrive on time.

2061. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 25 (OR 27) FEE 1862 AT NEW BOWERY, NYC ODELL (VII, 406); BROWN (II, 195); BIRDOFF Says Odell, "Here, Lingard reappeared as Uncle Tom, Fox as Deacon Perry; Bradshaw as Tom Loker; Fanny Herring as Topsy; Fanny Beane as Eva; and C. K. Fox as Gumption Cute. 2062. PLAY: UNCLE TOM'S CABIN; OR, LIFE AMONG THE LOWLY [OR, LIFE AMONG THE NIGGER HEADS]. BURLESQUE PLAYWRIGHT: UNKNOWN 1862 AT CONCERT SALOON, BROADWAY, NYC BIRDOFF, 199-201. 2063. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 10 SEPT 1862 AT NEW BOWERY, NYC ODELL (VII, 494); BROWN (II, 197) For George C. Ryer's benefit; he acted Uncle Tom; Fanny Beane as Eva. 2064. PLAY: UNCLE TOM'S CABIN. DRAMA. 3 ACTS PLAYWRIGHT: ANON (MON) 17-22 NOV, (MON) 1-6 DEC 1862 AT EFFINGHAM SALOON, LONDON BL BILLS (VOL 398) Mr. Shelby by Edmonds; Robert Shelby by J. H. Haynes; Simon Legree by Burleigh; Uncle Tom by Charier Verner; Lizzy by Miss Jane Coveney; Aunt Chloe by Mrs. Murray; et al.

2059. PLA Y: UNCLE TOM'S CABIN; OR, LIGHTS AND SHADOWS OF SOUTHERN LIFE PLA YWR1GHT: AIKEN REVISED BY "AN EMINENT MEMBER OF THE PENNSYLVANIA JUDICIARY FEE & 1 MAR 1862 AT WALLACK'S NATIONAL THEATRE (LATER NEW YORK ATHENAEUM), NYC BROWN (I, 509); ODELL (VII, 392, 415); BIRDOFF, 198 Mrs. G. C. Howard as Topsy; Lotty Hough as Aunt Ophelia; Mrs. F. S. Chanfrau as Eliza; Mary Bullock as Eva; G. C. Howard as St. Clair; George Ryer as Uncle Tom.

2065. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1862? IN PITTSBURGH

349

STOWE BIRDOFF, 201-2 With Lillie Wilkinson as Topsy.

Mrs. S. Wilkins as Cassy. The drama was running when Lincoln was assassinated.

2066. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 14 MAR 1864 AT PARK THEATRE, NYC ODELL (VII, 615) C. W. Clarke, H. G. Clarke, Yankee Leffler, and Clara Le Roy.

2072. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 26 APR 1865 AT MRS. CONWAY'S PARK THEATRE, BROOKLYN ODELL (VII, 701) Frank Drew as Topsy (possibly the first male to play the role); T. McKeon as Uncle Tom; F. Gossin as George Harris; T. C. Wemyss as Phineas; Miss King as Eliza; and Mrs. Howard as Aunt Ophelia.

2067. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN MARCH, AUG 1864 AT WILLIAMSBURGH, BROOKLYN ODELL (VII, 623-4) Porter as Uncle Tom; Kitte Fyffe as Topsy; Mrs. Forrester as Miss Ophelia.

2073. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 9 OCT 1865 AT NEW BOWERY, NYC (FOR FIVE NIGHTS) ODELL (VIII, 41) "Uncle Tom's Cabin, which seemed, with the passing of slavery, to be taking new popularity, was revived on October 9th with Florence La Fond (her first appearance with the regular company) as Topsy, Mrs. Jones as Eliza and Cassy ... ."--Odell. George Brookes as Phineas Fletcher and Deacon Perry; George Lingard as St. Clair; G. W. Thompson as Legree; Grisdale as George Harris; Little Lulu (Jordan) as Eva; Mrs. H. Jordan as Miss Ophelia; and J. W. Lingard as Uncle Tom.

2068. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1864(?) [CONJECTURAL BY LCLPA CAT] AT TROY MUSEUM, TROY, NY LCLPA CAT, XXVIII, 256. 2069. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN AUG 1864 AT W A S H I N G T O N WILLIAMSBURGH(?), BROOKLYN ODELL (VII, 624).

HALL, 2074. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 21 MAY 1866 AT BARNUM'S, NYC (FOR FOUR WEEKS) ODELL (VIII, 49); BROWN (II, 5) Says Odell, "Mrs. G. C. Howard, spirit of mischief, ... in her one and only necessary role—Topsy. Uncle Tom's Cabin ran—as if it had never run before—for four weeks."

2070. PLAY: LA CABANA DE TOM, O LA ESCLAVITUD DE LOS NEGROS. [TRANSLATION BY ROMAN DE VALLADARES AND SAAVEDRA PLA YWRIGHT: DUMANOIR & D'ENNERY 1864 AT INSTITUTO ESPAGNOL BIRDOFF.

2075. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 9 JUNE 1866 AT ELKHART, INDIANA LCLPA MWEZ + N.C. 6304 "Last evening, while Hough's Theatrical Troupe were performing 'Uncle Tom's Cabin,' under their spacious pavilion, the canvas was suddenly prostrated to the ground by an unexpected gale of wind."

2071. PLAY: UNCLE TOM'S CABIN. 6 ACTS PLAYWRIGHT: AIKEN? 3-15 APR (DISCONTINUED IN HONOR OF PRESIDENT LINCOLN'S DEATH), REOPENED 26 APR & FF 1865 AT FOX'S OLD BOWERY, NYC ODELL (VII, 656); BROWN (I, 139); BIRDOFF, 207 With the Howards. Mrs. G. C. Howard as Topsy; Fox as Phineas Fletcher and Deacon Perry; McCloskey as Uncle Tom; C. K. Fox as Marks; St Maur as Legree; Charles Foster as St Clair; Harry Chapman as Gumption Cute; H. D. Guion as George Harris; Miss Denvil as Eliza; Mrs. Chapman as Miss Ophelia; Ella Chapman as Eva; and

2076. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 10 & 11 AUG 1866 AT SEAVER'S OPERA HOUSE, WILLIAMSBURGH, BROOKLYN 350

STOWE Thompson (George Harris), (Topsy) ... ."

ODELL (VIII, 122) Says Odell," ... Kate Jordan as Topsy, Harry Jordan as Uncle Tom, Little Lulu Jordan as Eva, and Mrs. Harry Jordan as Miss Ophelia. ... this 'Broadway Theatre Company' remained for performances, on August 16th and 17th, of The Octoroon, and, on the 18th, of The Drunkard." Seaver's Opera House offered this play again in the spring of the next year, with a different company (see below, Feb.-Mar. 1867).

... Mrs. Welsh Edwards

2082. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 18, 29 MAR 1867 AT BOWERY, NYC (FOR TWO WEEKS) ODELL (VIII, 172); LCLPA CAT XXVIII, 256; BROWN (I, 141) Mrs. Howard as Topsy. She seems to have been dancing back and forth between the Bowery in Manhattan and the Academy of Music, in Brooklyn (see below).

2077. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN FALL 1866 AT MAGUIRE'S OPERA HOUSE, SAN FRANCISO, CA BIRDOFF, 220 With Alice Kingsbury as Topsy. Birdoff gives complete cast, p. 223, which he calls "wonderful."

2083. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 18 MAR 1867 AT WOOD'S THEATRE, NYC ODELL (VIII, 207) Odell comments that "Uncle Tom's Cabin was the scarcely novel attraction of March 18th, especially as Mrs. Howard was doing it during the same week at the Bowery" (see above).

2078. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1866? AT PLACERVILLE, CA(?) BIRDOFF, 223 With Charlotte Crabtree (Lotta) as Topsy. 2079. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? LCLPA SAYS C. HERMANN 7 TO 2 FEE JAN 1867 AT BARNUM'S MUSEUM, NYC ODELL (VIII, 179); LCLPA CAT XXVIII, 258 Says Odell, "Mrs. Howard in Uncle Tom's Cabin was the grand New Year's gift of January 7th. The popular lady had a way of making long visits; this time her Topsy was 'so wicked1 till February 2nd.'

2084. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 21, 22 FEE, 21, 22 MAR 1867 AT ACADEMY OF MUSIC, BROOKLYN BROWN (II, 58); ODELL (VIII, 247, 386) Brown reports that "the sufferers by Barnum's Museum fire took a benefit afternoon and evening." Odell gives this at the Academy of Music in Brooklyn, on 21st and 22nd February and 21st and 22nd March 1867. Mrs. Howard as Topsy; and with Rachel Denvil and Ella Chapman.

2080. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 21, 22 FEE & 7 MAR 1867 AT ACADEMY OF MUSIC, BROOKLYN ODELL (VIII, 247); LCLPA CAT, XXVIII, 256 Odell says that these "were alleged to be Mrs. Howard's first appearances in Brooklyn."

2085. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 20 & 21 SEPT 1867 AT ACADEMY OF MUSIC, BROOKLYN ODELL (VIII, 386); POSSIBLY LCLPA CAT-SEE ABOVE ENTRY Mrs. Howard yet again as Topsy.

2081. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 25 FEE TO 2 MAR 1867 AT SEAVER'S OPERA HOUSE, WILLIAMSBURGH, BROOKLYN ODELL (VIII, 256) Odell reports "the never-failing Uncle Tom's Cabin, with Eliza Glassford (Eva), A. Glassford (Uncle Tom), W. J.

2086. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 30 SEPT, 12 OCT 1867 AT BROOKLYN OPERA HOUSE, WILLIAMSBURGH, BROOKLYN ODELL (VIII, 400) Mrs. Howard as Topsy still and again; Uncle Tom by T. W. Keene; Simon Legree by C. F. Seabert; St. Clair by

351

STOWE 2094. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 18 APR 1869 AT WOOD'S THEATRE, NYC BROWN (II, 348) With W. L. Jamison as Uncle Tom, Violet Campbell (Mrs. Bevil Ryan) as Eliza, and Little Eliza Glassford as Eva.

Middleton; Marks by Stanton; Eva by Alice Wren; Eliza by Annie Sefton; Ophelia by Louisa Eldridge. 2087. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 24 FEE 1868 AT BARNUM'S NEW MUSEUM, NYC BROWN (II, 8).

2095. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1 TO 7 MAR 1869 AT OLYMPIC, BROOKLYN ODELL (VIII, 537) Odell reports "Miss Raymond ... as Topsy, with O. B. Collins as Legree ... Little Maud Wallace as Eva, J. F. Haviland as Uncle Tom."

2088. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 9 MAR 1868 AT BANVARD'S OPERA HOUSE AND MUSEUM, NYC ODELL (VIII, 319); BROWN (II, 523) Odell reports that "Ten Nights in a Bar-room was played on the 16th, 17th and 18th; and Oliver Twist on the 19th and 20th. One predicates failure of an enterprise falling back onsuch hackneyed material J. H. Budworth came in, on March 25th, in Rip Van Winkle ... "

2096. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 22 MAR 1869 AT HOOLEY'S OPERA HOUSE, WILLIAMSBURGH, BROOKLYN ODELL (VIII, 548) Odell reports that the production "gave the sturdy art of W. H. Whalley and J. B. Studley. On march 24th, Oliver Twist was the offering ... "

2089. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 15 MAY 1868 AT BROOKLYN OPERA HOUSE, BROOKLYN ODELL (VIII, 404).

2097. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 9 JUN 1869 AT TOWN HALL, FLUSHING ODELL (VIII, 555) Odell reports "Joseph P. Winter presented Uncle Tom's Cabin, playing George Harris to the Eva of Eliza Glassford, the Topsy of Mary Barker, ... [etc.]."

2090. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN 1868 AT PIKE'S OPERA HOUSE, NYC LCLPA CAT XXVIII, 256 Starring Lotta.

2091. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: H. J. CONWAY 1868 AT BOSTON MUSEUM LCLPA PROGRAMME; LCLPA CAT, XXVIII, 256 Drover John by L. R. Shewell; Penetrate Partyside, "an original character from New England," by W. Warren; et al.

2098. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 26 JUNE 1869 AT WASHINGTON HALL, LONG ISLAND ODELL (VIII, 553) This was the "Elliott Troupe," with J. E. Sutton as George; Miss J. V. Dean as Eliza; Sharkey as Marks; Thomas Daly as Deacon Perry; T. Bridge as Uncle Tom; Little Blanche Mortimer as Eva; and Anne Byron as Topsy. Odell opines that the play "made mad the guilty."

2092. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 14 JAN 1869 & 21 APR 1869 AT ACADEMY OF MUSIC, BROOKLYN ODELL (VIII, 531,532) Mrs. Howard as Topsy.

2099. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN JULY 1869 IN SALT LAKE CITY, UT BIRDOFF, 224.

2093. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 6 FEE 1869 AT BOWERY, NYC-MATINEE ODELL (VIII, 466).

352

STOWE 2100. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT. UNKNOWN-AIKEN? 6 SEPT 1869 AT OLYMPIC, NYC ODELL (VIII, 582-3); LCLPA CAT, XXVIII, 259; BROWN (II, 161) Among the women, Mrs. G. C. Howard as Topsy; Ada Vernon as Eliza; Mrs. T. J. Hind as Aunt Ophelia; Alice Cushman as Eva. The male roles were Geo. Harris by J. K. Mortimer, and Asa Cushman as Uncle Tom; George Becks as St. Clair.

ODELL (VIII, 691) J. P. Winter as manager and as George Harris, Kate Glassford as Topsy, Jessie Glassford as Eva. Yet once more this play was followed by Ten Nights in a Bar-room. 2107. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 19 DEC 1870 AT ACADEMY OF MUSIC, BROOKLYN ODELL (IX, 106) Mrs. Howard as Topsy, Minnie Maddern as Eva.

2101. PLAY: ONKEL TOM'S HUTTE PLAYWRIGHT: UNKNOWN 5 JAN 1870 AT STADT-THEATRE, NYC ODELL (VIII, 615).

2108. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 19 SEPT 1870 AT OLYMPIC THEATRE, BROOKLYN ODELL (IX, 113) With the Glassford sisters.

2102. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 26 JAN 1870 AT ACADEMY OF MUSIC, BROOKLYN ODELL (VIII, 667) With Mrs. Howard as Topsy.

2109. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1870 AT TRIMBLE OPERA HOUSE, ALBANY LCLPA CAT XXVIII, 256. 2110. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: CONWAY 1870 AT BOSTON THEATRE LCLPA CAT XXVIII, 256.

2103. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1, 14-25 FEB 1870 AT MRS. CONWAY'S PARK THEATRE, BROOKLYN ODELL (VIII, 662, 663) Says Odell, "And then Mrs. Conway's orderly stage sank to Uncle Tom's Cabin, with Marie Bates as Topsy, Mrs. Prior as Cassy, Jennie Carroll as Eliza, ... Jennie YeamansasEva ... [etc.]."

2111. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 29 APR 1871 AT MRS CONWAY'S, BROOKLYN ODELL (IX, 103) Odell says, "For her benefit, on the 28th, Jennie Carroll acted Zoe, in The Octoroon; by natural sequence, Uncle Tom's Cabin followed, on the 29th."

2104. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 28 FEB TO 14 MAR 1870 (OCCASIONALLY) AT BOWERY, NYC ODELL (VIII, 607) In a repertoire that included "The Felon's Doom," "The Rake's Progress," "Ten Nights in a Bar-Room."

2112. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1 MAY 1871 AT WOOD'S MUSEUM, (AFTERNOON AND EVENING) ODELL (IX, 33); BROWN (II, 532).

2105. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 27 JUN, 4 JUL 1870 AT TONY PASTOR'S, NYC ODELL (VIII, 641).

NYC

2113. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN LATE JUNE 1871 AT TONY PASTOR'S THEATRE, NYC ODELL (IX, 80).

2106. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 2 JULY 1870 AT POPPENHUSEN INSTITUTE, COLLEGE POINT, FLUSHING

2114. PLAY: UNCLE TOM'S CABIN 353

STOWE 17 APR 1872 AT PARK THEATRE, BROOKLYN ODELL (IX, 218).

PLAYWRIGHT: UNKNOWN 19 DEC 1871 AT ACADEMY OF MUSIC, BROOKLYN ODELL (IX, 106) Mrs. Howard as Topsy; Minnie Maddern as Eva.

2120. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 28 JUNE 1872 AT BOWERY, NYC BROWN (I, 151) A benefit of one night for Millie Sackett as Topsy; Wm. Whalley played George Harris.

2115. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN JAN 1872 IN SALT LAKE CITY, UT BIRDOFF, 224 "David McKenzie, again as Tom, was directed by George Pauncefort (the George Harris), who was a purist even in crude folk drama, for he made Uncle Tom speak without the dialect. When Brigham Young heard about it, he hurried to the hall, and with the indignation requisite to a 'Moses of the West,' commanded that Uncle Tom's accent be restored immediately! Further, he was dissatisfied with Uncle Tom's coat. The actor entreated that he be given until morning to recover his Negro dialect, but he was at a loss just how to get another garment. 'Here it is,' Brigham said emphatically, taking off his old 'Prince Albert,' and trying it on McKenzie. [Thereafter] ... Uncle Tom not only spoke with the dialect, but also wore Brigham's own coat," says Birdoff, p. 224.

2121. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 31 JUL 1872 AT FLUSHING TOWN HALL, BROOKLYN ODELL (IX, 247) Odell gives partial cast; Winter as George Harris.

2122. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN AFTER AUG 19 1872 AT BROOKLYN-DURING THE WEEK ODELL (IX, 226).

HOOLEY'S,

2123. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 4 FEE 1873 AT HARLEM MUSIC HALL, NYC ODELL (IX, 333) Supposedly Mrs. G. C. Howard's farewell as Topsy; however, see below—as on 3 Dec. 1873. This must have been a "farewell" from this theatre only.

2116. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 7 FEE 1872 AT ACADEMY OF MUSIC, BROOKLYN ODELL (IX, 222) Odell says, "Mrs. Howard, the eternal Topsy, but with Little Minnie Maddern as Eva." 2117. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 23 FEE 1872 AT HARLEM OPERA HOUSE, NYC ODELL (IX, 205) The 23rd Feb. was the last night. With Mrs. G. C. Howard as Topsy.

2124. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 14 TO 21 APR 1873 AT WOOD'S MUSEUM, NYC ODELL (IX, 280) Minnie Foster as Topsy. 2125. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 30 MAY, 3 JULY 1873 AT BOWERY, NYC ODELL (IX, 291); BROWN (I, 154) Laura Alberta as Topsy, Susie Goodwin as Eva.

2118. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN 8 APR 1872 AT AIKEN'S MUSEUM, BROOKLYN ODELL (IX, 229) Odell says that the production must have "indicated a management in straits, though Sappho was Eva, and Lelia Ellis Topsy."

2126. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 2 TO 7 JUNE 1873 AT TONY PASTOR'S, NYC ODELL (IX, 330-1) Georgie Dickson as Topsy, Nell Olive as Eva.

2119. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN

354

STOWE ODELL (IX, 430, 431, 432) Charles Foster as Uncle Tom, Polly Booth as Topsy, and Little Delmar as Eva. Odell quotes a playbill (probably): "with 'all the religious music and beautiful effects'" for the 5 July performance.

2127. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 16 JUNE 1873 AT HOOLEY'S OPERA HOUSE, WILLIAMSBURGH, BROOKLYN ODELL (IX, 355) Says Odell, "The last week of the Sandford troupe, beginning on June 16th, presented Ten nights in a Bar-room, The Hidden Hand and Uncle Tom's Cabin. Minstrelsy, then, had given way to drama—of a most hackneyed, depressing kind."

2134. PLAY: UNCLE TOM'S CABIN; OR, LIFE AMONG THE LOWLY PLAYWRIGHT: UNKNOWN 1 APR 1874 WOOD'S MUSEUM AND MENAGERIE, NYC—MATINEES ODELL (IX, 413); LCLPA CAT XXVIII, 256; BROWN (II, 537) These were largely matinee performances.

2128. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 23, 24, 25 JUNE 1873 AT APOLLO HALL, WILLIAMSBURGH, BROOKLYN ODELL (IX, 374) Sam. S. Sanford as Uncle Tom.

2135. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 23 MAY 1874 AT WILLIAMSBURGH, BROOKLYN ODELL (IX, 513).

2129. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 31 JULY 1873 AT BOWERY, NYC ODELL (IX, 292) Laura Alberta as Topsy.

2136. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN JULY 1874 AT SHIEL'S OPERA HOUSE, SAN FRANCISCO, CA BIRDOFF This was an early production by this company Jay Rial's company. Many such were to follow. The Lincoln Center Library for the performing arts has a photograph of Eliza in the distance on the ice flow with the bloodhounds in the foreground—MWEZ / + n.c. / 14,270

2130. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 27 OCT 1873 AT THEATRE COMIQUE, HARLEM, NYC ODELL (IX, 464) Harrigan as Uncle Tom, Hart as Topsy, Jennie Yeamans as Eva.

2137. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN AFTER 16 NOV 1874 AT WOOD'S MUSEUM, NYC ODELL (IX, 560) Odell says that "Uncle Tom's Cabin filled 'off afternoons."

2131. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN FOR SIX WEEKS, FALL 1873 AT SHIEL'S OPERA HOUSE, [SAN FRANCISCO, CA?] BIRDOFF, 225 David Belasco played Uncle Tom. 2132. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 3 DEC 1873 AT ACADEMY OF MUSIC, BROOKLYN ODELL (IX, 495) Mrs. Howard as Topsy.

2138. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 26 NOV 1874-THANKSGIVING NIGHT-AT ACADEMY OF MUSIC, BROOKLYN ODELL (IX, 628-9) Mrs. Howard—who had still not retired— as Topsy.

2133. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN DEC 1873, 13 MAR, 1 JUNE, 5 JULY 1874 AT BOWERY, NYC

2139. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN DATE UNCERTAIN: 187475? IN RICHMOND, KENTUCKY

355

STOWE 2146. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN 1875 AT ROYAL ADELPHI, LONDON LCLPA CAT, XXVIII, 256; BIRDOFF, 240 With Miss Hudspeth as Topsy.

BIRDOFF, 225 With the first black man to play Uncle Tom, Sam Lucas, who was so nervous that he flubbed his lines.

2140. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 24 DEC 1874 AT BOWERY, NYC BROWN (I, 157).

2147. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 15 JAN 1876 AT BANVARD'S-FORMERLY WOOD'S THEATRE, NYC ODELL (X, 217) With the Howards, Odell says, "fresh from [their] long term at the Grand Opera House" and together with the Georgia Jubilee Singers ("part of Mrs. Howard's equipment").

2141. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 11 JAN, 22 FEE 1875 AT NIBLO'S GARDEN THEATRE, NYC ODELL (IX, 548, 549); BROWN (I, 215) Odell says that the manager, "Thorne again showed desperation by putting on—Uncle Tom's Cabin ... with C. L. Farwell as Uncle Tom, W. H. Hamilton as George Harris, ... Mrs. Frank Budworth as Topsy, ... Little Amy Lee as Eva ... "

2148. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: HENRYE. STEVENS 24 JAN 1876 AT BOWERY, NYC ODELL (X, 44); BROWN, 316 St. Clair by G. C. Howard; Topsy by Mrs. G. C. Howard; Eva by Nellie Mason; Uncle Tom by J. L. Mason; Legree by F. A. Tannehill; George Harris by W. J. Fleming; Phineas Fletcher by J. B. Browne; Gumpton Cute by Charles Manley; Mr. Wilson and Deacon Perry by W. H. Partello; Marks by E. W. Marston; Aunt Ophelia by Fanny Denham; Marie St. Clair by Nellie Fielding; Eliza by Laura Linden; Cassy by Mrs. Mary Hill; and Chloe by Nellie Young.

2142. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN OCT 1875 AT THIRD AVENUE THEATRE, NYC ODELL (X, 97) With S. S. Sanford in a "curtailed Uncle Tom's Cabin," says Odell.

2143. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 11 TO 16 OCT AND 16-20 NOV 1875 AT WOOD'S MUSEUM, NYC ODELL (X, 35) W. A. Rouse as Uncle Tom; Theresa Wood as Topsy; Louise Sylvester as Eliza and Cassy; Colton as George Harris; Etta Lewis as Eva; A. H. Sheldon as Legree; etal.

2149. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 3 & 4 FEE 1876 AT LYCEUM, BROOKLYN ODELL (X, 160). Charles Warwick as Uncle Tom; L. E. Barker as Marks; Hattie Nay lor as Eva; and Eva West as Topsy.

2150. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 14 FEE 1876 AT COMIQUE, NYC ODELL (X, 83). Odell says, "Perhaps there was too much 'Variety1 in New York even for the all-devouring appetite of the public. At any rate, the Comique breaks out on February 14th, with the glittering novelty of Uncle Tom's Cabin, assisted by the Wilmington Jubilee Singers."

2144. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 23-25 OCT 1875, 28 FEB-4 MAR 1879 AT GRAND OPERA HOUSE, NYC (FOR ONE WEEK) ODELL (X, 30-1); BROWN (II, 613).

2145. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 25 NOV 1875, 21 FEE 1876 AT ACADEMY OF MUSIC, BROOKLYN ODELL (X, 134, 135) With Mrs. G. C. Howard.

2151. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 28 FEE TO 11 MAR 1876 AT BROOKLYN THEATRE,

356

STOWE of Times Review, Vol 91, P. 406, for 27 May 1876. Brown (III) mentions Slavin's Georgia Jubilee Singers.

BROOKLYN ODELL (X, 123-4); BIRDOFF, 226-7 Odell says," ... the cast enlisting Mr. and Mrs. George C. Howard in the original roles, Edward Arnott and Maud Harrison (I can hardly believe it!) as George and Eliza, Blanche Grey as Cassy ... Certainly the famous Topsy had seldom, since her early days, been surrounded with so notable a cast . The Georgia Jubilee Singers sounded a sweet note of tragic discord. And the other ineffaceable melodrama of the last quarter century—The Two Orphans-came back, on March 13, ... ".

2156. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 18 SEPT 1876 AT BOWERY, NYC ODELL (X, 220-1) With the Howards again. Gracie Wade as Eva; George Kunkel as Uncle Tom; Tannehill as Legree; Melville as Marks; Mrs. Jones as Aunt Ophelia (Odell asks of this last actress, "What woman part had she not played in Uncle Tom's Cabin?")

2152. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN 28 FEB & 4 MAR 1876 AT GRAND OPERA HOUSE, NYC ODELL (X, 31); LCLPA CAT, XXVIII, 256; BROWN (II, 613) Stars Mrs. G. C. Howard, Gracie Wade, G. C. Howard, and George Kunkel.

2157. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 25-30 SEPT 1876 AT BROOKLYN BROOKLYN ODELL (X, 312) With Mrs. G. C. Howard as Topsy.

THEATRE,

2158. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-HENRY E. STEVENS? [according to Brown]-AIKEN? 2 OCT 1876 "FOR A LENGTHY VISIT" [FOUR WEEKS] AT GRAND OPERA HOUSE, NYC ODELL (X, 206-7); BROWN (I, 316-7) Odell says, "Uncle Tom's Cabin was an epidemic in those years, and Mr. and Mrs. Howard came to the Grand Opera House, on October 2nd, for a lengthy visit, playing, of course, their original roles of St Clair and Topsy, with Little Grace Wade as Eva, and George Kunkel as Uncle Tom. For the plantation scene Slavin's Georgia Jubilee Singers (Jubilee singing was also then an epidemic) and two hundred 'genuine' coloured 'folks,' men, women, and children, were engaged for extra verisimilitude. This sojourn lasted for five weeks, and, on November 6th, Buffalo Bill entered ... "

2153. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: G. F. ROWE 20 MAR 1876 ON "OFF MATINEES" AT WOOD'S MUSEUM, NYC ODELL (X, 38); LCLPA CAT XXVIII, 256 Odell says, "with the Alabama Jubilee Singers." This play—but a different production—had appeared earlier in the season at Wood's (see above). 2154. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 29 APR & 1 MAY 1876 AT LYCEUM, NYC ODELL (X, 162) Odell says, " ... on the afternoon and evening of Saturday, April 29th, and on the evening of May 1st, some persons acted Uncle Tom's Cabin, with the Georgia Jubilee Singers assisting."

2159. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 6-18 NOV 1876 AT HOOLEY'S, NYC ODELL (X, 328) With Lottie (not Lotta) as Topsy.

2155. PLAY: UNCLE TOM'S CABIN PLA YWRIGHT: UNKNOWN-HENRY E. STEVENS [according to Brown]-AIKEN? 20 MAY TO 10 JUN 1876 AT PARK THEATRE, NYC ODELL (X, 33); LCLPA CAT XXVIII, 259; BROWN (I, 316,111, 193); BIRDOFF, 227 Brown says that "'Brass' was withdrawn May 22, after its own hundredth performance, and was followed by 'Uncle Tom's Cabin,' for a summer season." With the Howards; Bijou Heron as Eva; George Kunkel as Uncle Tom; Cogswell as Simon Legree; Pearl Eytinge as Eliza; Mrs. Brutone as Aunt Ophelia; et al. See Spirit

2160. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1 JAN 1877 AT TOWN HALL, FLUSHING, LONG ISLAND ODELL (X, 355) Reports Odell, '"the New York Grand Opera House Combination,' in Uncle Tom's Cabin, with Virginia

357

STOWE 2167. PLAY: UNCLE TOM'S CABIN. [IN RUSSIAN] PLAYWRIGHT: UNKNOWN CA 1878? IN TAGANROG, RUSSIA REFERENCE IN RONALD HINGLEY, "INTRODUCTION," FIVE MAJOR PLAYS BY ANTON CHEKHOV, NEW YORK: BANTAM, 1982, P. X Hingley reports that Chekhov saw a production of "Uncle Tom's Cabin" in Taganrog.

Jubilee Singers, Little Andrea as Eva, and Lottie as Topsy. Some students of the American stage confuse to this day (1937) this Lottie with the famous Lotta (Crabtree) then playing Zip and Musette to delighted audiences." 2161. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: HENRY E. STEVENS? 15, 22, 29 JAN 1877 AT WOOD'S MUSEUM [LATER DALY'S THEATRE], NYC BROWN (I, 317) George Kunkel was Uncle Tom, Gracie Wade was Eva.

2168. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 23 APR 1877 AT BOWERY, NYC ODELL (X, 224) With Abby Hampton as Topsy.

2162. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 15, 22, 29 JAN 1877 AT BROADWAY [FORMERLY WOOD'S], NYC BROWN (II, 541) Mrs. G. C. Howard as Topsy.

2169. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 13-20 AUG 1877 AT HELLER'S WONDER THEATRE, NYC [i.e., WOOD'S; this theatre changed names and Odell and Brown give it different names at the time of this production.] ODELL (X, 292); BROWN (II, 394); BIRDOFF, 227 Odell says, "Laura Alberta (late Louise, in The Two Orphans) played Topsy here, in the week of August 13, with Louis Mestayer as Uncle Tom, Leila Granger as Eva, and one hundred negroes in the plantation scenes."

2163. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT. UNKNOWN-AIKEN? 22FEB 1877 AT ACADEMY OF MUSIC, BROOKLYN ODELL (X, 325) With Mrs. G. C. Howard. 2164. PLAY: UNCLE TOM'S CABIN PLAYWPJGHT: UNKNOWN FEE, 9 APR 1877 AT THIRD AVENUE THEATRE, NYC ODELL (X, 271) With Fannie Wood as Topsy in February, and Kate Singleton as Topsy in April.

2170. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN 15 OCT 1877 AT GRAND OPERA HOUSE, NYC ODELL (X, 391); LCLPA CAT, XXVIII, 257 Odell reports Mrs. Howard 's "eternal Topsy, which ... stayed on and on as usual. Gracie Wade was Eva ... During the week of November 5th, Poole and Donnelly caused us to know that, in Uncle Tom's Cabin, the Louisiana Troubadour Cabin Singers and the Virginia Jubilee Singers would lift up their voices in such dearly loved ditties as Am Massa Gwine to Sell Us Tomorrow, the gospel Train Am Moving, Sweet By and By, Steal Away to Jesus, Massa's in the Cold, Cold Ground, Old Georgia Ain't What it Used to Be, Old Folks at Home, Yes Children, We are Gwine Up, and Oh, Lord, Dese Bones ob Mine. I had to tell my kind reader about this extra attraction, lest he might think that in those days Uncle Tom's Cabin was just Uncle Tom's Cabin. "The negro classic closed on November 17th, and, on the 19th Lester Wallack appeared ... in his everlasting Rosedale."

2165. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 16 APR 1877 AT LEXINGTON AVENUE, NYC ODELL (X, 293) With Kate Singleton as Topsy. 2166. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN (MON) 29 APR 1877 AT UNKNOWN THEATRE LCLPA MWEZ / + / N.C. / 30114.14 Uncle Tom by O. A. Skinner; Marks, the Lawyer by Win. Davidge, Jr.; Topsy by Miss Kate Largo; et al. In the program for the production at the Alvin Theatre in 1933, featuring Otis Skinner as Uncle Tom, an apparent photostatic copy of a programme for this production appears.

2171. PLAY: UNCLE TOM'S CABIN. THIRD ACT ONLY PLAYWRIGHT: UNKNOWN 1 NOV 1877 AT ACADEMY OF MUSIC, NYC

358

STOWE This seems to be at the University of Chicago library. Odell, reports," ... a huge company, including Marie Bates ... as Topsy, Kunkel as Uncle Tom, Belle Wharton (only two seasons ago the stolen child in Pique) as Eva, Harry Hawk as Marks ... more important to the crowd, they enlisted the Louisiana Troubadour Quartette, Sarah Washington, the camp meeting leader, Master and Miss Slidell, dancers, and Horace Weston, the famous banjo, ... Jarrett and Palmer took this troupe to Europe, beginning on August 29, 1878, at the Princess Theatre, London. It endured three weeks at Booth's, closing on March 9th, to make room for the boy actor, N. S. Wood, who came in, on Monday, the llth, as Poor Jo, in Tom All Alone's, which he acted all week, except Thursday and Friday evenings and Saturday matinee, when he tried the sorely-tried Hamlet. As Poor Jo, Wood had, according to the Herald review, weak support in McManus as Bucket, T. J. Hind as Tulkinghorn, and W. B. Cahill as Guppy, but better in Lillie Eldridge as Lady Dedlock and Jennie Carroll as Hortense." Reviewed in Spirit of the Times, vol 95., p. 234, 6 Apr 1878.

ODELL (X, 436) Odell reports, "the third act of Uncle Tom's Cabin, with Mr. and Mrs. Howard, Gracie Wade, George McDonald, and the Jubilee Singers." 2172. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 6 NOV 1877 AT OLYMPIC, BROOKLYN ODELL (X, 331) With the Georgia Jubilee Singers. 2173. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 24 TO 29 DEC 1877, 22, 23 MAR 1878 AT BROOKLYN ACADEMY OF MUSIC, BROOKLYN ODELL (X, 515) With Mrs. Howard as Topsy in December; in March was introduced a new Topsy—Marie Bates; George Kunkel as Uncle Tom; et al. March also saw the "Louisiana Troubadour Quartet."

2178. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: J. PEMBERTON SMITH & G. C. HOWARD 1 APR 1878; CLOSED BY 22 APR 1878 AT NEW FIFTH AVENUE THEATRE, NYC BROWN (III, 21); BIRDOFF, 234 Brown says "Mr. and Mrs. G. C. Howard, the Jubilee Sisters, Warren Griffin, G. W. Slaughter, Henry Duncan, Primrose Kelley, and Jasper Green in the cast." Birdoff reports that by now Mrs. Howard had played Topsy 3,500 times.

2174. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1877 IN CINCINNATI BIRDOFF, 227-8 With the New Orleans Jubilee Singers. 2175. PLAY: [UNCLE TOM'S CABIN] [SLAVE LIFE ON THE OLD PLANTATION] PLAYWRIGHT: UNKNOWN 1877 AT ACADEMY OF MUSIC, NEW ORLEANS, LA BIRDOFF, 228 With the Tennessee Jubilee Singers. Described as "Morsels of Ethiopian Mirth, Fun and Frolic."

2179. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1 & 22 APR 1878 AT OLYMPIC, NYC ODELL (X, 443-4); BROWN (II, 167); BIRDOFF, 235.

2176. PLAY: EVA. A MUSICALLY ILLUSTRATED SERVICE PLAYWRIGHT: JAMES TIPTON (1877-1888?) LONDON: WEEKES, 1877. NUC VOL 572.

2180. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1 APR 1878 AT WEST SIDE THEATRE, NYC ODELL (X, 482) Josie Croker as Topsy.

2177. PLA Y: UNCLE TOM'S CABIN. 6 PARTS 49 PP PLA YWRIGHT: GEORGE FAWCETT ROWE 18 FEE 1878 AT BOOTH'S, NYC (THREE WEEKS) ODELL (X, 366-7); NUC VOL 507, P. 314; BROWN (I, 317, III, 125); LCLPA CAT XXVIII, 259; BIRDOFF NUC SAYS "UNCLE TOM'S CABIN. DRAMATIZED BY GEORGE FAWCETT ROWE ... [1878] AND PRINTED FOR PRIVATE CIRCULATION ONLY.

2181. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 22 & 23 MAR 1878 AT ACADEMY OF MUSIC, BROOKLYN ODELL (X, 516); BIRDOFF, 237 Odell reports "a new Topsy—Marie Bates—with George Kunkel as Uncle Tom, Belle Wharton as Eva, ... and

359

STOWE two bands of jubilee singers." (pp. 516-7). Birdoff reports that "When Jarrett and Palmer erected the cabin at the Academy of Music in Brooklyn, in March, 800 old-time 'cotton-field hands" participated in the festival scene. In a season of fourteen weeks the company cleared $45,000, giving the piece to 27,000 in a single fortnight in Philadelphia [sic]. During the farewell representations, before the departure of the troupe for London, a genuine shortage of colored jubilee singers existed in New York.

Kentucky, George Harris, Locker, Adphi Julius Ceasar [sic], Halley, Marks, Mr. Wilson, Mr. Shelley, Doctor, Eliza, Mrs. Shelley, Evangeline, Jane, Rachel, Harry (Eiza's child), Popsey, Chloe, and various Slaves, Planters, Auctioneers, etc., etc. Act I, Scene 1 is "The Planters House." Scene 2 is "Front Chamber." Scene 3rd is "Uncle Tom's Cabin." Scene 4 is "Interior of an Inn." Scene 5 is "Exterior of Inn. Ice Scene." This act finished with the Ice Scene in a tableau. Act 2, Scene 1 is "The Steam Boat." Act 3, Scene 1 is "Evangeline's Chamber." Act 4, Scene 1 is "TheSubterranean Route." Scene 2 is "Front Chamber." Scene 3 is "The Frontier between the United States and Canada." The whole ends with a tableau—as does each of the acts. Revived Princess Theatre in same year. This is probably the version that Brown refers to (I, 317) as visiting "all the principal provincial cities" of England. Birdoff says that three separate companies, under the ultimate management of Jarrett and Palmer, left the U. S. for the theatrical assault on Great Britain in summer and fall of 1878. This production was the first under their auspices, apparently.

2182. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 15 APR 1878 AT WOOD'S THEATRE (LATER HOOLEY'S), NYC ODELL (X, 520); BIRDOFF, 235 Louise Higgins as Topsy, with five-year-old Little Lulu as Eva. "Hosts of liberated slaves overflowed the stage, high-lighting Miss Georgia Allen, the colored Southern nightingale, and Weston's Mississippi Cabin Jubilee Singers. 2183. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: CONWAY 13 MAY 1878 AT BOSTON MUSEUM LCLPA CAT XXVIII, 257; BIRDOFF, 227 With William Warren and 40 Jubilee singers.

2186. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: ROWE 31 AUG 1878 AT DRURY LANE, LONDON BIRDOFF, 241. 2187. PLAY: UNCLE TOM'S CABIN; OR ELIZA AND UNCLE TOM PLAYWRIGHT: GEORGE F. ROWE 31 AUG 1878 AND AFTERWARD - AFTERNOON MATINEES-AT PRINCESS, LONDON LC—ADD MS 53206 (K) NICOLL (V, 552); BIRDOFF, 241 See above production at the Standard, for what appears to have been a substantially similar play. There is, however, also a text for this particular production in the Lord Chamberlain's plays. The title page of this printed/published edition of 49 pages says "Uncle Tom's Cabin/ Dramatized by/ George F. Rowe/ expressly for/ Messrs Jarrett & Palmer; and/ printed for private circulation only/ 1878." The sticker of licensure indicates Princess Theatre, 31 August 1878. There is no list of characters. Act I, Sc 1 is "Veranda of Planter's House;" Sc II is "Uncle Tom's Cabin;" Scene 3 is "Interior of Tavern near the Ohio;" Sc IV is "Banks of the Ohio." Act II is "Garden of St Clair's House;" Sc II is "A Tavern as before;" Scene III is "A Rocky Pass and Waterfall;" Act III, Sc 1 is "Southern Garden as before;" Sc II is "Room in Bird's House;" Sc III is "Chamber in St Clair's;" Sc 4 is "Semi Pavilion and Garden Tableau;" Act IV, Sc I is

2184. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 19(7), 29 JULY 1878 AT BOWERY, NYC ODELL (X, 411); BIRDOFF, 235 Odell gives partial cast; Millie Sackett as Topsy. 2185. PLAY: ELIZA AND UNCLE TOM; A NEW VERSION OF 'UNCLE TOM'S CABIN' [TOM'S CABIN; OR, ELIZA AND UNCLE TOM]. DRAMA. 4 ACTS PLA YWRIGHT: GEORGE FAWCETT ROWE 19 AUG 1878 AT STANDARD THEATRE, MANCHESTER (?) LC—ADD MS 53207 (G); BIRDOFF, 241 NICOLL (V, 552) The ms in the Lord Chamberlain's collection of plays is 80 folios of lined paper, each measuring about 8" wide by 12.75" high. The copy is fair, though hasty; it is virtually never amended. The title page reads "Eliza and Uncle Tom/ a new version of 'Uncle Tom's Cabin'/ A Drama in / 4 Acts / Act 1st/ Intended for Representation at the Standard Theatre on Monday Sept. 30 1878." The sticker of licensure indicates "'Eliza' Drama 4 Acts/ National Standard/ September 24 1878." The characters are Uncle Tom, Mr. St Clair, Captain

360

STOWE ODELL (X, 769) Little Dot was Topsy.

"Slave Market in New Orleans;" Sc II is "Lower Deck of a River Steamboat; Sc 3 is "Plantation on the Mississippi;" Act V is "Legree's House;" Sc II is "Exterior of a Tavern in a Mississippi Village;" Scene II is "A Wretched Cabin."

2192. PLA Y: UNCLE TOM [AT LORD C'S AS "ELIZA AND UNCLE TOM"]. DRAMA PLAYWRIGHT: LEONARD RAE 30 SEPT 1878 AT STANDARD, LONDON NICOLL (V, 533); MY DISS; BIRDOFF, 245 Birdoff quotes Augustin Daly: "I went to the Standard after dinner Saturday ... . at the east end, and found it to be one of the finest theatres in the metropolis. It is fully as large a place as our Academy; has four tiers and an acre of space called the pit. They were playing an English adaptation of the French version of the American Uncle Tom, in which Eva is restored to life and Tom does not die. The inventive Frenchman has also created a mate for Topsy in the character of a fancy darkey named Julius -- and the two dance breakdowns together, and sing comic duets and talk comic trash in a mixture of cockney Irish and Scotch, which the innocent (or rather guilty) actors imagine is a good imitation of the genuine canebrake lingo. Five of the London theatres are playing Uncle Tom now, but no one place is hurting the other."

2188. PLA Y: UNCLE TOM'S CABINLE TOM'S CABIN; OR, LITTLE EVA'S DEVOTION. DRAMA. 4 ACTS PLAYWRIGHT: WALTER BANKS (MON) 2 SEPT 1878 AT THEATRE ROYAL, DUNDEE POSTER AND PROGRAMME IN THE COMET, IN DDLLHC The poster indicates a very elaborate production, including a "Notice" that "This Powerful Drama, which is entirely New, and has excited the admiration of all who have witnessed it, was written in commemoration of the visit to this Country of the REV. JOSIAH HENSON, Mrs. Beecher Stowe's own Original Uncle Tom, and his most gratifying reception by HER MOST GRACIOUS MAJESTY THE QUEEN. Every care has been taken to depict by means of Beautiful Scenery and a Powerful Cast those thrilling scenes and wild adventures of Slave Life which now have happily passed away." Uncle Tom by Walter Banks, who was especially featured. Eva by Miss Janet Banks, also prominent on the bill.

2193. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN 15 OCT 1878 AT GRAND OPERA HOUSE, NYC LCLPA CAT XXVIII, 257; BROWN (II, 616); Stars Mrs. G. C. Howard, Gracie Wade, G. C. Howard, and George Kunkel.

2189. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKN-ROWE? SEPT 1878 AT ROYAL AQUARIUM, LONDON BIRDOFF, 241 " ... it played simultaneously at two theatres— the Princess Royal in the afternoon, and the Royal Aquarium, evenings," reports Birdoff.

2194. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 28 OCT 1878, 12 MAY 1879 IN BRIGHTON REFERENCES IN DAVEY.

2190. 2195.

PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 9 SEPT 1878 AT GRAND OPERA HOUSE, NYC ODELL (X, 593); BIRDOFF, 235 Odell reports, "On September 9th, Annie Pixley was to have appeared in M'liss, but Katie Mayhew having been sustained in her suit to prevent such infringement of her rights of ownership in the play, the Grand Opera House was obliged to substitute for that Western novelty the Southern antiquity-Uncle Tom's Cabin, with Sallie Partington as Topsy".

PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: C. HERMANN (?) [CONJECTURAL BY LCLPA CAT] 1878 AT DANVILLE OPERA HOUSE, DANVILLE, PA LCLPA CAT XXVIII, 257 Stars Chas. Mestayer, L. E. Barker, Little Dot, Little Gertie.

2196. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1878 AT CALIFORNIA THEATRE, SAN FRANCISCO, CA(?) BIRDOFF, 224 Maude Adams as Eva.

2191. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 10 SEPT 1878 AT TOWN HALL, FLUSHING, LONG ISLAND

361

STOWE On 26 April, this had moved to the foot of the poster, with "The Octoroon" now leading the way.

2197. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 13 TO 18 JAN 1879 AT NOVELTY THEATRE, WILLIAMSBURGH, BROOKLYN ODELL (X, 753) The Howards again. 2198. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 20 JAN 1879 AT COURT BROOKLYN—FOR TWO WEEKS ODELL (X, 733) The Howards again.

2203. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 2 JUNE, 1879 AT SMITHSONIAN HALL, BROOKLYN ODELL (X, 767) Odell reports, "Jarrett and Palmer's Uncle Tom's Cabin was, according to the Long Island Star, to play at Smithsonian Hall, on June 2nd."

SQUARE, 2204. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 29 SEPT 1879 AT TOWN HALL, FLUSHING, LONG ISLAND ODELL (XI, 212-3) With Little Dot as Topsy; Charles Mestayer as Uncle Tom.

2199. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 8 FEE 1879 AT SMITHSONIAN HALL, BROOKLYN—AFTERNOON AND EVENING ODELL (X, 765-6) Odell reports, " ... along with the South Carolina Jubilee Singers, Ida La Grange (Topsy), Little Lillie Lee (Eva), Percy Garnett (Marks) and William M. Frazier (Uncle Tom).

2205. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 4 OCT 1879 AT STATEN ISLAND THEATRE, NYC ODELL (XI, 215) With "The Octoroon" on the same evening; Odell also reports "Bella Martin ('the only colored Topsy in the world')."

2200. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 17 FEE 1879 AT BOWERY, NYC ODELL (X, 608-9) Millie Sackett as Topsy, Little Lucy Kingston as Eva—and, "of course with an array of jubilee singers," reports Odell.

2206. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 6 OCT 1879 AT AMERICAN THEATRE (THIRD AVENUE), NYC ODELL (XI, 139-140) Says Odell, " ... a reconstructed Uncle Tom's Cabin, with Abbie Hampie ([sic] in the Herald) as the only 'coloured' Topsy (late of Jarrett and Palmer's Company, Little Eva French ... and with fifty men, women and children in the plantation scene. There are no more bills at Harvard till December 1st."

2201. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 7 MAY 1879 AT STATEN ISLAND THEATRE, NYC ODELL (X, 774) Little Dot as Topsy, Little Lulu as Eva.

2207. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 13 OCT 1879 AT BERRY'S THEATRE, WILLIAMSBURGH, BROOKLYN ODELL (XI, 204) With the "Howard Variety Combination. "-Odell.

2202. PLAY: UNCLE TOM'S CABIN. DRAMATIC ROMANCE. 5 ACTS PLAYWRIGHT: ALGERNON WILLOUGHBY (MON) 7, 21, 26 APR 1879 AT THEATRE ROYAL, DUNDEE POSTERS IN DDLLHC Uncle Tom by P. Gordon; Eva by "Little Katie Adams." This elaborate production featured "REAL NEGROES! FREED SLAVES and the original African JUBILEE SINGERS! brought over to this country by Messrs Jarrett and Palmer of New York."

2208. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: ROBERT JOHNSON [BROWN'S ATTRIBUTION1 20 OCT 1879 AT HOFEL'S OLYMPIC, NYC

362

STOWE PLAYWRIGHT: UNKNOWN 1879 AT SIEGE OF PARIS OPERA HOUSE, BOSTON LCLPA CAT, XXVIII, 257 Juvenile production, starring Blanche Sherwood.

[FORMERLY LAURA KEENE'S] ODELL (XI, 61-2); BROWN (I, 318; II, 168); LCLPA CAT XXVIII, 259 Odell editorializes, "What is a failing house without its Uncle Tom's Cabin? Prepare, therefore, for the 'entirely new' Uncle Tom's Cabin of Robert Johnston, brought out at the Olympic on October 20th with this cast: [Here Odell gives complete cast, which includes J. B. Studley as Uncle Tom; Jennie Yeamans as Topsy, Little Eva French as Eva; F. A. Tannehill as Legree; De Loss King as George Harris; Ethel Allen as Eliza; Helen Adell as Cassy; Mrs. W. G. Jones as Aunt Ophelia; Frances Kemble as Mrs. Bird; et al.] ... We have met far worse casts of this 'classic'; and Mrs. W. G. Jones, Aunt Ophelia now, was the original Eliza at the National, in 1853, and later Mrs. Bird, in a revised version in 1854. All this in the Aiken version; in 1852, she had in Taylor's unsuccessful adaptation, enacted Crazy Meg of the Glen! Turn backward in thy flight, O time! and let us count the number of her parts in this play. "Uncle Tom's Cabin now provided but two weeks of hope forHofele. ... "—Odell. This was reviewed in the New York Dramatic Mirror, Oct 25, 1879.

2213. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 15 DEC 1879 TO JAN 10 1880 AT AQUARIUM THEATRE, NYC ODELL (XI, 146); BROWN (III, 372) Says Odell, "I cannot understand the confounding vogue of this thing, unless it is, as I suspect, a really dramatic show ... Jennie Yeamans as Topsy and Little Amy Slavin as Eva." 2214. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 9 TO 14 FEE 1880 AT COURT SQUARE, NYC ODELL (XI, 185) Odell reports "Slavin's Original Uncle Tom's Cabin ... with the Georgia Cabin Singers." 2215. PLA Y: UNCLE TOM'S CABIN. ONE ACT FROM THE PLAY PLAYWRIGHT: UNKNOWN 16 TO 21 FEE 1880 AT BOWERY GARTEN, NYC ODELL (XI, 120) This was an act of the play with Sam S. Sanford as Uncle Tom.

2209. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 20-25 OCT 1879 AT VOLKSGARTEN, NYC ODELL (XI, 112) Odell calls this "some sort of Uncle Tom's Cabin." George Middleton as Legree and George Harris; Rosie Palmer as Topsy, Little Frederica as Eva; Isabella Wilson as Miss Ophelia. This version of the old classic ran through the week of October 27th-November 1st."

2216. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 22 FEB (WASHINGTON'S BIRTHDAY) 1880 AT HARLEM MUSIC HALL, NYC ODELL (XI, 151) This was a performance on Washington's birthday.

2210. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 20 NOV 1879 AT GERMAN CLUB ROOMS, NYC (STATEN ISLAND) ODELL (XI, 215-6) With Mrs. G. C. Howard-'"her first appearance in Stapleton, notwithstanding unscrupulous persons had tried hitherto to deceive."'-Odell, p. 216.

2217. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1 MAR 1880 AT WOOD'S BROADWAY, NYC—TWO WEEKS ODELL (XI, 64) With the South Carolina Jubilee Singers.

2211. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 22 NOV 1879-TWO PERFORMANCES—AT ACADEMY OF MUSIC, BROOKLYN ODELL (XI, 181) With Mrs. Howard.

2218. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 15 MAR 1880 WINDSOR THEATRE, NYC ODELL (XI, 65) With Mrs. Howard again as Topsy.

2212. PLAY: UNCLE TOM'S CABIN

363

STOWE Odell reports, "a unique cast ... Bobby Newcomb as Topsy, Farwell as Uncle Tom, Pendy as George Harris ..."

2219. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 15-17 APR 1880 AT MUSIC HALL, BROOKLYN ODELL (XI, 199) With Mrs. Howard; Laura Linden as Eliza; George Maddox as George Harris; George McDonald as Uncle Tom; and Lydia Cordaun as Eva.

2225. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 14 SEPT 1880 AT OPERA HOUSE, LONG ISLAND ODELL (XI, 427) This was a performance by the Clarke's Fifth Avenue Company.

2220. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 3 TO 8 MAY, 1880 AT ATHENAEUM, BROOKLYN ODELL (XI, 200) "The Miniature Opera Company presented at the Athenaeum no less an antique than Uncle Tom's Cabin," says Odell, p. 200.

2226. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 18 SEPT 1880 AT FIFTH AVENUE, FLUSHING, LONG ISLAND ODELL (XI, 425) Little Dot as Topsy.

2221. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 10 & 11 MAY 1880 AT TOWN HALL, FLUSHING, LONG ISLAND ODELL (XI, 214) Odell reports: "The Two Orphans and Uncle Tom's Cabin—those deathless images of fear and pity."

2227. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 20-25 SEPT 1880 AT NOVELTY WILLIAMSBURGH, BROOKLYN ODELL (XI, 411) Kate Partington as Topsy.

THEATRE,

2222. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: G. W. HARRIS 1880(?)--CONJECTURAL BY LCLPA CAT THEATRE ROYAL, PECKHAM, ENGLAND LCLPA CAT XXVIII, 257.

2228. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 11 OCT 1880 AT WINDSOR THEATRE, NYC ODELL (XI, 279) Kate Partington as Topsy, "and with 'one hundred on the stage', including, of course, jubilee singers."

2223. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 24 MAY 1880 AT STANDARD, NYC—FOR A SUMMER SEASON ODELL (XI, 50); BROWN (III, 243) Odell says, "Slavin's Uncle Tom's Cabin ... should have been serious enough, when, on May 24th, it began a summer season at the Standard, with all the then customary adjuncts of plantation scenes, jubilee singing, etc. I fear it was too serious or perhaps it was the heat of early summer. At any rate, this show soon took its way to vaguer regions of chance, and the Standard on June 20th was advertising, nightly, Cooke, Crawford and Miss Kingsland in Tricks of Mediums."

2229. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 18 OCT 1880 AT AQUARIUM, NYC [LATER THE NEW PARK] ODELL (XI, 360); BROWN (III, 373) Lillie De Gray as Topsy, Amy Slavin as Eva. 2230. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 5 & 6, 8-13 NOV 1880 AT ATHENAEUM, BROOKLYN ODELL (XI, 403) And repeated by request for the week of the 8th. With Julia Sheldon as Topsy.

2224. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 5-10 JULY 1880 ABERLE'S, NYC ODELL (XI, 110)

2231. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 25 DEC 1880 AT ACADEMY OF MUSIC, NYC

364

STOWE PLAYWRIGHT. UNKNOWN 21-26 MAR 1881 AT NATIONAL , NYC ODELL (XI, 332) Little Gertie as Eva; Dot Aborn as Topsy; W. T. Dulaney as Uncle Tom; Marston as Phineas Fletcher.

ODELL (XI, 307); BROWN (II, 91) This was Jay Rial's version. With Arthur Gregory as Uncle Tom; L. R. Stockwell as Marks; Harry Duffield as George Harris; Sidney Hicks as Legree and Phineas Fletcher; J.N. Drew as St. Clair; Sallie Partington as Topsy; Baby Blanche as Eva; Hattie Lewis as Aunt Ophelia; Mrs. Jay Rial as Eliza; Florence Elmore as Cassy.

2236. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 20 JUNE 1881 AT NTBLO'S GARDEN, NYC ODELL (XI, 272) This was Jay Rial's Company. Arthur W. Gregory as Uncle Tom; H. S. Duffield as George Harris; L. R. Stockwell as Marks; Sid Hicks as Phineas Fletcher and Legree; Blanche Newcomb as Eva; Sallie Partington as Topsy; Mrs. Jay Rial as Eliza. Odell also reports that "a comical star donkey, Jerry," was part of the show.

2232. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 27 DEC 1880 TO 29 JAN 1881 AT BOOTH'S, NYC ODELL (XI, 243); BROWN (I, 318); BROWN (III, 136) Odell reports, " ... revived by H. C. Jarrett and H. J. Palmer's company ... Those were the'palmy'days, or at least their degenerate offspring. The cast of Uncle Tom's Cabin was somewhat better than that of many recent revivals. [Here Odell reproduces the entire cast] ... one remembers, also, that Uncle Tom's Cabin was current, in part of this Booth's run, at the Academy of Music. It is simply inexplicable, until one recalls the exciting melodramatic character of many of the incidents in the play. "--Odell. Lewis Morrison as Legree, A. H. Hastings as Uncle Tom, Ogden Stevens as Geo. Harris, Zoe Turtle as Eva, Mrs. W. A. Rouse as Ophelia, Jennie Carroll as Casy, Blanche De Bar as Eliza. Brown gives complete cast in III, 136.

2237. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 2 JULY 1881 AT DICK PARKER'S AMERICAN THEATRE, NYC ODELL (XI, 355) Joseph P. Winter as George; Adele Saunders as Topsy; Ray Alexander as Eliza; Marie Vernon as Ophelia; Maddox as Legree; Ward Swift as Uncle Tom. 2238. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 12 SEPT 1881 AT ACADEMY OF BROOKLYN ODELL (XI, 610) Jay Rial's Uncle Tom's Cabin Company.

2233. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 7 FEE 1881 AT WINDSOR THEATRE, NYC ODELL (XI, 280); BROWN (II, 361) Odell reports, "the company recently seen at Booth's transferred to the Windsor their Uncle Tom's Cabin."

MUSIC,

2239. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN SEPT? 1881 AT JAMAICA, LONG ISLAND ODELL (XI, 646) Odell says, "Long Island's chronic play."

2234. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 21-26 FEB. 1881 AT ACADEMY OF MUSIC, BROOKLYN ODELL (XI, 394) Jay Rial's version, which the New York Daily Mail of 1 Jan 1881 reviewed, according to LCLPA CAT XXVIII, 259. See also the LCLPA clippings for laudatory fragments of reviews, and a list of performance venues. The LCLPA catalogue indicates a speculation that a programme in that collection could have been from that production—light yellowed paper, with Uncle Tom by Arthur W. Gregory; George Harris by Harry S. Duffield,

2240. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 28 OCT 1881 AT OPERA HOUSE, FLUSHING, LONG ISLAND ODELL (XI, 645) This was Jarrett and Palmer's Company.

etal.

2241. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 31 OCT 1881 AT NOVELTY

2235. PLAY: UNCLE TOM'S CABIN

365

THEATRE,

STOWE 15-20 MAY 1882 AT ACADEMY OF MUSIC, BROOKLYN ODELL (XI, 615) Jay Rial's version yet again.

WILLIAMSBURGH, BROOKLYN ODELL (XI, 633) Mrs. G. C. Howard yet once more! 2242. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 21-26 NOV 1881 AT ACADEMY OF MUSIC, BROOKLYN ODELL (XI, 612) Jay Rial's Version.

2249. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN MAY 1882 AT BUNNELL'S MUSEUM, BROOKLYN ODELL (XI, 625).

2243. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 5 DEC 1881 AT WINDSOR THEATRE, NYC ODELL (XI, 491) Jay Rial's version.

2250. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 19 JULY 1882 AT HALL GARTH THEATRE ROYAL, MANCHESTER SHEPPARD Part of the "Litchfield's Manchester Dramatic Company's repertoire that summer.

2244. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1881 AT HOWARD ATHENAEUM, BOSTON LCLPA CAT XXVIII, 257 Starring Kate Partington.

2251. PLAY: UNCLE TOM'S CABIN. DRAMA PLAYWRIGHT: ANON AUG 1882 AT HER MAJESTY'S, LONDON BL BILLS (VOL 431) This was Jay Rial's company. Uncle Tom by George Kunkel; St Clair by Wm. M. Dell; Mrs. St Clair by Lizz Mahon Lingham; Eva by Little Daisy; Topsy by Miss Nellie Lingard; Simon Legree by Spencer Pritchard; et al. Especially emphasized was the Death of Eva, and the Pursuit with the Bloodhounds.

2245. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 20-25 FEB 1882 AT ACADEMY OF MUSIC, BROOKLYN ODELL (XI, 614) Jay Rial's version.

2252. PLAY: UNCLE TOM'S CABIN. DRAMA. 4 ACTS PLAYWRIGHT: UNKNOWN 13 SEPT 1882 AT STANDARD, LONDON LC—ADD MS 53277 (N) NICOLL(V, 761) The ms in the Lord Chamberlain's collection of plays is 87 folios each about 8.2" wide by 12.7" high, white, bluelined, in black ink. The hand is spidery and gets larger—possibly a change of scribe. There are no amendments. The title page indicates that this is "Jay Rial's New Version." The sticker of licensure indicates Uncle Tom's Cabin/ Drama in 4 acts/ Standard/ Sept 13 1882. The characters in the play are Eliza, Tom, Chloe, Phineas, Marks, Haley, Loke, Harris, George, Darkie, St Clair, Eva, Marie Ophelia, Topsy, an Auctioneer, Legree, Emmeline, Flip, Flap, Flop, and Uncle Tom's Cabin. Act !, Scene 1 is "Rustic in 2nd groove: chorus of Kentucky Rose by Jubilee." Scene 2 is "Snow Landscape." Scene 3 is "Kitchen of tavern—music." Scene 4 is "Snow Landscape." Act 2, Scene 1 is "Rustic in 3rd Groove: music & singing." Scene 2 is Plain

2246. PLAY: UNCLE TOM'S CABIN. SONGS PLAYWRIGHT: UNKNOWN 9 APR 1882 AT HARRY HILL'S, NYC ODELL (XI, 577) Odell reports "Uncle Tom's Cabin Jubilee Singers—'from London.'" 2247. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 22 APR 1882 AT NIBLO'S GARDEN THEATRE, NYC—FOR TWO WEEKS ODELL (XI, 485) Frank Tannehill as Legree; Sam Lucas as Uncle Tom; Nellis Scott '"the famous shouter and leader,' in the plantation scenes;" Daisy Markoe as Topsy No. 1. There were two Topsys. 2248. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN

366

STOWE 14 OCT 1882 AT GERMAN CLUB ROOMS, NYC ODELL (XII, 206) "Abbey's Double Mammoth Uncle Tom's Cabin Company, with a trick donkey, Oscar, a trained pony, Prince and the usually expected jubilee singers"—Odell.

chamber in 1. Music." 3 Rocky Pass with high rocks." Act 3. Scene 1st is "Garden in 4th Groove." Scene 2 is "Plain Chamber." Scene 3 is "Garden as before." Scene 4 is "Plain Chamber—Topsy singing in chorus with Jubilee." Scene 5 is "Chamber in One." Scene 6 is "Chamber." Act 4th, Scene 1st "Street with wall across." Scene 2 is "Wood in one—song." Scene 3 is "Cotton plantation—music—songs & banjo."

2258. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 5 DEC 1882 AT WINDSOR THEATRE, NYC BROWN (II, 363) Fanny Janauschek followed in, among other things, Bleak House, Macbeth, and Mother and son.

2253. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 25 SEPT 1882 AT NOVELTY THEATRE, WILLIAMSBURGH, BROOKLYN ODELL (XII, 191) "Mrs. G. C. Howard came from a far-off past when ... she revived Uncle Tom's Cabin," says Odell.

2259. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 15 & 16 DEC 1882 AT ACADEMY OF MUSIC, BROOKLYN ODELL (XII, 170) Odell remarks, "with the not recently visible Topsy of Mrs. G. C. Howard!"

2254. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 2 TO 8 OCT 1882 AT MOUNT MORRIS THEATRE, NYC ODELL (XII, 57) "Mrs. G. C. Howard acted her never-dying Topsy, in Uncle Tom's Cabin; her black-face disguise must have been of great service in concealing the ravages of time. The Galley Slave, on October 9th, ... ," says Odell.

2260. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: C. H. SMITH 1882 AT BOSTON THEATRE LCLPA CAT XXVIII, 257 A double company, with two Topsys, two Marks, Three Donkeys, ten Siberian bloodhounds, and the Jubilee Singers."

2255. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 9 TO 14 OCT 1882 AT GRAND OPERA HOUSE, BROOKLYN ODELL (XII, 165) Says Odell, "Uncle Tom's Cabin, no novelty, had, during the week ... the novelty of two Topsys, in persons of Lydia and Emily Yeamans; W. J. Magee was Uncle Tom, Mrs. G. L. Fox Eliza, Joseph Slater George Harris, and Gussie Newcomb Eva. Some persons, even in 1882, found one Topsy quite enough. ... "

2261. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 8 APR 1883 IN EXETER REFERENCE IN DAVEY.

2262. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 16 MAY 1883 AT JAMAICA OPERA HOUSE, LONG ISLAND ODELL (XII, 206) Says Odell, "in whatever splendour the New York Mastodon Company could supply for a top price of 35 cents."

2256. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 12 OCT 1882 AT FLUSHING OPERA HOUSE, LONG ISLAND ODELL (XII, 204) Says Odell, "One might think that Queens County would know by heart and be heartily sick of Uncle Tom's Cabin; yet Abbey's Double Mammoth Company presented the hoary classic ... "

2263. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 17 MAY 1883 AT SMITHSONIAN HALL, GREENPOINT ODELL (XII, 202) Odell remarks, "The Star of the 18th says that the

2257. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN

367

STOWE Mastodon Uncle Tom's Cabin of New York had but a handful of spectators, on the 17th, at Smithsonian Hall."

Gower; Topsy by Nelly Gower; Little Eva by Master Horace Gower.

2264. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT. UNKNOWN 20 JUNE TO 4 JULY 1883 AT NIBLO'S GARDEN, NYC BROWN (I, 219) Edward Rice Co.?

2270. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 29 SEPT 1884 AT MOUNT MORRIS THEATRE, NYC ODELL (XII, 470) With Mrs. Howard's Topsy. 2271. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 22 NOV 1884 AT SMITH'S OPERA HOUSE, TARRYTOWN, NY LCLPA MWEZ + N.C. 6304—CLIPPING; LCLPA CAT XXVIII, 257 The house was managed by Fred Lotto, from Niblo's Theatre, New York. The stars were Loudon McCormac and Kate Girard.

2265. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 30 JULY TO 4 AUG 1883 AT PAVILION THEATRE, BROOKLYN ODELL (XII, 190) Says Odell," Jarrett and Palmer's Uncle Tom's Cabin was advertised." 2266. PLAY: UNCLE TOM'S CABIN. OPERA. 4 ACTS, 41 PP PLAYWRIGHT: GEORGE COOPER; MUSIC BY H. MILLARD UNKNOWN PRODUCTION(S) NEW YORK: S. T. GORDON, 1882-12VO U.S. COPYRIGHT TO HARRISON MILLARD, 20OCT 1883.

2267. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 7 APR 1884 AT NOVELTY WILLIAMSBURGH, BROOKLYN ODELL (XII, 390) With Mrs. G. C. Howard.

2272. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 15 DEC 1884 AT HOLMES'S STANDARD MUSEUM, BROOKLYN ODELL (XII, 580) Odell reports, "Fanny Herring began a week as Topsy, with Frank Ray as Uncle Tom, T. F. Thomas as Marks, Joseph Burgess as George Harris, Marie Pankhurst as Maria (?), Lottie Russel as Ophelia, Joseph Burchard as St Clair, and Charles Seabert as Legree and Phineas Fletcher. Any cast of Uncle Tom's Cabin makes history." 2273. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 6 FEB 1885 AT SADLER'S WELLS, LONDON THANKS TO JOHN EAST With Miss East Robertson.

THEATRE,

2268. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 21-28 JULY 1884 AT PAVILION SUMMER THEATRE, BROOKLYN ODELL (XII, 380) This was "Jarrett and Palmer's London version of Uncle Tom's Cabin," Odell reports.

2274. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 23 FEB & 30 MAR 1885 AT APOLLO THEATRE (FORMERLY THIRD AVENUE THEATRE), NYC ODELL (XII, 468, 469) With Mrs. G. C. Howard as Topsy; Bijou Fernandez as Eva; A. W. Gregory as Uncle Tom.

2269. PLAY: UNCLE TOM'S CABIN; OR, THE DEATH OF LITTLE EVA PLAYWRIGHT: ANON (THURS) 24, 25, 26 JULY 1884 AT THEATRE ROYAL, DUMFRIES PROGRAMME IN NLS Uncle Tom by James Gower; Eliza Harris by Mrs. James

2275. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 23 MARCH 1885 AT LEE AVENUE ACADEMY OF MUSIC, BROOKLYN ODELL (XII, 596)

368

STOWE " ... the eternal Mrs. G. C. Howard ... in her usual, her institutional Uncle Tom's Cabin," says Odell.

with two uniformed bands, one coloured, one white, with bloodhounds, two Topsys and two Markses. ... "

2276. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 2 APR 1885 AT TONY PASTOR'S, NYC ODELL (XII, 506) Odell reports "the Uncle Tom's Cabin company," but does not definitely say they played Uncle Tom.

2282. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 24 OCT 1885 AT SADLER'S WELLS, LONDON THANKS TO JOHN EAST With Miss East Robertson as Topsy. 2283. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 23 TO 28 NOV 1885 AT THIRD AVENUE THEATRE, NYC ODELL (XIII, 49); BROWN (III, 226) "Mrs. Howard's Topsy, everlasting if not immortal, was 'so wicked' ... with Bijou Fernandez as Eva, W. Davidge, Jr., as Marks, and with, of course, the now expected plantation scene, featuring Horace Weston and jubilee singers of dusky hue, physically and vocally."

2277. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 11 MAY 1885 AT GRAND OPERA HOUSE, BROOKLYN ODELL (XII, 570) Says Odell, "Mrs. G. C. Howard followed ... in her one part, Topsy, which she had played over two thousand times." 2278. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 25 MAY 1885 AT NOVELTY THEATRE, WILLIAMSBURGH, BROOKLYN ODELL (XII, 595) In company with "Little Em'ly, from Dickens."

2284. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN 1885 AT ACADEMY OF MUSIC (BROOKLYN? NYC?) LCLPA CAT XXVIII, 257 Stars Mrs. G. C. Howard, G. C. Howard, William Davidge, Jr. & Maggie Harold.

2279. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 7 -12 SEPT 1885 AT SUMMER PAVILION, BROOKLYN ODELL (XIII, 169).

2285. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 27 DEC 1885 TO JAN 1886 AT NATIONAL, NYC ODELL (XIII, 89) Says Odell, "and again Uncle Tom's Cabin figured, with Laura Alberta as Topsy, J. U. Randal as Uncle Tom, Mamie Wallace as Eliza, and W. Mamie (a female George Spelvin?) as Cassy."

2280. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 12-17 OCT 1885 AT NATIONAL, NYC ODELL (XIII, 88) Odell says, "But think of Fanny Herring ... as Topsy, with George Allen as Uncle Tom, William Moore as George Harris, Dulaney (sic) as Legree, A. A. Wallace as St Clair, Harry Clifford as Phineas Fletcher and Gumption Cute, Mamie Wallace as Eliza and Cassy, Carrie Wallace as Eva, and May Preston as Miss Ophelia! This must have overshadowed the short olio .. "

2286. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 19 TO 24 APR 1886 AT LEE AVENUE ACADEMY OF MUSIC, WILLIAMSBURGH, BROOKLYN ODELL (XIII, 185) Says Odell, "And now may we bid Time roll backward in his flight, to enjoy ... the venerable Uncle Tom's Cabin? Doubtless, nice old ladies, who had enjoyed Eliza and Uncle Tom and Little Eva, far back in 1853, escorted their grandchildren now to watch their reactions to the venerated relic."

2281. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 13 OCT 1885 AT JAMAICA, LONG ISLAND ODELL (XIII, 203) Says Odell, "Abbey's Double Mammoth Uncle Tom's Cabin Company held the Opera House, on October 13th,

2287. PLAY: UNCLE TOM'S CABIN

369

STOWE entertainment deemed communities in 1886."

PLAYWRIGHT: UNKNOWN 3 TO 8 MAY 1886 AT PEOPLE'S THEATRE, EASTERN DISTRICT, NYC ODELL(XIII, 188) Says Odell, "S. Draper's Double Uncle Tom's Cabin Company ..."

good

enough

for

rural

2292. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 11 SEPT 1886 AT GERMAN CLUB ROOMS, NYC ODELL (XIII, 406-7) Abbey' s Double Mammoth Uncle Tom's Cabin Company.

2288. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 10 TO 15 MAY 1886 AT STANDARD MUSEUM, BROOKLYN ODELL (XIII, 167) Reports Odell, "the everlasting novelty ... ('with a double company.')"

2293. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 20-25 DEC 1886 AT NATIONAL, NYC ODELL (XIII, 317) Fanny Herring as Topsy.

2289. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 17 MAY 1886 AT THEATRE COMIQUE, HARLEM, NYC ODELL (XIII, 52) "John P. Smith's Uncle Tom's Cabin presented Mr. and Mrs. G. C. Howard," says Odell.

2294. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1886 AT NINTH AND ARCH PHILADELPHIA, PA LCLPA CAT XXVIII, 257.

MUSEUM,

2295. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1886 (2 JULY 1886?) AT WINDSOR THEATRE, NYC LCLPA CAT XXVIII, 257; BROWN (II, 365) Starring Miss Carrie Swain, reports the LCLPA Catalogue.

2290. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-AIKEN? 14 TO 28 JUNE 1886 AT NIBLO'S GARDEN THEATRE, NYC ODELL (XIII, 37) "A reliable Uncle Tom's Cabin (with Mrs. Howard, Horace Weston, Amy Washington and the Magnolia Quartet) began two weeks, on June 14th, and gave the stage, on June 28th, to an equally antiquated Streets of New York ..."

2296. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN SEASON OF 1886-87, OCCASIONALLY AT H. R. JACOB" THIRD AVENUE THEATRE, NYC BROWN (III, 227).

2291. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 27 AUG 1886 AT JAMAICA, LONG ISLAND ODELL (XIII, 403-4) Says Odell, "How could we more characteristically open a season in any Long Island village than with a performance of Uncle Tom's Cabin? Let us then, start Jamaica on its merry campaign with Abbey's Double Mammoth Uncle Tom's Cabin Company, with its two bands, one white, one coloured, in uniform, its two Topsys, its two Markeses, its Genuine South Carolina Jubilee Singers, its Aesthetic Trained Donkey, Oscar, 'the smallest Shetland Pony in the world, Edison's Electric Parlour Light, and a street parade by day.' That mad, glad excitement convulsed Jamaica, by anticipation, on August 27, 1886; and yet, alas! the Democrat assures us that the show was poor—only about half the play was given, and not till the jubilee singers appeared, was the audience pleased. This apprises us of the kind of

2297. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 17-22 JAN 1887 AT GRAND MUSEUM & THEATRE, NYC ODELL (XIII, 391). 2298. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 25-30 APR 1887 AT BROOKLYN BROOKLYN ODELL (XIII, 375). 2299. PLAY: UNCLE TOM'S CABIN 370

MUSEUM,

STOWE PLAYWRIGHT: UNKNOWN BEFORE 25 JUNE 1887 AT UNKNOWN THEATRE ODELL (XIII, 270)--CITING BROWN.

23-30 JUNE 1888 AT GRAND OPERA HOUSE, NYC ODELL (XIII, 462); BROWN (II, 633) Laura Burt as Topsy.

2300. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 21-26 NOV 1887 AT ACADEMY OF MUSIC, BROOKLYN ODELL (XIII, 566).

2308. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 23-28 JULY 1888 AT FRIDAY'S BROOKLYN ODELL (XIII, 594).

2301. PLAY UNCLE TOM'S CABIN PLA YWRIGHT: ALFRED AMPIER & J. F. SHERIDAN 24 DEC 1887 AT PRINCESS, LONDON NICOLL (V, 335); LCLPA CAT, XXVIII, 257.

2309. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: CLAY GREENE 18 AUG 1888 AT HOLLIS STREET THEATRE, BOSTON BROWN (I, 319) Brown gives cast as Frank Mordaunt as Phineas Fletcher, Milt G. Barlow as Uncle Torn, Frank Losee as Simon Legree, Harry Webber as Marks, Mark Price as George Harris, Carrie Webber as Eva, Lillie Eldridge as Eliza Harris, Mercedes Malarini as Cassy, Louisa Eldridge as Aunt Ophelia, Addie Davis as Chloe, Louise Rial as Queen 'Lizabeth, and Alice Harrison as Topsy.

2302. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: DIONBOUCICAULT UNKNOWN TIME C A 1887-8 AT UNKNOWN HOUSE HOGAN, DION BOUCICAULT, P. 61. 2303. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 5-10 MAR 1888 AT STANDARD MUSEUM, NYC ODELL (XIII, 574). 2304. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 19-24 MAR 1888 AT PEOPLE'S WILLIAMSBURGH, BROOKLYN ODELL (XIII, 592).

PAVILION,

2310. PLAY: UNCLE TOM'S CABIN. FARCE PLAYWRIGHT: UNKNOWN 14-15 OCT 1888 AT OPERA HOUSE, JAMAICA, LONG ISLAND ODELL (XIV, 208) Odell says "Green's Coloured Minstrel Show held forth in the Opera House, adding a farcical Uncle Tom's Cabin. 'As usual,' ruefully comments the Democrat, 'the audience was very slim and not enough to pay expenses.' Political meetings for Cleveland or Harrison filled Town Hall, through October nights."

THEATRE,

2305. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 11 JUNE 1888 AT NIBLO'S GARDEN THEATRE, NYC—FOR A WEEK ODELL (XIII, 455); BROWN (I, 225) John P. Smith's Uncle Tom's Cabin with Laura Burt as Topsy, Sutherland as Tom.

2311. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 12-17 NOV 1888 AT WINDSOR THEATRE, NYC ODELL (XIV, 67) Odell reports "Milt G. Barlow as Uncle Tom, and a good cast, including Russell Bassett, Ralph Delmore, Alice Harrison (as Topsy), Lillie Eldridge and Henriette Irving." 2312. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 3-8 DEC 1888 AT THEATRE COMIQUE, HARLEM, NYC ODELL (XIV, 76).

2306. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 28 MAY TO 2 JUNE 1888 AT POOLE'S, NYC ODELL (XIII, 474) Adele Clark as Topsy, Nonie Tucker as Eva, E. W. Marston as Marks. 2307. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN

2313. PLAY: UNCLE TOM'S CABIN 371

STOWE 2320. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 28 JAN TO 2 FEE 1889 AT GRAND STREET MUSEUM, NYC ODELL (XIV, 134) Odell reports Sallie Partington as Topsy, "and with the Twilight Quartet, in the Plantation Scene. Having started with Uncle Tom's Cabin, the Grand naturally followed (February 4th-9th) with Ten Nights in a Bar-room ... "

PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-ARTHUR WALLACK? 17-22 DEC 1888 AT GRAND OPERA HOUSE, NYC LCLPA PROGRAMME IN MWEZ / + / N.C. /19,608; ODELL (XIV, 60); BROWN (II, 634) Odell reports "Arthur Wallack's new arrangement ... Henry C. Peakes as Uncle Tom, James G. Peakes as Legree (sunk, these two from their days of grand' opera), Harry Webber as Colonel Carter, Sam Hemple as the Commander, Gussie De Forrest as Eliza and Cassy, and Jean Delmar as Topsy; and August Sohlke danced in blackface!" 2314. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1888 AT AN UNKNOWN HOUSE LCLPA CAT, XXVIII, 257.

2321. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 10-15 JUN 1889 AT H.R. JACOB'S THIRD AVENUE THEATRE, NYC ODELL (XIV, 75) Odell reports "The London Specialty Company."

2315. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: CLAY M.GREENE 1888 AT HOLLIS STREET THEATRE, BOSTON LCLPA CAT, XXVIII, 257 "Newly adapted from the story ... ".

2322. PLAY: UNCLE TOM'S CABIN. DRAMA PLAYWRIGHT: ANON 1888-1889 AT PRINCESS, LONDON PROGRAMME IN OXBODJJ W. W. Kelly managed the house.

2316. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 7-12 JAN 1889 AT H. R. JACOB'S LYCEUM, BROOKLYN ODELL (XIV, 195) Milt Barlow as Tom.

2323. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 21-26 OCT 1889 AT NEW LYCEUM THEATRE, BROOKLYN ODELL (XIV, 475) Odell reports," ... with ten-year-old Carrie Dillon as Topsy, Harry Webber as Marks, and Harry Mitchell as Uncle Tom."

2317. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 14 JAN 1889 AT BOWERY, NYC BROWN (I, 170).

2324. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 19 NOV 1889 AT OPERA HOUSE, JAMAICA, LONG ISLAND ODELL (XIV, 489).

2318. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 14-19 JAN 1889 AT THALIA, NYC ODELL (XIV, 71) Odell reports Milt G. Barlow as Uncle Tom.

2325. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 25 NOV 1889 AT OPERA HOUSE, FLUSHING, LONG ISLAND ODELL (XIV, 485) Odell reports "only a fair-sized audience.1"

2319. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 21-26 JAN 1889 AT BROOKLYN THEATRE, BROOKLYN ODELL (XIV, 163) Odell reports, "with Marks left out, and with Carrie Webber as Eva."

2326. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 25-30 NOV 1889 AT ORIENTAL, NEW LONDON,

372

STOWE Says Odell, "Peck and Fursman's Uncle Tom's Cabin (at least a relief from nondescript vaudeville)." This company toured, appearing in Rockville (Maryland, presumably), as well as elsewhere.

CONNECTICUT ODELL (XIV, 381) Odell reports, "with poor Fanny Herring once queen of the Bowery, as Topsy, Dulany as Legree, H. F. Stone as Tom, and Elsie Gourdier (sic) as Eva."

2333. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN APRIL? 1890 AT DORIS'S EIGHTH MUSEUM, NYC ODELL (XIV, 394) With Kate Partington.

2327. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN 1889 AT BOSTON THEATRE LCLPA CAT, XXVIII, 257 Starring Lotta.

2334. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 5-10 MAY 1890 AT GRAND MUSEUM, NYC ODELL (XIV, 399).

2328. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: CLAY M.GREENE 12 NOV 1889 AT WINDSOR THEATRE, NYC LCLPA CAT XXVIII, 257; BROWN (II, 369) I infer that the LCLPA CAT and Brown refer to the same play. Brown says that Milt G. Barlow was Uncle Tom, and Alice Harrison was Topsy. Brown does not mention the playwright that LCLPA cat gives. 2329. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 17 & 18 JAN 1890 AT NEW CONNECTICUT? ODELL (XIV, 382) Followed by Ten Nights in a Bar-room. 2330. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 3-8 MAR 1890 AT BROOKLYN BROOKLYN ODELL (XIV, 442).

AVENUE

2335. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 2-7 JUN 1890 AT THIRD AVENUE THEATRE, NYC ODELL (XIV, 305) Odell reports "Carrie Dillon Webber as Topsy, and Harry Webber as Marks."

LONDON, 2336. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 7 SEPT 1890 IN EXETER REFERENCE IN DAVEY. 2337. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 9-14 FEE? AND 25-30 MAY 1891 AT GRAND MUSEUM, NYC ODELL (XIV, 680) Says Odell, "the Lower stage 'played safe,1 one surmises, with Uncle Tom's Cabin."

THEATRE,

2331. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 31 MAR TO 5 APR 1890 AT WINDSOR THEATRE, NYC ODELL (XIV, 301); BROWN (II, 372) Odell reports, "Milt G. Barlow as Uncle Tom and Carrie Webber as Topsy. In it were also W. B. Stone, S. S. Wiltsie, Eva (!) French, Agnes Lane, and Little Kate Bennett." Brown confirms much of the cast mentioned above.

2338. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 20-25 APR 1891 AT HOLMES'S STAR THEATRE, BROOKLYN ODELL (XIV, 737) Odell reports " ... the dramatic heir of the ages, Clay M. Greene's new version of Uncle Tom's Cabin, with Milt G. Barlow as Uncle Tom, the eleven-year-old-Carrie Dillon as Topsy, and Harry Webber as Marks, a trio that met us everywhere in the year we are recording. Others in the cast were Edward Randall as Legree, Lillie M. Hall as Miss Ophelia, Louise Renig (?) as Cassie, and Little Edna as Little Eva (a pretty line that, for a song)."

2332. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 28 APR-3 MAY 1890 AT DORIS'S MUSEUM, HARLEM ODELL (XIV, 412) 373

STOWE 2343. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1891? ATHENRYHALL, ROCKVILLE, MD (?)—ONE NIGHT ONLY LCLPA MWEZ / +++ / N.C. / 19,422 These two large, colorful posters are undated; however, Peck & Fursman were touring in 1890—see above—and this was a "Peck & Fursman Mammoth Spectacular" production, starring Kate Partington as Topsy. The posters are a gift from Helen Hayes: the two fully colored documents in the New York Public Library's collection presently housed at Lincoln Center show "2 Topsys" and "Two Marks." They were printed in New York, by H. A. Thomas & Wylie, Art Lithographers, 7 East 19th Street.

2339. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 23-28 MAR 1891 AT PROCTOR'S NOVELTY, NYC ODELL(XIV, 761) Odell comments, "Then, inevitably for a cheaphouse, Uncle Tom's Cabin had its week. ... " 2340. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 11-16 MAY 1891 AT DORIS'S MUSEUM, HARLEM, NYC ODELL (XIV, 691).

2341. PLA Y: UNCLE TOM'S CABIN. DRAMA. 4 ACTS PLAYWRIGHT: UNKNOWN 16 TO 29 MAY 1891 AT NOVELTY THEATRE, LONDON (21 PERFORMANCES) WEARING, THE LONDON STAGE 1890-1899, VOL I, P 123 Phineas Fletcher by J. G. Wilton; Shelby and Wilson by George Clanville; Augustus St. Clair by W. Garrett; George Harris by Edwin Fergusson; Simon Legree by Gilbert Veraon; Uncle Tom by R. B. Lewis; Aunt Ophelia by Mrs. J. F. Brian; Mrs. Shelby by Rose Crawford; Aunt Chloe by Eally Brown; Topsy by Marie Brian; Little Eva by Lena Lewis; et al. Wearing refers to a review.

2344. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 21-26 DEC 1891 AT HARLEM THEATRE, NYC ODELL (XV, 83) 2345. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 4 APR 1892 AT NOVELTY THEATRE, NYC ODELL (XV, 243) Odell says," ... as sponsored by Clay M. Greene." 2346. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 11-18 APR 1892 AT WINDSOR THEATRE, NYC ODELL (XV, 75); BROWN (II, 374) Says Odell, "Uncle Tom's Cabin made us feel at home, in the week of April 11, except when they entrusted leading roles to live alligators and Siberian bloodhounds. I do not believe the alligators chased Eliza across the ice, though they may have made Topsy feel 'so wicked.'"

2342. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN LATE NOV 1891 AT JAMAICA, LONG ISLAND ODELL (XV, 266) "Jamaica, now (1947) a railway centre, was, in the days we are traversing, a centre of competition between lectures and theatrical shows. At the Allen A. M.E. Church, on Oct 12, 1891, the lectures began with 'the Haiten oratress,1 Mme. Esperanza, Lais Jeys, on the to this day's (1947) problem, The Negro, His Past, Present and Future "And Anthony Comstock, who had tried so long to keep the model young man from slipping down the primrose path of obscene literature, told us all about his labours, in the Opera House, on November 16th. He appeared under the auspices of the Young Men's League, and called to attention with Crime Breeders of the Nineteenth Century. And we think today (1947) that 'the Gay Nineties' were nothing but gay! The issue of the Democrat for November 3rd says that Peck and Fursman's agent for Uncle Tom's Cabin had saved two nights for Uncle Tom's Cabin, 'for week after next." The 'gay' nineties, forsooth!"

2347. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN APRIL 1892 AT GRAND MUSEUM, NYC ODELL (XV, 170). 2348. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 16-21 MAY 1892 AT LYCEUM, WILLIAMSBURGH, BROOKLYN ODELL (XV, 248) " ... presenting Harry Webber, 'as recently at the Novelty.'"

374

STOWE 2355. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 14 DEC 1892 AT TOWN HALL, FLUSHING, LONG ISLAND ODELL (XV, 541-2) Reports Odell, "On December 14 came a rural touch that delights my plodding pen. Uncle Tom and Little Eva, on that evening, in Town Hall, exercised their ancient, potent spell. But, on arrival in the village, there was difficulty in getting the mule to disembark. "His car,' says the Journal, 'was run up to Murray Hill, where fully half an hour was spent in an endeavour to cause his nibs to leave the train.' Well, art is not only long, but difficult. ... "

2349. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 30 MAY 1892 AT JACOB'S THIRD AVENUE THEATRE, NYC ODELL (XV, 78). 2350. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 6-11 JUN 1892 AT GRAND OPERA HOUSE, NYC BILL IN LCLPA (MWEZ + N.C. 736); ODELL (XV, 70); LCLPA CAT XXVIII, 257 Odell reports that this was "John P. Smith's big production". Topsy by Miss Jennie Kay; Little Eva by Ada Venden Gilbert; Aunt Ophelia by Miss Kate Meddinger; Eliza Harris by Miss Eleanor Morris; Mrs. St Clair by Mrs. Argyle Gilbert; Simon Legree by Thos. Winston; Uncle Tom by J. U. Randall; et al.

2356. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 19-24 DEC 1892 AT HUBER'S PALACE MUSEUM, NYC ODELL (XV, 438) Says Odell, " ... performing monkeys and educated rats and mice did all they humanly could to amuse the educated beholders, in the week of December 19-24th; other educators were John Bechle, Jr. (fat), Anderson (strong man), Zuniga, and the Allyne Sisters. On the stage were Barren and Mellish, Ward and Brown, Chick Kehoe (it amuses me once more to pick up that name), Ida Rainer ... And the play was the ever-novel Uncle Tom's Cabin, with Charles B. Burns and Carrie Stanley."

2351. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: C.HERMANN 15 AUG 1892 AT LYRIC, HAMMERSMITH, LONDON THANKS TO JOHN EAST Managed by John M. East. 2352. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 12 SEPT 1892 AT NIBLO'S GARDEN, NYC BROWN (I, 230).

2357. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 13-18 FEE 1893 AT NIBLO'S GARDEN THEATRE, NYC ODELL (XV, 336).

2353. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 19-24 SEPT 1892 & 17-22 APR 1893 AT DORIS'S EIGHTH AVENUE MUSEUM, NYC ODELL (XV, 449) Reports Odell, "a new version of Uncle Tom's Cabin ... withT. J. Thomas."

2358. PLAY: UNCLE TOM PLAYWRIGHT: UNKNOWN MARCH 1893 AT UNKNOWN HOUSE, LONDON(?) CAT ADD MSS #53,523 (G).

2354. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: CHARLES HERMANN 29, 31 OCT TO 19 NOV 1892 AT PRINCESS, LONDON LACY'S IN BDL; NICOLL (V, 419); WEARING, THE LONDON STAGE 1890-1899, VOL I, P 262 Phineas Fletcher by Charles Hermann; Uncle Tom by Maurice Drew; Simon Legree by Bassett Roe; Eliza Harris by Mrs. Charles Hermann; Topsy by Nellie Christie; Aunt Chloe by Becky White; Eva by Eddie King; et al. Wearing refers to reviews.

2359. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 29 MAY TO 3 JUNE 1893 AT PEOPLE'S THEATRE, NYC ODELL (XV, 368); BROWN (II, 183) "With Lizzie Derious Daly as Topsy, and Kate Hughes as Little Eva," says Odell. 2360. PLAY: UNCLE TOM'S CABIN 375

STOWE 2367. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 18-23 DEC 1893 AT THIRD AVENUE THEATRE, NYC ODELL (XV, 632) "Peter Jackson, the pugilist, ... played Uncle Tom, as he had done in October, at the Park Theatre. Between the acts he sparred with Chynski (sic). His muscle might be said to be going down, in moving from Broadway to Third Avenue."

PLAYWRIGHT: UNKNOWN 30 MAY 1893 AT JACOB'S THIRD AVENUE THEATRE, NYC BROWN (III, 230).

2361. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: ANON (MON) 5 JUNE AT HER MAJESTY'S, ABERDEEN (FOR SIX NIGHTS) PROGRAMME IN ABERDEEN CITY LIBRARY Charles Harrington's company.

2368. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 13 TO 20 FEE 1894 AT NIBLO'S GARDEN, NYC BROWN (I, 231).

2362. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 6 JUN 1893 AT JAMAICA, LONG ISLAND ODELL (XV, 548).

2369. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 26 FEE TO 3 MAR 1894 AT HORAK'S OPERA HOUSE, LONG ISLAND CITY ODELL (XV, 833).

2363. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: HERMANN 14 SEPT 1893 AT LYRIC, HAMMERSMITH, LONDON THANKS TO JOHN EAST Managed by John M. East.

2370. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN (MON) 19 MAR 1894 AT HER MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN CITY LIBRARY The Charles Harrington Company.

2364. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 17-22,24-29 APR, SEPT 1893 AT DORIS'S MUSEUM, EIGHTH AVENUE, NYC ODELL (XV, 454, 737) Doris's Museum also gave this play in April 1894—see below.

2371. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 19-24 MAR 1894 AT NOVELTY, NYC ODELL (XV, 817).

2365. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 9-14 OCT 1893 AT EMPIRE, BROOKLYN ODELL (XV, 818) Odell reports "Peter Jackson's Uncle Tom's Cabin."

2372. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN APR 1894 DORIS'S EIGHTH AVENUE MUSEUM , NYC ODELL (XV, 740) This theatre had given the play the previous season—see above, April and September 1893.

2366. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 16-21 OCT 1893 AT HARRIGAN'S PARK, NYC ODELL (XV, 624); BROWN (III, 384) Says Odell, "A curious combination held the stage for the week of October 16th-21st; the pugilist, Peter Jackson played Uncle Tom, in Uncle Tom's Cabin, with Parson Charles E. Davies as the Auctioneer! This descent to an artistic Avernus it would be hard to beat. Anna Laughlin was Eva."

2373. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN JULY 1894 AT OPERA HOUSE, JAMAICA, LONG ISLAND ODELL (XV, 840) Odell reports it in a repertoire with The Two Orphans, Hazel Kirke, Streets of New York, Led Astray and The Scarlet Letter.

376

STOWE Topsy by Lucy Murray; Eva by Ethel Raynor; Eliza Harris by V. St Lawrence; Aunt Chloe by Lizzie Nelson; etal.

2374. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: HERMANN 3 DEC 1894 AT LYRIC, HAMMERSMITH, LONDON THANKS TO JOHN EAST Managed by John M. East.

2381. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN (MON) 26 MAR 1897 AT HER MAJESTY'S, DUNDEE BILL IN DDLLHC Charles Harrington's company noted as about to appear in Dundee.

2375. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1894 AT BOSTON THEATRE LCLPA CAT, XXVIII, 257 Starring Peter Jackson, Charles E. Davies, and Jos Choynski.

2382. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: TAYLOR? 3 MAY 1897 AT STAR, NYC (FOR 24 PERFORMANCES) LCLPA CAT XXVIII, 259;CHAPMAN& SHERWOOD, BEST PLAYS OF 1894-1899, P. 134 Reviewed in the New York Dramatic Mirror (8 May).

2376. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1894 AT CHESTNUT STREET OPERA HOUSE, PHILADELPHIA, PA LCLPA CAT XXVIII, 257. 2377. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1894 AT THEATRE STRATFORD-UPON-AVON LCLPA CAT XXVIII, 257.

2383. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: TAYLOR 17 MAY 1897 AT GRAND OPERA HOUSE, NYC (FOR ONE WEEK) CHAPMAN & SHERWOOD, BEST PLAYS OF 18941899, P. 134; BROWN (II, 647).

ROYAL,

2384. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: TAYLOR 31 MAY 1897 AT MURRAY HILL THEATRE, MURRAY HILL, NJ (FOR ONE WEEK) CHAPMAN & SHERWOOD, BEST PLAYS OF 18941899, P. 134; BROWN (III, 616).

2378. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: TAYLOR 6 MAY 1895 AT THIRD AVENUE THEATRE, NYC (FOR ONE WEEK) CHAPMAN & SHERWOOD, BEST PLAYS OF 18941899, P. 134; BROWN (III, 231).

2385. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: ANON (MON) 8 NOV 1897 AT HER MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN CITY LIBRARY Charles Harrington's company, with real Negroes and freed slaves.

2379. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 18 MAY 1896 AT LYRIC, HAMMERSMITH, LONDON THANKS TO JOHN EAST Managed by John M. East.

2386. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: ANON (MON) 15 NOV 1897 AT HER MAJESTY'S, DUNDEE PROGRAMME IN DDLLHC Uncle Tom by Bentick Rowe.

2380. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 15 MAR 1897 AT NOVELTY THEATRE, LONDON WEARING, THE LONDON STAGE 1890-1899, VOL II, P640 Uncle Tom by Bernard Copping; George Harris by Herbert Cecil; Phineas Fletcher by William Luff; Simon Legree by Ernest K. Nelson; Marks by Newman Maurice;

2387. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN&THOMAS 377

STOWE CHAPMAN & SHERWOOD, BEST PLAYS OF 18941899, P. 134; BROWN (III, 234).

1897 AT ST PAUL, MINNESOTA BEST PLAYS,'32 With Louis James and Julia Arthur.

2395. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN-EDWIN B ARBOUR & JAMES W. HARKINS? TAYLOR? 25 APR 1899 AT STAR, NYC BROWN (II, 340) A small experiment in dramatic effectiveness has been performed here and the behavior in the second year may tell us something about which version of the play was more satisfactory—the Barbour and Harkins or the Taylor versions. Reviews in the contemporary newspapers and any texts would be interesting. I doubt that texts have survived in well-marked graves.

2388. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1897 AT BOSTON THEATRE LCLPA CAT XXVIII, 257. 2389. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: TAYLOR 4 APR 1898 AT COLUMBUS, NYC (FOR ONE WEEK) CHAPMAN & SHERWOOD, BEST PLAYS OF 18941899, P. 134; BROWN (III, 563).

2396. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: ANON (MON) 1 MAY 1899 AT HER MAJESTY'S, DUNDEE PROGRAMME IN DDLLHC.

2390. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: TAYLOR 25 APR 1898 AT STAR, NYC (FOR ONE WEEK) CHAPMAN & SHERWOOD, BEST PLAYS OF 18941899, P. 134.

2397. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: TAYLOR 8 MAY 1899 AT STAR, NYC (FOR ONE WEEK) CHAPMAN & SHERWOOD, BEST PLAYS OF 18941899, P. 134; BROWN (II, 341).

2391. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: EDWIN BARBOUR AND HARKINS 3 MAY 1898 (1897?) AT STAR, NYC (FOR THREE WEEKS) BROWN (II, 339) One of the relatively rare but not absolutely unheard-of occasions upon which one theatre experimented with successive versions of the same novel on stage.

2398. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: TAYLOR 8 MAY 1899 AT GRAND OPERA HOUSE, NYC (FOR ONE WEEK) CHAPMAN & SHERWOOD, BEST PLAYS OF 18941899, P. 134; BROWN (II, 649).

2392. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: TAYLOR 27 MAR 1899 AT COLUMBUS, NYC (FOR ONE WEEK) CHAPMAN & SHERWOOD, BEST PLAYS, 134; BROWN (III, 565).

2399. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 25 SEPT 1899 AT LYRIC, HAMMERSMITH, LONDON THANKS TO JOHN EAST Managed by John M. East.

2393. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN (MON) 24 APR 1899 AT HER MAJESTY'S, ABERDEEN (AND DURING THE WEEK) PROGRAMME IN ABERDEEN CITY LIBRARY With Bentick Rowe.

2400. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: JAMES W. HARKINS JR. & EDWIN BARBOUR 1899 AT CASTLE SQUARE THEATRE, BOSTON LCLPA CAT, XXVIII, 257.

2394. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: TAYLOR 24 APR 1899 AT THIRD AVENUE THEATRE, NYC (FOR ONE WEEK)

2401. PLAY: UNCLE TOM'S CABIN UP-TO-DATE. 1 ACT

378

STOWE or Georgie Olp as Eva; Annie Yeamans as Ophelia; and Emily Rigl as Cassy; et al.

MUSICAL BURLESQUE PLA YWRIGHT: F. W. DONAHOE UNKNOWN PRODUCTION DATA U.S. COPYRIGHT 12 SEPT 1899.

2408. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 4 MAR 1901 AT STAR, NYC MWEZ + N.C. 6304; LCLPA CAT XXVIII, 259; BROWN (II, 342) Though it looks as if this might be the same production as the one indicated above, there appear to have been two simultaneous productions at the Star and the Academy of Music. The LCLPA Cat calls this "Brady's 1901 revival." Moreover, a photocopy of a clipping in the LCLPA begins "If manager William A. Brady has done nothing else to endear him to the elder generation of playgoers by reviving 'Uncle Tom's Cabin,' he has, at least, stirred the ashes of memory and caused many an old-timer to grow reminiscent as he views this magnificent production of the famous old slave play."

2402. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 23 MAR 1900 AT LYRIC, HAMMERSMITH, LONDON THANKS TO JOHN EAST John M. East as Phineas Fletcher. 2403. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 26 NOV 1900 AT ELEPHANT & CASTLE, LONDON THANKS TO JOHN EAST J. M. East's Co. 2404. PLA Y: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 14 MAY 1900 AT GRAND OPERA HOUSE, NYC LCLPA PROGRAMME.

2409. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 25 MAR 1901 AT LYRIC, HAMMERSMITH, LONDON THANKS TO JOHN EAST Managed by John M. East.

2405. PLAY: TOPSYANDEVA PLAYWRIGHT: R.E.PARKER UNKN PRODUCTION(S) CA 1900? CURWEN BDL CAT, P 704.

2410. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 14 MAY 1901 AT GRAND OPERA HOUSE, NYC LCLPA CAT XXVIII, 258; BROWN (II, 651).

2406. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: ANON (MON) 21 JAN, 25 MAR 1901 AT LYCEUM THEATRE, GLASGOW BILLS IN MITCHELL, GLASGOW Uncle Tom by J. H. Renney; Phineas Fletcher by Geo. English; Eliza by Miss Hettie Johnson; Topsy by Miss Sylvia Stella; et al. On 1 April this transferred to the Royal Princess Theatre, in Glasgow.

2411. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1901 AT AUDITORIUM, CHICAGO LCLPA CAT, XXVIII, 257.

2412. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN (MON) 21 MAR 1902 AT HER MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN CITY LIBRARY With Miss Edith Blanche and Ben Rowe.

2407. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN & THOMAS? (MY CONJECTURE) 4 MAR 1901 AT ACADEMY OF MUSIC, NYC (88 PERFORMANCES) LCLPA CAT, XXVIII, 257; BEST PLA YS1899-1909, P. 389; BROWN (I, 319; II, 115) Wilton Lackaye (or later John E. Kellerd) as Uncle Tom; Odell Williams (or Frank Hatch) as Phineas; Theo Roberts as Legree; Wm. Harcourt as Geo. Harris; L. R. Stockwell as Marks; Mabel Amber as Eliza; Alice Evans

2413. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1902 AT LYCEUM THEATRE, ELIZABETH, NEW JERSEY LCLPA CAT XXVIII, 258.

379

STOWE based on Uncle Tom's Cabin. One of them—perhaps this one or perhaps another—was directed by Stuart J. Blackton, and starred Julia Arthur, Carlyle Blackwell, Jr., and Clara Kimball Young.

2414. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 7 DEC 1903 AT LYRIC, HAMMERSMITH, LONDON THANKS TO JOHN EAST Managed by John M. East.

2420. FILM: UNCLE TOM'S CABIN. MOTION PICTURE SCREENWRITER: UNKN VITAGRAPH RELEASED 26 JULY 1910 LCLPA CAT XXVIII260; NOT IN COREL ALL-MOVIE GUIDE 2 Apparently a separate version released simultaneously with Thanhouser's. This was apparently a serial version; so see below.

2415. FILM: UNCLE TOM'S CABIN. 16 MINUTE FILM SCREENWRITER: E. PORTER? UNKN--THOMAS A. EDISON PRODUCTION? 1903 NOT INMALTIN, INTERNET MOVIE DA TABASE, OR COREL ALL-MOVIE GUIDE 2; HAVE SEEN This was one of the very first films ever made.

2421. FILM: UNCLE TOM'S CABIN. PART II. MOTION PICTURE SCREENWRITER: UNKNOWN; PRODUCED BY VITAGRAPH RELEASED 29 JULY 1910 LCLPA CAT XXVIII260; NOT IN COREL ALL-MOVIE GUIDE 2.

2416. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: JAMES W. HARKINS AND EDWIN BARBOUR 4 APR 1904--& REVIVED 20 MAY 1907 AT UNKNOWN LOCATION(S) LCLPA CAT XXVIII, 259 This play appears elsewhere. LCLPA CAT refers to review in NYDM of 16 Apr 1904 and 1 June 1907.

2422. FILM: UNCLE TOM'S CABIN. PART III. MOTION PICTURE SCREENWRITER: UNKNOWN; PRODUCED BY VITAGRAPH RELEASED 30 JULY 1910 LCLPA CAT XXVIII, 260; NOT IN COREL ALLMOVIE GUIDE 2 See reviews for all three Vitagraph productions in Motion Picture Herald, \. 7, Aug. 6, 1910, p. 313.

2417. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: W. H. CECIL PIERPONT 1904 AT THEATRE ROYAL, BARROW, ENGLAND LCLPA CAT, XXVIII, 258. 2418. PLAY: UNCLE TOM'S CABIN PLAYWRIGHTS: HARKINS & BARBOUR 20 MAY 1907 AT MAJESTIC, NYC LCLPA CAT, XXVIII, 259; MANTLE & SHERWOOD, BESTPLA YS OF 1899-1909, P. 389 John Southerland as Uncle Tom; Gretchen Hartman as Eva; Viola La Bretta as Topsy; Lucille La Verne as both Chloe and Cassie; Herbert Bostwick as Legree; Ethel Hodgson as Eliza; Frank Opperman as Marks; Ricca Allen as Ophelia; Frank E. Jamison as Shelby; Reviewed in the New York Dramatic Mirror, 1 June 1907.

2423. PLAY: UNCLE TOM'S CABIN. 4 ACTS PLAYWRIGHT: UNKNOWN 6 FEE 1911 AT GRAND OPERA HOUSE, BOSTON LCLPA PROGRAMME The programme advertises this as "A. W. Martin's Uncle Tom's Cabin." Uncle Tom by Howard Powell; George Harris by L. A. Redfield; Simon Legree by C. F. Ackerman; Marie St. Clair by Mamie Kibble; Aunt Ophelia by Jennie Tresham; Eliza Harris by Marie Wells; Aunt Cloe by Amanda Wallace; Topsy by Marie Clark; Little Eve [sic] by Miss Ruth; et al.

2419. FILM: UNCLE TOM'S CABIN. MOTION PICTURE SCREENWRITER: UNKNOWN; PRODUCED BY THANHOUSER RELEASED 26 JULY 1910 UNKNOWN LCLPA CAT XXVIII, 260; NOT IN COREL ALLMOVIE GUIDE 2 See Motion Picture Herald, 30 July 1910, p. 267. There would appear to have been several films released in 1910,

2424. PLAY: UNCLE TOM'S CABIN PLA YWRIGHT: ANON [CHARLES HARRINGTON(?)] 2 NOV 1911 AT BUXTON OPERA HOUSE, BUXTON BUXTON CITY LIBRARY BILLS "Real Negroes. Full Chorus," proclaims the bill. 380

STOWE OHIO OR WESTERNPENNSYLVANIA—A TOURING COMPANY, LCLPA MWEZ / +++ / N.C. / 9564 Mammoth Uncle Tom's Cabin Co. The bill was printed at the Erie Litho & Printing Co., in Erie, Pa. Some of the lithographs had become standard images of all "Uncle Tom's Cabin" plays, and were used in promoting other productions—such as the "Sterling's Uncle Tom's Cabin Co." (See below.) This play—like others—was promoted as being "as immortal as the Declaration of Independence," and as including the "exciting steamboat race" as well as "colored Jubilee Singers."

Harrington was the manager, but may also have authored the piece. 2425. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1912(?)--[LCLPA CAT'S CONJECTURE] AT COLISEUM THEATRE, SEATTLE, WASHINGTON LCLPA CAT, XXVIII, 258. 2426. PLA Y: UNCLE TOM'S CABIN. 4 ACTS PLAYWRIGHT: UNKNOWN (FRI) 27 DEC 1912 AT NEW BEDFORD, CONNECTICUT LCLPA PROGRAMME "Leon W. Washburn presents Stetson's Uncle Tom's Cabin." Uncle Tom by E. D. Espy; George Harris by Charles W. Langstaff; Augustine St. Clair by Guy Howard; Phineas Fletcher by William Reap; Lawyer Marks by Harold Downing; Shelby by David Williams; Simon Legree by Charles W. Langstaff; Aunt Ophelia by Myra Roselle; Aunt Chloe by Edna Mason; Topsy by May Howard; Topsy No. 2 by Fanny Bennett; et al.

2431. PLAY: UNCLE TOM'S CABIN. 5 ACTS, 12 SCENES, 12 TABLEAUX PLAYWRIGHT: UNKNOWN 1916 (?) AT UNKNOWN THEATRE PROBABLY IN WESTERN PENNSYLVANIA OR OHIO LCLPA MWEZ/ +++ / N.C. / 9564 This was a production by "Sterling's Uncle Tom's Cabin Co." The poster is without cast. It was printed in Erie, Pa., and was used generically to promote performances of the play in about this period, and in this area of the USA. Bills printed in the same style, and probably by the same printing company, used the same lithographs in 1916 to promote the "Mammoth Uncle Tom's Cabin" company. In 1924 the . "The Magnolia Quartette" was one of the musical attractions of the piece, which admitted the influence of the pantomime insofar as it advertised a "grand transformation scene." The poster grants the existence of other "Uncle Tom" companies, but insists that "this is the only company travelling that plays the whole of 'Uncle Tom's Cabin': they leave out nothing." Among the attractions especially promoted were "our celebrated trick donkey 'Whiskers,'" and "our cage of Mammoth Bloodhounds."

2427. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 3 FEE 1913 AT NEW MIDDLESEX THANKS TO JOHN EAST. 2428. FILM: UNCLE TOM'S CABIN. BLACK-AND-WHITE. SILENT. 54MIN SCREENWRITER : EDWARD MCWADE; DIRECTED BY WILLIAM DALY 1914 BY WORLD COREL ALL-MOVIE GUIDE 2 (CD-ROM); INTERNET MOVIE DA TABASE (http://us/imdb.com) With Roy Applegate, Irving Cummings as Harris; Mary Eline as Little Eva; and Sam Lucas as well as Paul Scardon.

2432. FILM: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1918 LCLPA CAT XXVIII, 260; NOT IN COREL ALLMOVIE GUIDE 2.

2429. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1915 THE PLAYHOUSE, WILMINGTON, DELAWARE LCLPA CAT, XXVIII, 258 Earl Burgess Attractions production.

2433. FILM: UNCLE TOM WITHOUT A CABIN. SCREENWRITER: UNKNOWN 1919 INTERNET MOVIE DA TABASE With Ben Turpin. This was probably some kind of spoof.

2430. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1916 AT UNKNOWN THEATRES PROBABLY IN

2434. PLAY: UNCLE TOM'S TABLEAUX VIVANTS

381

CABIN.

MUSICAL

STOWE PLAYWRIGHT: UNKNOWN 1924 AT MONT AUK THEATRE, BROOKLYN LCLPA CAT, XXVIII, 258.

PLAYWRIGHT: IVANCARYLL(1861-1921);WORDS BY GEORGE SIMS PERFORMED BY MOORE & BURGESS MINSTRELS CA 1920 LONDON: HOPWOOD & CREW, 19--? NUC, VOLS 572 & 97.

2441. PLAY: TOPSY AND EVA. 3 ACTS PLA YWRIGHT: CATHERINE CHISHOLM CUSHING; MUSIC AND LYRICS BY THE DUNCAN SISTERS 23 DEC 1924 AT SAM H. HARRIS THEATRE, NYC BEST PLAYS, '24 Best Plays gives cast, calls this "a jazz version of Uncle Tom's Cabin filled with tunes and dances."

2435. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1920 AT CASINO THEATRE, ST JOHN'S LCLPA CAT, XXVIII, 258 Stars were H. Wilmot Young and Marjie Adams.

2442. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 28 AUG 1924 AT UTOPIA THEATRE, PAINESVILLE, OHIO LCLPA MWEZ / +++ / N.C. / 9564.

2436. FILM: UNCLE TOM'S CABIN. BLACK-AND-WHITE. SILENT. 5 REELS SCREENWRITER: J. SEARLE DAWLEY; DIRECTED BY J. SEARLE DAWLEY 1920 BY FAMOUS PLAYERS LCLPA LOBBY CARDS *T-LC LOBBY CARDS/ BOX #133; INTERNET MOVIE DATA BASE With Marguerite Clark as Topsy; Sam Hardy as Simon Legree; and Frank Losee, J. W. Johnston, Florence Carpenter, Walter Lewis, Augusta Anderson, Ruby Hoffman, Henry Stafford, and Chester Conklin. The large photo of Maruerite Clark in the Lincoln Center's collection bears the motto "I'll soon be going away, Mammy." It bears the Paramount Pictures Logo. Dawley worked for Thomas A. Edison and, for example, made the first film version of "Frankenstein" (see above, in 1910-item number 280).

2443. PLA Y: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1924 ON TOUR IN THE US C. F. Ackerman's company presented "Stetson's Uncle Tom's Cabin," in what they called "the Old Reliable" play, which the bills promote as being on its "fifty-fourth annual tour." This appearance in Ohio was but one of many. While the bills call this play "the oldest theatrical attraction in the world," and promote it "as immortal as the Declaration of Independence," they also insist on "superb spectacular surprises" and "original features." These included "colored jubilee singers," and several "original features," such as a "steamboat race." This was a "great and moral show" that would "educate your children in American history."

2437. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1921 AT MAJESTIC THEATRE, NYC? LCLPA CAT, XXVIII, 258 The Maddocks-Park Players.

2444. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1926 RADIO BROADCAST LCLPA CAT XXVIII, 260.

2438. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1921 AT MANHATTAN OPERA HOUSE, NYC LCLPA CAT, XXVIII, 258.

2445. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN 1926?-[LCLPA CAT'S CONJECTURE] AT TRIANGLE THEATRE, NYC LCLPA CAT XXVIII, 258.

2439. FILM: LITTLE EVA ASCENDS. SILENT. BLACKAND-WHITE. SCREENWRITER: UNKNOWN; DIRECTED BY GEORGE D. BAKER 1922 INTERNET MOVIE DA TABASE.

2446. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 14-19 MAR 1927 AT PASADENA COMMUNITY PLAYHOUSE, PASADENA, CA

2440. PLAY: UNCLE TOM'S CABIN

382

STOWE LCLPA PROGRAMME; BEST PLAYS; LCLPA CAT, XXVIII, 258 Uncle Tom by Samuel Hinds; George Harris by Jerome Coray; Legree by Ralph Freud; Tom Loker by Philip Hattery; Eva by Loretta Japs; Eliza by Harriet Coleman; Ophelia by Mrs. A. H. Palmer; Chloe by Lillian Rivers; Topsy by Lillian Myers; et al

1927 BY UNIVERSAL PICTURES/MCA UNIVERSAL PICTURES THIS WAS SHOWN AT THE PAVILION, LONDON LCLPA MWEZ / + / N.C. 4278; LCLPA MWEZ + N.C. 6304—CLIPPING; LCLPA CAT, XXVIII, 260; INTERNET MOVIE DATABASE; NOT IN COREL ALLMOVIE GUIDE 2 With Gertrude Astor, Louise Beavers, Margarita Fischer as Eliza, Virginia Gray as Eva, Eulalie Jensen as Cassie, Lucien Littlefield, James B. Lowe as Uncle Tom, Mona Ray as Topsy, and George Siegmann as Simon Legree. A photocopy of clipping (MWEZ + n.c. 6304) for the New York Sun (II Sept. 1926) in the LCLPA reports that a "White Actress [Mona Ray] is Chosen for Part of Topsy." Lincoln Center Library for the Performing Arts has a clipping from a paper or perhaps program of the day, entitled "Freeing 'Uncle Tom' from Shackles of False Tradition," by Paul Gulick. Among the questions herein addressed are "How Old was 'Uncle Tom'—Was 'Marks, the Lawyer' a Comedian—Did 'Simon Legree' Wear a Moustache—Weight Questions Now Definitely Settled." Gulick wrote,

2447. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1927 AT UNKNOWN THEATRES PROBABLY IN WESTERN PENNSYLVANIA OR OHIO LCLPA MWEZ / +++ / N.C. / 9564 Apparently another "Mammoth Uncle Tom's Cabin" company—although the term "Mammoth" had become both a standardized adjective as well as the name of at least one theatrical company. Playbill or poster was printed at Erie Litho. & Printing Co., Erie, Pa. Several of the same lithographic images as had appeared in 1916 and 1924 posters were employed in this poster. This was a "new Uncle Tom's Cabin Co.," and yet the tableaux had become standardized.

'Uncle Tom's Cabin' is seventy-five years old. It has played a role in the American theatre as well as the political arena, which has entitled it to certain traditions and prerogatives. That this has fastened upon the various characters in the play certain standardized practices, make-ups and lines is not to be wondered at. 'Uncle Tom's Cabin' is, in all probability, the most standardized play and its characters more set in traditional grooves than those of any other theatrical production. Shakespeare's characters are interpreted entirely according to the ideas of the directors, of the actors who play the various roles and the bankroll of the producer. But an 'Uncle Tom's Cabin' company which attempted to portray Uncle Tom, Eliza, Marks the Lawyer, Simon Legree, Little Eva and Topsy in any other manner than that set down by the long line of Tom show' experts, would be unthinkable.

2448. FILM: TOPSY AND EVA ["BLACK-AND-WHITE," ALTERNATE TITLE]. BLACK-AND-WHITE. SILENT SCREENWRITER: CATHERINE CHISHOLM GUSHING, SCOTT DARLING, AND LOUIS WEBBER; DIRECTED BY DEL LORD; CINEMATOGRAPHY BY JOHN W. BOYLE 1927 BY FEATURE PRODUCTIONS/UNITED ARTISTS INTERNET MOVIE DA TABASE With Nils Asther, Marjorie Daw, Rosetta Duncan, Vivyan Duncan, Myrtle Ferguson, Gibson Gowland, Noble Johnson, and Henry Victor. This seems to have been based on the playscript by Catherine Chisholm Gushing (see above, 23 Dec. 1924). 2449. PLAY: UNCLE TOM'S CABIN. DRAMA. 4 ACTS PLAYWRIGHT: UNKNOWN (MON) 14 SEPT 1931 AT BRIXTON, LONDON BL BILLS (VOL 438, FF 212 & 213) Phineas Fletcher by Tod Slaughter (especially featured); Uncle Tom by Geoff Carlile; Eliza Harris by Kathleen Saintsbury (especially featured). There was a "special engagement of coloured artistes for Grand variety items."

Gulick explains that the film breaks with theatrical tradition and shows Uncle Tom as a relatively young man, gives Simon Legree a full beard, and otherwise strives to amend stage tradition with supposed historical accuracy. Nevertheless, the film features Mona Ray, a white woman in black face playing Topsy—although there are African-Americans in the cast.

2450. FILM; UNCLE TOM'S CABIN. BLACK-ANDWHITE. SILENT. SCREENWRITER: UNKNOWN; DIRECTED BY HARRY A. POLLARD

383

STOWE 2457. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN UNKN PRODUCTION(S) IN 1933 LCLPA, PART III, VOL. 25, P.M 849.--SCRAPBOOK, MWEZ/+/N.C./2336.

2451. PLAY: TOPSY AND EVA. 3 ACTS PLAYWRIGHT: CATHERINE CHISHOLM GUSHING & ROSETTA DUNCAN 4 OCT TO 15 DEC 1928 AT GAIETY, LONDON (89 PERFORMANCES) WEARING, THE LONDON STAGE 1920-1929, VOL II, P. 1045 Uncle Tom by John Kelly; George Shelby by George Vollaire; Simon Legree by Bert Bray; Chloe by Kate Opperman; Eliza by Georgia Sewell; Ophelia by Myrtle Ferguson; Eva by Vivian Duncan; Topsy by Rosette Duncan/Gracie Fields; et al. Wearing refers to reviews.

2458. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN; REVISED BY CHARLES EMERSON COOK 31 JULY 1933 AT PHIDELAH RICE PLAYHOUSE, MARTHA'S VINEYARD, MASS LCLPA PROGRAMME; LCLPA CAT, XXVIII, 258. 2459. PLAY: UNCLE TOM'S CABIN PLA YWRIGHT: AIKEN--MUSIC BY JACK CONKLIN 1933 AT LYDIA MENDELSSOHN THEATRE, ANN ARBOR, MICHIGAN LCLPA CAT XXVIII, 258.

2452. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1932 AT UNKNOWN THEATRE, MOSCOW LCLPA MWEZ + N.C. 6304—PHOTOCOPIED CLIPPING "NO HEAVEN FOR LITTLE EVA; MOSCOW HAS ABOLISHED IT. 'Uncle Tom's Cabin,' as performed Under Soviet Auspices, Champions 'the Downtrodden Proletarian Negro' and Makes Some Startling Changes in Mrs. Stowe's Classic Drama."

2460. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1933 AT STUDEBAKER THEATRE, CHICAGO LCLPA CAT XXVIII, 258 Starring De Wolf Hopper.

2453. FILM: UNCLE TOM AND LITTLE EVA. SCREENWRITER: N/A; PRODUCED BY VANBUREN 1932 BY INTERNET MOVIE DA TABASE This was apparently a short animation.

2461. PLAY: UNCLE TOM'S CABIN PLA YWRIGHT: AIKEN--REVISED BY A. E. THOMAS 1933 AT SHUBERT THEATRE, NEW HAVEN, CONN LCLPA CAT XXVIII, 258 Starring Otis Skinner, who had apparently first played the part in 1877 (see above).

2454. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1932 AT PACIFIC LITTLE THEATRE, UNKNOWN LOCATION LCLPA CAT XXVIII, 258.

2462. PLAY: UNCLE TOM'S CABIN. MELODRAMA. 3 ACTS PLAYWRIGHT: AIKEN-TEXT REVISED BY A. E. THOMAS; DIRECTED BY EARLE BOOTHE (OPENING) 29 MAY 1933 AT ALVIN THEATRE, NYC—24 PERFORMANCES LCLPA MWEZ / + / N.C. / 30114.14; LCLPA CAT XXVIII, 258 & 259--SECOND ENTRY SHOWS REVIEWS; BEST PLAYS, '32 Eliza by Elizabeth Risdon; George Harris by Pedro de Cordoba; Shelby by Malcolm Duncan; Haley by Lyster Chambers; Harry by Roy Le May; Aunt Chloe by Cecilia Loftus; Uncle Tom by Otis Skinner; Phineas Fletcher by Edward MacNamara; Marks by John Daly Murphy; Tom Loker by John C. King; Eva by Lois Shore; St. Clare by Ernest Glendinning; Aunt Ophelia by Minnie Dupree; Topsy by Fay Bainter; Simon Legree by Thomas Chalmers; et al.

2455. PLAY: UNCLE TOM'S CABIN; OR, THE DEATH OF LITTLE EVA PLAYWRIGHT: AIKEN 1932 AT THE PLAYMAKER'S THEATRE, CHAPEL HILL, NORTH CAROLINA LCLPA CAT, XXVIII, 258. 2456. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN--" ARRANGED AND ADAPTED BY CONCHITA." 1932 AT SEATTLE REPERTORY PLAYHOUSE, SEATTLE, WASHINGTON LCLPA CAT XXVIII, 258. 384

STOWE The Theatre is presented by the Works Division of the New York Department of Public Welfare. George Burton, casting director of the division, explained last night that it is hoped to obtain collapsible camp chairs for the comfort of future audiences."—New York Times 7/17/34.

2463. PLAY: UNCLE TOM'S CABIN PLA YWRIGHT: AIKEN; REVISED BY A. E. THOMAS; STAGED BY JOHN HAYDEN; SCENERY AND COSTUMES BY DONALD OENSLAGER (MON) 23 OCT 1933 AT GARRICK, PHILADELPHIA, PA PROGRAMME IN LCLPA Eliza by Elizabeth Risdon; George Harris by Frank Wilcox; et al.

2469. PLAY: SWEET RIVER. 2 ACTS PLAYWRIGHT: UNKNOWN 28 OCT 1936 AT 51ST STREET THEATRE, NYC (5 PERFORMANCES) BEST PLAYS,'36 Says Best Plays, "A version ... reducing the story to a straight narrative ... . The play ends with the death of Uncle Tom, just as St Clare arrives with enough of Aunt Ophelia's money to buy his freedom."

2464. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN 1933 AT PASADENA COMMUNITY PLAYHOUSE, PASADENA, CA LCLPA CAT XXVIII, 258.

2470. PLAY: UNCLE TOM'S CABIN. A MARIONETTE PLAY PLAYWRIGHT: UNKNOWN 1937 AT BEAUX ARTS THEATRE, LOS ANGELES, CA LCLPA CAT XXVIII, 260.

2465. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1933 AT NEW YORK PLAYERS' CLUB LCLPA CAT XXVIII, 258. 2466. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1933 AT FRAZIER HALL, UNIV. OF IDAHO, POCATELLO, IDAHO LCLPA CAT, XXVIII, 258.

2471. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 1937 AT BEAUX ARTS THEATRE, LOS ANGELES, CA A FEDERAL THEATRE PRODUCTION LCLPA CAT XXVIII, 260.

2467. PLAY: UNCLE TOM'S CABIN. REVISED VERSION. 83 PP PLA YWRIGHT: AIKEN-RE VISED BY A. E. THOMAS 1934 AT THOMAS JEFFERSON PARK, NYC NEW YORK & LONDON: APPLETON CENTURY, 1934-8VO AND/OR 12VO LCLPA CAT XXVIII, 258; BLC, VOL I, P. 268; NUC, VOL 5, P. 595.

2472. FILM: UNCLE TOM'S BUNGALOW. ANIMATION SCREENWRITER: UNKNOWN; DIRECTED BY TEX AVERY; PRODUCED BY LEON SCHLESINGER; ANIMATION BY VIRGIL ROSS & SIDNEY SUTHERLAND 1937 BY WARNER BROTHERS (USA) INTERNET MOVIE DA TABASE This was apparently an animation.

2468. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN 16 JULY 1934 AT FRANZ SIGEL PARK, BRONX LCLPA MWEZ + N.C. 6304—CLIPPING PHOTOCOPIED "Perched precariously on the branches of trees, squatting cross-legged on the grass and standing on chairs borrowed for the night from their kitchens, more man 3,500 men, women and children witnessed last night theinauguration of the portable theatre in the Bronx. The Bronz had its first taste of the outdoor drama at Franz Sigel Park, 158th Street near the Grand Concourse, and greeted a performance of 'Uncle Tom's Cabin' with enthusiasm.

2473. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: UNKNOWN CA 1930-9 AT HOTEL ALAMEDA, UNKNOWN LOCATION LCLPA MWEZ / + / N.C. / 14,270 Lincoln Center has a negative of an apparent woodcut advertising this production. It is undated. The prices of admission are 1.10 for reserved seats and .55 for general admission. The purpose was to benefit the American Red Cross.

...

385

STOWE Estelle D. Webber, or Miss Betty Bunch; George by James Samon, or George Reeves; Uncle Tom by William Caveness or Jimmie Card; et al. Act I, Scene 1 was The Shelby Plantation; Scene 2 was The River Tavern; Scene 3 was The River. Act II, Scene 1 was The Riverboat; Scene 2 was The St. Clair Plantation; Scene 3 was The St. Clair Plantation. Act III, Scene 1 was the Slave Mart; Scene 2 was The Legree Plantation. This synopsis of scenes indicates that the play was a fresh version.

2474. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: FRANCIS POLE 1941 AT JOHN DREW MEMORIAL THEATRE, EAST HAMPTON, LONG ISLAND LCLPA CAT XXVIII, 258. 2475. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN 1941 AT KEENE SUMMER THEATRE, KEENE, NEW HAMPSHIRE LCLPA CAT XXVIII, 258.

2479. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: A. E. HOWARD 1953 AT WRIGHT COLLEGE THEATRE, JUNIOR COLLEGE, CHICAGO LCLPA MWEZ / N.C. / 17,987 A reference to this occurs in the programmes for the 1958-1959 season.

2476. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: AIKEN (?) REVISED BY REED LAWTON; MUSIC BY STEPHEN FOSTER 1944 OR LATER AT UNKNOWN LOCATION, LCLPA MWEZ / + / N.C. 15,407 K Cover by J. Cicconetti in orange-and-black. The scores are printed in the programme for this essentially musical production, which featured modern renditions of the ancient music. With Mario Cozzi; Dorothy Hood (as Topsy); Wade Dent; Eileen Kelly; Robert Cosden; Hal Roberts; Vincent Rand; Miriam McDonald; Diane Barton; Arnold J. Mirante; Florence Timeroff; Elvin McGinnis; Natalie Norwick; and Bob Martin.

2480. PLAY: UNCLE TOM'S CABIN. MELODRAMA. 3 ACTS PLAYWRIGHT: UNKNOWN CA 1962 AT BOWL MUSIC HALL, MELBOURNE, AUSTRALIA LCLPA PROGRAMME. 2481. FILM: UNCLE TOM'S CABIN. COLOR. 118 [120] MIN(US), 125 MIN (FRANCE), 170MIN(GERMANY) SCREENWRITERS: FRED DENGER & GEZA VON RADVANYI; DIRECTED BY GEZA VON RADVANYI; PRODUCED BY ALDO VON PINELLI; CINEMATOGRAPHY BY HEINZ HOLSCHER; ART DIRECTOR WILLY SCHATZ; MUSIC COMPOSED BY PETER THOMAS; COSTUMES BY HERBERT PLOBERGER; FILM EDITED BY VICTOR PALFI AND WILL WILLIAMS (FOR US VERSION) 1969 BY MELODIE, CCC, AVA (FRANCE, GERMANY, ITALY, FORMER YUGOSLAVIA) COREL ALL-MOVIE GUIDE 2 (CD-ROM); INTERNET MOVIE DATABASE Mrs. Shelby by Vilma Degischer; Harriet by Mylene Demongeot; Mr. Shelby by Charles Fawcett; Saint-Claire by 0. W. Fischer; Voice of Ella Fitzgerald; George Selby by Thomas Fritsch; Sambo by George Goodman; Dinah by Juliette Greco; a Singer by Eartha Kitt; Uncle Tom by John Kitzmiller; Simon Legree by Herbert Lorn; Little Eva Saint-Claire by Gertraud Mittermayr; Eliza by Catana Cayteno; Mrs. Saint-Claire by Eleanora RossiDrago; et al.

2477. FILM: UNCLE TOM'S CABANA. COLOR. ANIMATION SCREENWRITER: HECK ALLEN; DIRECTED BY TEX AVERY; ANIMATED BY RAY ABRAMS, ROBERT BENTLEY, PRESTON BLAIR, & WALT CLINTON; PRODUCED BY FRED QUIMBY 1947 BY MGM (USA) INTERNET MOVIE DA TABASE This was a second animation to which Tex Avery had contributed (see above). 2478. PLAY: UNCLE TOM'S CABIN; OR, LIFE AMONG THE LOWLY. 3 ACTS PLAYWRIGHTS: SIG ARONSON & MEL PAPE; DIRECTED BY SIG ARONSON; MUSIC BY ROBERT B. HENDERSON 1953 AT PLAYHOUSE [AUSTIN CIVIC THEATRE], AUSTIN, TEXAS LCLPA PROGRAMME The programme notes that the play was "in its 100th year of performance. Nevertheless, this seems to have been at least partially a new dramatization of the novel, although promoted as "the drama that caused the Civil War." There seems to have been a double cast: Eliza by Miss

2482. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: LIONEL H. MITCHELL

386

STOWE 21 FEE 1975 AT WORKSHOP OF PLAYERS ART, 333 BOWERY, NYC LCLPA CAT XXVIII, 259.

Says the Corel All-Movie Guide, "For years, the name 'Uncle Tom' and the title Uncle Tom's Cabin have been synonymous with the most egregious form of racial condescension. John Gay's script for the 1987 film version of Harriet Beecher Stowe's Uncle Tom's Cabin hoped to 'set the record straight' and restored the reputation of the 1852 abolitionist novel—mostly by returning to the source. Eliminating such theatrical 'improvements' as Eliza's crossing the ice, this adaptation of Cabin depicts Uncle Tom (Avery Brooks as an intelligent, non-submissive slave (there is only the slightest hint of 'revisionism'); likewise, Jenny Lewis is a fully three-dimensional Little Eva. Simon Legree is as hateful as ever, but as played by Edward Woodward, Legree is shown to be more a product of his times than a cardboard hissable villain. Gay is very careful in his depiction of precocious preteen slave girl Topsy (Endyia Kinney), who is still so sexually misinformed that she believes she 'just growed', but is not quite the mental midget described in Mrs. Stowe's novel. Produced for the Showtime Cable service, Uncle Tom's Cabin premiered on June 13, 1987.

2483. FILM: UNCLE TOM'S CABIN. 55 MIN. VIDEOTAPE PLAYWRIGHT. AIKEN-DIRECTED BY VERA JIJI 1983 AVAILABLE; NOT IN COREL ALL-MOVIE GUIDE 2. This is a filming of a revival the nineteenth century melodrama, made with a respect for the spirit of the "original" play.

2484. FILM: UNCLE TOM'S CABIN. COLOR. 110 MIN SCREENWRITER: JOHN GAY; DIRECTED BY STAN LATHAN; PRODUCED BY EDGAR J. SCHERICK; PRODUCTION DESIGN BY JOSEPH T. GARRITY; MUSIC COMPOSED BY UDI HARPAZ AND KENNARD RAMSEY 1987 BY SHOWTIME (USA) COREL ALL-MOVIE GUIDE 2 (CD-ROM); INTERNET MOVIE DATABASE With Avery Brooks as Uncle Tom; Jenny Lewis as Little Eva; Endyia Kinney as Topsy; Edward Woodward as Simon Legree; as well as Kate Burton, George Coe, Frank Converse, Bruce Dern, Albert Hall, Paula Kelly, Phylicia Rashad, Kathryn Walker, and Sammy Jackson.

2485. PLAY: UNCLE TOM'S CABIN PLAYWRIGHT: GEORGE AIKEN; DIRECTED BY CHARLES DUMAS 1997 AT UNKNOWN THEATRE, NYC LCLPA PROGRAMME A MINT THEATRE COMPANY PRODUCTION

387

ELIZABETH PHIPPS TRAIN

2489. PLAY: A SOCIAL HIGHWAYMAN PLAYWRIGHT: UNKNOWN 23 JAN 1899 (1900?) AT MURRAY HILL, NEW JERSEY CHAPMAN & SHERWOOD, 5ES7TL4 75(1894-1899), P. 235; BROWN This was a production of the Henry V. Connelly stock company.

SELECT PUBLICATIONS The following titles appear in The British Museum Catalogue of Printed Books to 1955 under the name of Elizabeth Phipps Train :A Deserterfrom Philistia, a tale (1897); A Marital Liability (1899); A Professional Beauty (1897); .4 Social Highwayman (1896). Birth and death dates are not available.

A SOCIAL HIGHWAYMAN (1896)

2490. PLAY: A SOCIAL HIGHWAYMAN PLAYWRIGHT: UNKNOWN 28 JAN 1901 AT MURRAY HILL, NEW JERSEY BROWN.

2491. FILM: THE SOCIAL HIGHWAYMAN. BLACK-ANDWHITE. SILENT. 7 REELS SCREENWRITER: PHILIP KLEIN; DIRECTED BY WILLIAM BEAUDINE; CINEMATOGRAPHY BY JOHNMESCALL 1926 BY WARNER BROS COREL ALL-MOVIE GUIDE 2 (CD-ROM) Simpson by Frank Brownlee; Bobbie by Lynn Cowan; Elsie van Tyler by Dorothy Devote; Editor by James Gordon; Chief of Police by Fred Kelsey; Docket Nelson by Montague Love; The Mayor by Charles Hill Mailes; Jay Walker by John Patrick; Old Van Tyler by George Pierce; and The Mayor's Partner by Russell Simpson. The characters suggest that the film may not be related to the novel or to the previous plays.

2486. PLAY: A SOCIAL HIGHWAYMAN. PLAY. 4 ACTS PLAYWRIGHT: MARY STONE; PRODUCED BY RICHARD MANSFIELD 24 SEPT &FF 1895 (RETURNING) 3 FEE & FF 1896 AT GARRICK, NYC (39 PERFORMANCES) BROWN; CHAPMAN & SHERWOOD, BEST PLAYS OF 1894-1899, P. 145 Brown says this was the first production on any stage of this play, which Best Plays confirms. Courtice Jaffrey by Joseph Holland; Jenkins Hanby by E. M. Holland; Carolus Despard by W. N. Gordon; Key by Hugo Toland; Livingston Remsen by William Norris; George Bartlett by Lawrence Eddinger; Merton Harley by R. F. Cotton; Elinor Burham by Bertha Creighton; Duchess by Mrs. McKee Rankin; Mrs. Munyon Pyle by Mrs. E. A. Eberle; Leila Caprice by Olive Oliver; Dora by Florence Ethel; Mrs. Deane by Annie Alliston. 2487. PLAY: A SOCIAL HIGHWAYMAN PLAYWRIGHT: STONE 14 OCT 1895, 13 APR 1896 AT HARLEM OPERA HOUSE, NYC (16 PERFORMANCES) BROWN; CHAPMAN & SHERWOOD, BEST PLAYS OF 1894-1899, P. 145. 2488. PLAY: A SOCIAL HIGHWAYMAN PLAYWRIGHT: STONE 18 JAN 1897 AT MINER'S FIFTH AVENUE, NYC (16 PERFORMANCES) BROWN; CHAPMAN & SHERWOOD, BESTPLA YS, P. 145.

388

MRS. FRANCES TROLLOPE (1780-1863) public as The Vicar oj'Wrexhill and The Widow Barnaby. Nevertheless, her novels produced an average income of about £600, and she managed to support herself and her family largely by means of her writing. She died in Florence in 1855. The novel Petticoat Government™ is a traditional three-decker, set initially in Westhampton, and concerning a family named Jenkyns: David, and four daughters (including Barbara, Elfreda), Colonel Maitland, Judith Maitland, Penelope, Mr. Carey, Susan, Mr. Wroughtley, Mrs. Chilbert, Mr. Frederic Dorking, Miss Tollbridge, Mrs. Worthington, et al. At least one scene is in Grosvenor Square. Apparently unrelated to this novel is the play, "Petticoat Government," produced in New York in 1850.209 Second Love; or, Beauty and Intellect110 concerns Mr. Smithers, Mr. Selcroft (and his two daughters Lucy and Louisa), Lady Frances, Henry Harley, Fanny, Will Roberts, Frederica, Lord Otway, Baron Rittersberg, et al. It almost certainly has nothing to do with J. P. Simpson's play of the same title.211 The novel Lynch Law 212 is set along the

SELECT PUBLICATIONS Mrs. Frances Trollope appears in the British Library General Catalogue of Printed Books to 1975, as having published the following fictions (or apparent fictions): The Attractive Man. A novel (1846); The Blue Belles of England(1842); Charles Chesterfield; or, the Adventures of a Youth of Genius (1841); Father Eustace; a tale of the Jesuits (1847); Gertrude; or, Family Pride (1855); Hargrove; or, the A dventures of a Man of Fashion (1843); Jessie Phillips; a tale of the present day (1844); The Laurrington 's; or, Superior People (1844); The Life and Adventures of a Clever Woman (1854); The Life and Adventures of Jonathan Jefferson; or, Scenes on the Mississippi (1836); Lynch Law; or, the Life and Adventures ofJonthan Jefferson Whitelaw (1857); Life and Adventures of Michael Armstrong, the factory boy (1840); The Lottery Marriage. A novel (1849); Mrs. Matthews; or, Family Mysteries. A novel (1851); The Old World and the New. A novel (1840); One Fault (1839); Petticoat Government. A novel (1850); The Refugee in America. A novel (1832); The Robertses on their Travels (1846); A Romance of Vienna (1838); SecondLove; or, Beauty andIntellect(1851); The Three Cousins. A novel (1847); Town and Country. A novel (1848); Tremordyn Cliff {1835); Uncle Walter. A novel (1852); The Vicar of Wrexhill (1837); The Ward of Thorpe-Combe (1842); The Widow Barnaby (IS39)—or which there were at least five English editions and a French translation, as well as two sequels; The Widow Married; a sequel to 'the Widow Barnaby (1840); The Widow Wedded, or Adventures of the Barnabys in America (1843); The Young Heiress. A novel (1833). The DNB mentions Young Love (1844). Mrs. Trollope married Thomas Anthony Trollope, who was unsuccessful in the practice of the law, at farming, in commercial speculation in Cincinnati, and in London real estate speculation. His financial misfortunes consumed much of his wife's literary earnings before he died in 1835. Thomas and Frances had five children, including the well-known novelist Anthony. Mrs. Trollope's visit to the United States bred a book, Domestic Manners of the Americans, which depicted the vulgarity of the new world, and offended some Americans. The book had, however, begun her career as a travel writer, and the DNB reports that "she wrote to travel, and travelled to write." She turned to fiction with Tremordyn Cliff and to fiction about the sensational subject of slavery in America with Jonathan Jefferson Whitelaw. The DNB opines that The Vicar of Wrexhill and The Widow Barnaby were her two most successful novels. She published novels over a period of twenty years, though none was so successful with the

208

Petticoat Government. A novel. (London: Henry Colburn, 1850). 209

5 Oct. 1850 at the Broadway , with Davidge as Hectic; Parry as the Stump; Josephine Gougenheim as Annabella. (See Odell, VI, 4). See also 25 Sept. at the Broadway, with Mrs. Vernon as Mrs. Carney; and Mrs. Sefton as Betsey. (Odell, VI, 11), and 30 Aug. 1852 at the same house (Odell, VI, 197). 210 Second Love; or, Beauty and Intellect. A

Novel. (London: Colburn, 1851). 211

23 July 1856 atHaymarket, London. J. P. Simpson, Second Love, an original comic drama, in three acts. (London: Lacy, vol 28, nd [1850]). This is almost certainly not from Mrs. Trollope's novel, but instead from Simpson's own book, SecondLove, and other tales, from the note-book of a Traveller. (London: np, 1846). BL Shelfmark N2617. The play was licensed for production at the Haymarket in July 1856- see Nicoll (V, 103, 567). Something very like this played at Wallacks, New York, in March 1865-see Odell (VIII, 8), and probably again in February 1871-seeOdell(IX, 49). 212 Lynch Law; or, the Life and Adventures of

Jonathan Jefferson Lock, nd). 389

Whitlow. (London: Ward and

TROLLOPE the New; or, British Pluck and Yankee Valour," has no evident relation to Mrs. Trollope's book.216 An 1888 play "The Two Christmas Eves" apparently bears no relationship to Mrs. Trollope's novel.217 A drama

Mississippi River, and the characters include Jonathan Whitlaw, Clio, Colonel Dart, Squire Higgins, Frederick Steinmark, Henry Bligh, Edward Bligh, , Lucy, Phebe, Master Edward, Caesar, Juno, Peggy, Baron Steinmark, Sigismond, Lotte, Fritz, and Mr. Bobbin. "Lynch Law; or, the Warden of Gal way," which is the only play registered under the title in the Lord Chamberlain's collection, is not related to Mrs. Trollope's narrative.213 The Old World and the New is a traditional Victorian three-decker in outward appearance.214 It opens in Bexley Cottage, where the characters are Robert, Mary, Margaret, Captain Stormont, Catherine Smith, Mrs. Stormont, Mr. Warburton, Clementina, the Maitland family, Judge Blackenbridge, Aspasia Wainwright, Oranego, Squire Wainwright, Jack Parrish, Mary, et al. The scene is partly in Cincinnati, Ohio (USA). Plays entitled "The Old World and the New" were sometimes also titled "The Two Christmases." One such in 1859, bears no evident relationship to Mrs. Trollope's novel.215 An 1861 play, "The Old World and

Johnson and Nelson Lee/ City of London Theatre/ Norton Folgate." Nothing in the introductory matter indicates a source is Mrs. Trollope's novel. Like Mrs. Trollope's book, a trip to the new world is involved here. Nevertheless, the characters include Mr. Leonard, a farmer, Mr. Grace, a country solicitor, Raymond & Charles Wycherly, Twin Brothers, Isaacs, a Money Lender; Dick Fothergoose; Lucy Leonard; Mary Maywood; Mrs. Whycherly; Dolly Churn; et al. None of these people seems related to those in Mrs. Trollope's book. Yet it is of course quite possible for a playwright to adapt characters' names for stage use. Act 1, Sc 1 is a "Street in London. Winter. Enter Raymond and Dick." Scene 2 is a Chamber; Scene 3rd is "Chamber of Raymond." Scene 4 is "Rossiters Shop." Scene 5 is Interior of the Green Dragon. Scene 6 is Barnham Downs by Moonlight. "Snow Sc." Scene 7th is "Interior of Grassdale Farm." Scene 8th is "A Wood." Scene 9th is "Grassdale Church Yard." Scene 10th is "A Lane near Grassdale." Scene 11th is "Interior of the Farm." Act 2 is "Australia." Scene 1st is "A Log Hut with Bridge." Scene 2nd is "A Wood." Scene 3rd is "The Yard of a Convict Barracks." Scene 4th is "Front Wood." Scene 5th is "Interior of Whycherly Farm." Scene 6th is "A Wood." Scene the Last is "Same as Scene 1, Act 2." Unless one counts a transfer of scene to Australia as equivalent to a transfer of scene to Cincinnati, this scenario also does not support the idea that this play might derive from the novel in question. Unfortunately, the British Library seems to hold no playbills from this date for this theatre (see vol. 168, 1).

213

"Lynch Law; or, the Warden of Galway," Add Mss 52945 (P), licensed to the Britannia Saloon, in 1854. The characters include Walter and Roderick Lynch, Father Everard, william, a Butler, Robert, Mabel, Norah, Anastasia (betrothed and afterwards married to Roderick, et al. These characters are obviously not those of Mrs. Trollope's novel. "Lynch Law" was a drama by Henry Petit licensed for performance on 19th Sept. 1874 at West Hartlepool-see Nicoll (V, 520). Another drama, "Lynch Law; or, That Awful Yankee" was licensed for performance on 22nd Aug. 1881 at Hull- see Nicoll (V, 713). There appears to be no manuscript in the Lord Chamberlain's collection for either of these plays, and no bills from either of these production in the British Library's collection.

216

This was licensed for performance on 18th February 1861 at the Marylebone Theatre, London. See Nicoll (V, 728); see Add Mss 53001 ( C). The ms indicates that the "cast" was Ruffenhoff, Blusterdorf, Polaski, Zynenski, Politz, Servitz, Murdall, Cartwheel, Mad. Blusterdorff, et al. The time is 1831, and the scene is Poland. This clearly has nothing to do with Mrs. Trollope's novel. There appear to be no bills from this production in the British Library's collection.

214

The Old World and the New. A Novel. (London: Henry Colburn, 1849). 215

"The Two Christmas Eves; or, The Old World and the New." This was licensed for production on 6th Jan. 1859 at the City of London. See Nicoll (V, 760); see Add Mss 52979 ( C). The ms in the Lord Chamberlain's plays is 26 folios of in clear handwriting, fair copy, on leaves about 8.25" wide by 10.5" high, bound separately fromthe other plays in the volume. The title page reads "1859. Mss received January 5/ License sent 6/ Wm. B. Donne/ A New Drama/ The Two Christmas Eves/ or, the/ Old World and the New/ in Two Acts/ Acts 1 and 2.' Messrs

217

Addmss53416(E). "Two Christmas Eves. An Original Drama in four acts. By Albert E. Drinkwater. The characters are Hugh Denton, Charles Denton, Geoffrey, Mrs. Denton, May, Denton, Marian Jane, Jane Wilson, and Naomi Vanner. There seems to be no trip to 390

TROLLOPE "Lillian Trafford; or, the Old World and the New" at the Colliseum, Liverpool in June 1864 had nothing evident to do with Mrs.Trollope's book.218 "Streets to the Hulks; or, The Old World and the New," was a drama by George Conquest.219 One Fault220 is a traditional three-decker in outward form. The opening scene is Somersetshire, the village of Preston, and the whole action seems to take place in England. The characters include Mr. Worthington, Margaret Clark (Mrs. Worthington), Lucy, Christina, Uncle David, Alfred Reynolds, Isabella Worthington, Mr. Wentworth, Madame Clifton Darville, Mary Wilson, Mrs. Oldfield, Marmaduke, Mr. Nutcomb, Colonel Seaton, Mrs. Norris, Lord Morrison, et al. "One Fault: A Home Story" was a comic drama that might have derived from Mrs. Trollope's novel.227 However, the separation of nearly fifty years from the time of the book's publication to the time of play's production makes the connection seem most unlikely.

THE WIDOW BARNABY (1839) The novel222 concerns Mrs. Compton, Martha, and Sophia, Agnes Willoughby, Mr. Peters, Mayor Allen, Colonel Hubert, and Captain Newton, et al.

2492. PLAY: WIDOW BARNABY. FARCE. 2 ACTS H. PLAYWRIGHT: ANON [PROBABLY T. REYNOLDSON—NICOLL'S SUGGESTION] (OPENING MON) 18-23, 25-26 JAN 1841 AT HAYMARKET, LONDON BL BILLS (VOLS 136, 2; 137, 2) NICOLL (IV, 554, 643) LC —ADD MSS 42,958 (2) (FF 34-66b) The ms. in the Lord Chamberlain's collection of plays is marked as "referred 1/12/41". It is reasonably fair copy with some passages crossed out by the playmakers themselves. There seems to have been some uncertainty about the dramaturgy. The scenes are as follow: "Drawing Room in a boarding house at Cheltenham," followed by "A Gallery in the Same Boarding House," then "The Assembly Rooms," "The Long Walk at Cheltenham," "The Widow's Drawing Room as Act I, Sc I," and a "Private Room in the Magistrate's Office." "NEVER ACTED! Sketched from Mrs. Trollope's popular novel of that name," reports the bill. Lord Mucklebury by Gough; Hon. Mr. Singleton by Worrell; Sir John Turner by Waldron; Colonel Hubert by J. Webster; Major Allen by F. Vining; Captain Maintry by Howe; Mr. Templebrief by Caulfield; Snipe by Wrench; Stickler by Mathews; Magistrate's Clerk by Clark; Constables by Messers. Green and Bishop; Widow Barnaby by Mrs. Glover; Agnes Willoughby by Miss Charles; Mrs. Morton by Mrs. Stanley; Betty Jacks by Mrs. F. Matthews. This play followed "Money" from Bulwer-Lytton, and preceeded the afterpiece, which was "Tom Noddy's Secret."

the new world, either Australia or Cincinnati. 218

See Nicoll (V, 707); see also Add Mss 53032 (O). There is no reference to a source on the title page or other introductory pages. The ms is on 70 folios of the lined paper of an exercise book, in black ink, a fair hand, quite legible. The characters in the prologue include twins, Walter and Wybert Fleetwood, as we as Diogenes Bals and a Miss Catterbrae. The characters in the drama add Mr. Tafford, Bobby Trotts, Lillian Trafford, Alice Fleetwood, Patty Peach, et al. The prologue is set in a chamber in a lodging house; later scenes are "roadside near a village;" a village fair, a "lone road side, very dark," and then a "settlement in Australia, a neat cottage." There follow several additional scenes, one a "rugged view," another simply in the mountains. There appear to be no bills from this production in the British Library's collection. 219

On 17th May 1869 at the Grecian, London. See Nicoll (V, 320 ). LC "With titles reversed," says Nicoll. There appears to be no play with this title in the Lord Chamberlain's collection, and no bills from the production in the British Library's collection, so it is difficult to know if it derived from Mrs. Trollope's book 220

One Fault. A Novel. (London: Bentley,

1840). 221

E. Warren and C. Elliott on 9 Oct. 1888 in Wigan. See Nicoll (V, 614). Unfortunately there seems to be no ms by this title in the Lord Chamberlain's collection of plays.

222

1839).

391

The Widow Barnaby (London: Bentley,

MRS. HUMPHRY WARD (MARY AUGUSTA WARD) (1851-1920) SELECT PUBLICATIONS Under Mary Augusta Ward, the British Museum General Catalogue of Printed Books to 1955 shows the following titles: Canadian Born (1910); The Case of Richard Meynell (1911); The Coryston Family (1913); Cousin Philip (1919); Daphne; or, Marriage a la Mode (1909); Delia Blanch/lower, a novel (1915); Diana Ma I lory (1908); Eleanor (1900)—four editions; Eltham House (1915); A Great Success (1916); Harvest (1920); Helbeck of Banisdale (1898); The History of David Grieve (1892)—six editions; Lady Connie (1916); Lady Rose's Daughter (1903); Love's Harvest (1929); Marcella (1900); The Marriage of William Ashe (1905); The Mating ofLydia (1913); Milly and Oily; or, a Holiday among the mountains (1881); Missing (1917); Mrs. Bretherton (1884); Missing (1917); The Play-time of the poor (1906); Robert Elsmere (1888)—six editions.

2494. PLAY: ELEANOR PLAYWRIGHT: MRS. HUMPHRY WARD 12 DEC 1902 AT OXFORD BL BILLS (VOL 336) 2495. PLAY: ELEANOR. 4 ACTS PLAYWRIGHT: MRS. HUMPHRY WARD 29, 30 JUNE 1905 AT ROYAL COURT THEATRE, LONDON BL BILLS (VOL 336) "Since the play was first produced in 1902, it has been revised and partly re-written. On June 29th it will be given with the new First Act, as played at Oxford on Dec. 12th, 1902." Eleanor Burgoyne by Mrs. Beerbohm Tree; Lucy Foster by Miss Lilian Braithwaite; Alice Manisty by Miss Madge Mclntosh; et al.

ELEANOR (1900)

2493. PLA Y.-ELEANOR. PLAY. 4 ACTS PLAYWRIGHT: MARY A. WARD 1902 ROYAL COURT, LONDON LC—ADD MS 1902/31; LICENSE NO 380 The ms in the Lord Chamberlain's collection of plays is 69 folios, each about 4.8" wide by 7.1" high. The license copy is a published/printed version. The title page says "Eleanor/ A Play in 4 acts/ by/ Mary Ward/ 1901." The sticker of licensure indicates Royal Court, London/ 30.10.02. The dramatis personae are Edward Manisty, Father Benecke (a German Priest), Reggie Brookly, The Ambassador, Alfredo, Lucy Foster (a young American girl), Eleanor Burgoyne, Madame Vanari, Alice Manisty, Marie (sister to Edward), Dalgetty. Act I, Scenes 1-3 are "Salon in villa in Italy (Lake Alban)." Scene 3 relates the story of Eleanor's child; her husband threw himself and the baby off a balcony. Acts II & III are set on the "Loggia, on the Campagna side of the Villa." Act IV is set in an "Abandoned convent near Orvieto."

392

SUSAN BOGERT WARNER (1819-1885)

Wide World" and "Fallen Star" plays. A play entitled simply "The Fallen Star," however, had nothing evident to do with Miss Warner's novel.225

THE WIDE, WIDE WORLD (1850/2) The novel223 involves characters named Ellen Montgomery (a child), Mrs. Montgomery, Mrs. Forbes, Alice (who diesO, Mr. Van Brunt, Miss Fortune, Mr. Humphreys, Mrs. Lindsay, Lady Keith, et al. The opening scene is a room in a building in a large city. "The Wide Wide World," a two-act drama by an unknown playwright licensed for production at the Standard Theatre, London, on 18th August 1856, has nothing evident to do with Miss Warner's novel.224 At least one play was called "The Fallen Star; or, the Wide, Wide World," which suggests a kinship between "Wide

2496. PLAY: THE WIDE, WIDE WORLD PLAYWRIGHT: UNKNOWN 15-20 FEE 1892 AT NIBLO'S GARDEN THEATRE, NYC ODELL (XV, 54) With Helen Blythe and Mason Mitchell. Odell reports that this was "a dramatisation of another lady's novel—Miss Warner's the Wide, Wide World— [which] drained the fountain of tears ... ."

223

The Wide, Wide World; or, the early history of Ellen Montgomery . This copy was not available when I searched the British Library, and the following observations are based on an 1887 imprint (London: Frederick Warne, 1887). 225

This was a two-act drama licensed for performance in Nov. 1859 at the City of London Theatre. See Add Mss 52986 (N). The ms does not mention a narrative source. It is 40 folios of light blue paper, written in blue ink on both sides, measuring about 8" wide by 9.5" high. The first scene is an elegant ball room, where a Merchant's fete is in progress. The characters include a Servant, the Marquis, a Colonel, Mr. H., Mrs. F., Emeline, Mr. A., A Cab-driver, a Policeman, George, et al. This would all appear to have nothing to do with the story of the young Ellen that Miss Warner tells. There was a later "Fallen Star" play- on 19 Feb. 1864 at the Effingham Saloon, London. See Nicoll (V, 675). It is perhaps safe to infer that this derived from Add Mss 52986 (N) and not from Miss Warner's book.

224

See Add Mss 52960 (AA); see also Nicoll (V, 768). The ms in the Lord Chamberlain's papers is on 27 folios of varying light blue color, measuring about 7.75" high by 10" wide, in a hurried but fair hand, written on both sides. The title page indicates "The Wide Wide World/ London/ Act 1st/ A Drama in Two Acts/ Standard Theatre/ 14th August 1856/ Shoreditch/ J. Douglas/ Proprietor."The characters include Belgravia, Levi Goodman, Lackland, Robert Rightman, Dick Death, Soldier Tom, Bill... Secretary Jack, Ballance, Parachute, Mr. Luckless, Betsey Sharpwork, et al. Act I has no scene location. Act II begins in the Interior of a Court House, Scene 3rd is "A Chamber." Scene 4 is a "Street Scene at Night." Scene 6th is "Street." Scene 7th is "Interior of Levi's House." This all bears no evident relationship to Miss Warner's novel.

393

MRS. HENRY WOOD (LE., ELLEN WOOD) (1814-1887) SELECT PUBLICATIONS The British Library General Catalogue of Printed Books to 1975 shows the following titles under "Wood (Ellen)": Told in the Twilight [containing "Parkwater" and nine shorter stores] (1875); About Ourselves (1883); Adam Grainger. A tale (1876); Anne Hereford. A novel (1868); Ashley, and other stories (1897); Bessy Rane. A novel (1870); Bessy Wells (1875); Castle Wafer; or, the Plain Gold Ring (1868?); The Channings (1862); Court Netherleigh. A novel (1881); Danesbury House (1860)—eight editions; Dane Hollow. A novel (1871); (1861)—about ten editions; Edina. A novel (1876); The Elchester College Boys (1861); Elster's Folly. A novel (1866); The Foggy Night at Ojford. A Christmas gift for the Lancashire Fund (1863); George Canterbury's Will. A novel (1870); The Ghost of the Hollow Field (1867); The House of Halliwell. A novel. (1890); Johnny Ludlow (1874)—about four editions; Lady Adelaide's Oath (1867)—three editions; Lady Grace (1887); A Life's Secret (1867); Lord Oakburn's Daughters (1864); The Master ofGreylands. A novel (1873); Mildred Arkell. A novel (1865); Mrs. Halliburton's Troubles (1862)—about four editions; Orville College. A story (1867); Oswald Cray (1864); Our Children (1876); Parkwater (1876); Pomeroy Abbey. A romance (1878); Roland Yorks (1912); St Martin's Eve. A novel (1866); The Shadow ofAshlydyat (1863); The Story of Charles Strange. A novel (1888); Summer Stories from the Argosy (1890); Trevlyn Hold; or, Squire Trevlyn 'sHeir (1864); The Unholy Wish, and other stories (1890); Verner'sPridG (1863); William A Hair; or, Running away

to sea (1864); Within the Maze. A Novel (1872). Mrs. Wood seems to have contributed to the periodical entitled Argosy and for some time at least to have edited the journey together with a man perhaps her relation, C. W. Wood. Nicoll shows the production a play called "The Earl's Daughter" at the Croydon Theatre on 27 July 1890 and at the Parkhurst Theatre on 4 August 1890. Whether or not this may have had something to do with the novel I cannot at present say. EAST LYNNE (1861) See also Albert (Ned), pseud. East Lynne ... Made into a ... mellow drammer ... By N. Albert. [1941]. Octavo. BLShelfmark 11792. aa. 70. Burton, Brian J. East Lynne ... A melodrama based on the novel by Mrs. H. Wood. 1965. Octavo. BL Shelfmark X. 909/3227 Anon. East Lynne. A drama [based on the novel by Mrs. Henry Wood] [1883?] octavo. Dicks'Standard Plays no. 331. BL Shelfmark 11770. bbb. 4 Palmer, T. A. East Lynne. A domestic drama in a prologue and four acts. Adapted from Mrs. Wood's novel. Duodecimo, Lacy's Acting Edition of Plays, vol. 103. NP: np, nd [1875]. BL Shelfmark 2304. g. 21.

Figure 9 Productions of dramatizations at East Lynne per decade.

394

WOOD Boniface as Archibald; Mrs. Jones as Lady Isabel. This was a benefit for John F. Poole.

2497. PLAY: EASTLYNNE PLAYWRIGHT: CLIFTON W. TAYLEURE 26, 28, 29 JAN 1862 (1863?) AT ACADEMY OF MUSIC, BROOKLYN ODELL (VII, 513, 532); MY DISS, 203 With Lucille Western as Lady Isabel; Kate Denin as Barbara Hare, Mrs. G. C. Germon as Coraey Carlyle; Charlotte Crampton as Mrs. Hare; Jennie de Lacy as Suzanne; Charles Barren as Archibald Carlyle; Lawrence Barrett as Sir Francis Levison; J. B. Studley as Earl Mount Severn; T. E. Morris as Justice Hare; John Ferris as Richard Hare; George E. Andrews as Captain Thome;

2501. PLA Y: EAST LYNNE PLAYWRIGHT: CLIFTON W. TAYLEURE 23 MAR 1863 AT WINTER GARDEN, NYC ODELL (VIII, 479) Lucille Western as Lady Isabel. Odell explains Miss Western's financial arrangements. 2502. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN [CLIFTON W. TAYLEURE7-MY INFERENCE] 23 MAR TO 15 APR 1863 AT TRIPLER HALL, NYC BROWN A. W. Jackson managed Tripler Hall. During the run the receipts were never less than $700 a night, reports Brown. Lucille Western, who played in this play and took half the receipts, had bought the play from Clifton W. Tayleure, who may well have been the author. During this period Lucille Western also played Oliver Twist.

etal. These were the first performances of the play in the region, according to Odell. 2498. PLAY: EDITH; OR, THE EARL'S DAUGHTER PLAYWRIGHT: B. E. WOOLFF 9 DEC 1862 AT NIBLO'S GARDEN, NYC BROWN; ODELL (VII, 479, 485); CHAPMAN & SHERWOOD, BEST PLAYS (1894-1899), P. 213 Brown says that this came from Mrs. Wood's novel. Odell also indicates that this came from East Lynne. This ran in competition with Lucille Western's dramatic version of East Lynne. Edith by Matilda Heron; Fanchette by Josephine Henry; Mabel Keith by Mrs. J. H. Allen; Miss Sempronia Morleigh by Mary Wells; Justice Obadiah Grout by Thos. Placide; James by James T. Ward; Alfred Morleigh by John McCullough; Sir Mortimer Rashton by L. R. Shewell; Champinaisby George Becks; Richard Keith by J. W. Collier.

2503. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 16 MAY 1864 AT PARK THEATRE, BROOKLYN ODELL (VII, 616) Mrs. Conway as Lady Isabel. Odell reports that "the partial critic of the Eagle asserting, and truly, that she supplied the beauty lacking in Matilda Heron, and the refinement and culture notably missing in Lucille Western."

2499. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 31 JAN 1863 AT ACADEMY OF MUSIC, NYC (MATINEE PERFORMANCE) ODELL (VII, 513-4) With Miss Western, Kate Denin, Mrs. G. C. Germon, Charlotte Crampton, Sophie Gimber, Marion Le Brun, Mrs. Le Brun, Emily Barrett, Lawrence Barrett, Charles Barren, T. E. Morris, J. B. Studley, and Henry Russell. Odell says that this was essentially the same cast as that which had appeared in the play in Brooklyn. With Lucille Western making her first appearance in a play in which she had already starred in Brooklyn, and which was to become an important part of her repertoire.

2504. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 8 AUG 1864 AT NIBLO'S GARDEN, NYC BROWN; ODELL (VII, 563) With Lucille Western. Odell notes that Lucille Western played this "over nine hundred times throughout the United States" and notes that "crude as the critics found her, Miss Western pleased the public. And 'emotional' drama was now on the crest of the wave." 2505. PLA Y: THE MARRIAGE BELLS; OR, THE COTTAGE ON THE CLIFF. DRAMA PLAYWRIGHT. W. J. ARCHER (12?) 16 NOV 1864 IN EFFINGHAM, LONDON NICOLL (V, 716, 840); BRIAN J. BURTON IN INTRODUCTORY NOTES TO HIS EDITION OF THE PLAY

2500. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 6 MAR 1863 AT BOWERY, NYC BROWN; ODELL (VII, 498)

395

WOOD LC—ADD MS 53037 (E) The ms in the Lord Chamberlain's collection of plays is 30 folios of white, unlined paper each leaf approximately 8" wide by 10.5" high. The copy is fair and not amended. The handwriting is sometimes quite difficult to read. The title page reads "Marriage Bells/ or the/ Cottage on the Cliff/ Act 1st/ 1864/Effmgham Theatre/ Received November 15/ License sent 16/ W. B. Donne." There is no list of characters, but the people of the play from the text include the following: Emily, Althea, Barbara, Mordant, Earl of Walsingham, Alfred, Richard Thome, various creditors, Fanny, Piffs, Grubbs, Dabbs. Act 1, Scene 1st is "A room in the earl of Walsinghams [sic] House." Scene 2 is "A Handsome Villa." Scene 3rd is "Interior of Tullyford's Cottage." Scene 4 is "An Apartment on the Earl of Walsingham [sic]." Scene 5th, "A Room in W. Mordant's House." Scene 6th is "The Hut of Tullyford. Scene 7th is "Appartment [sic] in Mordant's House." Act 2nd, Scene 1 is "An Apartment. Captain Alfred discover'd." This scene ends with the "business of the escape." The next scene is "The Lodgings of Captain Alfred." Next come two scenes in "A Chamber." The whole action concludes as Emily dies. There is a second "Marriage Bells" play in the Lord Chamberlain's papers—but only in 1881 —refer to ADD MS 53259 (C). This almost certainly lias nothing to do with East Lynne. 2506. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 27 FEE 1865 AT MRS BROOKLYN ODELL (VII, 701).

sad~and now I am determined to bring out no more plays founded on novels. I don't believe they ever satisfy the public. I regret that I have pledged myself to produce another play from a novel at Christmas. After that I will have no more of them at least for the present. I am at the same time extremely obliged to you for allowing me to see your M.S. and at some other time when you think you have something that will suit my company I hope you still think of / Yours very truly, [signed] Ruth Herbert." 2509. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 8, 13 JAN 1866 AT NIBLO'S GARDEN, NYC BROWN; ODELL (VIII, 26) With Lucille Western. 2510. PLAY: EAST LYNNE. DRAMA. 4 ACTS PLAYWRIGHT: JOHN OXENFORD 5 FEE 1866 AT SURREY, LONDON LC: DAYBOOKS SHOW LICENSE 7 FEE; LC—ADD MS 53408 (I) NICOLL (V, 510); BRIAN J. BURTON, IN HIS "INTRODUCTION" TO HIS TEXT OF THE PLAY The ms in the Lord Chamberlain's collection of plays is 37 folios of blue paper, each leaf measuring about 7.75" wide by 13" high. The copy is fair and not amended; the handwriting is clear and easily legible The title page says "1866/ Received February 21 License sent 3/ W. B. Donne/ East Lynne/ A Drama/ by/ John Oxenford/ From r. Richard Shepherd,/ New Royal Surrey Theatre/ Blackfriars Road/ L." There is no list of characters, but from the text some of the people of the play are as follow: Mrs. Hare, Barbara Hare, Justice Hare, Richard, Levison, Dill, Cornelia, Wilson, Joyce, Isabel, Carlyle, Susanne, Lord Mount Severn. Act 1, Scene 1st is "Garden of Justice's [sic] Hare's House." Scene 2 is "Country View." Scene 3rd is "An Apartment in East Lynne." Act 2, Sc 1st is "The Blue Parlor." Sc 2 is "Room at an Inn in Grenoble." Act 3, Sc 1 is "Same as Scene the last Act 1." Scene 2 is "Street in West Lynne placarded 'Carlyle for Ever.'" Scene 3rd is "The Nursery at East Lynne." Act 4, Sc 1 is "Street in West Lynne." Sc 2nd is "Isabels [sic] Apartment." The last line of the play is Isabel's remark that "Till time has given place to Eternity." 2511. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 9 FEE 1866 AT ACADEMY OF MUSIC, BROOKLYN ODELL (VIII, 107) With Lucille Western, Collier, Nunan, Blaisdell, Mary Wells and Mrs. F. Maeder.

CONWAY'S PARK,

2507. PLAY: EAST LYNNE PLAYWRIGHT. UNKNOWN 20 MAR, 8 APR 1865 AT NIBLO'S GARDEN, NYC BROWN; ODELL (VII, 646) With Lucille Western as Lady Isabel and Madame Vine; also with Collier, Burnett, Blaisdell, W. H. Danvers, Holmes, Mary Wells, Mrs. Skerrett, Mrs. Reeves, and Miss Burke. 2508. PLAY: EAST LYNNE PLAYWRIGHT: B.WEBSTER [14 NOV 1865 AT ST JAMES THEATRE, LONDON--NOT PRODUCED] LETTER IN LONDON THEATRE MUSEUM; NOT IN NICOLL Letter from Ruth Herbert to Benjamin Webster reads, "My Dear Sir, / I have read your play of "East Lynne" and like some parts of it very much on the whole I [illegible] it is too

396

WOOD 2512. PLAY: EAST LYNNE, OR THE GREAT WESTERN. BURLESQUE PLAYWRIGHT: UNKNOWN 12 FEE 1866 AT WOOD'S MINSTREL HALL [I.E.—WOOD'S THEATRE COMIQUE], NYC BROWN; ODELL (VIII, 77) Frank Drew as Lady Isabel.

On 14 May this shared the stage with "Mary Stuart," also from a novel (Scott's The Abbot).

2513. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 12 MAR 1866 AT WOOD'S MINSTREL HALL, NYC ODELL (VIII, 77) With Miss Western following after the burlesque of February. Barton Hill played Sir Francis Levison; Leffingwell played Archibald Carlyle; Welsh Edwards was Mount Severn; T.W. Keene was Richard; Henrietta Osborne was Barbara; Mrs. E. Wright was Miss Carney, and Mrs.G. F. Tyrrell was Joyce.

2517. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 12 NOV 1866 AT WINTER GARDEN, [TRIPLER HALL (?)], NYC BROWN; ODELL (VIII, 145) With Mrs. Bowers; McCollom as Sir Francis Levison.

2516. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 12 NOV 1866 AT TRIPLER HALL, NYC BROWN.

2518. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 25, 27 FEE, 4-8 MAR 1867 AT MRS CONWAY'S PARK THEATRE, BROOKLYN ODELL (VIII, 240, 241).

2514. PLAY: EAST LYNNE. DRAMA. 3 ACTS PLAYWRIGHT: GEORGE CONQUEST (MON) 23 APR 1866 AT GRECIAN, LONDON DAYBOOKS SHOW LICENSE 18 APR; LC—ADD MS 53050 (I) NICOLL(V, 671) The ms in the Lord Chamberlain's collection of plays is 30 folios, each measuring about 6.5" wide by 8.25" high. The hand is crabbed but legible, and the copy fair and not amended. The title page reads "Received April 177 License sent 18. / W. B. Donne./ East Lynne/ By Mr. Geo Conquest/ a drama in 3 Acts/ to be produced at the/ Grecian Theatre on/Monday April 23/66// [illegible] Actual and Responsible Manager./ W. B. Donne Esq." The "Dram. Pers" are Carlyle, Levensen, Dill, Richard Hare, Bethel, Ebenezer James, Pierre, Doctor, William, Lady Isabelle, Barbara Hare, Miss Corny, Wilsen, and Joyce. Scene 1st is "A Park." Scene 2 is "A Front Chambre in East Lynne." Scene 3 is "Drawing Room." Act 2, Scene 1 is "Apartments at Grenoble." Act 3rd, Scene is the same as Scene 1.

2519. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 19, 20 APR 1867 AT SEAVER'S OPERA HOUSE, WILLIAMSBURGH, BROOKLYN ODELL (VIII, 257) Mrs. Stetson as Lady Isabel; G. W. Thompson as Archibald Carlyle. 2520. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 27 MAY 1867 AT BROADWAY, NYC (FOR TWO WEEKS) ODELL (VIII, 161) With Lucille Western. 2521. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 26 SEPT 1867 AT BROOKLYN OPERA HOUSE, WILLIAMSBURGH, BROOKLYN ODELL (VIII, 400) With Miss Dean, Lawler, and Tilton.

2515. PLAY: EAST LYNNE. PLAY. 4 ACTS PLAYWRIGHT: ANON (MON) 7-11, 14 MAY 1866 AT THEATRE ROYAL, GLASGOW BILLS IN MITCHELL, GLASGOW; REFERENCES IN MOTLEY CATALOG IN GUL-STA Willie Carlyle by Master Tom Boulton; Lady Isabel Carlyle by Miss Heath; Mrs. Hare by Mrs. Stewart; Richard Hare by Murray; Lawyer Dill by Carter; et al.

2522. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 18 OCT 1867 AT MRS CONWAY'S, BROOKLYN ODELL (VIII, 379. 382) As a benefit for Mr. and Mrs. Conway on 18th October.

397

WOOD 2523. PLAY: EAST LYNNE PLAYWRIGHT: C. W. TAYLEURE 10 FEE 1868 AT BANVARD'S OPERA HOUSE, NYC ODELL(VIII, 319) With Miss Mitchell and Albaugh.

2530. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 18 SEPT 1869 AT NIBLO'S GARDEN THEATRE, NYC BROWN With Lucille Western.

2524. PL4 7: EAST LYNNE PLAYWRIGHT: UNKNOWN 19OCT 1868, MAY 1869 AT MRS CONW AY'SPARK THEATRE, BROOKLYN ODELL (VIII, 525, 528).

2531. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 18 SEPT 1869 AT NIBLO'S GARDEN THEATRE, NYC BROWN With Lucille Western.

2525. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 3, 5 APR 1869 AT WOOD'S THEATRE COMIQUE, HARLEM, NYC BROWN; ODELL (VIII, 207) With Mrs. Bates taking a benefit and John M. Abbott played Charles Paragon.

2532. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 29 NOV1869 AT MRS CONW AY'S PARK THEATRE, BROOKLYN ODELL (VIII, 661) With Lucille Western. 2533. PLAY: EAST LYNNE. [A FRENCH VERSION] PLAYWRIGHT: UNKNOWN 5 FEE 1870 AT THEATRE FRANCAIS, NYC BROWN With Mme. Moreau.

2526. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 18 JUNE 1869 AT ACADEMY OF MUSIC, BROOKLYN ODELL (VIII, 532)

2534. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 25 APR 1870 AT MRS CONW AY'S PARK THEATRE, BROOKLYN ODELL (VIII, 664) With Mrs. Bowers in April, and Lucille Western in May.

2527. PLA Y: EASTLYNNE PLAYWRIGHT: UNKNOWN 21 JUNE, 2 AUG 1869 AT PIKE'S OPERA HOUSE, NYC ODELL (VIII, 457, 458) With Lucille Western in the lead; J. Newton Gotthold as Archibald Carlisle; McKee Rankin as Sir Francis Levison; W. E. Sheridan as Richard Hare, E. L. Tilton as Lord Mt. Severn; George F. De Vere as Thomas; G. Vining Bowers as Peter; H. B. Phillips as Dr. Dill; W. A. Donaldson as Meredith; Blanche Bradshaw as Barbara; Marie Wilkins as Joyce; and Mrs. M. A. Bradshaw as Cornelia.

2535. PLAY: EASTLYNNE. BURLESQUE PLAYWRIGHT: UNKNOWN 25 JULY 1870 AT WOOD'S MUSEUM, NYC BROWN; ODELL (VIII, 589) With Edward Lamb, Rosa Rand, Alice Harrison, Theresa Wood, J. S. Rooney, James Barnes, and G. C. Charles.

2528. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 2 AUG 1869 AT GRAND OPERA HOUSE, NYC BROWN.

2536. PLAY: EASTLYNNE PLAYWRIGHT: A. DAMPIER 30 NOV 1870 AT ROYAL ALFRED, LONDON DAYBOOKS SHOW LICENSE 30 NOV; ADD MS 53,090 (K) NICOLL(V, 671) The ins in the Lord Chamberlain's collection of plays is 53 folios each measuring about 7.75" wide by 12.5" high. The copy is fair, but the hand is crabbed and difficult to read. There is no cover or title page to the ms, but at the

2529. PLAY: EAST LYNNE. BURLESQUE PLAYWRIGHT: UNKNOWN 16 SEPT 1869 AT BIRMINGHAM NICOLL(V, 671).

398

WOOD 2543. PLAY: EAST LYNNE. DRAMA. 3 ACTS PLAYWRIGHT: UNKNOWN 187 UN LEICESTER (?) EL WIN, IN CHARLES READE

top of the first page of text is the following: "R. Alfred Theatre. Reed November 25. License sent. Nov./ 1870./ W. B. Donne./ East Lynne." There is no list of characters, but from the text the people of the play include Barbara, Richard, the Justice, Miss Carlyle, Mr. Dill, Corny, Levison, Joyce, Isabel, Mrs. (?) Archibald, et al. Act 1st, Scene 1st is "View of East Lynne. Barbara discovered." Scene 2nd is "Shrubbery in East Lynne." Scene 3rd is "Drawing Room at East Lynne." Act 2nd, Scene 1st is "Room in Inn at Grenoble." Scene 2nd I "Drawing Room." Act 3, Sc 1st is "Made .... [illegible] an Willile discovered." Scene 2nd is "Village of East Lynne." Scene Last is "Madame ... Discovered].

2544. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 10 FEB 1872 AT BOWERY, NYC BROWN. 2545. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 22 MAY 1872 AT MRS CONWAY'S, BROOKLYN ODELL (IX, 216) With the Conways.

2537. PLAY: EAST LYNNE. [A FRENCH VERSION] PLAYWRIGHT. UNKNOWN 5 FEB 1870 AT THEATRE FRANCAIS, NYC BROWN With Mine Moreau.

2546. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 13 OCT 1872 AT WOOD'S MUSEUM, NYC BROWN.

2538. PLAY: EAST LYNNE. BURLESQUE PLAYWRIGHT. UNKNOWN 25 JULY 1870 AT WOOD'S MUSEUM, NYC BROWN.

2547. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 22 NOV 1872 AT MRS CONWAY'S, BROOKLYN ODELL (IX, 343) With Conway.

2539. PLAY: EAST LYNNE PLAYWRIGHT. UNKNOWN 27 SEPT 1870 AT MRS CONWAY'S, BROOKLYN ODELL (IX, 100) With the Conways.

2548. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 2 JUNE 1873 AT OPERA HOUSE, BROOKLYN ODELL (IX, 360) With Ida Vernon.

2540. PLAY EAST LYNNE PLAYWRIGHT UNKNOWN 13 MAR 1871 AT MRS CONWAYS, BROOKLYN ODELL (IX, 103) With Lucille Western and James A. Herne.

2549. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 5 JUNE 1873 AT WOOD'S OLYMPIC, NYC BROWN With Lucille Western, James A. Herne, and Frank Mordaunt.

2541. PLA Y: EAST LYNNE PLA YWRIGHT. UNKNOWN 5 JUNE 1871 AT OLYMPIC, NYC ODELL (IX, 22) With Lucille Western and James A. Herne.

2550. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 3 JAN 1874 AT MRS CONWAY'S PARK THEATRE, BROOKLYN ODELL (IX, 487) With Mrs. Conway as the heroine.

2542. PLAY: EAST LYNNE PLAYWRIGHT. UNKNOWN 11-16 SEPT 1871 AT WOOD'S THEATRE, NYC ODELL (IX, 158) With Lucille Western.

399

WOOD 2551. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 27 APR 1874 AT WOOD'S MUSEUM, NYC BROWN; ODELL (IX, 413) With Sophie Miles.

Barbara—What is that? A Strange man! Who and what are you. Richard—Do you not know me Barbara! Barbara—My brother! Oh Richard, how you terrified me. I am so glad to see you, but what a risk you run in returning here.

2552. PLAY: EASTLYNNE. DRAMA PLAYWRIGHT: ANON (WED) 17, 18, 20 JUNE 1874 AT THEATRE ROYAL, GLASGOW BILL IN MITCHELL, GLASGOW "Adapted for Miss Heath from Mrs. Wood's charming Novel," says the bill. Earl Mount Severn by A. Cuthbert; Capt. Francis Levison by Arthur Revelle; et al.

The final lines of the play are as follow: Lady I—Are you leaving me Archibald. Archi—Isabel! You grow faint. I will summon assistance. Lady I—Too late. Too late. This is the faintness of death. Archi—Death! Lady I—It is hard to part. Farewell my own: my love, Farewell! Archi—Farewell, my own Isabel. Lady I—Till time has given place to Eternity. My own love. Oh! (Dies). Archi—Gone! Curtain

2553. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 22 JUNE 1874 AT WALLACK'S NATIONAL THEATRE, NYC ODELL (IX, 384) Carlotta Leclercq as Lady Isabel and Mine. Vine.

The characters of the play (from the text) include Barbara, Richard, Levison, Hallijohn, Bethel, Cornelia, Dill, Joyce, Wilson, Lady Isabel, Archibad Carlyle, Bullock, Suzanne, Earl of Mount Severn, and Justice Hare. Nicoll reports that "in the provinces spectators groaned under works such as T. A. Palmer's East Lynne ... [this] is interesting both for its wretchedness of dialogue and for its method of adaptation; Palmer has seen fit to put in brackets after many of his speeches page references to the novel, from which, of course, his plot is taken ... ."(p. 148).

2554. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 19-31 OCT, 1NOV 1874 AT WOOD'S MUSEUM, NYC BROWN; ODELL (IX, 559-560) With Lucille Western and W. H. Whalley. 2555. PLAY: EASTLYNNE. DRAMA PLAYWRIGHT: T. A. PALMER 19 NOV 1874 IN NOTTINGHAM LC—ADD MS 53140 (B)? PALMER, T. A. EASTLYNNE. A DOMESTIC DRAMA IN A PROLOGUE AND FOUR ACTS. ADAPTED FROM MRS. WOOD 'SNOVEL. LONDON: LACY, ND NICOLL(V, 148,512) The ms 53140 (B) in the Lord Chamberlain's collection of plays is 120 folios, each measuring about 8" wide by 12.75" high. The text is legibly written on light blue paper with occasional amendments. The title page says simply "Licensed [illegible] 18747 East Lynne/ Act !—Scene I/ Garden." Then the text begins without identification of author, or theatre. This may or may not be the play by Palmer, or the play to which Nicoll refers. To facilitate comparison to the play by Palmer, the following dialogue: Richard Hare—So far I have escaped detection. I must have assistance come what may. Barbara! Barbara! Some one comes! Enter Barbara Hare

2556. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN DEC 1874 AT MRS CONWAY'S, BROOKLYN ODELL (IX, 622). 2557. PLAY: EDITH WEST; OR, IN THE DEAD OF NIGHT PLAYWRIGHT: ANON (MON) 26, 27, 28, 29 APR 1875 AT THEATRE ROYAL, SHEFFIELD SHEFFIELD & ROTHERHAM INDEPENDENT NICOLL (V, 671) "Dramatised from Mrs. Henry Wood's novel of that name, published in Argosy" This production was too long to share the stage with anything else. 2558. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 400

WOOD Scene 2 is "A Road near a Wood, East Lynne in the Distance." Scene 3 is "The Gardens of East Lynne." Act II, Scene 1 is "Lady Isabel's Apartment at Grenoble." Act III, Scene I is "The Drawing Room at Est Lynne." Scene II is "A Street in London." Scene III is "The Nursery at East Lynne." Act IV is "Lady Isabel's Death Bed." The play opens as follows: Joyce (discovered) Well, people will talk, and they do talk a lot about Miss Hare and Master, and no mistake. I don't care to hear folks chatter, so. I seems to demean master. It's not his fault, I'll swear, but I would swear she's out of all blame. There aint scarce a day but what she's coming up here and its all so private like. Never cares to see my lady. (A pause) Maybe it's about her brother Richard.

MAR, 25 JUNE 1875 AT BOWERY, NYC ODELL (IX, 571). 2559. PL4r: EAST LYNNE PLAYWRIGHT: UNKNOWN 26 APR 1875 AT WOOD'S THEATRE, NYC ODELL (IX, 563) For the benefit of Marion Sackett. 2560. PL4F: EAST LYNNE PLAYWRIGHT: UNKNOWN 28 SEPT 1875 AT PARK THEATRE, BROOKLYN ODELL (IX, 625) With Lucille Western and Whalley. 2561. PL/O': EAST LYNNE PLAYWRIGHT: UNKNOWN 2 FEE 1876 AT ACADEMY OF MUSIC, BROOKLYN ODELL (X, 135) With Lucille Western.

2565. PLAY: EAST LYNNE PLAYWRIGHT: ANON (SAT) 20,22,27 MARCH 1875 AT THEATRE ROYAL, GLASGOW BILLS IN MITCHELL, GLASGOW Earl Mount Severn by A. Cuthbert; Captain Francis Levison by Arthur Revelle; et al.

2562. PL/17: EAST LYNNE PLAYWRIGHT: UNKNOWN 14 FEE 1876 AT GRAND OPERA HOUSE, NYC ODELL (X, 31) With Lucille Western and J. B. Studley.

2566. PLAY: EAST LYNNE PLAYWRIGHT: ANON 16, 17 APR, 11, 12 JUNE 1875 AT ALEXANDRA OPERA HOUSE, SHEFFIELD SHEFFIELD & ROTHERHAMINDEPENDENT.

2563. />L41': EAST LYNNE PLAYWRIGHT: UNKNOWN 1 FEE 1877 AT NIBLO'S, NYC ODELL (X, 201) This was a part of a benefit for Jane English, the mother of the recently deceased Lucille Western, reports Odell.

2567. PLAY: EAST LYNNE. DRAMA PLAYWRIGHT: JOHN OXENFORD 13 OCT 1875 AT GLOBE, LONDON BILL IN OXBODJJ "Adapted by John Oxenford, and played by permission of R. Shepherd, Esq., being the only authorized version of Mrs. Wood's Popular novel. Earl Mount Severn by H. Grafton; Capt. Francis Levison by Lin Rayne; Archibald Carlyle by Hallows; Justice Hare by P. Everard; Richard Hare by Deane; Lawyer Dill by F. Mitchell; Bullock by J. A. Shaw; Willie Carlyle by Miss Polly Hunter; Lady Isabel Carlyle by Miss Ada Ward; Miss Cornelia Carlyle by Miss Hathaway; Barbara Hare by Miss Nelly Harris; Joyce by Miss Grey; and Wilson by Miss Talbot.

2564. PLAY: EAST LYNNE PLAYWRIGHT: ANON 1884 AT UNKNOWN THEATRE, POSSIBLY LONDON, NOTTINGHAM, OR GLASGOW LC—ADD MS 53154 (C) The ms in the Lord Chamberlain's collection of plays is 75 folios each measuring about 8" wide by 12.875" high, on lined paper. The copy is fair, and the handwriting, though hasty, is easy to read. The title page says only "East Lynne/ Act I/ Alfred Kempe/ 75 Chippenham Road/ St Peters Park,/ London." There is no list of characters, but the people of the play from the text include the following: Joyce, Barbara Hare, Isabel, Carlyle, Budger, Richard, Levison, Hare, Cornelia Carlyle. Act I, Scene 1 is "The Drawing Room at East Lynne.

2568. PLAY: EAST LYNNE. DRAMA. 4 ACTS

401

WOOD 2576. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 20-22 JAN 1879 AT SINN'S PARK, BROOKLYN ODELL (X, 725) With Mrs. D. P. Bowers.

PLAYWRIGHT: UNKNOWN 21 OCT 1875 IN WINDSOR LC: DAYBOOKS SHOW LICENSE 21 OCT 1875 NICOLL (V, 671). 2569. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 14 FEE 1876 AT GRAND OPERA HOUSE, NYC BROWN.

2577. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 11, 12, 14 FEE 1878 AT LYCEUM, NYC BROWN; ODELL (X, 389) With Ada Gray as Lady Isabel.

2570. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 20, 21, 23 SEPT 1876 AT BROOKLYN THEATRE, BROOKLYN ODELL(X, 311) With Augusta Dargon.

2578. PLAY: EASTLYNNE PLAYWRIGHT: ANON (WED) 20 FEE 1878 AT THEATRE ROYAL, DUNDEE PROGRAMME IN COMET, IN DDLLHC Kate Winstanley as Lady Isabel Carlyle and Madame Vine.

2571. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 18-20 JAN 1877 AT PARK THEATRE, NYC ODELL(X, 319) With Mrs. D. P. Bowers.

2579. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 10 JUNE, 8 JULY 1878 AT NIBLO'S GARDEN THEATRE, NYC BROWN; ODELL (X, 387) Ada Gray as Lady Isabel in June; Gussie De Forrest in July.

2572. PLA Y: EASTLYNNE PLAYWRIGHT: UNKNOWN 24-26 SEPT 1877 AT WOOD'S THEATRE, NYC ODELL(X, 519) With Jennie Carroll.

2580. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 5-10 MAY 1879 AT GRAND OPERA HOUSE, NYC (FOR ONE WEEK) BROWN; ODELL (X, 597) Reports Odell, "I am sorry to say that, during her second week (May 5th-10th), the lovely Modjeska was forced into a part she tells us in her Memories and Impressions that she utterly disliked—Lady Isabel, in East Lynne. I can hardly imagine her in it."

2573. PLA Y: EASTLYNNE PLAYWRIGHT: UNKNOWN 19 NOV 1877 AT BOWERY, NYC ODELL (X, 224) With Ada Gray, reports Odell, who observes that this was "a piece for years solely connected with her fame." 2574. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 28, 29 JAN 1878 AT PARK THEATRE, BROOKLYN ODELL (X, 510) Mrs. D. P. Bowers and J. C. McCollom played the lead roles. 2575. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 25-30 NOV 1878 AT NOVELTY WILLIAMSBURGH, BROOKLYN ODELL (X, 752) With Eliza O'Connor.

2581. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 26 NOV 1879 AT TOWN HALL, JAMAICA, LONG ISLAND ODELL (XI, 214) With Mary Brimer. 2582. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 5, 12 FEE 1880 AT STANDARD, NYC ODELL (XI, 265) With Rose Eytinge.

THEATRE,

402

WOOD 2583. PL4K: EAST LYNNE PLA YWRIGHT: UNKNOWN 20 MAR 1880 AT UNION LEAGUE CLUB THEATRE, NYC ODELL (XI, 154) With Etta Farrar.

2590. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 30 JAN 1882 AT ABERLE'S, NYC ODELL (XI, 531) With H. James Seymour and Mrs. Carrie M. Seymour.

2584. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 30, 31 AUG, 1 SEPT, 13, 14, 15, 16, 17 18 DEC 1880 AT WINDSOR THEATRE, NYC BROWN; ODELL (XI, 278, 280) With Ada Gray and Isidore Davidson.

PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 5, 12 FEE 1882 AT STANDARD, NYC BROWN.

2591.

2592. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 14 APR 1882 AT WILLIAMSBURGH, BROOKLYN ODELL (XI, 640) Given by the Greenwood Litrerary Club of South Brooklyn.

2585. PLA Y: EAST LYNNE PLA YWRIGHT: UNKNOWN 25 DEC 1880 AT ACADEMY OF MUSIC, BROOKLYN ODELL (XI, 393) With Mrs. D. P. Bowers, McCollom, Lewis Baker, and Josephine Baker.

2593. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 10 JUNE TO 1 JULY 1882 AT STETSON'S FIFTH AVENUE, NYC BROWN; ODELL (XI, 467) Odell calls this a new version. With Ada Gray, Mrs. S. A. Baker, Carrie Vinton, Mrs. S. B. Duffield, Fannie McNeil, Lindsay Harris, W. F. Edwards, S. C. Dubois, Little Tommy Russell.

2586. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 22 MAY 1881 AT PARK THEATRE, BROOKLYN ODELL (XI, 608) With Ada Gray, Mrs. S. A. Baker, Ida Lewis, Mrs. Jane Russell, Marion Russell, Lindsay Harris, J. B. Browne, John B. Furlong, and Master Tommy Russell, et al.

2594. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 14 MAR, 14 JULY 1882 AT HALL GARTH THEATRE ROYAL, MANCHESTER SHEPPARD On 14 March this shared the stage with "Ten Nights in a Bar Room. It was a production in the repertoire of "Litchfield's Manchester Dramatic Company," reports Sheppard.

2587. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 9 JUNE 1881 AT COURT SQUARE (WAVERLEY), NYC ODELL (XI, 400) This was an amateur production by the Lincoln Dramatic Club.

2595.

PLAY: EAST LYNNE PLAYWRIGHT: CLIFTON W. TAYLEURE 18, 20, 21 OCT 1882 AT GRAND OPERA HOUSE, BROOKLYN ODELL (XII, 165) Odell says that "Mrs. Chanfrau, a fading star," played in "Clifton W. Tayleure's new version of East Lynne. The only interesting member of the company was Regina Dace, and she not terribly interesting."

2588. PLA Y: EAST LYNNE. FOURTH ACT ONLY PLAYWRIGHT: UNKNOWN 16 NOV 1881 AT ACADEMY OF MUSIC, NYC BROWN; ODELL (XI, 306) As part of a benefit for an orphanage. 2589. PLAY: EASTLYNNE PLAYWRIGHT: CLIFTON W. TAYLEURE 4-7 JAN 1882 AT HAVERLY'S, NYC BROWN; ODELL (XI, 470) With Mrs. F. S. Chanfrau.

2596.

PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 403

WOOD JAN 1883 AT SINN'S PARK THEATRE, BROOKLYN ODELL(XII, 161) With Rose Eytinge, whom Odell calls "a waning star."

4-9 JUNE 1883 AT WINDSOR THEATRE, NYC BROWN; ODELL (XII, 57) With Ada Gray, and Harry Courtaine.

2597. PL/17: EASTLYNNE PLAYWRIGHT: UNKNOWN 19 MAR 1883 AT LEE AVENUE ACADEMY OF MUSIC, BROOKLYN ODELL (XII, 194) With Ada Gray.

2604. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 11 JUNE 1883 AT MOUNT MORRIS THEATRE, NYC ODELL (XII, 60) With Ada Gray, who "revealed again the sufferings of the heroine," says Odell. The Mount Morris Theatre did this play again the following season—see below, Dec. 1883.

2598. PLAY: EASTLYNNE. DRAMA PLAYWRIGHT: UNKNOWN 28 MAY 1883 AT STANDARD, LONDON NICOLL (V, 671).

2605. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 10 DEC 1883 AT MOUNT MORRIS THEATRE, NYC ODELL (XII, 266) With Ada Gray.

2599. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 14-19 MAY 1883 AT GRAND OPERA HOUSE, BROOKLYN ODELL (XII, 168) With Ada Gray.

2606. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 21 MAR 1884 AT ATHLETIC HALL, HUNTER'S POINT, LONG ISLAND ODELL (XII, 400) With Fannie Louise Buckingham (Mrs. William B. Petit), Randolph Murray, W. H. Brent, Alfred Beverly, Minnie Doyle, Mrs. Frank Rea, and Ella Southern.

2600. PLAY: EASTLYNNE PLAYWRIGHT: CLIFTON W. TAYLEURE 1-6 OCT 1883 AT GRAND OPERA HOUSE, BROOKLYN ODELL (XII, 365) Mrs. Henrietta Chanfrau as Lady Isabel; Tayleure as Clifton; J. Clinton Hall as Francis Levison; Lizzie Hight as Barbara; W. R. Vernon as Richard Hare; Virgie Nelson as Affy.

2607. PLA Y: EASTLYNNE PLAYWRIGHT: UNKNOWN 19 MAY 1884 AT 3RD AVENUE, NYC ODELL (XII, 265) With Ada Gray, who—says Odell—"roused fear and pity."

2601. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 23 OCT 1883, 5 MAR 1884 AT GERMAN CLUB ROOMS, STATEN ISLAND ODELL (XII, 206, 404) With Emma Hendricks.

2608. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 23 MAY 1884 AT GRAND OPERA HOUSE, NYC BROWN With Annie Ward Tiffany as Lady Isabel.

2602. PLA Y: EASTLYNNE PLAYWRIGHT: UNKNOWN 3-8 DEC 1883 AT LEE AVENUE ACADEMY OF MUSIC, BROOKLYN ODELL (XII, 390) With Ada Gray.

2609. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 5 NOV 1884 AT PEOPLE'S THEATRE, NYC BROWN; ODELL (XII, 260) With Ada Gray. Odell by now calls this piece "everlasting."

2603. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN

2610. PLA Y: EAST LYNNE; OR, THE IS ABELL THAT WAS A BELLE. BURLESQUE 404

WOOD 2618. PL4Y: EASTLYNNE PLAYWRIGHT: UNKNOWN 10 DEC 1885 AT STAR, NYC BROWN.

PLAYWRIGHT: UNKNOWN 10 NOV 1884 AT COVENTRY NICOLL(V, 671). 2611. PL4F: EASTLYNNE PLAYWRIGHT: UNKNOWN 15 DEC 1884 AT STAR, NYC ODELL (XII, 434) With Charlotte Thompson, this played immediately after Jane Eyre, and presented "woes" even more familiar—according to Odell.

2619. PLA Y: EASTLYNNE PLAYWRIGHT: UNKNOWN JAN 1886 AT STANDARD MUSEUM, BROOKLYN ODELL (XIII, 167).

2620. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 7-14 MAR 1886 AT PELLETREAU'S GRAND MUSEUM, BROOKLYN ODELL (XIII, 189) With Ethel Tucker. Pelletreau's Museum offered another version of "East Lynn" in May—see below.

2612. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 19 MAY 1885 AT APOLLO, NYC BROWN With Ada Gray. 2613. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 25-3 I MAY 1885 AT NIBLO'S GARDEN THEATRE, NYC ODELL (XII, 459) With Ada Gray.

2621. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 22-27 MAR 1886 AT CRITERION, BROOKLYN ODELL (XIII, 158) With Ada Gray.

2614. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 8-20 JUNE 1885 AT GRAND OPERA HOUSE, NYC BROWN; ODELL (XII, 463) With Ada Gray.

2622. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 3-8 MAY 1886 3RD AVENUE, NYC ODELL (XIII, 50) With Ada Gray as Lady Isabel.

2615. PLAY: EASTLYNNE PLA Y WRIGHT: UNKNOWN 15 JUNE 1885 AT MOUNT MORRIS THEATRE, NYC ODELL (XII, 472) With Ethel Hendricks.

2623. PLA Y: EASTLYNNE PLAYWRIGHT: UNKNOWN 24-29 MAY 1886 AT PELLETREAU'S MUSEUM, BROOKLYN ODELL (XIII, 190) With Louise Arnott.

2616. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 5 SEPT 1885 AT SADLER'S WELLS, LONDON THANKS TO JOHN EAST With Miss East Robertson.

2624. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 31 MAY 1886 AT NIBLO'S GARDEN THEATRE, NYC BROWN; ODELL (XIII, 37) Ada Gray as Lady Isabel.

2617. PLA Y: EASTLYNNE PLAYWRIGHT: UNKNOWN 24-29 1885 AT GERMANIA, BROOKLYN ODELL (XII, 598).

2625. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 7-12 JUNE 1886 AT NATIONAL, NYC ODELL (XIII, 92) With Mamie Wallace. 405

GRAND

WOOD 2632. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 21 MAR TO 2 APR 1887 AT POOLE'S, NYC ODELL (XIII, 272) With Ada Gray.

2626. PLAY: EAST LYNNE; OR, ISABEL THAT WAS A BELLE. BURLESQUE PLAYWRIGHT: UNKNOWN (MOM) 9 AUG 1886 AT HER MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN CITY LIBRARY.

2633. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 3 MAY 1887 AT JACOB'S THIRD AVENUE, NYC BROWN With Ada Gray.

2627. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 22,23,25 SEPT 1886 AT THIRD AVENUE THEATRE, NYC ODELL (XIII, 268) With Josephine Cameron. The Third Avenue Theatre gave yet another version of this play in October (see below).

2634. PLAY: EAST LYNNE. PATHETIC DRAMA PLAYWRIGHT: ANON (TUES) 6, 9 SEPT 1887 AT HER MAJESTY'S, DUNDEE POSTER IN DDLLHC With Miss Marriott as Lady Isabel, and Madam Vine.

2628. PLAY: EAST LYNNE. DRAMA PLAYWRIGHT: ANON 23 SEPT 1886 AT HER MAJESTY'S, ABERDEEN PROGRAMMES IN ABERDEEN CITY LIBRARY Lord Mountsevern by Herbert Budd; Lady Isabel and Madame Vine by Miss Marriott. The same house was soon to revive the play with a new casts—see below, passim.

2635. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 10-15 OCT 1887 AT POOLE'S, NYC ODELL (XIII, 472) With Ada Gray. Poole's offered another version of this play in April 1888 (see below).

2629. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 6-11 DEC 1886 AT BROOKLYN MUSEUM, BROOKLYN ODELL (XIII, 374) With Constance Hamblin, who Odell says was "long out of first-class theatres." 2630. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 7, 10 DEC 1886 AT PEOPLE'S WILLIAMSBURGH, BROOKLYN ODELL (XIII, 389) With Lydia Thompson.

2636. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN OCT 1887 AT THIRD AVENUE THEATRE, NYC ODELL (XIII, 269) This was Daniel Bandmann's company. 2637. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 28 NOV TO 3 DEC 1887 AT PROCTOR'S NOVELTY, BROOKLYN ODELL (XIII, 589) With Ada Gray.

THEATRE,

2631. PLAY: EAST LYNNE. DRAMA PLAYWRIGHT: ANON (FRI) 17 FEE 1887 AT HER MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN CITY LIBRARY This house had done the same play with a different cast only a few months before-see above~and was to do it again with still another cast in the near future-see below. Lord Mountsevern by Gloster Armstrong; Lady Isabel and Madame Vine by Miss Laura Villiers, for whose benefit the piece was performed.

2638. PLAY: EAST LYNNE. PLAYWRIGHT: EDGAR K. BRUCE 1887 AT UNKNOWN LOCATION LCP 1954/39 The typescript is in about 88 folios of 8" by 10" paper. The amateur binding reads "Mr. Junius Vavasour's Production of The World Famous Melodrama East Lynne As played on the occasion of Her Gracious Majesty

406

WOOD BROOKLYN ODELL (XIV, 193) With Ada Gray.

Queen Victoria's Jubilee 1887. The Production devised and directed by Edgar K. Bruce. The sticker oflicensure on the cover indicates "East Lynne/ Sadler's Wells, 247 6/ 54." This provides some little mystery. Was the production originally at Sadler's Wells? Or was the play licensed for a Sadler's Wells' revival of the "original" text? It seems probable that the latter is the case.

2645. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 21 MAR TO APR 1889 AT GERMANIA THEATRE, NYC BROWN.

2639. PLAY: EAST LYNNE. DRAMA PLAYWRIGHT: ANON (MON) 19 MAR 1888 AT HER MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN CITY LIBRARY The same house had produced the play twice in the recent past-see above. It would soon see the piece again, with yet a different cast—see below (more than once). Lady Isabell and Madame Vine by Miss Louise Moodie; Lord Mountsevern by S. Herbert.

2646. PLAY: EAST LYNNE. DRAMA PLAYWRIGHT: ANON (FRI) 24, 25 MAY 1889 AT HER MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN CITY LIBRARY This playhouse had three times in the recent past seen versions of the drama on its stage—see above. This time Miss Isabel Bateman was Lady Isabel and Madame Vine.

2640. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 23-28 APR 1888 AT POOLE'S, NYC ODELL (XIII, 474) With Pauline Markham.

2647. PLAY: EAST LYNNE. DRAMA PLAYWRIGHT: JOSEPHPAULTON 9 SEPT 1889 AT MARYLEBONE, LONDON NICOLL(V, 517).

2641. PLA Y: EAST LYNNE PLA YWRIGHT: UNKNOWN 21 MAY 1888 AT PROCTOR'S BROOKLYN ODELL (XIII, 565) With Ada Gray.

2648. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 15-22 SEPT, 22-27 DEC 1890 AT EIGHTH STREET THEATRE, NYC ODELL (XIV, 586) With Ada Gray.

CRITERION,

2642. PLA Y: EAST LYNNE PLA YWRIGHT: UNKNOWN 11 JUNE 1888 AT THALIA, NYC ODELL (XIII, 485) "Ada Gray ... brought tears to gentle eyes, with her never-dying East Lynne," reports Odell.

2649. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 10-15 NOV 1890 AT PROCTOR'S THEATRE, BROOKLYN ODELL (XIV, 759) With Ada Gray.

2643. PLAY: EAST LYNNE PLAYWRIGHT: ANON (TUES) 21, 23 AUG 1888 AT HER MAJESTY'S, DUNDEE PROGRAMME IN DDLLHC Miss Marriott as Lady Isabel and Madame Vine.

2650. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 8 DEC 1890 AT PAVILION, WHITECHAPEL, LONDON THANKS TO JOHN EAST

NOVELTY

2651. PLAY: EAST LYNNE PLAYWRIGHT: 'ARRANGED BY MRS. BENTLEY FOR HERSELF' (TUES) 19 MAY 1891 AT HER MAJESTY'S, DUNDEE

2644. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 11-16 FEE 1889 ATPROCTOR'S, WILLIAMSBURGH, 407

WOOD (TUES) 26 MAY 1891 AT HER MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN CITY LIBRARY Mrs. Bentley played Lady Isabel and Madame Vine—at least the fifth production of this play at this house by separate (and presumably touring) companies in the last few years—see above. And there were still more to come—see below.

POSTER AND PROGRAMME IN DDLLHC Mrs. Bentley as Lady Isabel and Madam Vine. 2652. PL4 7: EAST LYNNE. PLAYWRIGHT: UNKNOWN 16 TO 26 JUNE 1891 AT NOVELTY THEATRE, LONDON (18 PERFORMANCES) WEARING, THE LONDON STAGE ] 890-1899, VOL I, P 131 Wearing notes that it was mentioned in The Referee.

2658. PLAY: EAST LYNNE. DRAMA PLAYWRIGHT: ANON (THURS) 18, 19 JUNE 1891 AT HER MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN PUBLIC LIBRARY Haidee Wright as Lady Isabel and Madam Vine, in at least the sixth production at the Theatre Royal, Aberdeen, in recent memory. And it was soon to appear yet again,

2653. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 14-19 SEPT 1891 AT PEOPLE'S THEATRE, NYC ODELL (XV, 70) With Ada Gray.

in 1893— see below.

2659. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 14 SEPT 1891 AT PEOPLE'S THEATRE, NYC BROWN With Eva Montford.

2654. PLAY: EAST LYNNE PLAYWRIGHT: JOHN C. CHUTE 29 OCT TO 7 NOV 1891 AT ROYALTY, LONDON (10 PERFORMANCES) WEARING, THE LONDON STAGE 1890-1899, VOL I, P 163 Captain Levison by W. L. Abingdon; Archibald Carlyle by Fuller Mellish; Lawyer Dill by Herman de Lange; Lord Mountsevern by John Carter; Lady Isabel by Frances Ivor; Barbara Hare by Nina Williams; et al. Wearing refers to reviews.

2660. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 19-24 OCT 1891 AT LYCEUM, WILLIAMSBURGH, BROOKLYN ODELL (XV, 246) With Ada Gray.

2655. PLA Y: EAST LYNNE PLAYWRIGHT: JOHN C. CHUTE 28 JAN TO 5 MAR 1892 AT OLYMPIC, LONDON WEARING, THE LONDON STAGE 1890-1899, VOL I, P 191 Captain Levison by Bassett Roe; Archibald Carlyle by Alfred B. Cross; Lawyer Dill by Heny de Solla; Lord Mountsevern by John C. Chute; Lady Isabel by Lesley Bell; Barbara Hare by Bertie Willis; et al.

2661. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN NOV 1891 AT ATHENAEUM, BROOKLYN ODELL (XV, 228) The Barrett Society produced this show.

2662. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 2-7NOV1891 ATHUBER'SPALACEMUSEUM,NYC ODELL (XV, 152).

2656. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 8-13 FEE 1892 AT NIBLO'S GARDEN THEATRE NYC ODELL (XV, 54) With Ada Gray. Odell calls this play "simply inescapable."

2663. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 6-11 FEE 1892 AT NIBLO'S GARDEN THEATRE, NYC BROWN; ODELL (XV, 336) Ada Gray as Lady Isabel.

2657. PLAY: EAST LYNNE PLAYWRIGHT: ANON 408

WOOD production of the play that trod the Aberdeen boards. See above.

2664. PLA Y: EAST LYNNE PLAYWRIGHT; UNKNOWN 7 MAR 1892 AT JACOB'S THIRD AVENUE THEATRE, NYC ODELL (XV, 77) With Ada Gray.

2672. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 9-14 OCT 1893 AT LEE AVENUE ACADEMY OF MUSIC, BROOKLYN ODELL (XV, 814).

2665. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 13 JUNE 1892 AT WINDSOR THEATRE, NYC BROWN; ODELL (XV, 75) With Ada Gray.

2673. PLAY: EAST LYNNE. PLAY. 1 ACT, 5 SCENES PLAYWRIGHT: HAL COLLIER AFTER 16 DEC 1893 AT BARNARD'S ROYAL, WOOLWICH DAYBOOKS SHOW LICENSE 16 DEC; LC—ADD MS 53539 (K); LICENSE NO 325 NICOLL(V, 671) The ms in the Lord Chamberlain's collection is on folios 6.5" wide by 8" high, many leaves slightly torn, with the script reasonably legible, and almost no amendments. The title page says "L. Reitch/ East Lynne/ in 5 Scenes/ ... Hal Collier." The sticker of licensure indicates "East Lynne/Play (1 Act)/Royal, Woolwich/Dec 16 1893." The characters are Archibald, Capt. Levison, Lord Montsevern, Richard Hare, Boat, Policeman, Isabel, Corney, Willie, Joyce, Suzanne. Sc 1 is "Room at East Lynne;" Sc 2 is "Front Chamber;" Sc 3 is "Grenoble. Plain Chamber;" Sc 4 is "Front Street;" Sc 5 "Plain chamber. Little Willie in bed."

2666. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 12, 19-24 SEPT 1892 AT PEOPLE'S THEATRE, NYC BROWN; ODELL (XV, 366) With Eva Montford. 2667. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 24-29 SEPT 1892 AT THIRD AVENUE, NYC ODELL (XV, 372). 2668. PLAY: EAST LYNNE PLAYWRIGHT: HENRY GEORGE 12 DEC 1892 AT LYRIC, HAMMERSMITH, LONDON THANKS TO JOHN EAST Managed by John M. East.

2674. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 6 FEE 1894 AT NIBLO'S GARDEN THEATRE, NYC BROWN Ada Gray as Lady Isabel.

2669. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN FEE 1893 AT ASTORIA, NYC ODELL (XV, 833).

2675. PLA Y: EAST LYNNE PLAYWRIGHT: UNKNOWN 2-7 APR 1894 AT LYCEUM, BROOKLYN ODELL (XV, 823) With Emma Bell.

2670. PLAY: EAST LYNNE PLAYWRIGHT: UNKNOWN 7 MAR 1893 AT JACOB'S THIRD AVENUE THEATRE, NYC BROWN.

2676. PLAY: EAST LYNNE PLAYWRIGHT: ANON (MON) 25 MAR 1895 AT HER MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN PUBLIC LIBRARY J. Pitt Hardacre's company. This was at least the eighth appearance of the play on this particular provincial stage.

2671. PLAY: EAST LYNNE PLAYWRIGHT: ANON (MON) 14 AUG 1893 AT HER MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN PUBLIC LIBRARY Miss Kate Read as Lady Isabel, and Mrs. J. Pitt Hardacre as Madame Vine. This was at least the seventh distinct

409

WOOD 25 OCT, 22 NOV 1897 AT MURRAY HILL, NEW JERSEY (2 WEEKS) CHAPMAN & SHERWOOD, BEST PLA 75(1894-1899), P. 213 "Dramatized from Mrs. Henry Wood's novel of the same name," say Chapman and Sherwood.

2677. PLAY: EASTLYNNE. DRAMA PLAYWRIGHT: MISS HEATH AND WILSON BARRETT 7-28 MAR 1896 AT PRINCESS, LONDON NICOLL (V, 671); WEARING, THE LONDON STAGE 1890-1899, VOL I, PP 545-6 Archibald Carlyle by Payne or Magill Martyn; Lord Mountsevern by Leonard Yorke; Barbara Hare by Adelaide Chippendale; Lady Isabel/Mme Vine by Bessie Rignold; et al. Wearing gives the complete cast.

2683. PLA Y: EASTLYNNE PLAYWRIGHT: WOOLF 28 FEE 1898 AT STAR, NYC CHAPMAN & SHERWOOD, BEST PLA YS(\ 894-1899), P. 213.

2678. PLAY: EASTLYNNE. DRAMA PLAYWRIGHT: UNKNOWN [MISS HEATH AND WILSON BARRETT?] 13-18 APR 1896 AT NOVELTY, LONDON WEARING, THE LONDON STAGE 1890-1899, VOL I, P555 Francis Levison by Augustin Symonds; Archibald Carlyle by William Felton; Lord Mount Severn by Pemberton Peach; Barbara Hare by Ethel Fennar; Lady Isabel by V. St Lawrence; et al.

2684. PLA Y: EASTLYNNE PLAYWRIGHT: WOOLF 28 MAR 1898 AT GRAND OPERA HOUSE, NYC (ONE WEEK) CHAPMAN & SHERWOOD, BEST PLA YS (1894-1899), P. 213. 2685. PLAY: EASTLYNNE PLAYWRIGHT: BRIAN DALY 4 APR 1898 AT LYRIC, HAMMERSMITH, LONDON THANKS TO JOHN EAST; EAST, 'NEA TH THE MASK Managed by John M. East.

2679. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 30 MAY (MAR?) 1896 AT LYRIC, HAMMERSMITH, LONDON THANKS TO JOHN EAST Managed by John M. East.

2686. PLAY: EASTLYNNE PLAYWRIGHT: ANON 16 MAY 1898 AT HER MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN PUBLIC LIBRARY J. Pitt Hardacre's company again in Aberdeen—seepa^/w

2680. PLAY: EASTLYNNE PLAYWRIGHT: ANON (MON) 30 NOV 1896 AT HER MAJESTY'S, ABERDEEN PROGRRAMME IN ABERDEEN CITY LIBRARY J. Pitt Hardacre's company. At least the ninth production of the play on this stage since 1886. See above. Miss George White as Lady Isabel and Madame Vine.

above. 2687. PLAY: EASTLYNNE. DRAMA. 4 ACTS PLAYWRIGHT: ANON (MON) 23 MAY 1898 AT HER MAJESTY'S, DUNDEE PROGRAMME IN DDLLHC The J. Pitt Hardacre Co.

2681. PLAY: EASTLYNNE. DRAMA. 5 ACTS PLAYWRIGHT: UNKNOWN 10 OCT TO 24 APR 1897 AT OPERA COMIQUE, LONDON WEARING, THE LONDON STAGE 1890-1899, VOL II, P645 Archibald Carlyle by Alfred B. Cross; Cpt. Levison by H. Gomer May; Lord Mount Severn by James Carrall; Lady Isabel by Jennie A. Eustace; et al.

2688. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 11 JULY 1898 AT BRITANNIA, HOXTON, LONDON THANKS TO JOHN EAST. 2689. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 2, 22 NOV 1898 AT MURRAY HILL, NEW JERSEY (6 PERFORMANCES)

2682. PLAY: EASTLYNNE PLAYWRIGHT: B. W. WOOLF

410

WOOD Leamington/24.3.99." There is no list of characters, but from the text the people of the play are as follow: Levison, Mr. Parker, Afy (?), Dick, Carlisle. A Prologue, then Act I, Scene 1 in a "Handsome Drawing Room. Carlisle and Levison discovered." Scene 2, "Study at Carlisle's." Here a photograph of a painting of a man sitting, foreground left, and a woman playing a piano, background right, has been pasted into the ms. It has been labelled in hand "East Lynne Act I Scene 1 and 3." This is apparently a photograph of a painting entitled "Her Mother's Voice" ("from the Picture in the Tate Gallery"} by W. Q. Orchardson, R.A. Act II, Scene II is simply "French Set." Act I, Scene III is "Same as Scene 1." Indeed, either the numbering system is flawed, or the scenes have been bound out of order. Act II, Scene 1 is "Car. & Barbara discovered." Act III, Scene 1 is a "Drawing Room." Act III, Scene 2 is "Village of East Lynne." Act III, Scene III is "Bedroom Scene." Act IV, Scene I is "Village of East Lynne." Act IV, Scene II is "Bedroom."

BROWN; CHAPMAN & SHERWOOD, BEST PLAYS (1894-1899), 213. 2690. PLAY: EASTLYNNE. DRAMA PLAYWRIGHT: LILLA WILDE 19 DEC 1898 AT CRADLEY HEATH NICOLL (V, 622).

2691. PLAY: EASTLYNNE. DRAMA. 4 ACTS PLAYWRIGHT: J. P. HARD ACRE 26 DEC 1898 TO 21 JAN 1899 AT OLYMPIC, LONDON (25 PERFORMANCES) NICOLL (V, 403); WEARING, THE LONDON STAGE 1890-1899, VOL II, P 779 Archibald Carlyle by L. Cory Thomas; Lord Mountsevern by H. Trant Fischer; Francis Levison by Ernest Montefiore; Justice Hare by Ernest Percy; Lady Isabel and Mme Vine by Mabel E. Manisty; et al.

2696. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 28 MAR 1899 AT GRAND OPERA HOUSE, NYC BROWN.

2692. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 13 FEE 1899 AT THIRD AVENUE THEATRE, NYC BROWN; CHAPMAN & SHERWOOD, BEST PLAYS (1894-1899) , P. 213 With Adelaide Cushman.

2697. PLAY: EASTLYNNE. DRAMA. 5 ACTS PLAYWRIGHT: MRS. BANDMANN-PALMER (MON) 3 APR 1899 ATHERMAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN PUBLIC LIBRARY Lady Isabel and Madame Vine by Mrs. Bandmann-Palmer.

2693. PLAY: EASTLYNNE. DRAMA PLAYWRIGHT: HERBERT SHELLEY 20 FEE 1899 AT GRAND, FULHAM, LONDON NICOLL (V, 562). 2694. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 28 FEE 1899 AT STAR, NYC BROWN.

2698. PLAY: EASTLYNNE. 5 ACTS PLAYWRIGHT: ANON (TUES) 11, 15 APR 1899 AT HER MAJESTY'S, DUNDEE PROGRAMME IN DDLLHC Lady Isabel and Madame Vine by Mrs. Bandmann-Palmer.

2695. PLAY: EASTLYNNE. DRAMA. 4 ACTS PLAYWRIGHT: UNKNOWN 24 MAR 1899 AT LEAMINGTON DAYBOOKS SHOW LICENSE 24 MAR 1899; LC—ADD MS 53679 (K); LICENSE NO 348 NICOLL (V, 671) The ms in the Lord Chamberlain's collection of plays is about 75 folios each measuring about 8.5" wide by 12.25" high. The copy is often amended, especially in pencil, and the handwriting is often hasty and difficult to read. There is no title page, but the first page at the top says "East Lynne/ Adapted by ... ." The name of the adaptor is obscured by the sticker of licensure, which indicates "Play/ 'East Lynne' / New Version 4/ R.

2699. PLAY: EASTLYNNE PLAYWRIGHT: ANON (MON) 19 JUNE 1899 ATHERMAJESTY'S, DUNDEE PROGRAMME IN DDLLHC. 2700. PLAY: EASTLYNNE PLAYWRIGHT: ANON (MON) 26-30 JUNE, 1 MAY MAJESTY'S, ABERDEEN 411

1899 AT HER

WOOD PROGRAMME IN ABERDEEN PUBLIC LIBRARY Lucy Sibley as Lady Isabel Carlyle and Madame Vine.

2708. PLAY: EASTLYNNE. DRAMA. 4 ACTS PLA YWRIGHT: WILSON BARRETT (& MISS HEATH) 2-14 DEC 1901 AT PRINCESS, LONDON (12 PERFORMANCES) Archibald Carlyle by Ernest Leicester; Levison by J. J. Bartlett; Bullock by Groves Watson; Richard Hare by Ernest Percy; Justice Hare by R. S. Boleyn; Lord Mountsevern by Burton Cooke; Dill by Percy Everard; Cornelia Carlyle by Sophie Shenton; Lady Isabel by Gertrude Scott; Little Willie by Cissie Besant; Little Isabel by Wright; Barbara by Ruth Maitland; et al. See Wearing for complete cast and a list of reviews.

2701. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 23 APR 1900 AT PAVILION, LONDON (?) THANKS TO JOHN EAST.

2702. PLAY: EASTLYNNE. DRAMA. 4 ACTS PLA YWRIGHT: BERTHA N. GRAHAM AUG AT THEATRE ROYAL, MAIDSTONE DAYBOOKS SHOW LICENSE 30 AUG 1900 LCP 1900/13 This is a typescript of 55 folios.

2709. PLAY: EASTLYNNE PLAYWRIGHT: ANON (MON) 16 JUNE 1902 AT HER MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN PUBLIC LIBRARY Lady Isabel and Madam Vine by Miss Vera Beringer.

2703. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 28 JAN 1901 AT ELEPHANT & CASTLE, LONDON THANKS TO JOHN EAST Managed by John M. East.

2710. PLAY: EASTLYNNE PLAYWRIGHT: ANON (MON) 7 JULY 1902 AT THEATRE EDINBURGH PROGRAMME IN NSL The J. Pitt Hardacre Co.

2704. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 4 FEE 1901 AT LYRIC, HAMMERSMITH, LONDON THANKS TO JOHN EAST Managed by John M. East.

ROYAL,

2705. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 8 APR 1901 AT AMERICAN, NYC BROWN.

2711. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 11 AUG 1902 AT LYRIC, HAMMERSMITH, LONDON THANKS TO JOHN EAST Managed by John M. East.

2706. PLAY: EASTLYNNE PLAYWRIGHT: MRS. BANDMANN-PALMER 10, 13 APR 1901 AT HER MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN PUBLIC LIBRARY Lady Isabel and Madam Vine by Mrs. Bandmann-Palmer.

2712. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 15 SEPT 1902 AT RICHMOND, LONDON THANKS TO JOHN EAST Managed by John M. East. 2713. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 27 OCT 1902 AT PAVILION, LONDON THANKS TO JOHN EAST With Miss East Robertson as Barbara Hare.

2707. PLAY: EASTLYNNE. DRAMATIC SKETCH. 1 ACT. 5 SCENES PLAYWRIGHT: HERBERT COLE & GLENVILLE 22 MAY(?), 3 JUNE 1901 AT SADLER'S WELLS, LONDON DAYBOOKS SHOW LICENSE 22 MAY 1901 LCP 1901/16 The Daybooks indicate this to be a "new version." The ms is dated "June 3, 1907." It is 21 folios of carbon copy on unlined paper, in a legible hand.

2714. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 26 JAN 1903 AT ELEPHANT & CASTLE, LONDON

412

WOOD 2722. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 19 DEC 1904 AT BRITANNIA, HOXTON, LONDON THANKS TO JOHN EAST.

THANKS TO JOHN EAST Managed by John M. East.

2715. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 8 JUNE 1903 AT LYRIC, HAMMERSMITH, LONDON THANKS TO JOHN EAST Managed by John M. East.

2723. PLAY: EASTLYNNE PLAYWRIGHT: H. ARMITAGE 13 MAR 1905 AT PRINCE OF WALES, SOLON LCP 1905/7 This is a typescript carbon copy in about 81 folios. The title page indicates that this was "rewritten by H. Armitage." The license was issued on 15/3/05.

2716. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 29 JUNE 1903 AT SHAKESPEARE THEATRE, CLAPHAM, LONDON THANKS TO JOHN EAST Managed by John M. East.

2724. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 2 OCT 1905 AT LYRIC, HAMMERSMITH, LONDON THANKS TO JOHN EAST.

2717. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 23 NOV 1903 AT PAVILION, LONDON (?) THANKS TO JOHN EAST Miss East Robertson as Barbara Hare.

2725. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 9 APR 1906 AT CROWN, PECKHAM THANKS TO JOHN EAST Managed by John M. East.

2718. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 7 DEC 1903 AT COUNTY, KINGSTON THANKS TO JOHN EAST Managed by John M. East.

2726. PLAY: EASTLYNNE. 1 ACT. 5 SCENES PLAYWRIGHT: FRED SOUTHERN 5 NOV 1906 AT BRITANNIA, HOXTON, LONDON LCP 1906/33 The manuscript is in an exercise book in about 51 folios of clear hand, fair copy.

2719. PLAY: EASTLYNNE PLAYWRIGHT: WILSON BARRETT 27 MAY 1904 AT THEATRE ROYAL, MANCHESTER LCP 1904/12 The play in the Lord Chamberlain's collection is a typescript that seems to be a carbon copy in about 101 folios. The first and title page gives "altered and revised by Wilson Barrett."

2727. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 17 DEC 1906 AT BROADWAY THEATRE, NEW CROSS THANKS TO JOHN EAST Managed by John M. East.

2720. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 4 JULY 1904 IN CAMDEN, LONDON THANKS TO JOHN EAST Managed by John M. East.

2728. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 4 FEE 1907 AT ELEPHANT & CASTLE, LONDON THANKS TO JOHN EAST.

2721. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 11 JULY 1904 AT CORONET, NOTTING HILL GATE, LONDON THANKS TO JOHN EAST Managed by John M. East.

2729. PLAY: EASTLYNNE PLAYWRIGHT: WILSON BARRETT 11 FEE 1907 (?) AT BUXTON OPERA HOUSE, BUXTON BUXTON CITY LIBRARY BILLS.

413

WOOD Archibald Carlyle by Frederick Ross; Captain Francis Levison by Eric Mayne; Lord Mountsevern by Harvey Braban; Justice Hare by S. Major Jones; Cornelia Carlyle by Blanche Stanley; Barbara Hare by Mabel Mannering; Lady Isabel by Frances Dillon; et al. See Wearing for complete cast and references to reviews.

2730. PLAY: EASTLYNNE PLA YWRIGHT. MRS. BANDMANN-PALMER (THURS) 25 APR 1907 AT HIS MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN PUBLIC LIBRARY Lady Isabel and Madam Vine by Mrs. Bandmann-Palmer.

2737. PLAY: EASTLYNNE. PLAYLET. 7 SCENES. PLAYWRIGHT: FRED S. JENNINGS 6 JUNE 1910 AT LYRIC, HAMMERSMITH, LONDON LCP 1910/14 The typescript is about 26 folios of carbon copy.

2731. PLAY: EASTLYNNE PLAYWRIGHT: ANON (MON) 24 JUNE 1907 AT HIS MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN PUBLIC LIBRARY Miss Jeanne Burgoyne as Lady Isabel.

2738. PLAY: EASTLYNNE. PLAY. 4 ACTS PLAYWRIGHT: B. MERVYNFOX 23 APR 1912 AT EMPIRE, GRADLEY HEATH LCP 1912/20 The play is a manuscript in 73 folios on the pages of a lined exercise book that opens from the top. It has become detached from the binding of 1912/20. A letter tipped into the binding of the play reads in part, "This is the old familiar Mrs. Henry Wood story. "Lady Isabel" jealous of Barbara Hare listens to the insidious tongue of "Sir Frances Levison" and leaves her husband-"Sir Archibald Carlisle." Sir Archibald divorces her and marries Barbara. Lady Isabel, disguised, conies back into her former home as "Miss Vine" and nurses "Little Willie"-who dies in her arms. She dies in the following act-with the vision of Little Willie appearing through transparency at back."

2732. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 22 NOV 1908 AT GRAND, GLASGOW THANKS TO JOHN EAST John M. East's Company. 2733. PLAY: THE NEW EAST LYNNE PLAYWRIGHT: EDMUND GURNEY 30 NOV 1908 AT HIS MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN PUBLIC LIBRARY "This play differs entirely from any other Version every

presented." Beth Elliott playing Lady Isabel and Madame Vine. 2734. PLAY: EASTLYNNE PLAYWRIGHT: ANON 24 MAY 1909 AT HIS MAJESTY'S, ABERDEEN PROGRAMME IN ABERDEEN PUBLIC LIBRARY Jeanne Burgoyne as Lady Isabel and Madame Vine. 2735. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 9 AUG 1909 AT SHAKESPEARE CLAPHAM, LONDON THANKS TO JOHN EAST Managed by John M. East.

2739. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 15 JULY 1912 AT WEST LONDON THEATRE, LONDON THANKS TO JOHN EAST John M. East as Lord Mountsevern. 2740. PLAY: EASTLYNNE PLAYWRIGHT: J. PITT HARD ACRE 14 OCT 1912 AT BUXTON OPERA HOUSE, BUXTON BUXTON CITY LIBRARY BILLS.

THEATRE,

2741. FILM: EAST LYNNE. BLACK-AND-WHITE. SILENT. 6 REELS SCREENWRITER: UNKNOWN; DIRECTED BY BERT HALDANE 1913 BY BAKER/WALTURDAW (UK) COREL ALL-MOVIE GUIDE 2 (CD-ROM)

2736. PLAY: EASTLYNNE PLAYWRIGHT: ERIC MAYNE 13 NOV TO 11 DEC 1909 AT LYCEUM, LONDON LCP 1909/26 WEARING, THE LONDON STAGE: 1900-1909, VOL I, P802 The typescript is about 112 folios from the " Dickens Type-Writing Office." It is sometimes amended.

Cornelia Carlyle by Rachel de Solla; Lady Isobel by Blanche Forsythe; Captain Levison by Fred Morgan; Joyce by May 414

WOOD SCREENWRITER: MARY MURILLO; DIRECTED BY BERT BRACKEN 1916 BY 20TH CENTURY FOX (USA) COREL ALL-MOVIE GUIDE 2 (CD-ROM) Lady Isobel by Theda Bara; Arch Carlisle by Ben Deely; Cornelia by Emily Fitzroy; Otway Bethel by H. F. Hoffman; Captain Levison by Stuart Holmes; Old Hellejohn by James O'Connor; Little Willie by Eldean Steuart; Little Isabel by Lock Stewart; Barbara Hare by Claire Whitney; Mrs. Hare by Eugenia Woodward; et al.

Morton; Ally Hallijohn by Doreen O'Connor; Archibald Carlyle by Fred Paul; Little Willie by Pippin; et al. 2742. PLAY: EASTLYNNE PLAYWRIGHT: ANON (MON) 3 FEE 1914 AT HER MAJESTY'S, DUNDEE BILL IN DDLLHC "The soul-stirring Production, the most successful ever written, is now approaching its 14,500 night and is in a prologue (written expressly for this tour by J. Pitt Hardacre) and Four Acts, depicting THE MURDER. THE ELOPEMENT. A LIFE RUINED. THE ATONEMENT FOR SIN COMMITTED. THE HUSBAND'S FORGIVENESS.

2747. PLAY: EASTLYNNE PLAYWRIGHT: ALIDA L. LINDEN 6 JULY 1922 AT VICTORIA HALL, STANLEY LCP 1922/17 The play is a carbon copy typescript in approximately 167 folios. It is for some reason called a "serial play" on the cover.

2743. PLAY: EASTLYNNE PLAYWRIGHT: UNKNOWN 17 MAR 1914 AT OPERA HOUSE, BOMBAY THANKS TO JOHN EAST.

2748. PLAY: EASTLYNNE. DRAMA. PROLOGUE & 3 ACTS PLAYWRIGHT: J. PITT HARDACRE 25-31 MAY 1929 AT REGENT THEATRE, LONDON (12 PERFORMANCES) WEARING, THE LONDON STAGE 1920-1929, VOL II, P. 1138 Francis Levison by Terence Maxwell; Archibald Carlyle by Bernard Lee; Lord Mountsevern by James Carroll; Barbara Hare by Betty Williamson; Lady Isabel Carlyle by Karen Stanley-Alder; et al.

2744. PLAY: EASTLYNNE. PLAY. 4 ACTS PLAYWRIGHT: ALBERT WARD 4 MAY 1914 AT KENNINGTON THEATRE LCP 1914/16 The play is a carbon copy typescript in about 101 folios. A typescript note from Ernest A. Bendall says that this is "a fresh and very crude adaptation of Mrs. Henry Wood's novel. It illustrates mechanically the circumstances in which Archibald Carlyle marries Lady isabel and she, misunderstanding his relations with Barbara Hare, (whom he is defending against a false charge of murder) elopes with the villainous Francis Levison. It shows with equal formality how Levison, after deserting Lady Isabel, is proved guilty of the murder: and it winds up with the famous tour de force of tears in which Lady Isabel, disguised as Madame Vine, comes home unrecognized and heart-broken, to nurse her little Willie on his harrowing death bed and then to die herself. The dramatization is a poor piece of theatrical sentimentality; but may safely be recommend for license.".

2749. PLAY: EASTLYNNE PLAYWRIGHT: ANON CA 1928 AT COTTON BLOSSOM FLOATING PALACE THEATRE, [DRURY LANE], LONDON? INSERT INTO PROGRAMME FOR "SHOW BOAT" IN OXBODJJ DRURY LANE FILE It is entirely possible that this undated, unlocated handbill for some fleeting venture on the Thames has found its way by chance into the Drury Lane materials. It promotes "Captain Andy Hawk's Cotton Blossom Troupe in The Parson's Bride" & "East Lynne." "Cotton Blossom," however, is the name of the boat on which plays are produced in "Showboat;" so it seems even more likely that the audience to "Showboat" were to assume that "East Lynne" was the play being produced within the play. Thus there was probably only an imaginary production of "East Lynne" in 1928.

2745. PLAY: EASTLYNNE PLAYWRIGHT: ANON (MON) 20 MAY 1918 AT HER MAJESTY'S, DUNDEE BILL IN DDLLHC The same stock must have been used for the bill as for the production above, at Dundee, since the play is still "approaching its 14,500 Night," though some years later. 2746. FILM: EAST LYNNE. SILENT. 5 REELS

2750. FILM: EASTLYNNE. BLACK-AND-WHITE. 102 MIN SCREENWRITERS: TOM BARRY& BRADLEY KING;

BLACK-AND-WHITE.

415

WOOD DIRECTED BY FRANK LLOYD; CINEMATOGRAPHY BY JOHN F. SEITZ; MUSIC COMPOSED BY RICHARD FALL; FILM EDITED BY MARGARET V. CLANCY; SETS DECORATED BY JOSEPH URBAN 1931 BY 20TH CENTURY FOX (USA) ENSER FILMED BOOKS AND PLAYS: 1928-1986, (1987), P. 663; COREL ALL-MOVIE GUIDE 2 (CDROM); NOT IN MALTIN William as a Boy by Wally Albright; Captain Levison by Clive Brook; William as a baby by Ronnie Cosbey; Dodson by Gunnis Davis; Lady Isabel by Ann Harding; Earl of Mount Severn by O. P. Heggie; Cornelia Carlyle by Cecilia Loftus; Doctor by Eric Mayne; Joyce by Beryl Mercer; Robert Carlyle by Conrad Nagel; Sir Richard Hare by David Torrence.

2753. PLAY: EAST LYNNE GOES WEST PLAYWRIGHT: ANON 19 MAR 1934 AT EMPIRE, SWANSEA LCP 19347 12 The play is a typescript on legal-sized paper, very light weight, in only six folios.

2751. FILM: EAST LYNNE ON THE WESTERN FRONT. BLACK-AND-WHITE. 85 MIN SCREENWRITERS: DONOVAN PARSONS & MARY PARSON; DIRECTED BY GEORGE PEARSON; PRODUCED BYT. A. WELSH; CINEMATOGRAPHY BY PERCY STRONG 1931 BY GAUMONT (UK) COREL ALL-MOVIE GUIDE 2 (CD-ROM) Maurice/Levison by Mark Daly; Barbara Hare by Edwin Ellis; Reggie Pitt by Harold French; Ben and Cornelia by Alf Goddard; Jack/Hare by Philip Godfrey; Dick Webb and Carlyle by Wilfred Lawson; Sandy by Roger Livesey; Bob Cox/Lady Isobel by Herbert Mundin; Fred by Hugh E. Wright; et al. "Bored soldiers recruit actor Lawson to help produce a burlesque version of 'East Lynne' complete with randy songs and chorus numbers while waiting action behind the lines in 1915 France," says the Corel Guide.

2755. PLAY: EAST LYNNE. DRAMA. 3 ACTS PLAYWRIGHT: EVADNE PRICE UNKNOWN PRODUCTION(S) LCP 1954 7 56 The play is on about 125 folios of A4, in clear typescript. It's title page gives "A New Adaptation of Mrs. Henry Wood's Famous Novel." There is no indication of any relationship with any theatre.

2754. PLAY: EAST LYNNE. PLAY. PROLOGUE & 3 ACTS PLAYWRIGHT: WILFRID T. STEPHENS 23 JULY 1948 AT GRANVILLE, WALHAM LCP 1948 7 35 The typescript is a ribbon-bound carbon copy, in approximately 144 folios, whose cover says that this is a "New Version of the Famous Victorian Novel."

2756. PLAY: EAST LYNNE. PLAY. 3 ACTS, 11 SCENES PLAYWRIGHT: ANON 26 APR 1954 AT HER MAJESTY'S, BRIGHTON LCP 1954/26 The play is on about 56 folios of A4, in clear typescript. The license was issued 20 April 1954. A hand-written date on the title page gives "Her Majesty's Theatre, Brighton, 26 April. 2757. PLAY: EAST LYNNE. PLAYWRIGHT: EDGAR K. BRUCE JUNE 1954 AT SADLER'S WELLS, LONDON LCP 1954 7 39 The sticker and stamp of licensure are both dated in June 1954-the sticker for 24 June, the stamp for 18 June. This suggests a serious intention to produce the play- probably at Sadler's Wells Theatre. The typescript is in about 88 folios of 8" by 10" paper. The amateur binding reads "Mr. Junius Vavasour's Production of The World Famous Melodrama East Lynne As played on the occasion of Her Gracious Majesty Queen Victoria's Jubilee 1887. The Production devised and directed by Edgar K. Bruce.

2752. FILM: EX-FLAME. BLACK-AND-WHITE. 68 MIN SCREENWRITERS: GEORGE DRANEY, HERBERT FARJEAN & GEORGE DRANEY; DIRECTED BY VICTOR HALPERIN; CINEMATOGRAPHY BY ERNEST MILLER; FILM EDITED BY DONN HALES 1931 BY TIFFANY (USA) ENSER, FILMED BOOKS AND PLAYS: 1928-1986, (1987), P. 663; COREL ALL-MOVIE GUIDE 2 (CDROM); NOT IN MALTIN There do seem to have been three films from this novel in 1931. Lady Catherine Hamilton by Marion Nixon; Barbara Lacy by Judith Barrie; Argentinian by Jose Bohr; Parson by Charles Crockett; Umberto by Roland Drew; Sir Carlye Austin by Neil Hamilton; Keith by Cornelius Keefe; Beaumont Winthrop by Norman Kerry; Wilkins by Joe North; Boggins by Snub Pollard; Kilmer by Joan Standing.

2758. PLAY: EAST LYNNE. 2 ACTS, 9 SCENES PLAYWRIGHT: ANON

416

WOOD area of apron stage in front of it. The stage-cloth is painted as boards, with some indication of the traditional positions of traps and grooves Along the front of the stage are shell shaped shields for the gas footlights. The proscenium arch is colourfully painted with a profusion of formalised drapes, swags, tasselled cords and has, perhaps, a statue on each side.

11 APR 1963 AT PANAMA CLUB, LONDON LCP 1963 /19 The text is a typescript on 26 folios of 8" by 10" paper. The title page gives "East Lynne" and the characters, who number only eight. Indeed, the first page of the text says "East Lynne. Short version the property of Julian Brooks." 2759. PLAY: EAST LYNNE PLA YWRIGHT: LAWRENCE. HAYES 1 DEC 1963 AT ABY LITERARY INSTITUTE, LONDON LCP 1963/55 The play is on about 50 folios of legal-sized papertypescript. A typed note on the title page reads in small part as follows:

... 2761. PLAY: EAST LYNNE. MELODRAMA. 3 ACTS PLAYWRIGHT: BRIAN J. BURTON 12 NOV 1964 AT BROTHERHOOD MEMORIAL HALL, CHINGFORD LCP 1963/55 BIRMINGHAM: COMBRIDGE, 1965 The license copy is a cut-and-pasted-up version of a published text, with a few small amendments in ink here and there. There are 32 folios, with printed text pasted up on both sides of each. An "Introduction" reads in part as follows:

The text comprises edited sections of the dialogue from the novel and five simple narrative linking songs. The setting consists of a simple, theatrically stylised indication of the sort of shop that sells 'Victoriana'. No attempt is made to set the locale of any scene with specific 'scenery'-properties and dressings are taken by the actors as required, as it were, ex stock. Amongst the visible objects is a Magic Lantern, used throughout to project chapter headings from the novel.

'East Lynne' by Mrs. Henry Wood (born Ellen Price, the daughter of a Worcester glove manufacturer) was first published in 1861 in serial form. It aroused considerable interest during serialisation and when it was first published in book form it was the subject of a most enthusiastic review in 'The Times' which was followed by similar critical acclaim from other reviewers. Since that day it has sold millions of copies, has been translated into many languages and adapted for the stage. The first version to be presented in dramatic form is reputed to be one by W. Archer which was staged at the Effingham Theatre in Whitechapel exactly one hundred years ago on November 12th 1864.

The lyrics to the songs are provided on the second page of the typescript-and following. 2760. PLAY: EAST LYNNE PLAYWRIGHT: BRIAN SHELTON 1964 AT PITLOCHRY FESTIVAL THEATRE, PITLOCHRY LCP 19647 18 The text is about 75 folios of bound typescript on 8" by 10" paper. The sticker of licensure gives "Festival, Pitlochry/ 9th April 1964." The title page explains that this is "in a new version adapted and edited by Brian Shelton from the original novel and contemporary dramatisations." A "Note on the Staging of the Play" indicates in part as follows:

Burton goes on to give a brief history of the stage versions of East Lynne. He seems not to have known about early US dramatic versions of the novel (see above, in 1862-4).

When the audience enter the auditorium they see on the stage a replica of the proscenium of a midnineteenth century theatre. There is a door on either side of this, and a large 417

SOURCES CONSULTED to the Lord Chamberlain: 1824-1851. (London: Trustees of the British Museum, 1964). Also relevant is the typescript Catalog of Additional Manuscripts, or the unpublished records compiled by the British Museum Manuscripts Division to facilitate use of the extensive collection of plays submitted for license to produce after 1823. This abbreviation refers to the printed catalog, the typed catalog, and the card catalog. See also "LARPENT" and "LCP," below.

ABERDEEN CITY LIBRARY—A substantial collection of playbills pertaining to productions in Aberdeen, mostly of the nineteenth and early twentieth century. BEST PLAYS —Best Plays, eds. John Chapman & Garrison P. Sherwood, Burns Mantle, Louis Kronenberger, Otis L. Guernsey, Jr. New York: Dodd Mead, the first volume covers 1894-1899; the second 1899-1909; the third 1909-1919; annual issue after 1919—edited by Bums Mantle and later by John Chapman.

CHADWYCK-HEALEY —BBC Radio: Author and Title Catalogs of Transmitted Drama, Poetry, and Features: 1923-1975\ and BBC Television: Author and Title Catalogs of Transmitted Drama and Features: 1936-1975. Cambridge& Teaneck, N.J.: Chadwyck-Healey, 1982. These are microfiche copies of the card catalog records of the BBC television and radio studios. They are not only records of broadcasts, but also of manuscript holdings and even of the origin of ideas for broadcasts. They are virtually never records of mere readings.

BIRDOFF, HARRY. —The World's Greatest Hit: Uncle Tom's Cabin. New York: S. F. Vanni, 1947. 440 pp. (BL shelf mark 11860.ff.32) BDL/BDLL/BDL CAT —British Drama League/ British Drama League Library/ British Drama League Library Catalog. Supplements have appeared, as in 1954. BL BILLS—Playbills in the British Library. BLC/BL CAT—The British Library Catalogue-either the electronic version, one of the printed versions, or the card version.

COREL— A CD-ROM encyclopedia of film, called "Corel All-Movie Guide 2" DAVEY—Peter Davey worked intensively for two years or more in the south of England, developing a history of provincial theatrical production. That unpublished manuscript, in many bound volumes, lies in the London Theatre Museum, in Covent Garden. I have consulted a few of its volumes, specifically those concerning productions 1835-1900 in Bath, Bristol, Brighton, Portsmouth, and Exeter.

BROWN—Brown, Thomas. Allston. A History of the New York Stage from the first performance in 1732 to 1901. 3vols. New York: Dodd Mead, 1903. BUCK—Buck, Claire, ed., Guide to Women's Literature throughout the World: from Sappho to Atwood, women writers through the ages. London: Bloomsbury, 1992. BUXTON CITY LIBRARY BILLS —A bound collection of playbills in the Buxton City Library derived from the Buxton Opera House during the early twentieth century before it became a movie house.

DAYBOOKS —The Daybooks of the Lord Chamberlain, or Examiner of Plays—i.e., the logs of submissions of mansucripts to the censor. DDLLHC — This abbreviation refers to the Dundee District Library Local History Collection, where a large number of playbills from the local area of Scotland is housed.

BURTON, BRIAN J. ED., LITTLE WOMEN. Alcott, Louisa May. Little Women, ed. Brian J. Burton. Combridge. CASHIN'S BOSTON THEATRES & HALLS—A pamphlet.

DIMMITT—Dimmitt, Richard Bertrand. A Title Guide to the Talkies. A Comprehensive Listing of 16,000 Feature-Length Films from October 1927, Until December 1963. London & New York: Scarecrow, 1965. 2vols.

CAT ADD MSS —This refers to two possible directories. First is the Catalogue of Additions to the Manuscripts: Plays submitted to the Lord Chamberlain 1824-1851: Add 42,865-43,088—i.e., Catalogue of Plays Submitted

EAST, 'NEA TH THE MASK.

418

East, John. 'Neath the

SOURCES CONSULTED critical introductions by William van Lennep, emmet L. Avery, Arthur H. Scouten, George Winchester Stone, Jr., and Charles Beecher Hogan. Carbondale, Illinois: Southern Illinois, 1979. This is effectively the index to Van Lennep, William; Avery, Emmet L.; Scouten, Arthur H.; Stone, G. W.; and Hogan, Charles Beecher, eds. The London Stage 1660-1800: A Calendar of Plays, Entertainments & Afterpieces Together with Casts, BoxReceipts and Contemporary Comment compiled from the playbills, newspapers and theatrical diaries of the period. 5 parts. Carbondale, Illinois: Southern Illinois, nd.

Mask: The Story of the East Family. London: Allen & Unwm, 1967. EAST—PRIVATE RECORDS. During the course of his labors in preparation for the title mentioned above, John East accumulated records of performances and productions by the John East company, which are not always mentioned in the book, and which he was kind enough to share with me. These especially concerned productions of "East Lynne." EDINBURGH CITY LIB —The Edinburgh City Library has a collection of playbills distinct from that in the National Library of Scotland.

INTERNET MOVIE DATABASE: (http://us.imdb.com)

ELWIN, CHARLESREADE—E\v/m, Malcolm. Charles Reade. A biography. London: Jonathan Cape, 1931.

IRELAND—Ireland, Joseph. Records of the New York Stage from 1750 to 1860. 1 vols. New York: T. H. Morrell, 1866-1867.

ENSER—Enser, A. G. S. Filmed Books and Plays: A List of Books and Plays from -which Films have been made, 1928-1969. London: Grafton, 1969.

KODAK VIDEO TAPE & DISC GUIDE KRAUSE—Krause, David, ed. The Dolmen Boucicault. With an essay by the editor on the theatre of Dion Boucicault and the complete authentic texts of Boucicault's three Irish plays. Dublin: Dolmen, 1964.

FACETS VIDEO CAT—The periodically published catalogue of the Facets Multimedia corporation, from which video versions of films can be ordered. FILM FANATIC—Peary, Danny Film Fanatic. London: Simon & Schuster, 1987.

LARPENT/ LARPENT CAT/ LARPENT PLAYS. —A reference either to the collection of Larpent plays, or to the catalogue to that collection: MacMillan, Dougald. Catalogue of the Larpent Pays in the Huntington Library San Marino, California: Huntington Library, 1939. This catalog gives the holdings of manuscripts by the Huntington Library of Plays submitted to the Lord Chamberlain for permission to produce them to be granted by the Examiner of Plays, from 1737 to 1824. There are two numbering systems for the plays referred to in the catalogue.

FORRY, STEVEN EARL.— "The Hideous Progenies of Richard Brinsley Peake: Frankenstein on the Stage, 1823 to 1826." Theatre Research International (vol 12, no 1): 13-32. FORRY, STEVEN EARL. Hideous Progenies: Dramatizations of Frankenstein from the Nineteenth Century to the Present. Philadelphia, University of Philadelphia Press, 1990. GAY, "LITTLE WOMEN AT THE MOVIES"— an article in Street, Douglas, ed., Children's Novels and the Movies. New York: Ungar, 1983.

LCLP A—The Lincoln Center Library for the Performing Arts, in New York City. This collection belongs to the New York Public Library, and although it was housed at Lincoln Center when consulted, it was scheduled to be moved elsewhere. Readers wishing to use this collection should contact the New York Public Library to determine its location.

GENEST—Genest, John. History of the English Stage, 1600-1830. London: H. H. Carrington, 1832. 10 vols. GILBERT & GUBAR—GILBERT, SANDRA M. & GUB AR, SUSAN. The Norton Anthology of Literature by Women: The Tradition in English. New York: Norton, 1985.

LCLPA CAT—The published catalogs for the collection often theatrical ephemera in the possession of the New York Public Library-i.e., the Catalogue of the Theatre and Drama Collections. Part H: Theatre Collection, Books on the Theatre; Part III: Non-Book Collection. Boston: G. K. Hall, 1976. The catalogue often bears an imperfect relationship to the actual collection, which has changed substantially since the publication of the photographic reproduction of the card catalogue. The

GUL-STA—Glasgow University Library: The Scottish Theatre Archives. INDEX TO THE LONDON STAGE- Schneider, Ben Ross, Jr., Index to the London Stage 1600-1800, ed with

419

SOURCES CONSULTED materials derived from the Britannia Theatre, Hoxton, and was heavily annotated by Arthur Williams.

collection was scheduled to be moved away from Lincoln Center. Readers wishing to use this collection should contact the New York Public Library to determine its location.

POTOMAC VIDEO CATALOGUE- The catalogue to the Potomac Video store for the fall and winter of 1986-1987.

LCP —The Lord Chamberlain's Plays. This refers to the collection of playscripts after December 31,1899. Before that date the British Library Manuscripts Division refers to "LARPENT" or to "ADD MSS;" after that date to "LCP." But this is essentially a reference to the same collection. See also CAT ADD MSS

SHEFFIELD CITY LIBRARY BILLS—A collection of playbills concerning the productions of one and sometimes two houses in Sheffield, especially during the years 1834 to about 1857, and only scattered bills before and after those dates.

LONDON THEATRE MUSEUM—formerly the V&A., and especially the Enthoven Collection. Located now in Covent Garden.

SHEFFIELD CITY LIBRARY BILLS CAT—A handwritten catalog to the collection of playbills in the Sheffield City Public Library.

MALTIN'S TV MOVIES AND VIDEO GUIDE (1986).—Maltin, Leonard. Leonard Maltin 's TV Movies and Video Guide. New York: Signet, 1986. This has become something of a standard reference work for films. It has been reissued annually.

SHEPPARD—Sheppard, Thomas. Evolution of the Drama in Hull and District. London & New York, 1927. SMITH, CHARLES READE— Smith, Elton E. Charles Reade. London: Prior, 1976.

MEISEL, REALIZATIONS. Meisel, Martin. Realizations: narratives, pictorial, and theatrical arts in the nineteenth century. Princeton, N.J.: Princeton University, 1983.

STURTEVANT—Sturtevant, Catherine. A Study of the Dramatic Productions of two Decades in Chicago: 1847-1857 and 1897-1907. Ph. D. Dissertation, University of Chicago, 1930.

MITCHELL—The Glasgow Room in the Mitchell Library, Glasgow, has an extensive collection of playbills.

WASHINGTON POST— The Washington Post, a daily newspaper in the city of the author's residence through many of the years of the compilation of these calendars.

NLS—The National Library of Scotland, Edinburgh, where there is an extensive collection of playbills.

WEARING—Wearing, J. P. The London Stage 1890-1899: A Calendar of Plays and Players. Metuchen, N.J. & London: Scarecrow, 1976; vol. I, 1890-1896; vol. II, 1897-1899. The London Stage 1900-1909: A Calendar of Plays and Players. Metuchen, N. J. & London: Scarecrow, 1981. vol. I, 1900-1907; vol. II, 1908-1909. The London Stage 1910-1919: A Calendar of Plays and Players. Metuchen, N.J. & London: Scarecrow, 1982; vol. I, 1910-1916; vol. II, 1917-1919. The London Stage 19201929: A Calendar of Plays and Players. Metuchen, N.J. & London: Scarecrow, 1984, vol. I, 1920-1927; vol. II, 1927-1929.

NICOLL—Alardyce Nicoll, A History of the English Drama, vols I-VI. Cambridge: Cambridge University Press, 1925-1959. NUC—National Union Catalog ODELL—Odell, George C. D. Annals of the New York Stage. 15 vols. New York: Columbia Press, 1927-1949. OXBOD—Oxford University, Bodleian Library. OXBODJJ—Oxford University, Bodleian Library, John Johnson Collection.

WRIGHT—Andrew Wright. "Jane Austen Adapted," Nineteenth Century Fiction (30 Dec 1975), pp. 421-453.

PASCOE —Pascoe, Charles Eyre. The Dramatic Handlist: A Record of the Principal Performances of Living Actors and Actresses of the British Stage, with criticisms from Contemporary Journals. London: Hardwick and Bogue, 1879 (reprinted 1971).

YORK MINSTER BILLS—A collection of bills in the York Minster archives concerning productions especially in York but also in Whitby, Hull, and Wakefield. For 1800 to about 1840 the collection is strong. Presumably much of this is for York Circuit theatres.

PETTINGELL CAT—The typed catalog of thePettingell collection, a large collection of published an unpublished 420

INDEX OF PROPER NAMES Playwrights, Screenwriters, Actors & Actresses, Musicians, Scenic Artists, Costumers, Producers, Theatres & Locations All references in the index below are to item numbers (not page numbers). The names of editors and compilers of scholarly works of reference and history are not included in this index. The names of characters in narratives and plays are not included. 14TH 14TH 18TH 20TH

STREET THEATRE, NYC 1633 STREET, NYC 1585 STREET PLAYHOUSE, NYC 1828 CENTURY FOX 783, 905, 1023, 1438, 1479, 1802, 1811, 1839, 1874,2746,2750 23 RD STREET THEATRE, NYC 719 23 RD STREET, NYC 724 3RD AVENUE, NYC 1380, 2622 51ST STREET THEATRE, NYC 2469 A BECKETT, GILBERT ABBOT 1146, 1147, 1465 A. W. Martin's Uncle Tom's Cabin Company 2423 Abbey's Double Mammoth Uncle Tom's Cabin Company 2256, 2257,2281, 2291,2292 Abbot 1551 Abbot, Bud 1743 Abbot, Charles 687, 1615 Abbot, John 783 ABBOTT 275, 326, 737, 1186, 1870 ABBOTT, GEORGE 1870, 1871 Abbott, John M. 2525 ABBOTT, MISS 1197 Abbott, Mrs. 2045 Abbott, Nellie 1456 ABC THEATRE GUILD OF THE AIR 106 ABEL. W. H. 1469 Abeles, Edward S. 1474 ABERDEEN 870, 882, 932, 937, 950, 98 1168, 1452, 2361, 2370, 2385, 2393, 2412, 2626, 2628, 2631, 2639, 2646, 2657, 2658, 2671, 2676, 2680, 2686, 2697, 2700, 2706, 2709, 2730, 2731, 2733, 2734 ABERLE'S, NYC 1052, 2224, 2590 Abingdon, W. L. 2654 Aborn, Dot 2235 Abraham, Morris 1138 Abrahams, Morris 1246 ABRAMS, RAY 2477 Abrams, Richard 781 Abuert, Lenore 1743 ABY LITERARY INSTITUTE, LONDON 2759 ACADEMY ARTS THEATRE, NYC 1829 Academy Award for Best Score 1310 ACADEMY OF MUSIC, BROOKLYN 577, 697, 838, 842, 1565, 1567, 1574, 1578, 1584, 1638, 2080, 2084, 2085, 2092, 2102, 2107, 2114, 2116, 2132, 2138, 2145, 2163, 2173, 2181, 2211, 2234, 2238, 2242, 2245, 2248, 2259, 2284, 2300, 2497, 2526, 2561, 2585 ACADEMY OF MUSIC, BUFFALO 696, 876 ACADEMY OF MUSIC, NEW ORLEANS

2175 ACADEMY OF MUSIC, NYC 702, 1593, 1619, 1635, 2171, 2231, 2284, 2407, 2499, 2588 ACADEMY, NYC 752 ACHESON, JAMES 1880 Ackerman, C. F. 2423, 2443 Ackerman, Forrest J. 1781, 1787 Ackroyd, David 23 Acovone, Jay 1298-1301 Acton, Wallace 775 ACTON-BOND, BRANDON 78 ACTOR'S PLAYHOUSE, NYC 1832 Adair, Frank 922 ADAM, AGNES 1360 Adam, Miss Isabel 1913 ADAMO, MARK 37 ADAMS 1034, 1122 Adams, J. 1930 Adams, Lee 813 Adams, Little Katie 2202 ADAMS,MANDY813 Adams, Marjie 2435 Adams, Mass 1716 Adams, Maude 899, 2196 Adams, Nick 1760 Adams, Polly 122 Adams, Victor 66, 74 ADAMS, W. 1078 Adamson 1781 Adamson, Al 1779, 1781, 178 Adcock, Miss 1390 Addison, Carlotta 1442 Addison, Fanny 1458 Addison, Miss L. 349 Addison, Miss Laura 353 Adell, Helen 1457, 2208 ADELPHI, EDINBURGH 353, 563, 16 1708, 1917 ADELPHI, GREENPOINT 847 ADELPHI, LIVERPOOL 1562 ADELPHI, LONDON 572, 1073, 119 1380, 1435, 1647, 1690, 1714, 1934 ADELPHI, OLDHAM 708 ADELPHI, SAN FRANCISCO 1998 ADELPHI, SHEFFIELD 1718, 1921 Adler, Luther 774-779 ADRIAN 101 Aeriens, Elizabeth 757 Aeschylus 1762 African JUBILEE SINGERS 2202 AFRICAN METHODIST EPISCOPAL CHURCH, BRIDGE STREET, NYC 2015 African Roscius 557, 558, 560-562, 565, 569 AGINCOURT 1782 Agosti, Carlos 1788 Agutter, Jenny 1349 Ahrendt, Carl 916 Ahrens, Monique 1438 Aickin 517, 521,524, 1548 Aikenl916, 2455 Aiken, F. E. 1890 Aiken, Frank 874, 880, 2014 Aiken, Frank E. 876, 881, 1916

421

AIKEN, GEORGE L. 1916, 1925, 1932, 1955, 1966, 1975, 1976, 1980, 1982, 1989, 1992, 1996, 2006, 2008, 2009, 2011, 2014, 2031, 2034, 2037, 2038, 2040-2042, 2044, 2046, 2049-2054, 2059, 2071, 2074, 2079, 2080, 2082, 2085, 2086, 2090, 2092, 2100, 2107, 2116-2118, 2138, 2145-2147, 2 1 5 1 , 2152, 2155-2158, 2163, 2170, 2173, 2193, 2197, 2198, 2207, 2208, 2210, 2211, 2218, 2219, 2241, 2253, 2254, 2259, 2267, 2270, 2274, 2275, 2277, 2283, 2284, 2289, 2290, 2327, 2387, 2407, 2445, 2455, 2456, 2458, 2459, 2461-2464, 2467, 2475, 2476, 2483, 2485 AIKEN'S MUSEUM, BROOKLYN 2118 Aikin218 Ainley, Henry 899 Ainsley, Norman 1736 Aitken 559 Akerstrom, Miss 824 AKRON, OHIO 1856 Alabama Jubilee Singers 2153 ALAZRAKI, BENITO 1756 ALBANY, NY 1955, 1966, 2109 Albaugh 2523 ALBERT THEATRE, PORTSMOUTH 1024 Albert, Eddie 1304 Alberta, Laura 2125, 2129, 2169, 2285 Albright, Wally 2750 ALCOTT, LOUISA MAY 1 Aldiss, Brian 1874 Aldous, Robert 1807 ALDOWITZ, STEWART M. 1800 Aldrich 1914 Aldridge 570 ALDRIDGE, H. F. 1984 ALDRIDGE, H. J. 1971 ALDWYCH, LONDON 762 ALEKAN, HENRI 1281 Alexander 915, 1689 Alexander, George 835 Alexander, Ray 2237 ALEXANDER, S. K. 1275 Alexander, Tad 2 ALEXANDRA OPERA HOUSE, SHEFFIELD 2566 Alexandra Palace 1161, 1164, 1165 ALEXANDRA, LIVERPOOL 1056 ALEXANDRA, SHEFFIELD 1272 Alexandre 1954 ALHAMBRA, LONDON 1274 Alison, George 916 Allan, Mme. Caradori 1182 Allbrook 1341 Allcroft, Mrs. 1701 ALLEN 1982 Allen A. M.E. Church 2342 Allen. J. H. 1890 Allen, Adrianne 97 Allen, C. Leslie 1916 Allen, Charles 826

INDEX OF PROPER NAMES ALLEN, DOUGLAS 1337 Allen, Ethel 2208 Allen, George 2280 Allen, H. T. 1074 Allen, Harry 1048 ALLEN, HECK 2477 Allen,! H. 1534, 1535 Allen, Katherine 774, 778, 779 Allen, Leslie 829, 830 Allen, Lettie 709 ALLEN, M. H. 64 ALLEN, MARY HOPE 60, 67, 84, 113 Allen, Master 1685 Allen, Miss Georgia 2182 Allen, Mrs. J. H. 2498 Allen, Nellie 1048, 1074 Allen, Ricca2418 Allen, Viola 830 Allen, W. 1719 Allenby, Frank 44, 1429 ALLERS, ROGER 1310 Allgood, Sara 783 ALLIED ARTISTS 1750, 1765 Allison, Henry 612 Alliston, Annie 2486 ALLMAN, SHELDON 1784 Allredge, Michael 1299 Allyne2356 Allyne Sisters 2356 Allyson, June 18 Almy, Miss 620 Alonso, Ernesto 805 ALPERS 1200 Alvarado, Trini 35 Alvary, Max 824 ALVIN THEATRE, NYC 2462 Amaranth Sociey 838 Amateur Coloured Dramatic Company 637 Amber, Mabel 2407 Arnberg 824 AMBERG, NYC 748 AMBIGU COMIQUE, PARIS 1723, 1954 Amedee, Mme. 1954 AMERICAN CONSERVATORY THEATRE, SAN FRANCISCO, CALIFORNIA 1825 AMERICAN INTERNATIONAL 1747, 1760 AMERICAN INTERNATIONAL PRODUCTIONS, LTD 808 American Red Cross 2473 AMERICAN THEATRE (THIRD AVENUE), NYC 2206 AMERICAN, NYC 2705 Ames, Cora 1216 Ames, Gerald 1327 Ames, Willie 1802 Amiens 1970 A M P H I O N ACADEMY, WILLIAMSBURGH 749, 878, 1637 AMPHITHEATRE, LIVERPOOL 860,865, 1158 AMPIER2301 AMYES, JULIAN 794 Ancira, Carlos 1755 Anders, Merry 1282 Anders, Rudolph 1750 Anderson 1094,2356 Anderson, Augusta 2436 Anderson, Jim 1769 ANDERSON, LEA 1314 Anderson, Miss Carrie 1250 Anderson, Mrs. 1121, 1146

Anderton 1388 Andre, Marcel 1281 Andrea, Little 2160 Andreas, Christine 1434 Andrew, H. E. 1074 Andrews 608, 1225, 1550, 1651 Andrews, A. 1094 Andrews, Andrew 1433 Andrews, George E. 2497 Andrews, Harry 808 Andrews, Miss Lillian 687, 1615 Andrews, Sarah Hollis 911 Angel 1515 Angel, Master J. 1501 Ankers, Evelyn 1740 ANN ARBOR, MICHIGAN 2459 Anobile, Richard J. 1734 Anson, G. W. 610 ANTHONY STREET THEATRE, NYC 271, 1558 ANTHONY STREET, NYC 1513 ANTONY 138, 1666 ANTONY, BERAUD 1656 ANTONY, JONQUIL 138, 141 APOLLO HALL, WILLIAMSBURGH 2128 APOLLO THEATRE, ATLANTIC CITY 1727 APOLLO, NYC 2274, 2612 Applegate, Roy 2428 AQUARI, GIUSEPPE 1826 AQUARIUM, NYC 2213, 2229 Arbuckle, Maclyn 1474 Archard, Bernard 1783 Archer 248, 822 Archer, G. A. 1046 Archer, Miss 2053 Archer, W. 2761 ARCHER, W. J. 2505 Arden, Carol 917 Arden, Edwin 855 Arden, Miss Eliza 1223 Arder, Barbara 94 ARDREY, ROBERT 910 ARKOFF, SAMUEL Z. 808 Arlincourt, Charles 1660 Armitage, Graham 51 ARMITAGE, H. 2723 ARMSTRONG 35 ARMSTRONG, GILIAN 35 Armstrong, Gloster 2631 ARMSTRONG, JOHN 1428 Arnold 1087 Arnold, S. J. 1673,1887 Arnold, W. B. 750 Arnott, Edward 2151 Amott, Louise 2623 ARONSON, SIG 2478 Arpino, Tony 1759 ARRIGHI, LUCIANA 148 Artaud, W. 1132 ARTEAGA, ANGEL 1773 Arthur, Julia 855, 2387, 2419 ARTHUR, ROBERT ALAN 1743 ARTS CENTRE, WARWICK 126 ARTS THEATRE, CAMBRIDGE 127 ASCHER, TOVA 1292 ASHCROFT, CROYDON 130 ASHER, JACK 1746, 1752 ASHLEY, J. B. 595 Ashley, John 1751 ASHMAN, HOWARD 1310, 1316 Ashton, J. B. 1599 Ashton, Miss E. 2056 ASHTON, ROY 1759

422

Ashwell, Miss Lena 819, 821 Ashworth, Jean 778, 779 Askin, Leon 1811 Asther, Nils 2448 ASTLEY'S, LONDON 1933 Astley's Royal Amphitheatre 1901 ASTLEY'S ROYAL AMPHITHEATRE, LONDON 1901 ASTLEY'S, LONDON 626 Astorl751 Astor, Gertrude 2450 Astor, Mary 18 ASTORIA ASSEMBLY ROOMS, LONG ISLAND 1627 ASTORIA, LONG ISLAND 1270 ASTORIA, NYC 2669 ATHENAEUM, BROOKLYN 844, 1630, 2220,2230,2661 ATHENAEUM, NEW YORK CITY 2059 Atherton 215 Atherton, Vernie 757 ATHLETIC HALL, HUNTER'S POINT, LONG ISLAND 2606 ATKINS 266, 267, 1971, 1984 ATKINS, MRS. 1263 Atkins, Nancy 93 Atkinson, Mrs. 1010 ATKYNS 1389 ATLANTIC CITY 1727 Attenborough, Charlotte 132 Atwill, Lionel 1738, 1740-1742 AT WOOD, COLLEEN 35 AUBER1198 AUBREY, L. K. 1862 Aubrey, W. J. 671 Auburn 1975 Auclair, Michel 1281 AUDITORIUM, CHICAGO 2411 Audley, Maxine 1778 Augsburg 1945 AUGUSTE 1263 Augustinian Dramatic Company 844 Auld 1388 AURIC, GEORGES 1281 AUSTEN, JANE 39 Austen, Jane (as a character) 52 Austen, Miss Ramie 596 Austin 1557 AUSTIN CIVIC THEATRE 2478 Austin, Charlotte 1750 Austin, J. W. 774, 778, 779 AUSTIN, MOLLIE 141 Austin, Mrs. 1642 Austin, Ramie 598 AUSTIN, TEXAS 2478 AVA2481 AVENUE THEATRE, LONDON 821 AVENUE THEATRE, SUNDERLAND952 Avery, Brian 1802 AVERY, TEX 2472, 2477 Aylmer, Sir Felix 1336 Ayres 1559 Ayrtoun, Miss Margaret 859 Baby Blanche 2231 BACHARDY, DON 1803 Bacigalupi, Dennis 1839 Backus, Jim 1761 Baddeley, Angela 107 Badel, Alan 116 Baden-Baden 1945 Baeza, Paloma 673 BAFTA89, 148 BAILEY, MRS. 1085 Bailey, Victor 1758

INDEX OF PROPER NAMES Bailey, W. H 1891 Baines, Sherry 1314 Bainter, Fay 2462 BAIRD 1552 BAKALEINIKOFF, CONSTANTIN 781 BAKER 326, 627, 1655, 1672, 1679 Baker, Basil 1084 Baker, Frank 914 BAKER, GEORGE D. 2439 BAKER, GRAHAM 3 BAKER, HOWARD 87, 88 Baker, Josephine 2585 Baker, Lewis 2585 Baker, Mrs. S. A 2586, 2593 BAKER, RICK 1284 Baker, T. 2050 Baker, Tom 1803 BAKER/WALTURDAW 2741 Bakewell, Miss 295, 296 Balcon, Jill 69 BALDERSTON, JOHN L. 1733, 1734, 1736 Baldry, Miss Daisy 1263 Baldwin, Mrs. 1187 BALDWIN, RICHARD 1163 Bale, Christian 35 BALEDON, RAFAEL 1755 BALFE 1178, 1180-1183, 1185 Balfe, M. W. 1180 BALHAM 967 BALL, W. 1197 Ballantyne 1121 BALLARD, CARROLL 914 BALLIN, HUGO 757 Ballin, Mabel 757 Ballin, Miss 1198 Balls 1486, 1488 BALTIMORE MUSEUM AND GALLERY OF FINE ARTS 1909 BALTIMORE, MARYLAND 1909 BALTIMORE, MD 2011 Bancroft, George 3 BANDING, FILIBERTO 1826 BANDMANN 1382 Bandmann, Daniel 2636 BANDMANN-PALMER 2697, 2730 Bandmann-Palmer, Mrs. 2697, 2698, 2706, 2730 Banfield 686 Bangs 1914 BANKART, PHOEBE 125 BANKS 718 BANKS, DON 1759 Banks, Miss Janet 2188 BANKS, WALTER 1909, 2188 Bannen, Ian 792 Bannerman, Celia 122 BANNERS 1143 Bannister 519 Bannister, Jim. 518, 521 Bannister, Mrs. 1911, 1976 BANV ARD'S OPERA HOUSE, NYC 2088, 2147 BANVARD'S OPERA HOUSE, NYC 2523 Banyard, Denis 1426 Bara, Theda 1477, 2746 Baragrey, John 19, 774 Barber, Miss 1911 Barber, Miss M. 1976 Barbier, George W. 917 Barbotll90 BARBOUR, EDWIN 2391, 2395, 2400, 2416,2418 Bard, Katharine 786

BARKER 1699 BARKER, CLIVE 1849 Barker, G. 2043 Barker, L E . 2149,2195 Barker, Mary 2097 BARKER, MIKE 673 Barlow, Milt G. 2309, 2311, 2316, 2318, 2328,2331,2338 Barnard 549, 1155, 1394 BARNARD'S ROYAL, WOOLWICH 2673 Barnes 1143, 1187, 1196 Barnes, Barry 1429 Barnes, Chris 1877 BARNES, GEORGES 783 Barnes, James 1046, 2535 Barnes, John 1766 Barnes, Mrs. 279, 282, 300, 304, 308, 316, 1513 Bamett 1026, 1034, 1078, 1093, 1122 Bamett, Edith 783 Bamett, Miss Agnes 723 Barnett, Morris 1059 Bamum 1986 BARNUM'S AMERICAN MUSEUM, NYC 1986, 2010, 2034, 2046, 2052 BARNUM'S MUSEUM, NYC 1020, 2079 BARNUM'S NEW MUSEUM, NYC 2087 BARNUM'S, NYC 2074 BARNUM'S AMERICAN MUSEUM, NYC 1530 BARNUM'S, NYC 1892 BARON, ALEXANDER 143, 1331 Barrett 1198, 1685, 1914, 1913 Barrett Society 2661 Barrett, Anna 844 Barrett, Edith 781,800 Barrett, Emily 2499 Barrett, Jane 76 Barrett, L. P. 620 Barrett, Lawrence 2497, 2499 Barrett, Mrs. R. 1949 Barrett, Viola 1111 Barrett, Wilson 1595, 2677, 2678, 2708, 2719,2729 Barrie, Judith 2752 BARRON 2356 Barron, Charles 2497, 2499 BARRON, JANET 673 BARROW, ENGLAND 2417 BARRY 47, 1891,1917,2013 Barry, Brendan 788 Barry, Donald 1750 BARRY, MICHAEL 47, 100 Barry, Mrs. 150,212 Barry, Philip 763 BARRY, TOM 2750 Barrymore 222, 226, 233, 236, 239, 530 Barrymore, Lionel 897 Barrymore, Maurice 827 Barrymore, Mrs. W. 1388 BARRYMORE, W. 1509-1511 Barsby861 BARSTOW 1413 BARSTOW, MONTAGUE 1408, 1409, 1411, 1412, 1414-1422, 1424-1426 Bartholomew, Freddie 897 Bartlett, J. J. 894 Bartlett, J. J. 2708 Bartlett, Mrs. B. 1913 Bartley 280 Bartley, Mrs. 278, 280, 289, 294, 316 Barton 1003, 1717, 1971 BARTON, CHARLES 1743

423

Barton, Diane 2476 Barton, Dora 826 Barton, Maria 1103 Barton, Miss 1134 Barton, Miss J. 1083 Barton, Robert 800 Baskett, Ann 114 Bass 297 Bass, C. 679 Bassett, Russell 2311 BAST, WILLIAM 1433 Bateman, Miss Isabel 2646 Bates 2177 Bates, Blanche 1474 Bates, Marie 2103, 2173, 2181 Bates, Mrs. 2525 Bates, Ralph 1783 BATH 129, 260, 284, 285, 292, 307, 311, 325, 336, 543, 548, 565, 569, 1130, 1133, 1193, 1206, 1207, 1500, 1501, 1503, 1519, 1681, 1694, 1700, 1947 BATIGNOLLES, PARIS 1964, 1968 BATO, JOSEPH 1431 BATT, BERT 1778 Batty 1068 Batty, W. M. 1933 BATUT, ERIC 35 BAU, GORDON 1750 Bauer 610, 647 Baume, Edgar 752 Baxter, Meredith 1 Bay, Sara 1794 Bayldon, Geoffrey 1778 BAYLIS, J. 1550 Baynham, Walter 579 Bazas 1189 BBC 1 1875 BBC 2 1767 BBC HOME SERVICE 46, 60, 67, 68, 73, 76-78,84, 107, 113, 118, 141 BBC RADIO 93, 94 BBC RADIO 4 52, 62, 69, 86, 123 BBC REGIONAL SERVICE 64 BBC THIRD PROGRAM 65 BBC TV 47, 53, 70, 80, 85, 89, 100, 114, 116, 131, 133, 143,769,772,784, 785, 787, 791, 793, 794, 802, 804, 806,816,911, 1328, 1333, 1348, 1359,1361, 1365, 1376 BBC VIDEO 1349 BBC-1 TV 122, 673, 1338, 1378 BBC-2 TV 142, 807, 1331, 1337, 1378 Beacham 1684 Beale, Simon Russell 89 Beane, Fanny 2061, 2063 BEAUDINE 1766 BEAUDINE, WILLIAM 1766, 2491 BEAUMAN, NICHOLAS 35 Beaumont 274 Beaumont, Mrs. 271, 274, 1558 BEAUPLAN, ARTHUR 1960 BEAUX ARTS THEATRE, LOS ANGELES, CA 2470, 2471 BEAVAN, JENNY 148 Beavers, Louise 2450 Bebus, Davenport 829 Bechle, Jr., John 2356 BECK, JULIAN 1762, 1769, 1774 Becks 609 Becks, George 1593, 2100, 2498 Bedford 1178, 1180, 1193, 1642, 1714 BEDFORD AVENUE THEATRE, BROOKLYN 886

INDEX OF PROPER NAMES BEDFORD HALL, BROOKLYN 658 Bedford, Paul 1714 Bee, Joseph 1292 Beecher, Henry Ward 1976 Beere, Rod 1769 BEESON, PAUL 792 BEHN, MRS. APHRA 149, 202, 543, 553, 560 Behre, Fraulein 699 BELASCO, DAVID 1474, 2131 Beldon, Eileen 762 BELFAST 1387, 1403, 1952 Belgrave 1685 Bell 1510 Bell, Bella 660 BELL, CURRER 674 Bell, Emma 2675 Bell, James 781 Bell, Jr., Stanley 762 Bell, Lesley 2655 Bellamy 1383, 1891 Bellamy, Ralph 1740 Bellew, Kyrle 1458 Bellows, Dr. 1976 Belmore, Lionel 761, 1734, 1738 Bendall, Ernest A. 2744 Bender 1701 Bender, C. 1913 Bengough 543, 549, 1087 BENJAMIN, ARTHUR 1428, 1429 Benjamin, Christopher 133 Bennet, Miss F. 1922 Bennet, Mrs. 202 Bennett 1648, 1649, 1665, 1668 Bennett, Edwin 1420 Bennett, Fanny 2426 Bennett, G. 326, 334 Bennett, James 361, 1505, 1971, 1984 Bennett, Joan 9 Bennett, Julia 1041 Bennett, Little Kate 2331 Bennett, Miss 1899 Bennett, Miss Julia 1027, 1034, 1078, 1095 BENNETT, RODNEY 143 Bennett, W. 1648, 1655 Bensley 530 BENSON 543, 795 Benson, J. W. 345 BENSON, JIM 22 Benson, Robby 1310 Bensusan, Inez 1327 Bentley, Mrs. 2651,2657 BENTLEY, ROBERT 2477 Benton, Miss 1263 Berberich, Helen Marie 773 Beresford, Harry 1437 Berghof, Herbert 13 Bergin, Patrick 1879 Bergstrom, Olof 1821 BERGUIN 1971, 1984 Beringer, Miss Vera 869, 2709 BERKELEY LYCEUM, NYC 851 Berkeley, Gertrude 4 BERLIN 1943-1945 BERMANN, SAM N. 1428 Bemain 1614 Bernard, Dorothy 6 BERNARD, JAMES 1746, 1764, 1778, 1783, 1810 Bernard-Beere, Mrs. 718 Bernicat, F. 1614 BERNSTEIN, ELMER 22 Berry 202 BERRY'S THEATRE, WILLIAMSBURGH

2207 Bertel, Paul 1858 BERTON, PAUL M. 919, 921 Bertram 1709 Bertram, Miss 1950 Besant, Cissie 2708 Beswick, Stephanie 1829 Betterton 150,279 Betty, Henry 1937 Betty, Master 535 Bevan,Billy910 Beveridge 861 Beverley 1388 BEVERLY 656, 1189, 1666, 1910 Beverly, Alfred 2606 BEVERLY, W. 1076, 1085 BICAT, NICK 1433 BICKNELL, MARJORIE 1847 Bidwell, Dollie 649 Bielefeld, Germany 1311 Bigelow, Sadie 1458 Biggs 1556 BIJOU, NEATH 825 BIJOU, WOOLWICH 1472 Bikel, Theodore 1438 Bilbao, Fernando 1793 BILSTON 1942 Bilton, Miss Belle 1263 Bingham, Marie 855 Binoche, Juliette 809 Birch, Hannah 1117 Birch, Reginald 872 BIRCH-PFEIFFER, CHARLOTTE 683 Bird 1895, 1928 Bird, C. J. 1010,2043 BIRKETT, PHYLLIS 758-760 Birkwil Productions 759 BIRMINGHAM 237, 241, 243, 248, 531, 533, 601, 613, 765, 965, 1051, 1156, 1249, 1502, 1505, 1507, 1525, 1554, 1557, 1650, 1717, 1720, 1903, 1971, 1984, 2529 Birney, Meredith Baxter 22 BIRO, LAJOS 1428, 1429 Biron 332 BIRTWISTLE, SUE 133 Bishop 267, 1122, 1184, 1186, 1194, 1196, 1690, 2492 Bishop, Marion 819 Bishop, Miss Kate 718 Bishop, Sallie 1986 Bishop, Sir Henry 2043 Bissell, Whit 1747, 1749 BIZET, GEORGE 35 Black, Master Wood 1200 BLACKBURN 604, 862, 1247, 1257 BLACKPOOL 984 Blackton, Stuart J. 2419 Blackwell, Jr., Carlyle 2419 Blackwood, Joy 760 Blair, Eugenia 750 BLAIR, PRESTON 2477 Blaisdell2507,2511 Blaisdell, J. W. 574 Blake 1000 Blake, Anne 1746 Blake, Edmund 1463 Blakeley 1516 Blakely, Colin 898 Blanchardll86 BLANCHARD, E. L. 1123, 1141, 1161, 1165, 1218,1228, 1229, 1235 Blanche, Baby 2231 Blanche, Mare 1423

424

Blanche, Miss Edith 2412 Bland 1690, 2055 Bland, C. J. 2056 Bland, Charles 1130 Bland, Harcourt 1501 Bland, J. 1034, 1078, 1091, 1127, 1199, 1642, 1655, 1887 Bland, James 1027, 1093, 1095 Bland, Mrs. 2055 Bland, Mrs. H. 620 Bland, Mrs. H. 622 Bland, Mrs. Humphrey 582 Blankfield, Mark 1867 BLATCHFORD 1423 Bleecker 1892 Bleeker, Sylvester 1986 Blight, Chas. F. 1250 BLOMQUIST, ALAN C. 908 Bloom, John 1781, 1787 Blow, Mark 1475 Blyth2013 Blythe, Helen 2496 Blythe, Peter 792 BO ADEN, JAMES 1548, 1549, 1551 Board 1341 BODEEN, DEWITT 39 Boden, Master 1642 Boden, Miss 1186, 1655, 1665 Bohr, Jose 2752 Boland, Mary 101 Bolder, Cal 1766 Boles, John 1734 Boley, D. F. 2026 Boleyn 653 Boleyn, R. S. 1460, 1461, 2708 Bologna 266, 267, 283, 1034, 1143 Bologna, I. 266, 267 Bolton, Miss 266, 267 BOMBAY 2743 Bond 266, 267 Bond, Alan 1807 Bonham Carter, Crispin 133 Bonham Carter, Helena 1880 Boniface 1539,2500 BONSTELLE, JESSIE 4, 5 Booth 566, 567, 1388, 1914, 2233 Booth Dramatic Society 849 Booth, Agnes 829, 830 Booth, Connie 898 Booth, J. B. 564, 866 Booth, Miss S. 1485, 1486 Booth, Mrs. 1201, 1205 Booth, Polly 2133 BOOTH'S, NYC 2232 BOOTHE, EARLE 2462 BOOTH'S, NYC 609, 866, 1588, 2177 Bordeaux 1970 BORG, LAURIE 148 BORLAND, CARROLL 1763 BOROUGH THEATRE, STRATFORD 977, 985, 992 Borrow, Miss C. 1010 BOSTON 688, 691, 737, 764, 873, 1728, 1930, 1931, 2006, 2212, 2244, 2309,2315,2400,2423 BOSTON MUSEUM 873, 1930, 2005, 2091,2183 BOSTON THEATRE 688,691,2045,2110, 2260, 2327, 2375, 2388 Bostwick, Herbert 2418 BOS WELL, LAURENCE 1314 BOS WORTH, MICHAEL 1866 Bottomley, Roland 775 BOUCICAULT, DION 2302

INDEX OF PROPER NAMES Boulogne 1034 Boulton, Master Tom 2515 Boulton, Matthew 910 Bouncy, John 78 Boumeuf, Philip 1802 Bowen, Debbie 53 Bower 1496 BOWER SALOON, STANGATE 1894 Bowers 1210 Bowers, Frank 2003 Bowers, G. Vining 2527 Bowers, Mrs. 2517, 2534 Bowers, Mrs. D. P. 620, 622, 623, 628, 630, 633, 635, 636, 641,644,648, 650, 651, 657, 661, 664, 665, 2571, 2574, 2576, 2585 Bowers, Vining 697 BOWERY GARTEN, NYC 2215 BOWERY, NYC 319, 348, 564, 567, 624, 643, 675, 678, 680, 1000, 1003, 1062, 1066, 1106, 1110, 1112, 1148, 1201, 1204, 1383, 1384, 1398, 1406, 1516, 1523, 1528, 1544, 1545, 1590, 1906, 1907, 1993, 2003, 2049, 2082, 2093, 2104, 2120, 2125, 2129, 2133, 2140, 2148, 2156, 2168, 2184, 2200, 2317, 2500, 2544, 2573 BOWIE, LES 1759, 1764 BOWL MUSIC HALL, MELBOURNE, AUSTRALIA 2480 Bowler, George R 598 BOX, H. OLDFIELD 46, 84, 113 Boyd, Eleanor 842 Boyle, Anna 1602 BOYLE, JOHN W. 2448 Boyle, Peter 1811 Brabaii, Harvey 2736 BRACKEN, BERT 2746 BRADDON, MARY ELIZABETH 571, 579, 584, 596, 604, 608, 610, 614, 618,620,672 Braddon, Miss M. E. 579 Bradford 723, 974, 1685 Bradford, Marshall 1747 Bradford, Mrs. W. 1371 Bradley, A. D. 689 Bradshaw 1383, 1914, 2061 Bradshaw, Blanche 2527 Bradshaw, Mrs. 1976 Bradshaw, Mrs. M. A 2527 BRADWELL1144 BRADWELL, EDMUND 1059 BRADWELL, W. 1127, 1144 BRADY 4 Brady. Alice 4 Brady. Orla814 BRADY, WILLIAM A. 4-6, 2408 Braham 1186 Braham, H. 1051 Braid 1093 Braithwaite 2495 Braithwaite, Lilian 894 Bramwell, William 750 Branagh 1880, 1881 Branagh, Kenneth 1821, 1880 BRANDON, DOROTHY 782 Brandt, Frances 97 Brannagh, Brigid 1 Bransby 202 Brass 2155 BRATTLE HALL, CAMBRIDGE, MASS 770 Brauner, Asher 1299

BRAVO CHANNEL 815 Bravo, Antonio 1756 Bray, Bert 2451 Brayne, Harry 1055 BRAZIER, NICOLAS 1658 Brazzi 1813 Brazzi, Rossano 1813 BRENAN 1238 BREN AN, JOHN CHURCHILL 1236,1240 BRENNAN, JOHN CHURCHILL 1231 Brent, Patriciaa 67 Brent, W. H. 2606 Brereton, Miss Stella 707 Bresil 1954 BRETT 1390 Brett, Miss 1553, 1555 Brian, J. F. 1051 Brian, Marie 2341 Brian, Miss Isabel 1051 Brian, Mrs. J. F. 1051,2341 Briant, Shane 1810 Brice, Liz May 1314 Bridge, T. 2098 Bridges 1035, 1061 Bridgland, Thomas 855 Bridgmanl892 BRIDGNORTH 306, 552 BRIER, BARBARA 3 8 Brierley 52 Brierley, David 52 Briers, Lucy 133 Briers, Richard 1880 Briggs 1982 BRIGHOUSE, HAROLD 1357, 1359 BRIGHT, JOHN 148 Brighten, Julie-Alanah 1316 BRIGHTON 942, 960, 1159, 1177, 1227, 1581, 1744,2194,2756 BRIGHTON PLAYHOUSE, BRIGHTON 1744 BRIGHTON, NYC 1117 Brimble, Nick 1874 Brimer, Mary 2581 Brioche 1093 Briscambille 1093 BRISSET, MATHURIN-JOSEPH 1660 BRISTOL 41, 944, 983, 1245 BRISTOL THEATRE 2027 Bristow, G. 1510 Britannia Saloon 1151, 1895 BRITANNIA, HOXTON (LONDON) 576, 625, 924, 928, 1010, 1151, 1234, 1895, 2043, 2688, 2722, 2726 BRITISH LION FILMS 792, 1431 BRITISH LION/OMNIBUS PRODUCTIONS/SAGITTA 792 BRITISH NATIONAL 1430 BRIXTON, LONDON 959, 1464, 1732, 2449 Broadhurst 1648, 1655 Broadhurst, Miss 1549, 1553, 1555 Broadley, Mrs. 1993 BROADWAY CIRCUS, NYC 1654 Broadway Theatre Company 2076 BROADWAY THEATRE, NEW CROSS 986, 2727 BROADWAY, NYC 633, 704, 872, 935, 1040, 1216, 1226, 1277, 1568, 2162,2520 BROC, JOSEPH F. 22 Brock 1895 Brodie, Steve 1844 BRODY, SELMER R. 1785 Brogan, Harry 1821

425

BROGGER, FREDERICK H. 792 Bromberg, Bromberg 1479 Bromley 544, 1937 Bron, Eleanor 908 BRONTE 674 BRONTE, ANN 673 BRONTE, EMILY 800 BRONX 776, 2468 Brook, Clive 2750 Brooke 35 Brooke, G. V. 355 Brooke, Hillary 783 Brookes 1025 Brookes, George 2073 Brookes, Mrs. 1390, 1696 Brooking, Angela 141 BROOKLYN 577, 584-587, 592, 593, 598, 623, 630, 631, 634-636, 641, 644, 648, 650-652, 654, 657-659, 664, 667, 690, 695, 697,698,700,706, 710, 716, 726, 727, 729, 734, 742, 746, 747,749, 777, 831, 838, 840, 842, 844-846, 849, 874, 878, 880, 886, 1014, 1111, 1115, 1210, 1211, 1214, 1225, 1230, 1456, 1457, 1541, 1565, 1567, 1569, 1570, 1574, 1578, 1582, 1584, 1594, 1597, 1601, 1603, 1609, 1617, 1621, 1626, 1630, 1631, 1634-1636, 1638, 1639, 1818, 2031, 2032, 2069, 2072, 2080, 2084, 2085, 2089, 2092, 2095, 2102, 2103, 2107, 2108, 2111, 2114, 2116, 2118, 2119, 2121, 2122, 2127, 2132, 2138, 2145, 2149, 2151, 2157, 2163, 2172, 2173, 2181, 2198, 2199, 2203, 2211, 2219, 2220, 2230, 2234, 2238, 2242, 2245, 2248, 2249, 2255, 2259, 2265, 2268, 2272, 2275, 2277, 2279, 2284, 2288, 2298, 2300, 2308, 2316, 2319, 2323, 2330, 2338, 2365, 2440, 2497, 2499, 2503, 2506, 2511, 2518, 2522, 2524, 2526, 2532, 2534, 2539, 2540, 2545, 2547, 2548, 2550, 2556, 2560, 2561, 2570, 2574-2576, 2585, 2586, 2592, 2595-2597, 2599, 2600, 2602, 2617, 2619-2621, 2623, 2629, 2630, 2637, 2641, 2644, 2649,2660,2661,2672 BROOKLYN ACADEMY OF MUSIC, BROOKLYN 1774,2173 BROOKLYN ATHENAEUM, BROOKLYN 706, 849 BROOKLYN MUSEUM, BROOKLYN 1210, 1211,2031,2298,2629 BROOKLYN OPERA HOUSE, BROOKLYN 586, 1582, 2089 BROOKLYN OPERA HOUSE, WILLIAMSBURGH 1542, 2086, 2521 BROOKLYN THEATRE, BROOKLYN 695, 698, 746, 2151, 2157, 2319, 2330, 2570 BROOKLYN, HARTBURY 1435 BROOKS 1738, 1811,2484 BROOKS, ARTHUR A. 38 Brooks, Avery 2484 BROOKS, JOSEPH 1277 Brooks, Julian 2758 BROOKS, MEL 1811, 1881 Brooks, Miss H. 1216

INDEX OF PROPER NAMES Brooks, Mrs. 1488 BROTHERHOOD MEMORIAL HALL, CHINGFORD2761 BROUGH 1182 Brough, Fanny 1460, 1461 Brough, Lionel 826 Brough, Mary 893 BROUGH, R. B. 1714 Brough, Sidney 1460, 1461 BROUGH, WILLIAM 1714, 1926 BROUGHAM 674, 1891, 1903 BROUGHAM, JOHN 620, 626, 674, 678, 679, 682 BROUGHAM'S, NYC 1891 BROUGHTON, RHODA 818, 820 Brower 1384 Brower, Frank 2003 BROWN 215, 267, 1189, 2356 BROWN, CLARENCE 910 Brown, Eally 2341 Brown, Ellen 1829 Brown, Fanny 2057 Brown, Miss 1134 Brown, Mrs. Sedley 1043 Brown, Sedley 866 BROWN, T. 1928 Browne 1167, 1559 Browne, Albert 855 Browne, Fanny 2058 BROWNE, G. W. 1167 Browne, Geo. F. 702 Browne, J.B. 2148,2586 Browne, Laidman 84 Browne, Pamela 808 BROWNING, TOD 1478 Brownlee, Frank 2491 Bruce, Brenda 77 Bruce, Colin 914 BRUCE, EDGAR K. 2638, 2757 BRUCE, GEORGE 1282 Bruce, Nigel 1428, 1479 Bruce, Susan 1859 Bruce, Virginia 761 Brune, Minnie Tittell 1476 Brunton 256 Brunton, Miss 1547 Bruscambille 1093 Brutone, Mrs. 2155 Bryan, Peggy 67 Bryans, John 75 Bryant, Jerry 2026 BRYANT, MICHAEL 1386, 1387 Bryar, Claudia 1747 Brydone, Alfred 894 BUCALOSSI, P. 1263 BUCHANAN, ROBERT 818-821 Buchanan, Virginia 916 BUCKINGHAM 1269 Buckingham, Fannie Louise 2606 Bucklaw818 Buckley, E.J. 830, 831, 833 Buckley, William 853 Buckstone, J. C. 1456 Budd, Herbert 2628 Budworth, J. H. 2088 Budworth, Mrs. Frank 2141 BUFFALO 696, 876 BUFFALO, NY 1857 Buffery, Kate 1875 Bulger, Harry 1277 Bullock, Mary 2059 BULLOCK, WALTER 905 Bulnes, Quintin 1756 Bulwer-Lytton, Edward 2492

Bunch, Miss Betty 2478 Bunellll71 BUNN, ALEX 1807 Bunn, Alfred 1650 Bunn, Mrs. 293, 297, 299, 301 BUNNELL'S MUSEUM, BROOKLYN 2249 BUNUEL, LUIS 805 Bupp, Tommy 2 Burbage, Robert 70 Burchard, Joseph 2272 Burden, Hugh 113 Burgess 2434 Burgess, Earl 2429 Burgess, Joseph 2272 Burgoyne, Jeanne 2734 Burgoyne, Miss Jeanne 2731 Burke 1039, 1098, 1153, 1383,2507 Burke, Consuela 1758 Burke, lone 1043 Burke, Walter 1282 Burleigh 2064 Burleigh,T. C. 617 Burley 1392 BURMAN, ELLIS 1741 BURN AND, FRANCIS COWLEY 1137, 1321 Burnett 822, 823, 857, 1701, 2507 BURNETT, FRANCES HODGSON 825, 829-845, 852, 855, 856, 858, 859, 864, 866, 872, 876, 890-894, 899, 901,903,904,911 Burnett, Janet 118 Burnett, Miss 1225 Burnett, Miss Joan 821 Bumhamll6, 1595 BURNHAM, BARBARA 85, 107, 116 BURNHAM, JEREMY 1783 Burnot, Walter 1916 BURNS 1986 Bums, Charles B. 2356 BURNS, MEL 9 Burrell, Miss 1678 BURR1DGE 1075 Burroughs 1396, 1643, 1653 Burroughs, Claude 686, 689 Burroughs, Mrs. 2034 Burroughs, Mrs. W. 1387 Burroughs, W. F. 746, 747 Burroughs, Watkins 1390,1391,1397,1403 BURROWS 119 BURROWS, ABE 117 Burrows, Mrs. 1035, 1061, 1094 BURROWS, ROSEMARY 1778 Butt, Laura 2305, 2307 BURT, MISS 1189 BURTON 1097, 1208, 1684, 1858, 1920 BURTON, BRIAN J. 668, 2761 Burton, George 2468 Burton, Kate 2484 Burton, Robert 1747, 1749 BURTON, TIM 1858 BURTON'S THEATRE, NYC 1987 BURTON'S TRIPLER HALL, NYC 2050, 2057 BURTON'S, NYC 1070,1086,1097,1208, 1991 Bushell, Anthony 1428, 1429 Buster Theatre 1869 BUTLER 682, 1899,1928 Butler, E. 1595 Butler, Ivan 1732 Butler, J. 1967 BUTLER, RICHARD 1725

426

BUTTON, ROY 914 BUXTON 890, 892, 923, 975, 2424, 2729, 2740 BUXTON OPERA HOUSE 892,975,2424, 2729, 2740 Byfield, F. 2048 Byfield, Frederick 1905 Byfield, Miss 1687 Byington, Spring 9 Byndon-Ayres, Denis 1467 BYRN, OSCAR 1031, 1032, 1084 BYRNE, ALEXANDRA 89 Byrne, Francis 899 Byrne, Gabriel 35 Byrne, George 707 BYRNE, OSCAR 1076, 1085, 1121, 1122, 1127,1199 Byrne, S. 1993 BYRON 860, 1073, 1160 Byron, Anne 2098 BYRON, H. J. 1030, 1073, 1223 C. W. POST, LONG ISLAND 1845 CABANNE, WILLIAM CHRISTY 761 CABINET THEATRE (LIVERPOOL STREET, KING'S CROSS) LONDON 1938 CAENY 1263 CAESAR, ART 3 CAFE LA MAMA,NYC 1780 Cahill, W. B. 2177 CAHN, EDWARD L. 1282 Caine, Henry 1746 Caird, Laurence 1276 Caisley, Sarah 65 Cake, Jonathan 673 CALAIS 303 Calder, Beryl 68 Calder-Marshall, Anna 808 CALDERON 1756, 1788 CALDERON, GUILLERMO 1756, 1788 Caldwell, Miss 1061 CALEDONIAN, EDINBURGH 1653 Calhaem, Mrs. Stanislaus 958 Calhoun, Miss Eleanor 859 CALIFORNIA 39 CALIFORNIA T H E A T R E , SAN FRANCISCO 2196 Calladine 1993 CALLCOTT, ALBERT 1045 CALLENDER 1256 CALLENDER, E. ROMAINE 801, 1256 CALVIT, CHRISTINE 796 Calvo, Armando 1755 CAMBRIDGE 127, 858 CAMBRIDGE, MASS 770 CAMDEN THEATRE, CAMDEN 1410 CAMDEN, LONDON 961, 1248, 1410, 2720 CAMERON, AUDREY 118 Cameron, Charles 74 Cameron, H. H. 718, 723 CAMERON, JOHN 912, 1879 Cameron, Josephine 2627 Camp, Richard 14 Campbell 1551 Campbell, Herbert 1263, 1276 CAMPBELL, JUDY 47 Campbell, Miss 541 Campbell, Violet 1048, 2094 CAMPTON, DAVID 1753 CANE, J. W. 1275 Canninge, George 820, 891, 893 CANNON 1292 Cannon, Madeleine 69

INDEX OF PROPER NAMES CANTERBURY 278, 328, 330 CAPE COD 775 CAPE PLAYHOUSE, CAPE COD 775 Capel, Miss 1040 Caple, Katie 1867 Cappell, Cordelia 1918, 1930 Cappell, Josie 1918 Cappell, Mrs. S. 1918 CAPPRONI, CLAUDIO 797 CARASIK, CHERYL 908 Card, Jimmie 2478 Cardiff 945, 1443 Carey, Joyce 92 Carhart, J. L. 703 Carl Rosa Opera Company 829 Carlen, John 1802 CARLETON, MARJORIE 770, 771 Carlile, Geoff 2449 CARLISLE 788 Carlson, Veronica 1778, 1783 Carlton 1693 Carlyle, Francis 1474 CARMOUCHE, P. 1662 CARNIVAL FILMS 1338 Carpender 279 Carpenter 1891, 1969 Carpenter, Florence 2436 CARPENTER, JOSEPH EDWARDS 1324, 1969 Carpenter, Mrs. 679, 1891 Carr, Stephen 757 Carradine, John 1479, 1736, 1742, 1844 Carradine, Keith 1839 Carrall, James 2681 CARRAS, NICHOLAS 1751 CARRE, MICHEL 1466 Carre, Miss 1034, 1093 Carrie 1216 Carrol, Regina 1781, 1787 Carroll, James 2748 Carroll, Jennie 702, 703, 1230, 2103, 2111, 2177,2232,2572 Carroll, Leo G. 801 CARROLL, WILLIAM 914 Carson, John 53 CARSTENS, NICO 120 CARTER 1911,2515 Carter, Crispin Bonham 133 Carter, J. 2056 Carter, John 2654 CARTER, RANDOLPH 800 CARTIER, RUDOLPH 804 Cartlich 1194 Carton 861 Cartwright, C. 1442 Cartwright, Charles 1462 Cartwright, Terence 1829 Carville, F. D. 646 CARYLL, IVAN 2434 CASE, CARROLL 1766 Casenove 1189 Cashmore, Bill 1869 CASINO THEATRE, ST JOHN'S 2435 Castaneda, Luis Arceves 805 CASTLE 915 CASTLE SQUARE THEATRE, BOSTON 2400 CASTLETON, ROBERT 934 Cathie 334 Caulfield 1027, 1034, 1078, 1093, 2492 Caulfield, Mrs. 1093, 1095 Cautley 1442 Cavanah, Robert 814 Cavanaugh 1892

Cave, Charlotte 686 Caveness, William 2478 Cavney, Mamie 846 Cawse, Miss 1197, 1679 Cawse, MissH. 1197 Cawthome, Joseph 1277 Cayteno, Catana2481 CBC 109 CBS 1, 104, 786 CBS CAMERA THREE 50 CBS COLUMBIA PLAYHOUSE 110 CBS HELEN HAYES THEATRE 102 CBS-FOX VIDEO 1349 CCC 2481 Cecil, Herbert 2380 Cecil, Nora 1277 CELESTE, MADAME 1714 Celeste, Mile. 1686 CENTRAL HALL, BROOKLYN 700 CENTRAL PARK, NYC 1822 Cerri, Signorina Cecilia 1274 Cervantes, Marta Elena 1756 CHALLIS, CHRISTOPHER G. 1431 Challis, Edith 686 Chalmers, Thomas 2462 Chamber Theatre 1882 CHAMBERS 861 CHAMBERS STREET THEATRE, NYC 1532 Chambers, Lyster 2462 Chambers, Miss Emma 1170 CHAMBERS, THOMAS 1222 CHAMNESS, JOHN L. 1806 Chancellor, Anna 133 Chaney 1787 Chancy, Jr., Lon 1740-1743, 1779, 1781, 1787 Chanfrau 1150, 1152, 1552 Chanfrau, Mrs. F. S. 592, 2059, 2589, 2595 Chanfrau, Mrs. Henrietta 2600 CHAPEL HILL, NORTH CAROLINA 245 5 Chaplin, Geraldine 797 Chaplin, Miss E. 1714, 1714 Chapman 283, 288, 310, 621, 994, 1186, 1547, 1668 Chapman 1382 Chapman, Caroline 1097, 1219 Chapman, Constance 41, 53 Chapman, Edythe 900 Chapman, Ella 2071,2084 Chapman, H. S. 1150 Chapman, Harry 2071 Chapman, Miss 532 Chapman, Mrs. 621, 2071 CHAPMAN, ROBIN 793 Chapman, W. 1134, 1665 Chapman, W. B. 1003, 1150 Chard, Marjorie 762 Charity Club 851 Charles 1986 Charles Harrington Company 2370 Charles II 1078 Charles, F. 1898 Charles, Fred 1971 Charles, G. C. 2535 Charles, George C. 1986 Charles, Mary Ann 1986 Charles, Miss 1122,2492 Charles, R. A. 1055 CHARLESTON, SOUTH CAROLINA 1988 Charlotte, Princess 550 Charlton, Alethea 69 Chase, Pauline 901,903

427

Chasen, Heather 61 CHATHAM THEATRE, NYC 347 CHATHAM, NYC 318, 1019, 1034, 1205, 1383, 1396, 1405, 1497, 1514, 1524, 1526, 1706, 1911, 1976, 2030,2037, 2039, 2047 Chatterton, F. B. 1141 Chatterton, Vivienne 123 Chatwin, Karen 132 CHEEVER, J. 1277 Chekhov 2167 CHELTENHAM 614, 1163, 1241 CHELTNAM 579 CHELTNAM, CHARLES SMITH 571, 579 Cherie, Adelaide 704 Cherry, Malcolm 1416 Cherry, Miss 555, 1026, 1034, 1078, 1093, 1122 Chester 592, 1236 Chester, Vanessa Lee 908 CHESTERFIELD 728 CHESTNUT STREET OPERA HOUSE, PHILADELPHIA 2376 CHESTNUT STREET THEATRE, PHILADELPHIA 1982 CHESTNUT STREET THEATRE, PHILADELPHIA, PA 2008 CHICAGO 685, 796, 1748, 1757, 1847, 1881, 1882, 1936, 1977, 1978, 1996,2051,2411,2460,2479 CHICAGO 103 CHICHESTER 795, 1688 Child, John 1249 Childs, Tracy 143 Chilly 1954 C H I N A HALL, LOWER ROAD, ROTHERHITHE, LONDON 513 CHINGFORD2761 Chipp 283 Chippendale, Adelaide 2677 Chippindale 1035, 1061, 1184 CHOMSKY, MARVIN J. 1838 Choynski, Jos 2375 Christie, Helen 1378 Christie, Miss 1638 Christie, Nellie 2354 Christien, Christine 748 CHRISTY & WOODS MINSTRELS 2000 Chubb, Bronwen 828 CHURCH OF THE HOLY TRINITY, NYC 1878 Churchman, Ysanne 141 CHUTE 2655 CHUTE, JOHN 1445 CHUTE, JOHN C. 1444, 2654, 2655 Chynski 2367 Cibber. Mrs. 202 Cicconetti, J. 2476 CIE 1263 CINCINNATI 2174 CINCINNATI, OHIO 1989 CIPRIANI, STELVIO 1826 CIRCLE 1766 CIRCUS, BROADWAY, NYC 1389 CIRCUS, NYC 274 CITY CENTER, NYC 13, 14 CITY OF LONDON THEATRE, LONDON 1371, 1372, 1949, 1969, 2025 City Stage Company 1859 City Theater, Bielefeld, Germany 1311 CITY THEATRE, LONDON 1484 CIVIL, MARK 813 Clair 682 Clair, Miss 1209

INDEX OF PROPER NAMES CLANCY, MARGARET 2750 Clanville, George 2341 CLAPHAM, LONDON 927, 2716, 2735 Clare, Ada 679 Clare, Mary 1336 Claremont 266, 267, 277, 283, 1547 CLAREMONT, CALIFORNIA 1833 Claremont, Mrs. 1442 Clarendon Dramatic Society 700 Clarendon, Hal 918 Clarine 1904 Clark 1027, 1079, 1122, 2436, 2492 Clark, Adele 2306 Clark, Alfred 92 Clark, G. 1028, 1892,2034 Clark, Grace 842 CLARK, JAMES B. 1438 Clark, Mae 1734 Clark, Marguerite 900, 2436 Clark, Marie 2423 Clark, Miss 1129 Clarke 212, 217, 248, 348, 1034 Clarke, Bellenden 1420 Clarke, C. W. 1383, 1892, 1986, 2066 Clarke, Conrad 1891 Clarke, G. 1986 Clarke, George H. 582 Clarke, Grace Gaylor 850 Clarke, H. G. 2066 CLARKE, HAMILTON 718 Clarke, John S. 1982 Clarke, Master 1899 Clarke, Miss 1028, 1036,1037,1079,1087, 1147, 1149, 1200 Clarke, Mrs. 1652 Clarke, Mrs. C. A. 1025 Clarke, N. B. 678, 1911, 1976, 1992 Clarke, Robert 1844 Clarke, Zelah 794 Clarke's Fifth Avenue Company 2225 CLAUSER, SUZANNE 22 CLAWSON, ELLIOT J. 1478 Clay, Nicholas 1821 Clayton, Eliza 1920 CLAYTON, HAROLD 784, 785, 1348 CLEARY, EDWIN 823, 826 Cleaver, Mrs. 327 Cleese, John 1880 CLEIN, JOHN 1336 Clemence 1954 Clemenson, Christian 1300 Clerkin, Angela 1869 Cleveland 1553 Cleveland, Mrs. 1553 Clifee, Cooper 1481 Cliff, John 1749 Clifford, Harry 2280 Clifton 1504, 1653 Clifton, Ada 2050 Clifton, Marion P. 709 Clifton, Miss Augusta 1937 Clifton, Norman 893 CLIMENT, JOSE 1793 Clinel911 Cline, P. 1134 CLINTON, WALT 2477 Clive 1736 Clive, Colin 761, 1734, 1736, 1858 Clive, E. E. 101,897,905 Close, Ivy 1327 CLOUSER, KIM 1867 COACH HOUSE THEATRE, AKRON, OHIO 1856 Coakley, Marion 5

Coates, John 1467 Coates, Miss Mabel 1263 Coates, Phyllis 1747, 1749 COBB, DAVID 1782 Cobb, Elwell 774, 778, 779 COBERT, ROBERT 1433, 1802 Coblenz 1945 COBOURG, LONDON 1388 Coburg 1643 COBURG, LONDON 996,998,1058,1194, 1397, 1511, 1643, 1670, 1677, 1703 Coburn 543 COCKPIT THEATRE, LONDON 1849 COCOANUT GROVE PLAYHOUSE, MIAMI 1870 COCTEAU, JEAN 1281, 1316 COE, FRED 140 Coe, George 2484 COE, PETER 788, 795, 1742 Coffy 522 Coghlan, Rose 1453, 1455, 1456 Cogswell 704, 2155 COHAN AND HARRIS, NYC 828 COHEN, HERMAN 1747 Coke, Peter 77 COKI, CYRIL 131 Colbert, Claudette 1479 COLE, HERBERT 2707 Coleman, Cherie 5 Coleman, Harriet 2446 COLEMAN, MARTYN 1361 Coleman, Master 1263 Coleman, Miss J. 1085 Coleridge, Sylvia 122 COLIN, FERNANDO ALVAREZ GARCES 1755 Colin, Jean 1278 COLISEUM THEATRE, SEATTLE 2425 Colle, Mdle. Clemence 718 COLLEGE PARK, MD 56 COLLEGE POINT, FLUSHING 2106 Collette, Toni55 COLLIER 1193, 2507,2511 Collier, Constance 897 COLLIER, G. 1163 COLLIER, GEORGE 1163 COLLIER, HAL 2673 Collier, J. W. 574, 1576, 1578, 1584, 1588, 1593, 1619-1621,2498 Collier, Miss Eliza 2007 COLLIER, SIR G. 1189 Colligan, M. J. 846 Collingbourn 1388 COLLINGS, NANCY 1878 COLLINS 1993 COLLINS, ARTHUR 1276, 1277 COLLINS, ARTHUR P. 1142 COLLINS, BOB 1284 Collins, James 1046 Collins, Miss 1934 Collins, O. B. 2095 COLMAN276, 1120, 1889 Colman, George 1178, 1887 COLMAN, J. 1898 Colman, Ronald 1479 COLONIAL, BOSTON 764 Colton2143 COLUMBIA PICTURES 35,54,148,1749, 1752 COLUMBUS, NYC 887, 919, 1435, 2389, 2392 COMANDINI, ADELE 761 COMEDY, LONDON 859

428

COMEDY, MANCHESTER 1275 Comer 1186 COMER, THOMAS 1930 COMIQUE, NYC2150 COMMUNITY THEATRE, CHICAGO 103 Compton 1716, 1807 COMPTON, DAVID 1807 Compton, Edward 1025 Compton, Fay 1336 Compton, Francis 800 Comstock, Anthony 2342 COMTE, PARIS 1661, 1664 CONCERT SALOON, BROADWAY, NYC 2062 CONCHITA 2456 CONDOR 1794 Conklin, Chester 2436 CONKLIN, JACK 2459 CONNAUGHT THEATRE, WORTHING 124 Connelly, Henry V. 2489 Connor, E. S. 1523 Connor, Miss C. 1034 CONNOR, TONY 1814 Conover 1079, 1083, 1087, 1096 Conover, Mrs. 1083 Conover, W. 1152 CONQUEST, GEORGE 1033, 1055, 1175, 2514 Conquest, Master A. 1055 Conroii, Florence 855 CONROY, DAVID 807, 1331 CONSIDINE, JOHN W. 1407 CONSTANDUROS, DENIS 53,78, 86,142 Constantine, Eveline 1118 Conti, Tom 1 Converse, Frank 2484 Converse, Peggy 800 Conway 275, 539, 540, 584, 1525, 1569, 1570, 1892, 1931, 2005, 2103, 2110,2522, 2539, 2545, 2547 Conway, Gary 1747, 1749 CONWAY, HENRY J. 1892, 1930, 1940, 1951, 1986, 1991, 1998, 2091, 2183 Conway, Mrs. 1570, 2503, 2522, 2539, 2545, 2550 Conway, Tom 781 CONWAY'S PARK, BROOKLYN 584, 585, 587,631,634-636,644,1111, 2072, 2506, 2540 CONWAY'S, BROOKLYN 630, 644, 690, 1230, 2111, 2522, 2539, 2545, 2547,2556 Conyers 582 COODLEY, TED 1766 Coogan, Jackie 1436 Cook 1046 COOK, EMERSON 2458 Cook, Vergel 774, 778, 779 COOKE 359, 543, 1382, 1643, 1681, 2223 COOKE, AL 1298 COOKE, ARNOLD 1275 Cooke, Aynsley 1160 Cooke, Burton 2708 Cooke, F. 334 Cooke, G. 1504, 1913 Cooke, H. 1971 Cooke, J. M. 1911 Cooke, Miss 3 3 8, 1094 Cooke, Miss Alice Aynsley 1276 Cooke, Mrs. 674 Cooke, Mrs. Aynsley 1160, 1223 COOKE, T. 1394

INDEX OF PROPER NAMES COOkE, T. P. 1194, 1390, 1642, 1648, 1649, 1655-1657, 1659, 1662, 1665, 1667, 1670, 1674-1676, 1678-1681, 1684, 1687, 1689, 1692, 1694, 1697-1699 Cooke. W. 1901,1922 Coombe, Miss 1094 COOMBS, H. 1045 COOPER 251, 252, 258, 317, 551, 559, 1394, 1510, 1549, 1687, 1714 Cooper, Dame Gladys 910 COOPER, GEORGE 2266 Cooper, H. 608 Cooper, Harwood 1928 Cooper, James Fenimore 324, 1657, 1667, 1689 Cooper, Melville 101, 1428 COOPER, MERIAN C. 9 COOPER, T. 1928 COOPER, WILLIS 1738 Coote, Robert 1431 Copeland, Daran 999 Copley, Peter 792 COPP1, C. 1274 COPPIN'S OLYMPIC 2026 COPPING 1143 Copping, Bernard 2380 COPPOLA, FRANCIS FORD 914, 1880 Coray, Jerome 2446 Corbett 1442 CORBETT, SHEILA 12, 36 Corcoran, Irena 788 Cordaun, Lydia2219 Cordell 278 Cordero, Joaquin 1755 Corderoy, Bill 1758 Corelli, Marie 919, 922, 929, 958, 975 Cori, Will 1327 CORMAN 1874 Cornian, Catherine 1874 CORMAN, ROGER 1874 CORN EXCHANGE, SWINDON 602 Cornell, Katharine 7 Comwell, Judy 89, 808 CORONET, HOLLYWOOD 1784 CORONET, NOTTING HILL GATE, LONDON 2721 Cortez, Ricardo 993 Corti, Jessie 1310 Cory 2 54

Corzatte, Clayton 1872 Cosbey, Ronnie 2750 Cosden, Robert 2476 COSMOPOLITAN, NYC 1075 Coste, M. 1954 Costello, Dolores 897 Costello, Lou 1743 Cotes 283 Gotten, Joseph 1794 COTTIN 994, 996, 1002 COTTON BLOSSOM FLOATING PALACE THEATRE, LONDON 2749 Cotton, R. F. 2486 Cottrell, Cherry 64 COULTER, MICHAEL 148 Counsell, Elizabeth 121 COUNT DRACULA SOCIETY, LOS ANGELES 1763 COUNTY THEATRE, KINGSTON 1273 Courer, Maimie 846 COURT SQUARE (WAVERLEY), NYC 2587 COURT SQUARE, BROOKLYN 592,2198

COURT SQUARE, NYC 2214 COURT THEATRE, BOSTON 1728 COURT THEATRE, NYC 1860 Court, Hazel 1746 COURT, LONDON 893 Courtaine, Harry 2603 Courtney 674 COURTNEY, J. 674, 1371 COURTNEY, JOHN 1928 Courtney, Miss 311 Coveney 1388 COVENEY, G. H. 863 Coveney, Harriet 1714, 1924 Coveney, Miss Jane 617, 1375, 1525, 1924, 2064 CO VENT GARDEN 1642 COVENT GARDEN, LONDON 184-186, 188, 189, 192, 194, 200, 201, 205, 206, 212, 217, 221, 227-229, 232, 254-256, 259, 262, 265-267, 275, 277,281, 283, 288, 293,302, 305, 310,315, 324, 326, 329, 429, 431, 436, 443, 447, 450-453, 456, 460, 462, 466, 472, 477, 479-481, 483, 486, 491,492,495, 496, 501, 505, 507,510,511,514,516,517,524, 525, 527, 529, 532, 535, 537, 994, 997, 1057, 1120, 1127, 1128, 1144, 1160, 1186, 1196, 1197, 1199, 1223, 1465, 1512, 1547, 1551, 1552, 1559, 1649, 1673, 1679, 1861 COVENTRY 701,863, 2610 Cowan, Lynn 2491 Cowdery 608 Cowell 2045 Cowell, Miss Lydia 1595, 1596 CO WEN 1465 Cowle 1895 Cowley-Polhill, Miss E. 885 Cowper, Archie 592 COX 266, 267, 1045 COX, CONSTANCE 75, 79, 116, 124, 787, 788,791, 1348 Coy, Jonathan 1349 Coyne, Phoebe 1277 Cozzi, Mario 2476 Crabtree, Charlotte 2078 CRADLEY HEATH 2690 CRAFT, JOAN 122, 793, 1331 CRAIG 2055 Craig, C.G. 716, 734, 735 Craig, Charles 1477 CRAIG, PHILLIS 1860 CRAIG, STUART 914 Crampton, Charlotte 2497, 2499 Crane, William H. 1074 Crauford 1895 Crauford, W. R. 1010,2043 Crawford 2223 Crawford, Miss 1121 Crawford, Mrs. 217 Crawford, Rose 2341 Crebillonll90 CREEK, MRS. 1143 CREGAN, DAVID 1315 Crehan, Joseph 1477 Creighton, Bertha 2486 CRESCENT, NEW ORLEANS 755 Cresswell 1547 Cresswell, Miss Helen 958 Creswick682, 1928 Crisp 541 Crisp, Donald 801, 1438

429

Crisp, W. H. 1699 CRISPINO, ARMANDO 1826 CRITERION, BROOKLYN 2621, 2641 CRITERION, LONDON 672, 819 CRITERION, NYC 901, 916, 917 Crocker 1061 Crockett, Charles 2752 Croiset, Max 1438 Croker, Josie2180 Crolius, Miss Mina 696 Cromwell, John 4, 897 CRONE, GEORGE 1437 Crosby 1899 CROSS 1194 Cross, Alfred B. 2655, 2681 CROSS, BEVERLY 1427 CROSS, MADAME 1643 Crossley, Laura 914 Crowden, Graham 108 CROWN, PECKHAM 2725 CROWQUILL, ALFRED 1093 CROYDON 130, 1445 Croydon Theatre 2497 CRUCIBLE, SHEFFIELD 71, 799 Cruise 1383 Cruise, Miss Anna 1206 Cruz, Alejandro 1788 CSC REPERTORY 1859 CUARON, ALFONSO 908 CUKOR, GEORGE 9 Cullen, Anne 68 Cullenford 1380, 1934 CUMBERLAND 1559 Gumming, Alan 55 Cummings, Constance 792 Cummings, Irving 2428 Cummings, T. 1249 CUMMINS 1009 CUNHA, RICHARD E. 1751 Cunningham 543, 548, 1892, 1952, 2034 Cunningham, Liam 908 CURL, MRS. 1155 CURTIS, DAN 1802 CURTIS, GEORGE 1930 Curzon, George 85 Cusack, Cyril 1431 Gushing 1759, 1810,2448 CUSHING, CATHERINE CHISHOLM 2441,2448,2451 Gushing, Peter 114, 1746,1752,1759,1764, 1778, 1810 Cushion 1010 Cushman, Adelaide 2692 Cushman, Alice 2100 Cushman, Asa 1916, 2014, 2100 Cushman, Miss 1182 Cusick, Fay 904 Cusick, Mrs. 904 Cutell, Lou 1765, 1867 CUTHBERT 1146 Cuthbert, A 2552, 2565 Cuthbert, Miss 1971 Cuthbert, Miss Bella 723 Cuthbcrtson, Alan 76 CUTHRIE, CARL E. 1750 Cutler, Miss Lucy 1930 D'Alcourt, Miss Dorothy 883 D'Almaine, Miss 718 D'Alnoi 1085 D'ANOIS 1026 D'Auban, John 1263 D'Aulnoy, Countess 1155 D'ENNERY 1954, 1968, 1970,2070 Dace, Regina 2595

INDEX OF PROPER NAMES DACRE, HENRY S. 928 Dailley, Phyllis 1476 Daisy, Little 2251 Dalbes, Albeto 1793 DALBY 1928 Dale 1689 Dale.J. L. 1416 DALE, MISS 1971,1984 Dale, Teresa 774, 778, 779 DALLAS THEATRE, DALLAS 1790 DALLAS, IAN 787 DALLAS, MERVYN 1454 DALLAS, TEXAS 1790 Dallesandro, Joe 1801 DALRYMPLE, IAN 1430 DALSTON 941 Dalton 1950 Dalton, Doris 104 Dalton, H. 866 Dalton, Timothy 794, 808 DALY 975, 1195 Daly, Augustin2192 Daly, Brian 922, 931,2685 DALY, EDWARD 2428 Daly, H. F. 1986 DALY, JOHN 89 Daly, Lizzie Derious 2359 Daly, Mark 2751 Daly, Mrs. 310 Daly, Thomas 2098 Damon, Mark 1282 DAMPIER, A, 2536 Dance 1119 DANCE, CHARLES 1121 Dance, Miss L. 1642 Daneman, Paul 49, 85 Danes, Claire 3 5 Daniel Owen, Howell & Co. 1443 Daniel, Henry 783 Daniel, Jennifer 51 Daniels 610 Daniels, Edgar 1802 DANKWARDT, G. 1943 DANSON 1059 Danson, Miss 1915 Dansor, Miss 1967 Danvers 2507 Danvers, Johnny 1142 DANVILLE OPERA HOUSE, DANVILLE, PA 2195 DARABONT, FRANK 1880 Dargon, Augusta 2570 Darker, Mia 813 Darley, Brian 835 Darling, J. J. 850 DARLING, SCOTT W. 1740, 2448 DARLINGTON 1556 DARLINGTON CIVIC THEATRE, DARLINGTON 128 Darrell, Miss L. 1596 Darro, Frankie 2 Darwin 1678, 1716 Dash, Stacey 54 Dau, Birgitta 1 Dauvray 1914 DAVE, R. 1088 Davenport 1148, 1204 Davenport, A. H. 620, 1220, 1982, 2058 Davenport, Carson 4 Davenport, Mrs. 1186 Davenport, Polly 1220 DAVENTRY 1471 DAVENTRY, GEORGE 1471, 1473 DAVEY, PETER 1273

DAVID WICKES PRODUCTIONS 1879 David, Eleanor 1433 DAVID, HUGH 1378 David, Joanna 1338 David, Joanne 142 Davidge 1040, 1111, 1194, 1220, 1388, 1891,2058,2492 Davidge, Jr., William 2166, 2283, 2284 Davidge, Mrs. 1390 Davidge, W. 866 Davids 215 Davidson, Dore 596, 598 Davidson, Isidore 2584 Davidson, John 1478 DAVIES 202 DAVIES, ANDREW 133 Davies, Charles E. 2375 Davies, J. 1930 Davies, Jason 813 Davies, John 1930 Davies, Miss 309 Davies, Parson Charles E. 2366 Davis 522 Davis, Addie 2309 Davis, C. M. 1925 DAVIS, CARL 1349, 1874 DAVIS, DAVID 123 Davis, E. F. 1240 Davis, Gunnis 2750 Davis, J. 1928 Davis, Jimmy Lynn 1766, 1787 Davis, Lucy 133 DAVIS, MILES 1773 Davis, Mrs. 1984 DAVIS, S. 1013 DAVISON, JOHN 802, 816 DAVIS'S ROYAL AMHITHEATRE, LONDON 1645 Davitt, John 1869 Davoli, Ninetto 1826 Daw, Marjorie 2448 Dawes, Gertrude 1993 DAWLEY, J. SEARLE 918, 1726, 2436 DAWN, JACK 18, 101 Dawson 1382 Dawson, Miss Jane 2048 Day, Josette 1281 DAYES, J. 1155 DAYTON, OHIO 1748 DE LA FORCE 1189 deAguillon, Pedro 1755 DE ANGELIS, APRIL 1869 De Bar, Blanche 2232 de Barclay 1028 de Bameville 1026, 1029 DE BAR'S GRAND OPERA HOUSE, ST LOUIS, MO 692 de Beaumont, Madame 1082 De Bodamere, Mme. 896 de Bonay, John 1046 deBrion 1189 De Camp, Miss 1548 deCasenove 1189 de Castel-Moron 1189 deCastelnaul!89 de Castilla, Rosa 1755 deCaumont 1189 de Cordoba, Pedro 2462 DeCourcy 1082, 1384 DE FAS, BORIS 1773 DE FOREST, MARIAN 4, 5, 7, 8, 10, 13, 14 De Forrest, Gussie 2313, 2579 de Gallon 1190

430

DEGENLIS1178 de Genlis, Madame 1178 De Gray, Lillie 2229 DE GRUNWALD, ANATOLE 1430 de la Force 1028, 1189 de la Fuente 2025 de la Mothe 1029 de Lacy, Jennie 2497 De Lacy, Miss 686 de Lange, Herman 2654 De Luce, Mrs. 1652 DE LURIEN, GABRIEL-JULES-JOSEPH 1658 deMaintenon 1028, 1189 de Marguerittes, Madame 1955 DeMello, Mme. 1890 de Montespan 1028 de Momay, Rebecca 1292 de Mura, Madame 1082 deMurat!027, 1028, 1189 deNardouet 1547 DeNiro 1880 DeNiro, Robert 1880 dePlancy 1119 de Putti, Lya 993 DE ROCHEFORT-LUCAY, CLAUDELOUIS-MARIE 1660 DE SAINT-GEORGES, JULES-HENRI VERNOY 1659 deScuderi 1028 de Solla, Henry 2655 de Solla, Rachel 2741 de Toumay, Suzanne 1428 DE VERB, ALISON 1351 De Vere, George F. 2527 deVilleneuve 1119, 1190 de Villiers 1029 DEWAILLY, L. 1953 De Walden 1064 DEAKINS, ROGER 914 DEAN 1894 DEAN, DAVID 1 Dean, Miss 2521 Dean, Miss J. V. 2098 Dean, Priscilla 1478 Deane 2567 Deane, Hamilton 1731, 1732 DEAR, NICK 89 Dearth, Harry 1467 DECAE, HENRI 1773 Decker, Nelson 1588 Dee, Frances 9, 781 DEEL, ROBERT 1867 Deely, Ben 2746 Deering 1492, 1702 Deering, Mrs. 1079 Degischer, Vilma 2481 DEICHSEL, WOLFGANG 1850 Delamere 1986 DELGADO, MIGUEL M. 1788 DELINGER, LARRY 1872 Dell, William M. 2251 Delmar, Jean 2313 Delmar, Little 2133 Delmore, Ralph 2311 DeLoach, Heather 908 Deloir, Genevieve 1793 Delorme, Mme. 1614 Demarest, William 3 DEMICHELI, TULIO 1779 Demongeot, Mylene 2481 Dempster, Carol 993 Denbigh-Russell, Grace 1476 Denburg, Susan 1764

INDEX OF PROPER NAMES DENGER, FRED 2481 Denham 1891 Denham, Miss Fanny 1891, 2055, 2148 Denim, Miss 1094 Denin831, 832, 840 Denin, Kate 2497, 2499 Denison, A. M. 718, 723 Denison, Michael 84 Denning 1186 Dennis, Will 891,893 Dennison 1147, 1149 DENNY, J. T. 1258, 1260 Dent, Wade 2476 Denton, Miss 1239 DENVER, COLORADO 1812, 1823 Denvil 1380 Denvil, Miss 680, 1541,2071 Denvil, Rachel 697, 2084 Dem, Bruce 2484 Derr 1993 DESMOND, JOHN 50 DETROIT THEATRE, DETROIT 1918 DETROIT, MI 1918,2009 DEUTSCH, ADOLPH 18 Deville, Thomas 1758 DEVLIN, ANN 809 DEVLIN, RICHARD 1872 Devote, Dorothy 2491 DEW, JOHN 1311 Dewhurst, Dorothy 1463 Dewhurst, William 1463 DEXTER, JOHN 908 Dey, Susan 22 Dharville, Mme. 1954 DI NOVI, DENISE 35 Diamond, Arnold 1752 DIAMOND, JAMES 757 DIAZ, JIM 1855 DIBDIN 1394 DIBDIN, C. R. 1390 DIBDIN, THOMAS JOHN 1186, 1187, 1385, 1390, 1391, 1396, 1397, 1403

DICK PARKER 2237 DICK PARKER'S AMERICAN THEATRE, NYC 2237 Dickens Type-Writing Office 2736 DICKENS, CHARLES 1018, 1123, 1916, 2278 Dickens, Mrs. 994 DICKEY, PAUL 1727-1729 Dickinson, G. K. 679 Dickinson, Miss Isabel 1082 Dickson, George 2126 Dickson,Mrs. 1892 Diddear 334, 563, 1663, 1673, 1679, 1716 DIETRICH, RALPH 1479 Dietz, Miss Linda 835 Digges 1939 Dignam, Basil 87 Dijon 1970 Dilian, Iraseme 805 DILLINGHAM, CHARLES 901, 903, 904 Dillon, Carrie 2323, 2338 Dillon, Frances 2736 Dillon, John D. 2051 Dillon, John Webb 757 Dillon, Louise 830, 831, 833, 837, 839, 840 Dillon, Miss Clara 1381 DILLON, ROBERT A 1023 Dione, Rose 896 DISCH, THOMAS 1845 Dix, Lillian 4 DOBBS 286

Dodd 1678 DOLINER, ROY 1829 DOMINION, LONDON 1316 DOMMETT1155 Don, Sir William 1720 DONAHOE, F. W. 2401 Donahue, Elinor 38 Donaldson, W. A. 2045, 2527 DONAT, ROBERT 44 Donne, William Bodham 571-573,576, 578, 599, 600, 606-608, 616, 619, 626, 670,682, 1010, 1011, 1030, 1032, 1033, 1045, 1068, 1073, 1084, 1089, 1091, 1092, 1137, 1138, 1154, 1189, 1228, 1229, 1321, 1322, 1324, 1372, 1384, 1536, 1571, 1912-1914, 1920, 1924, 1926, 1928, 1933, 1934, 1937, 1939, 1949, 1956, 2493, 2505, 2510,2514,2536 Donnelly 2170 . Donnelly, Edward 916 DONNER, CLIVE 1433 Donvan, Mrs. 1494 Dor, Karin 1779 DORAN, LINDSAY 148 Doria, Miss Clarisse 1928 DORIS'S EIGHTH AVENUE MUSEUM, NYC 2353 DORIS'S MUSEUM, EIGHTH AVENUE, NYC 2364 DORIS'S MUSEUM, HARLEM, NYC 2332,2340 DORIS'S EIGHTH AVENUE MUSEUM, NYC 2333 DORMEUIL 1963 Doming, Stacy 1821 Dorrington, Miss 352 Don-it, Little 1599 DORSET GARDEN, LONDON 149 Dot 2226 Dot, Little 2191, 2195, 2201, 2204, 2226 Dotrice, Roy 1294-1301 Dougherty, Lancing K. 1918 Douglas, Diana 1301 DOUGLAS, DONALD 22 Douglas, Ethel 747 Douglass, John 1011 Dove, Adam 850, 1638 DOVER 1680 Dow, Ellen Albertini 1300 Dowd, Harrison 13, 14 DOWD, ROSS 783 Dowling, Joseph J. 896 Downing, Harold 2426 Downing, Miss A 1949 Downing, Miss Linda 750 Downing, Rex 801 Downing, Ruth 906 Downs, Jane 116 Doyle, Deirdre 108 Doyle, Minnie 2606 DOYLE, PATRICK 148, 908 DOYLE, T. F. 1174 Doyle, W. T. 735 DR. PENNINGTON'S CHURCH, PRINCE STREET, NYC 2016 Drake, Charles 715, 716 Drake, Fabia 85 Drake, Julia 1150 DRANEY, GEORGE 2752 Draper's Double Uncle Tom's Cabin Company 2287 DREIFUSS, ARTHUR 38

431

Dresdel, Sonia 788 Drew, Charles H. 1074 Drew, Frank 2072, 2512 Drew,J. N. 2231 Drew, Maurice 2354 Drew, Mrs. Frank 2034 Drew, Roland 2752 Dring, Miss 1223 DRINKWATER, JOHN 1336 Drucker, Helen 660 Drummond, David 1872 Drury Lane Company 1125 DRURY LANE, LONDON 150-154, 157, 158, 160, 163, 165-183, 187, 191, 195, 197-199, 202-204, 207-210, 213, 214, 216, 219,220,222, 224, 226, 231, 233, 234, 236,238, 239, 242, 244, 247, 250, 269, 290,317, 334, 365-368, 370-376, 378-380, 382, 384-391, 394, 397, 399, 401, 402, 404, 406, 409, 411, 413,415, 417, 420, 426, 428,432,435, 437, 440, 445, 448, 454,455,457, 465, 467, 469, 470, 476, 482, 484,485, 487, 489, 490, 493, 497-500, 502, 504, 506, 512, 515, 518-521, 523, 528, 549, 550, 559, 653, 1001, 1059, 1060, 1141, 1142, 1178, 1180, 1181, 1183, 1185, 1189, 1228, 1263, 1276, 1394, 1886, 1937,2186,2749 Drury, Patrick 126-130 Dry 327 Du Bois, S. 1453 du Maine 1028 DUPRE, S. M. 1343, 1352 DUBLIN 355, 357, 360, 978, 1769, 1927, 1974 Dubois, Camille 647 Dubois, S. 1458 Dubois, S. C. 2593 Dubreuil 1614 DUCHESS THEATRE, B \LHAM 967 Duckworth, Dortha 14 Ducos 1614 Dudevant 1560 DUDMAN, NICK 1874 Duff, Mrs. 316-318,340 Duffield, Harry S. 2231, 2234, 2236 Duffield, Mrs. S. B. 2593 DUFFIELD, THOMAS A. 908 Duggan, Andrew 1844 Duggan, Tom 1750 DUGUE, FERDINAND 1723 Duke of Orleans 1029 DUKE, STUART 1866 DUKE'S, LONDON 1596 Dukes, David 1839 Dulaney 2280 Dulaney, W. T. 2235 Dulany 2326 DULING, DAN 1843 Dumaine 1954 DUMANOIR 1954, 1968 1970, 2070 Dumas, Alexandre 1660 DUMAS, CHARLES 2485 Dumbrille, Douglass 1407 DUMERSAN, GUILLAUME 1658 DUMFRIES 2269 Dunagan, Donnie 1738 Duncalfl892 Duncan 1891,2441 DUNCAN SISTERS 2441 Duncan, Frank 65

INDEX OF PROPER NAMES Duncan, Henry 2178 Duncan, Malcolm 2462 Duncan, Rosetta 2448, 2451 Duncan, Vivian 2451 Duncan, Vivyan 2448 DUNDEE 868, 871, 883, 885, 933, 951, 1422, 1424-1427, 1471, 1709, 1904, 1935, 2007, 2188, 2202, 2381, 2386, 2396, 2578, 2634, 2643, 2651, 2687, 2698, 2699, 2742, 2745 DUNLAP 1747 Dunlap, Mattie 839 DUNLAP, PAUL 1747, 1750, 1786 Dunlo, Lady 1263 DUNLOP 1190 DUNLOP, FRANK 812 Dunn 1147, 1203, 1813 Dunn, Emma 1407 Dunn, J. 1993 Dunn, J. C. 702 Dunn, James 1891, 1993 Dunn, Michael 1813 Dunn, Mrs. James 1993 Dunn, Violet 754 Dunn, W. 1913 Dunnavat, W. C. 1918 Dunrich, Brenda 65 Dunst, Kristen 35 Dunstall212 Dupree, Minnie 2462 Durang 1553 Durang, F. 1398 DURHAM 298, 338, 345 Durham, J. B. 653 Durie, Mrs. 1182 Durkin, Junior 2 Durravan 488 DURRNER, J. 1935 Duruset 1679 Dusenberry, Ann 22, 23 Duval 1402 Duval, Malila Saint 1802 Duvall, Shelley 1858 DWAN, ALAN 900 Dwyer, Frank 1859 Dyott 1991 Dysart, Miss Florence 1725 d'Alnoi 1087 D'Alnois, Countess 1034 d'Anois 1026 D'Anois, Countess 1030, 1034, 1076, 1078, 1085, 1093 d'Arblay 1559 D'AUBAN, ERNEST 1277 D'AUBAN, JOHN 1263, 1725 d'Auban, Miss Emma 1263 D'AULNOY 1078 D'Aulnoy, Countess 1026, 1029, 1026, 1032, 1034, 1033, 1078, 1082, 1084, 1085, 1091, 1121, 1125, 1143,1156,1189,1190 d'Auneuil 1026-1028 D'Orsay, Lawrence 993 Eagan, Daisy 913 EAGLE LION 38 Eagle, D. W. 1457 EAGLING, WAYNE 1861 EALING 957 EALLETT,T. 1155,1928 EAMES, FRANK 1085 Earl Burgess Attractions 2429 EASDALE, BRIAN 1431 EAST HAMPTON, LONG ISLAND 2474

EAST LONDON THEATRE 995 EAST LONDON THEATRE, LONDON 1138 East, John M. 895, 922, 928, 1267, 2351, 2363, 2374, 2379, 2399, 2402, 2403, 2409, 2414, 2668, 2679, 2685, 2703, 2704, 2711, 2712, 2714-2716, 2718, 2720, 2721, 2725, 2727, 2732, 2735, 2739 East, Robert 53 EASTMAN 1338 EASTMAN, BRIAN 1338 Eastman, Fred 1142 EATON, REBECCA 89 Eberle, Mrs. E. A 4, 5, 904, 1615, 2486 Ebsworth 1388 Eccles, Donald 53 ECHO THEATRE, LONDON 1848 Ecnarey, B. 735 Eddinger, Lawrence 2486 Eddinger, Wallie 877, 879 Eddington, Paul 141 Eddy 1384, 1537, 1541 Ede, F. 1915 EDEL 1263 EDEN THEATRE, BRIGHTON 960 EDEN, BRIGHTON 942 EDESON 1594 EDESON, ARTHUR 1734 Edgar 682, 1443, 1913 EDGAR, D. W. 1443 Edgar, E. F. 2013 Edgar, George 611 Edgar, Miss 674 EDGEWORTH, MARIA 1320 Edgworth 1320 Edinburgh 1452 EDINBURGH 322, 353, 356, 361, 554, 563, 570, 869, 955, 1126, 1198, 1421, 1451, 1653, 1667, 1674, 1675, 1683, 1687, 1692, 1697, 1699, 1707, 1708, 1711, 1715, 1722, 1917,2710 EDISON, THOMAS A 1726, 2415 Edmonds 2064 Edmonds, E. 1375 Edmunds, Miss Georgia 1249 Edna, Little 2338 Ednie, Beatti 673 Edward Rice Co 2264 Edwards 263, 522, 1322, 1477 Edwards, Harry 895 Edwards, Henry 782 EDWARDS, J. GORDON 1477 EDWARDS, JOHN 1748, 1882 Edwards, Miss 1051, 1505, 1984 Edwards, Mrs. 263 Edwards, Mrs. Welsh 2081 Edwards, Samuel 747 Edwards, W. F. 2593 Edwards, Welsh 2513 Edwin, Linda 1115 Edwin, Lucy 760 Edwin, Walter 1416 EFFINGHAM SALOON, LONDON 575, 617, 1375,2056,2064,2505 EGAN 543, 548, 1196 EGAN, F. B. 1543,1985 EGAN, MISS 1144 Egan, Patrick 1859 Egan, Peter 69 Egerton 266, 267, 275, 293, 326 Egerton, Mrs. 1394 Ehle, Jennifer 133

432

EIGHTH STREET THEATRE, NYC 2648 Eisley, Anthony 1781, 1787 EIVEY 1423 EL CORTEZ HOTEL, SAN DIEGO, CALIFORNIA 1830 Elan, Joan 789 ELDER, JOHN 1759, 1764, 1810 ELDON 120 ELDON, MARK 120 Eldridge, Lillie 2177, 2309, 2311 Eldridge, Louisa 2086, 2309 ELEPHANT & CASTLE, LONDON 671, 926,2403, 2703, 2714, 2728 Eles,Sandor 1759 ELGIN, ILLINOIS 1827 Eline, Mary 2428 ELIOT 1324, 1338, 1349 Elizabeth of Bavaria 1029 ELIZABETH, NJ 2413 ELKHART, INDIANA 2075 Ellarll96 Ellerbe, Harry 775 Ellicott, Miss Violet 1263 Elliot 517 Elliot, Miss Louie 1249 Elliot, Mrs. 1198 ELLIOTT 2492 Elliott Troupe 2098 Elliott, Master W. 1390 Elliott, Miss Beth 2733 Ellis, Edwin 2751 Ellis, Lelia2118 Ellis, Miss 1059 Ellis, Robin 142 Ellison, James 781 Ellison, Paul 813 ELLISTON 1669, 1884 ELLISTON, JR., E. BURNS 1837 Ellmenreich, Franziska712 Elmore, Florence 2231 Elmore, Henry 723 Elmore, James 1025 Elmore, Mrs. 1914 Elphinstone 1923 Elsom, Isobel 789 Elssler, Fanny 1976 Elton 1493 Elton, Alice 611 ELVEY, MAURICE 1327, 1416 El wood, Arthur 1462 EMBASSY THEATRE, LONDON 138 Emden, Margaret 107 Emden, Miss 1678 Emery 1712, 1721 Emery, Frank 1049 Emery, Miss 320 Emery, Mrs. 266, 267, 283 Emery, S. 1934 Emmerson, J. P. 707 Emmons, Miss Lizzie 1925, 2045 Emney, Fred 1276 EMPIRE, BROOKLYN 2365 EMPIRE, CRADLEY HEATH 2738 EMPIRE, NYC 899 EMPIRE, PRESTON, ENGLAND 1730 EMPIRE, SWANSEA 2753 Enders, David 141 ENGER, CHARLES VAN 1743 English Opera House 1642 ENGLISH OPERA HOUSE [LYCEUM], LONDON 1695, 1701, 1887 ENGLISH OPERA HOUSE, STRAND, LONDON 1642, 1648, 1655, 1665,1668, 1672, 1888

INDEX OF PROPER NAMES English, George 2406 English, Jane 2563 Ennis 1122 Ensign, Michael 1300 ERICKSON, JIM 35 Erie Litho & Printing Co. 2430 Erie Litho. & Printing Co. 2447 Erie, Pa. 2447 ERLANGER 1416 ERSKINE 1390 Erskine, Ella 894 Esdale, Miss 1051 Esden, Alice 891 Esmond, Carl 3 Esmond, Jill 1280 Esperanza, Mme. 2342 Espy, E. D. 2426 Estabrook, Howard 4 Esten, Mrs. 232 ETALL, MARGARET 62 Ethel, Florence 2486 EULO, KEN 1834 EURO INTERNATIONAL 1826 Eustace, Jennie A. 2681 Eustance, Mrs. 1915 Evans 1197,1324, 1679, 1690 Evans, Alice 2407 Evans, Jill 108 EVANS, KATE 89 Evans, Madge 111, 140 Evans, Rex 1741 Evans, T. E. 1967 Evans, Tenniel 61 Evelyn, Carlotta 704 Evelyn, Edith 752 Evelyn, Miss Rose 1030 Everardl079, 1147, 1149 Everard, Mrs. 1129 Everard, P. 2567 Everard, Percy 2708 Everest 113 Everest, Barbara 99, 107, 113 Everhart, Rex 1310 Evesson, Isabella 874, 877, 879, 1453 EXETER 1957,2261,2336 EXMOUTH 1950 EVEN, TOM 1780 Eyre, Gerald 1453, 1456 Eyre, Wilmot 1453 Eytinge, Harry 611 Eytinge, Pearl 2155 Eytinge, Rose 704, 2582, 2596 FABER, GEORGE 89 Fairbaim 295, 306 Fairfax, Diana 49, 143 F A I R M O N T PUBLIC SCHOOL, MAN1ON, INDIANA 1739 FALCONER 1384 FALCONER, H. 602, 603 FALL, RICHARD 2750 FAMOUS PLAYERS 2436 FARAGOH, FRANCIS 1734 FARJEAN, HERBERT 2752 Farleigh, Lynn 133 FARLEY 1196, 1197 FARLEY, CHARLES 1120 Farmer, Henry 1938 FARNHAM REPERTORY THEATRE 75 FARNIE, H. B. 1238 Farrar, Etta 2583 FARRELL1263 Farrell, Miss Amy 1055 Farrell, Miss Cissy 1055 Farren521, 1398, 1551

Farren, H. 1504 Farren, Henry 1716 Farren, Jun., W. 1913 Farren, Miss 518, 519 Farren, Miss E. 608 Farren, Mrs. 697, 704 Farren, Nellie 1725 Farren, P. 1482 FARREN, PERCY 1482, 1484 Farren, William 859, 1092 Farrow, Mia 1309 Farwell 2224 Farwell, C. L. 2141 Faucit 328 Faucit, Miss Helen 355, 360 Faucit, Mrs. 997, 1001 Faulkner 268 Fawcett 540, 552, 994, 1186, 1390 Fawcett, Charles 2481 Fawcett, John 1144, 1186, 1512 Fawcett, William 1766 FEATURE PRODUCTIONS 2448 FEENEY, F. X. 1874 Feist, Miss Ellen 1937 Feldman, Marty 1811 Felton, William 2678 Fennar, Ethel 2678 Fenno609, 1037, 1147,1149 Fenno, A. W. 582 Fenno, Augustus 1982 Fenton303, 1556, 1928 Fenton, C. 1223 Fenton, Charles 1030 FERGUSON 1051, 1904 Ferguson, Frank 1743 FERGUSON, IAIN STUART 132 Ferguson, Myrtle 2448, 2451 Ferguson, W. J. 879 Fergusson, Edwin 2341 FERIS, WALTER 1479 Fernandez, Bijou 2274, 2283 FERNANDEZ, PETER 1785 Feron, Mme. 1000 Ferrars 148 FERREN, BRAN 1839 Ferrers, Helen 92 Ferris, John 2497 Ferris, Pam 673 FERRIS, WALTER 905 Ffoulkes 1431 Fiander, Lewis 122 FIELD 266 FIELD, BARBARA 1878 FIELD, EDWARD 1775 Fielder 1341 FIELDING 1380 Fielding, Nellie 2148 FIELDS, AL 781 Fields, Grade 2451 Fiennes, Ralph 809 FIFTH AVENUE THEATRE, NYC 2178, 2593 FIFTH AVENUE, FLUSHING 2226 FIFTH STREET THEATRE, LOS ANGELES 1843 FILDEM, WILLIAM 1478 FILIPPI, ROSINA 57, 59, 81, 94, 134, 144 Filkins, Grace 935 Fillingham 1663 FILMADORA INDEPEN 1755 FINCH, JOHN 1381 Findley617 FINLAY, FIONA 89 FINLEY, E. 1197

433

Finn, G. H. 1930 Firbank, Ann 87, 88 Firth, Colin 133,912 Firth, Peter 80 FISCHBECK 993 Fischer, Alice 872, 879 Fischer, H. Trant 2691 Fischer, Margarita 2450 Fischer, O. W. 2481 Fisher 1061, 1094 Fisher, Annie 612 Fisher, Carrie 1851 FISHER, CHRIS 1869 Fisher, G. 2013 Fisher, George 1938, 1969 FISHER, JULES 1839 Fisher, Miss 1907 Fisher, Mrs. 1051 Fisher, Nigel 1875 Fisher, Nina 1882 Fisher, Oceana 1041 FISHER, TERENCE 1746, 1752, 1764, 1778, 1810 Fiske 1135, 1914 Fitzallen, Mrs. 1155 FITZBALL, EDWARD 1178, 1392, 1394, 1913,1924, 1937, 1967 Fitzgerald, Ella 2481 Fitzgerald, Geraldine 109, 801, 1336 Fitzgerald, Tara 673 Fitzgerald, William H. 1075 Fitzjames 674, 1705 FITZMAURICE, GEORGE 1407 Fitzroy, Emily 757, 2746 Fitzwilliam 1390 FITZWILLIAM, E. 1085 Fitzwilliam, Miss Kathleen 1076, 1085 Flagg, Georgine 866 FLATBUSH, BROOKLYN 777 Fleet, James 148 Fleetwood, Susan 89 FLEISHER AUDITORIUM 1771 Fleming 1382 Fleming, Miss 1505 Fleming, W.J. 2148 Fletcher, Julia 1872 Flinn, Florence 6 Florence 1046 FLOREY, ROBERT 1734 Florrington 338 FLOWERS 1143 FLOYD 1820 FLO YD, CALVIN 1820, 1821 FLUSHING 2097 FLUSHING OPERA HOUSE 850, 2256 FLUSHING TOWN HALL, BROOKLYN 2121 FLUSHING, LONG ISLAND 2160, 2191, 2204, 2221, 2226, 2240, 2256, 2325,2355 Flynn 1400 Flynn, Miss 620, 1035, 1061 Flynn, Mrs. 566 FNM FILMS 1877 FOLEY 1745 FOLLET1194, 1643 Follin, Alfred 611 FOLSEY, JR., GEORGE 1284 Fonda, Bridget 1874 FONDREN, FRED 1841, 1859, 1863 Fontaine, Joan 106, 783 Foot 1652 Foote, Miss 1186 Forbes 1061

INDEX OF PROPER NAMES Forbes, Brenda 97 Forbes-Robertson 1341 Forde, Miss 1180, 1679 FORD'S THEATRE, WASHINGTON, DC 768 FOREPAUGH'S THEATRE & MUSEUM, NYC 741 FORISCOT, EMILIO 1773 Forman 674 FORRESTER, ALRRED HENRY 1089 Forrester, Mrs. 2067 Forrester, N. C. 2058 Forsters, Ralph 1327 Forsythe, Blanche 2741 FORT MADISON, IOWA 736 FORT, GARRET ELSDEN 1734 Fortier, Herbert 855 Fortune 1899 Fosbroke, Mrs. 1937 FOSS, KENELM 1327 FOSTER 298, 1328 Foster, Charles 2071,2133 Foster, Ernest 596 FOSTER, GILES 80, 1349 Foster, Minnie 2124 FOSTER, STEPHEN 2476 FOURTEENTH STREET, NYC 661, 683, 745 FOURTEENTH STREET, NYC 662 FOWLER 2045 FOX 1101, 1134, 1477, 1907,2061,2071 FOX, B. MERVYN 2738 Fox, Caroline 1976 FOX,CEDRIC 116 Fox, Charles Kemble 1916, 1925, 1976, 2014,2031,2053,2061,2071 Fox, George L. 621, 1015, 1108, 1110, 1890, 1976,2014,2053 Fox, Mrs. 1977 Fox, Mrs. E. 1890, 1916,2014 Fox, Mrs. G. L. 697, 2255 Foxworth, Robert 1802 FOX'S OLD BOWERY, NYC 580, 583, 621, 1110, 1112,2071 FOX'S OLYMPIC, NYC 1108 FP 853, 900, 918, 993 Frain, James 1338 Frampton 1703 France, Mrs. 1907,2034 France, Rose 1220 Frances, Mary 1793 FRANCIOSA, MASSIMO 1826 Francis, Clive 142 FRANCIS, FREDDIE 1759 Francis, Kay 3 FRANCO 1793 FRANCO, JESS 1793 Francoeur, Joseph 899 Francois, Emilie 148 FRANCON'S CIRQUE, PARIS 1961 Frank L. Yerance's Dramatic Company 594 Frankfort-on-the-Main 1945 FRANKLIN MUSEUM, NYC 1981, 2001 FRANKLIN, NYC 340, 1005, 1494, 1517 FRANKLIN, RICHARD 1293, 1302 Franks 608,1183,1690 FRANZ S1GEL PARK, BRONX 2468 Franz, Eduard 1282 Fraser&Whitell74 Fraser Neal's Festival Players 788 Fraser, Alison 913 Fraser, Kenneth 762 FRASER, TOMM FRISBY 1867 Frazer, Henry 1373

FRAZIER HALL, UNIV. OF IDAHO, POCATELLO, IDAHO 2466 Frazier, William M. 2199 Frederica, Little 2209 Fredericks 1911 Fredericks, L. 1030 Fredericks, Miss 1930 FREDERICTON, NEW BRUNSWICK 1808 FREDERIX, MARC 1751 Freebom 1714 Freeland 1035, 1061 FREELOVE, MISS 1390 FREELOVE, MRS 1390 Freeman, C. 1708 Freer 555 FREGONESE, HUGO 1779 Freiburg 1945 French, George 607, 670 French, Harold 2751 French, Little Eva 2206, 2208 French, Mamie 1048 French, Mrs. 1398 French, Ned 1118 Freud, Ralph 2446 FREUND, KARL W. 101 FRIDAY'S PAVILION, BROOKLYN 2308 FRIEDMAN, MERYL 796 Friend, Philip 1430 FRIENDS' MEETING HOUSE, NYC 771 Fries, Mrs. Wulf 1930 FRIMBLEY 1395 Fritsch, Thomas 2481 FRKONJA, JEFFERY A 1872 FROHMAN, CHARLES 899, 916, 1474 Fry, Taylor 908 Frye, Dwight 1734, 1736, 1741 FUCHS 1880 FUCHS, FRED 914, 1880 Fuentes, Sonia 1788 FUEST, ROBERT 808 FULHAM 966 FULHAM, LONDON 2693 Fuller, Mary 1726 Fuller, Rosalinde 782 FULLMER, RANDY 1310 RJLTON, JOHN P. 1734, 1738, 1741 Funfkirchen 1945 Furlong, John B. 2586 Fumeaux, Yvonne 1853 Fumess, Betty 19 FURNISS917 FURNISS, GRACE L. 916 Fursman 2332, 2342, 2343 Furtado 682 Fyffe, Kitte 2067 Gabor, ZsaZsal853 GAFFNEY, ROBERT 1765 GAIETE, PARIS 1659, 1953 GAIETY THEATRE, DUBLIN 978 GAIETY, GLASGOW 722 GAIETY, LONDON 1266, 1725 Gail, Max 1 Gaillard 1614 Gainsbourg, Charlotte 797 GALLAGHER, DICK 1864, 1865 Gallagher, May 829 Gallagher, Sean 673 Galland,Bertha916 Gallardo, Lucy 1788 Gallot 1388 Galloti, Dada 1831 Gallott 1035, 1061, 1122 Gallott, Miss 1993

434

Galloway, James T. 1615 Galyer, May 899 Gann 1035,1061, 1653 Gannon 1693 Gannon, Mary 1099 GARCIA, GILBERT 1791 GARCIA, JOSE ANTONIO 908 Garden 1971 Garden, Mrs. 1971 GARDEN, NYC 1474 Gardiner 1971, 1984 Gardner 313, 1382 Gardner, Joan 1428 Gamer, Peggy Ann 783 Gamett, Percy 2199 Garnett, Susana 13 Garr,Teri 1811, 1838 Garratt 1920 Garrett, Eliza 1284 GARRETT, GEORGE 1765 Garrett, W. 2341 GARRICK, DAVID 202-204, 245, 253, 296,461,482,490 GARRICK, LONDON 1719 Garrick, Mrs. 1186 GARRICK, NYC 2486 GARRICK, PHILADELPHIA 2463 Garrinski, Miss 1930 Garrison, William Lloyd 1976 GARRITY, JOSEPH T. 2484 Garson, Greer 22, 101 Garth, Elizabeth 876 Garvie, Elizabeth 131 Gasco 1142 GASKELL 1352, 1362, 1363 Gaston, E. B. 1719 Gaston, George 935 Gaston, Mrs. E. B. 2043 Gates 1116, 1201 GATES, JAMES 1971, 1984 Gattie 543, 1488 GAUMONT2751 Gaunt, Valerie 1746 Gavin, Roy 1758 GAY 2484 GAY, JOHN 2484 GAYLER 574 Gayler, Grace 735 GAYLORD PRODUCTIONS AND PLATYPUS PRODUCTIONS 1288 Gayson, Eunice 1752 Gaywood 266 GEARY THEATRE, SAN FRANCISCO 779 Geeks, Nicholas 1338 Gelbart, Florence 899 Genee 1564 General Tom Thumb 1892 GENTLEMAN, F. 494 Gentry, Robert 1802 GEORGE 1930 GEORGE, HENRY 2668 George, Marie 1142 GEORGE, MILLICENT 1332 Georgia Cabin Singers 2214 Georgia Jubilee Singers 2147, 2151, 2154, 2172 Gerard, Miss 610, 647 Geray, Steven 1766 GERDINE, ELAINE 1868, 1873 GERMAN CLUB ROOMS, NYC 2210, 2257,2292 GERMAN CLUB ROOMS, STATEN

INDEX OF PROPER NAMES ISLAND 2601 GERMANIA THEATRE, NYC 2645 GERMANIA, NYC 699, 705, 1592 Germon, Effie 872, 935 Germon, G. C. 1916, 1976 Germon, Mrs. G. C. 1916, 1925, 2497,2499 Germon, Nane 1281 GERRARD, HENRY W. 9 Gertie, Little 2195, 2235 GHERTNER, ED1310 GIALANELLA, VICTOR 1835,1839,1855 Gibbon 1194 GIBBONS, CEDRIC 18, 101 Gibbs, Mrs. 994 Gibert, Josianne 1793 GIBSON, DAVID 1284 Gibson, Deborah 1317 Gibson, Gerry 1298 Gibson, Miss C. 1212 Gibson, Thomas 1 Gielgud, Sir John 1803, 1851 Gilford 309 Gigl, Aloysius 1878 GILBERT 345, 842, 1026, 1341 Gilbert Dramatic Society 1635 Gilbert Society 1638 Gilbert, Ada Venden 2350 GILBERT, HERSCHEL BURKE 38 Gilbert, J. 678 Gilbert, John 675, 1982 Gilbert, Miss 1913 Gilbert, Mrs. Argyle 2350 Gilbert, Mrs. J. 678, 1982 GILBERT, W. S. 1322, 1323, 1341, 1342 GILES, DAVID 142 Gilham, Doris 1475 GILHOULEY, JAMES 121 Gill, Basil 760 Gillen, Francis J. 754 GILLES 70 Gillette 1651 Gillette, Viola 1277 GILLETTE, WILLIAM H. 829-845, 852 GILLHOULEY, JAMES 1836 Gilliland, Richard 23 Gillingwater, Claude 896 Gillis, Ann 3 Gillis, Patrick 1879 Oilman, Ada 704 Gilmour, J. H. 872, 877, 879 Gimber, Sophie 2499 Giomberville 1028 Girard, Kate 2271 GIROUX 1390 Giubellei 1178, 1180 GLASGOW 286, 561, 579, 618, 646, 722, 949, 1050, 1221, 1271, 1376, 1663, 1689, 1721, 1735, 1959, 2406, 2515, 2552, 2564, 2565, 2732 Glassford2108 Glassford, A. 2081 Glassford, Eliza 2081,2097 Glassford, Jessie 2106 Glassford, Kate 2106 Glassford, Little Eliza 2094 Gleason, Paul 1301 Glen, Ian 1328 Glendinning, Ernest 2462 GLENISTER, JOHN 53 Glenn, Sam 1993 Glenney, Charles 1453, 1456 GLENNON, GORDON 42, 44, 51, 61 Glenshaw, Ida 1

GLENVILLE 2707 GLICKMAN, PAUL 1781 GLOBE, LONDON 718, 1137, 1441, 2567 GLOBE, NYC 693 GLOBUS, YORUM 1292 GLOVER 1199 Glover, E. 1688 Glover, Edmund 356, 1519 GLOVER, J. M. 1277 Glover, John 1839 Glover, Julian 808, 912 GLOVER, MISS 1121, 1127 Glover, Miss Julia 1209 Glover, Mrs. 2492 Goddard, Alf2751 GODDARD, CHARLES 1727-1729 Goddard, Miss 364 GODDARD, REV. L. E. 1269 Godfrey, Philip 2751 Godwin 1874 Godwin, Stephen 1872 GOETZ, WILLIAM 783 Going, Frederica 778, 779 GOING, JOHN 810 GOLAN, MEN AHEM 1292 GOLD, JACK 898 GOLD, MYRON G. 1853 Golden Globe for Best Film 1310 GOLDEN SHOWBOAT NOSTALGIA T H E A T R E , ST. LOUIS, MISSOURI 1837 GOLDIE, HUGH 51 GOLDMAN, HAROLD 1407 GOLDMAN, ROBERT 119 GOLDSMITH, KEN 2 GOLDWYN, SAMUEL 801, 1431 Gollan, Campbell 1474 Gomersal 1390 Gomersal, Mrs. 1226, 1390 Gomery 1390 Goneau, Leon 1640 Goodall, Hedley 78 Goodenow1494 Goodman, George 2481 GOODMAN'S FIELDS, LONDON 190, 193, 196, 422, 425,427, 430, 433, 439, 444, 459, 463, 471, 473, 475 Goodwin 1196, 1277 Goodwin, Doran 53 Goodwin, Susie 2125 Gordon 866, 1146, 1382, 1683 Gordon, Christine 781 Gordon, Fanny 1064 Gordon, Gavin 1736 Gordon, James 2491 Gordon, Marie 588, 866 GORDON, MAX 97 Gordon, Miss 1094 Gordon, P. 2202 GORDON, PETER 75 GORDON, STOKE-ON-TRENT 971 Gordon, W. N. 2486 Goring, Marius 1432 Gorman 1171 Gossin, F. 2072 Gotthold, J. Newton 2527 GOTTSCHALK, LOUIS F. 896 Gougenheim 2492 Gough313, 2492 Gough, Michael 122 Gould, F. 861 Gouldstone 1596 Gourdier, Elsie 2326 Gourlay 1061

435

Gower Street, London 1488 Gower, James 2269 Gower, Master Horace 2269 Gower, Mrs. James 2269 Gower, Nelly 2269 Gowland, Gibson 2448 Gowland, Wendy 75 Graber, Yossi 1292 GRABOWSKI, JOHN 1882 Grace, Delmon 2050 Grace, Kathleen 1731, 1758 GRACE, MARIN 1440 GRADLEY HEATH 2738 Grafton, H. 2567 Graham 359, 1129 GRAHAM, BERTHA N. 2702 GRAHAM, JANE 69 Grainger 1694 GRAN ADA TV 88 GRAND HALL, MAIDENHEAD 1268 GRAND MUSEUM & THEATRE, NYC 2297 GRAND MUSEUM, NYC 2334, 2337, 2347 GRAND OPERA HOUSE, BOSTON 2423 GRAND OPERA HOUSE, BROOKLYN 657, 659, 716, 729, 734, 1435, 1636, 2255, 2277, 2595, 2599, 2600 GRAND OPERA HOUSE, NYC 588, 639, 709, 711,713, 732, 738, 837, 879, 889,936, 1435, 1459, 1598, 1604, 1613, 1615,. 1620, 2144, 2152, 2158, 2170, 2190, 2193, 2307, 2313, 2350, 2383, 2398, 2404, 2410, 2528, 2562, 2569, 2580, 2608,2614,2684,2696 GRAND STREET MUSEUM, NYC 2320 GRAND THEATRE, BIRMINGHAM 965 GRAND THEATRE, BLACKPOOL 984 GRAND THEATRE, FULHAM 966 GRAND THEATRE, HULL 981 GRAND THEATRE, LEEDS 973, 982 GRAND THEATRE, NELSON 954 GRAND THEATRE, SWANSEA 970 GRAND THEATRE, WOOLWICH 962 GRAND, FULHAM 2693 GRAND, GLASGOW 1271, 2732 GRAND, LEEDS 968 Granger, Leila 704, 2169 Granger, Maud 689 Grant 266, 267, 283 GRANT, ARTHUR 1764, 1778 Grant, Herbert J. 1946 Grant, Hugh 148 GRANT, JOHN 1743 Grant, Lottie 1136 Grant, Miss 1199, 1492 GRANT, MORAY 1783 Grant, Susan Lyall 116 GRANTHAM, WILFRED 46 Granville, Miss Violet 1263 GRANVILLE, WALHAM 2754 Grattan, H. P. 2058 Grattan, Mrs. H. P. 1588, 1980 GRAVER, GARY 1781 Graves, Rupert 673 Gray 1093 Gray, Ada 2573, 2577, 2579, 2584, 2586, 2593, 2597, 2602-2605, 2607, 2609, 2612-2614, 2621, 2622, 2624, 2632, 2633, 2635, 2637, 2641, 2642, 2644, 2648, 2649, 2653, 2656, 2660, 2663-2665,

INDEX OF PROPER NAMES 2674 Gray, Adam 2599 Gray, Dulcie 84 Gray, Ed. 1930 Gray, G. 1678 Gray, Virginia 2450 Grazia, Miss Violet 1276 Grecian Theatre 2514 GRECIAN, LONDON 599, 1033, 1042, 1374, 1908, 1924, 2492, 2514 Greco, Juliette 2481 Green 1193, 1246, 1256, 1895,2492 GREEN, ALFRED E. 896 Green, Desmond 1732 Green, Edmund 1939 GREEN, FRANK 1256 Green, Jasper 2178 Green, Miss 1010 Green, Mrs. 1489 Green, R. 1928 Green's Coloured Minstrel Show 2310 GREENEAUM, MUTZ 1429 GREENBAUN, MUTZ 1430 GREENE 1685 GREENE, CLAY 2309 GREENE, CLAY M. 2315, 2328, 2338, 2345 Greene, David 108 GREENE, FRANK W. 1246 Greene, Richard 905 Greener, Miss 310, 1482 GREENHOUSE, JOEL 1864, 1865 GREENOCK556, 1162, 1244 GREENPOINT 847, 2263 GREENWICH, LONDON 156, 159, 383, 938, 1162,1231,1381,1444 GREENWICH, NYC 1150 GREENWOOD 1218 Greenwood Litrerary Club of South Brooklyn 2592 GREENWOOD, JOHN 1430 GREENWOOD, T. L. 1131, 1161, 1165, 1218, 1228, 1235 GREENWOOD, W. L. 1154 Gregg, Virginia 23 Gregor, Simon 1314 Gregory, A. W. 731,2274 Gregory, Arthur W. 2231, 2234, 2236 Gregory, Miss 1928 Gregory, Ruth 774, 779 GRETRY, ANDRE 1191, 1311 Greville, Miss 1967 GREY 1085 Grey, Alice 704 Grey, Blanche 697, 2151 Grey, Miss 2567 Grey, Miss Sybil 1725 Grey, Miss Sylvia 1725 Greybrooke, Ethel 592 GRIEVE 1127, 1128, 1144, 1196, 1199 GRIEVE, T. 1127, 1144, 1197, 1199 GRIEVE, W. 1127, 1144, 1197, 1199 Griffies, Ethel 761 Griffin, Warren 2178 Griffith 325, 993 Griffith, Hugh 808 Griffith, Raymond 993, 1479 Griffiths, Derek 1316 Griffiths, F. 1263 Griffiths, J. 1263 Griffiths, Mrs. 1937 Grimaldi 1143, 1196 Grimaldi, J. S. 1144, 1682 Grimshaw, May 1731, 1732

GRINT, ALAN 912 Grippa,Nick 1882 Grisdale 2073 Grisel, Louis 757 GROESSE 18 GROESSE, PAUL 18, 101 Groger, Fraulein 705 GROS, ERNEST 1474 GROSS, ROBERT 1866 Grosvenor, J. 611 Grouse 1249 Grove, Fred 894 GRUSKOFF, MICHAEL 1811 GUAY, PAUL 1772, 1833 Guerineau, Mary 1980 Guienne 1189 Guiness, Alec 898 Guion, H. D. 2071 Gunn, Peter 1338 Gurner, Mrs. 1489 GURNEY, EDMUND 2733 Gumey, May 1142 Gurney, Rachel 46, 52 GUTHRIE, CARL 1750 Gutteridge, Lucy 912 Guy 1614 Guyon, Mme. Emile 1954 Gwen, Edmund 101 Gwine2170 Gwynee, Anny 1742 Gwynette, Harry 935 Gwynne, Michael 1752 Gwynne, Miss Emma 1725 GYMNASIUM THEATRE, HENLEY 818 H. A. Thomas & Wylie, Art Lithographers 2343 HAAS, TOM 1866 Hackett Theatrical Club 638 Hackett, James K. 916 Hackett, Jonathan 1314 Hackman, Miss 1967 Hadaway 1892, 2034 HAHN,DON1310 HALDANE, BERT 2741 Hale, Mrs. 1548 HALES, DONN 2752 HALL 1169, 1380-1382, 1802 HALL GARTH THEATRE ROYAL, MANCHESTER 2250, 2594 Hall, Albert 2484 Hall, Arthur 1055 HALL, BOB 1859 HALL, C. 1123 HALL, DANIEL 3 8 Hall, Ellen 774 HALL, FRANK 1169 Hall, H. 679, 1076 HALL, H. P. 1174 Hall, J. Clinton 2600 Hall, J. H. 678, 1383 Hall, Lillian 6 Hall, Lillie M. 1046, 2338 HALL, MRS. S. C. 1380 HALL, SAM 1802 Hall, Thomas A. 916 HALL, WILLIS 71, 799 Hallard, C. M. 819 Hallat, Henry 1731 Haller,Ty 1782 Halloran, John 97 Hallows 2567 HALPERIN, VICTOR 2752 HALSEY 993 Hamblin299, 1000, 1514

436

Hamblin, Constance 2629 Hamblin, Mrs. 1514 Hamblin, Sir Michael 618 Hamblin, W. 1993 Hamblin, William H. 1993 Hamilton 630, 917, 1441, 1453 Hamilton, Dorothy 762 Hamilton, Geoffrey 905 HAMILTON, HENRY 1441, 1442, 1453-1456, 1458-1462 Hamilton, Linda 1292-1307 Hamilton, Martha 1290, 1291 Hamilton, Neil 2752 Hamilton, Theodore 697, 917 Hamilton, W.H. 2141 Hamilton, William 1993 Hammer 1778 HAMMER FILMS 1810 HAMMER STUDIOS 1746, 1759 HAMMERSMITH 990 HAMMERSMITH, LONDON 813, 922, 931,990,1267,1836,2351,2363, 2374, 2379, 2399, 2402, 2409, 2414, 2668, 2679, 2685, 2704, 2711,2724,2737 Hammerton, Miss W. 342 Hammond, J. M. 1518 Hammond, Lynn 4, 5 Hampie, Abbie 2206 Hampstead 1488 HAMPTON 1134 HAMPTON COURT 1402 Hampton, Abby 2168 Hampton, Miss 1134, 2014 HAMPTON, ORVILLE 1282 Hampton, T. 1015, 1890 HANALIS, BLANCHE 898 Hanley 1907 Hannen, Hermione 113 Hanold, Marilyn 1765 Hansel, Howell 935 Hansen, William 1802 Harben, Jean 99 Harcourt 1027 Harcourt, Charles 616 Harcourt, Miss Ada 1717 Harcourt, William 2407 HARD ACRE, J. P. 2691 Hardacre, J. Pitt 2676, 2680, 2686, 2687, 2710,2740,2742,2748 Hardacre, Mrs. J. Pitt 2671 Hardenbefg 588 Harding 1666 Harding, Ann 2750 Harding, Miss E. 1714 Harding, Miss Emma 1934 Harding, Rudge 1409 Hardinge, Miss A. 723 Hardinge, Miss Mabel 723 Hardwick, Mrs. 1037, 1147, 1149 Hardwicke, Sir Cedric 1740 Hardy 850 Hardy, Betty 46, 52, 86 Hardy, Robert 80 Hardy, Sam 2436 Hardy, Valesta 1758 Hare 835 Harewood, Dorian 1303 Hargitay, Mickey 1794 Hargrave, Miss 298 Hargrave, Mrs. 553 Harker, Susannah 133, 1328 Harkins 588, 2391 Harkins, D. H. 686

INDEX OF PROPER NAMES Harkins, H. B. 596 HARKINS, JAMES W. 2395, 2400, 2416, 2418 Harland, Ada 1046 Harlap. Ruth 1292 HARLEM 2332 HARLEM MUSIC HALL, NYC 2123,2216 HARLEM OPERA HOUSE, NYC 856,875, 888,2117,2487 HARLEM THEATRE, NYC 2344 HARLEM, NYC 740, 1625, 2340 Harley248, 532, 1127, 1199, 1209, 1557 Harlowe, Mrs. 1548 Hamiond610 Harold 1249 Harold, Maggie 2284 Harold, Miss Maggie 1615 HARPAZ, UDI 2484 Harper, Jessica 23 Harrigan2130 HARRIGAN'S PARK, NYC 2366 Harrington 1495, 1942, 2370, 2424 Harrington, Charles 2361, 2381, 2385 Harrington, Mrs. 1488 Harris 1559, 1937, 1995, 2008 Harris, Alfred A. 7 HARRIS, AUGUSTUS 1263 HARRIS, CHARLES 1725 Harris, Cynthia 1838 Harris, G. W. 1174,2222 Harris, Jr, W. T. 1638 HARRIS, LEMUEL E. 1804 Harris, Lindsay 2586, 2593 Harris, Marcia 993 Harris, Miss 1685 Harris, Miss Maria 1596 Harris, Miss Nelly 2567 Harris, Roy 1769 HARRIS, S. E. 1995 Harris, T. C. 2013 Harris, Theresa 781 Harris, Thomas 1057, 1190, 1547, 1552 Harris, William 681,692, 1594, 1597, 1600 HARRISON 4, 1516, 1517, 1682 Harrison, Alice 2309, 2328, 2535 Harrison, Andrew 911 HARRISON, BERTRAM 4 HARRISON, J. A. 1263 Harrison, Maud 2151 Harrison, Mrs. 620, 1516, 1517 HARRISON, RICHARD ST JOHN 35 HARRISON, SUZAN 673 Harrison, W. 1199 HARROGATE 953, 976 Harrold 1667 HARRY HILL'S, NYC 2246 Hart 1880, 2130 Hart, Gus 1177 HART, JIM V. 1880 Hartbury 1435 Harte, Betty 918 Hartford 1930, 1940 HARTFORD, CONNECTICUT 1737,1940 Hartley, Mrs. 517 HARTMAN, GEORGES 1466 Hartman, Gretchen 2418 Harvey 1002 Harvey, Alasdair 1316 Harvey, Frank 1476 Harvey, Georgia 14 Harwood 1194 Hastings, A. H. 2232 HASTINGS-WALTON, GLADYS 1735 Haswell, Miss Percy 754, 755

HATCH, BEATRICE 1353, 1370 Hatch, Frank 2407 Hathaway, Miss 1101, 1134, 1890, 2014, 2567 Hattery, Philip 2446 Hatton 334 Hatton, A. C. 714 HATTON, JOSEPH 860, 861 HAUPTNER 1943, 1944 Havard 202 Havelock 1892 HAVERLY'S, NYC 2589 HAVERLY'S, BROOKLYN 831 Havers, Nigel 907, 909 Haviland, J. F. 2095 Havre 1970 Hawk, Harry 2177 HAWKESWORTH, J. 493, 535, 545, 549, 559 Hawkins 1010 Hawkins, Sir Jack 792, 1431 Haydenll82 HAYDEN, JOHN 2463 Hayden, Miss 1094 Haydn, Richard 1811 Haydon,J. S. 1595 Hayes, Helen 102, 114,2343 Hayes, Herbert 1477 Hayes, Margaret 14 HAYMARKET, LONDON 211, 218, 230, 245,421, 435,438, 441, 503, 508, 509, 530, 826, 1027, 1034, 1078, 1093, 1095, 1122, 1170, 1190, 1341, 1382, 1487, 1548 Hayne, Charles M. 596 Hayne, Mrs. 2055 Haynes, J. H. 2064 HAYS, H. R. 140 Hazleton 327, 555 HAZLEWOOD, COLIN HENRY 576, 581, 619,625,1234 HEAD 1197 HEAD, EDITH 22 Head, Miss 916 HEADLAND, A. R. 15, 136, 137, 1367 Healey, J. R. 697 Healey, Libby 1635 Healey, Mrs. F. 1887 Healey,Libbie 1638 Healy, Libbie 849 Healy, Miss Fanny 1178 Heard 215, 522 Heard, Miss 1548 Heath 266, 267 HEATH, MISS 2515, 2552, 2677, 2678, 2708 Heathcote, Kate 1074 HECHT, BEN 801 HECKERLING, AMY 54 HEERMAN, VICTOR 9, 18 Heggie, O. P. 1437, 2750 HELDEY, PHILIP 1315 HELEN HAYES THEATRE 102 HELLER, OTTO 1438 HELLER'S WONDER THEATRE, NYC 2169 HEMMING 1657 HEMMING, ALFRED 1054 Hemple, Sam 2313 Henderson 217, 674, 1051, 1239, 1696, 1905 HENDERSON, ARTHUR 1051 Henderson, Ettie 1563 HENDERSON, JOHN 1177

437

HENDERSON, MARK 1427 HENDERSON, ROBERT 800 HENDERSON, ROBERT B. 2478 Hendricks, Emma 2601 Hendricks, Ethel 2615 Hengler, Florence 1277 Hengler, May 1277 HENIGER, JACOB 828 Henkins 1382 Henley, E. J. 1458 Henricsson 1821 Henry 326, 1178, 1180, 1196, 1725 HENRY HALL, ROCKVILLE, MD 2343 Henry IV 1189 HENRY STREET SETTLEMENT, NYC 1816 Henry, B. 1239 Henry, F. H. 2048 Henry, Josephine 2498 Henry, Miss 620 Henry, Mrs. 1096 HENRY, RICHARD 1725 HENRY, S. CREAGH 920, 922, 931, 935 Henry, Wilfred 39 HENSON, REV. JOSIAH 2188 Hepburn, Katharine 9, 763, 764, 767, 768 HER MAJESTY'S, ABERDEEN 870, 882, 932, 937, 950, 1168, 1452, 2361, 2370, 2385, 2393, 2412, 2626, 2628, 2631, 2639, 2646, 2657, 2671, 2676, 2680, 2686, 2697, 2700, 2706, 2709 HER MAJESTY'S, DUNDEE 868, 871, 883, 885, 933, 951, 1422, 2381, 2386, 2396, 2634, 2643, 2651, 2687, 2698, 2699, 2742, 2745 HER MAJESTY'S, LONDON 1427, 2251 HER MAJESTY'S, WALSALL 964 HER MAJESTY'S, ABERDEEN 1452 HER MAJESTY'S, BRIGHTON 2756 HER MAJESTY'S, CARLISLE 788 HER MAJESTY'S, HAYMARKET, LONDON 1170 Herbert 1452, 1992, 2508, 2639 HERBERT, F. HUGH 1451, 1452 Herbert, J. 1892, 1911, 1976 Herbert, Louisa 616 Herbert, Mrs. 1201 Herbert, Mrs. J. 678 Herbert, Ruth 2508 Herbert, S. 2639 HEREFORD 1842 HERMAN, AL 3 Herman, J. 719 Hermann, A. 1442 HERMANN, BERNARD 780, 783 HERMANN, C. 2079, 2195 HERMANN, CHARLES 1958,2351,2354, 2363, 2374 Hermann, Mrs. Charles 2354 Hermannstadt 1945 Heme, James A. 2540, 2541, 2549 HERON 1914 Heron, Bijou 2155 HERON, JULIA 801 Heron, Matilda 577, 2498, 2503 Heron, Miss Matlida 574 Herring, Fanny 580, 586, 621, 1072, 1106, 1108, 1110, 1112, 1907, 1980, 2014, 2061, 2272, 2280, 2293, 2326 Herring, Miss 1993 Herring, Miss Fanny 583, 1015, 1890 HERTS, ALICE MINNIE 828

INDEX OF PROPER NAMES Hervey, Grizelda 121 HERZBRUN, BERNARD 905 Herzen, Rudolf 1442 Heston, Charlton 803 Heth 283 Hewell 1685 HEWETT, PROFESSOR 1909, 1910 Hewit, Enid 66 Hewitt, Henry C. 7 Hezberg, Paul 132 Hibbert, Miss 1684 Hickman 266 Hickman, Darryl 1300 HICKS 1263, 1703 Hicks, Carroll 2050 Hicks, N. T. 674 Hicks, Sid 2236 Hicks, Sidney 2231 Hield 1382, 1490 Hield, Mrs. 1148, 1891 HIELGE 1034 Hiemann 1742 Higgias, Louise 2182 Hight, Lizzie 2600 Higrnan 1194 Hildebrande, Dorothy 760 HILDYARD 1430 Hill, Barton 2055, 2058, 2513 Hill, Bernard 1338 Hill,C. 1201,1486 Hill, Caroline 1453 HILL, ETHEL 905 Hill, J. 1677 Hill, J.W. 610 Hill, Miss Mary 1371 Hill, Mrs. 551, 1201, 1510 Hill, Mrs. Mary 2148 HILUTONI 1881 Hilliardll21 Hilliard, R. C. 842 HILLIN, JIM 1310 Hillington 553 Hills, Priscilla 775 Hinckley, Emma 731 Hind 1040 Hind, Mrs. T.J. 2100 Hind,T. J. 1593,2177 Hinds 1759, 1810 HINDS, ANTHONY 1746, 1752, 1759, 1764, 1810 Hinds, Ciaran 89, 798 Hinds, Samuel 2446 Hiroshima 1760 HIRSCHFELD, GERALD 1811 HIS MAJESTY'S, ABERDEEN 989, 2730, 2731,2733 HIS MAJESTY'S, LONDON 1467 Hitchcock, Alfred 1311 Hitchinson, Master 1121 HITTLEMAN, CARL 1766 HIVELY, GEORGE 3 Hobbsll94, 1388 Hobson 1736 Hobson, Valerie 1736 Hockstra, W. S. 596 Hodges 1891 Hodges, Horace 1416 HODGINS 1144 Hodgkinson 251, 252, 1553, 1555 Hodgkinson, Mrs. 1549 Hodgson, Ethel 2418 Hodson, Miss Henrietta 1321 Hoey, Dennis 1741 Hofele 2208

HOFEL'S OLYMPIC, NYC 2208 HOFF, MONCKTON 1407 HOFFMAN 929 Hoffman, H. F. 2746 HOFFMAN, KIVA 38 HOFFMAN, MAURICE H. 929 Hoffman, Ruby 2436 Hofl, Fraulein 1575, 1577 Hofmann, Joseph 872 Hogan, H. 866 Hogg, Miss 1555 Hogle, Don 1829 HOLBORN, LONDON 1325 HOLBROOK, JOANNE 60 HOLLAND, AGENEZIA914 Holland, E. M. 2486 Holland, Joseph 2486 Holland, Kate 686 Holies, Antony 7 HOLLIS STREET THEATRE, BOSTON 2309,2315 Hollom, Miss May 958 HOLLOW AY 991 HOLLOWAY THEATRE, MARLBOROUGH 988, 991 Holloway, Elizabeth 917 HOLLOWAY, JEAN 104 Holloway, Miss 1642 HOLLYWOOD 1784 HOLLYWOOD PLAYHOUSE 790 Holm, Ian 1786, 1880 Holman 232, 241, 529, 531, 1991 Holman, Mrs. 1187,1188 HOLME, STANFORD 45 HOLME, THEA 66-69, 73, 74, 77 Holmes 536, 2507 Holmes, Dennis 810 Holmes, Stuart 1477, 1478, 2746 HOLMES'S STANDARD MUSEUM, BROOKLYN 2272 HOLMES'S STAR THEATRE, BROOKLYN 2338 Holmes-Gore, Dorothy 68 HOLROYD, GEORGE H. 1346 HOLSCHER, HEINZ 2481 HOLY TRINITY, NYC 1878 Homan, Gertie 879 HONDA, INOSHIRO 1760 Honey, Miss Laura 1984 Honey, Mrs. 1121 Honner334, 1084, 1146 Honner, Miss E. 1083, 1146 Honner, Miss P. 1034 Honri, Mary 1279 Hood, Dorothy 2476 Hood, Miss Marion 1725 Hood, Noel 1746 Hoogeboom, Frank 1769 HOOLEY'S OPERA HOUSE, WILLIAMSBURGH, BROOKLYN 2096, 2127 HOOLEY'S, BROOKLYN 2122 HOOLEY'S, BROOKLYN 1115 HOOLEY'S, NYC 1233, 2159, 2182 Hooper 1130 Hoops, Arthur 853 Hopkins, Mrs. 518,521 Hopper, De Wolf 2460 Hopper, Victoria 1336 Hopwood& Crew 821 Horace Lingard's Company 871 HORAK'S OPERA HOUSE, LONG ISLAND CITY 2369 Hordem,SirMichael73,912

438

Horn, C. 1690 Horn, E. 1074 Horn, Miss Kate 1064, 1094 Horn, Mrs. 1884 Homcastle 1060 Homcastle, G. 1127 Homcastle, H. 1031 Horton 1701 Horton, Miss 1134,2014 Horton, Miss P. 1059, 1078, 1093, 1095 Hoskins 1913 HOTEL ALAMEDA 2473 Hotto, Harry 2058 Hough 1975 Hough, Lotty 2059 Hough's Theatrical Troupe 2075 HOULD-WARD, ANN 1316 HOUSEMAN, JOHN 102, 780, 783 HOUSTON GRAND OPERA 1311, 1312 HOUSTON, TEXAS 1868 HOUSTON, TX 37 Howard 1014, 1022, 1482, 1494, 1892, 1906, 1932, 1992, 1996, 2006

HOWARD ATHENAEUM, BOSTON 2244 Howard Variety Combination 2207 HOWARD, A. E. 2479 Howard, Anne 3 Howard, Cordelia 1015, 1890, 1907, 1916, 1932, 1976, 1977, 1992, 2014, 2031, 2037, 2038, 2044, 2046, 2047,2050,2053,2054,2155 Howard, G. C. 1015, 1890, 1907, 1916, 1932, 1975-1977, 1986, 1991, 1992, 2006, 2011, 2014, 2032, 2034, 2041, 2042, 2044, 2049-2054, 2059, 2071, 2147, 2148, 2151, 2152, 2155, 2156, 2158, 2171, 2178, 2193, 2197, 2198, 2207, 2284, 2289, 2423 Howard, Guy 2426 Howard, H. 2055 Howard, Henry 1769 Howard, J. 1928 Howard, John 1717 Howard, Leslie 1428, 1430 Howard, May 2426 Howard, Miss 1596 Howard, Miss E. 1596 Howard, Mrs. 1703 Howard, Mrs. G. C. 1015,1890,1906,1907, 1916, 1925, 1975-1977, 1992, 1993, 1996, 2003, 2006, 2011, 2014, 2031, 2032, 2034, 2042, 2044, 2046, 2047, 2049, 2050, 2052-2054, 2059, 2071, 2072, 2074, 2079, 2082-2086, 2092, 2100, 2102, 2107, 2114, 2116, 2117, 2123, 2132, 2138, 2145, 2147, 2148, 2151, 2152, 2155-2158, 2162, 2163, 2170, 2171, 2173, 2178, 2193, 2197, 2198, 2207, 2210, 2211, 2218, 2219, 2241, 2253, 2254, 2259, 2267, 2270, 2274, 2275, 2277, 2283,2284, 2289, 2290 Howard, Violet 1463 Howard, W. 331 Howards 1014 Howe 1341, 2492 Howe, J. B. 1976,2045 Howell 334, 1059, 1443 Howell, W. 707 HOWELL-POOLE, WILLLIAM 1325 Howitt, Belle 1117

INDEX OF PROPER NAMES HOWSON, FRANK A. 1074 HOXTON HALL, LONDON 1350 HOXTON, LONDON 576, 625, 924, 928, 1010, 1151, 1234, 2043, 2688, 2722, 2726 Hoyle, Jacqueline 911 Hoym-Hehl, Frau 676, 677 Hubbard, John 38 HUBBS, LARRY 908 HUBERT, RENE 783, 1429 HUBER'S PALACE MUSEUM, NYC 2356, 2662 Hubner, Frau 677 Huddart261 Huddait, Miss 313 HUDDERSFIELD 536, 758 Huddleston, Aline 773 Huddleston, Miss Jesie 1481 Hudson 1027, 1059, 1198 Hudson, Miss Eliza 687 Hudson, Mrs. 1198 Hudspeth, Miss 2146 Hughes 1121, 1182 Hughes, Annie 818, 819 Hughes, Dorothy 993 Hughes, Kate 2359 Hughes, Miss Annie 820, 821, 867 Hughes, Mrs. 1182, 1396, 1991 Hughes, Mrs. J. 1679 HUGHES, R. 1076 HUGHES, T. 1643 Hulce, Tim 1880 Hulette, Gladys 4 Hull 514, 516, 517, 524, 542, 981, 993, 1551,1595 Hull, Henry 6 Humbert 1614 Hume, Dick 1171 Humplirey, Joan 67 Humphreys, Cecil 801, 1423 HUMPHREYS, F. W. 1051 Humphreys, Whitmore 762 Humphries, Mrs. 1547 Hunt 779, 1679 Hunt, Dick 660 Hunt, H. 1035, 1061 Hunt, Madge 1023 Hunt, Marsha 101 Hunt, Martita 1336 Hunt, Miss 326 Hunt, Miss Maggie 718, 721-723, 725, 728 Hunt, Mrs. 1035, 1038, 1061, 1063, 1064, 1094 HUNT, PETER 1434 HUNT, ROY 781, 1437 Hunter, G. Harrison 899 Hunter, Ian 905 Hunter, Miss Polly 2567 HI INTER'S POINT, LONG ISLAND 2606 Huntington, Florence 5 Huntley 1194 Huntley, Mrs. 1596 HURLBUT, WILLIAM 1736 Hurley, Julia 757 Humdall, Richard 47 Hurt, John 1874 Hurt, William 797 Hutchence, Michael 1874 Hutchinson, Josephine 1738 HUTCHINSON, M. F. 1355 Hutchinson, Miss A. 660 HUTCHINSON, PAUL 813 Hutton, Louise 73 Hutton. Ralph 41

HUXLEY, ALDOUS 101, 783 Hyams, John 1277 Hyatt, Carla 829 Hyde 522 Hyland, Miss 1699 Hyson, Dorothy 99 HYTHE AND SANDGATE 1671 IBBETSON, ATHUR 898 Ibsen, Henrik 1762 Iddon, Katherine 1807 IFUKUBE, AKIR1760 IHLEC,J. J. 1197 IMPERIAL, LONDON 595 Inchbald 524 Inchbald, Mrs. 524, 525 Incledon994, 1552 INDEPENDENT-INTERNATIONAL 1781, 1787, 1793 INDIAN REPERTORY THEATRE 1866 Inescort, Frieda 101 Inglis, Scott 855 INROADS THEATRE, NYC 1864 INSTITUTO ESPAGNOL 2070 INTERAMA1351 INTERNATIONAL CITY THEATRE, AT LONG BEACH, CALIFORNIA 1873 INTERNATIONAL EXCLUSIVES 1327 International Type Writing Office 1725 INTIMAN PLAYHOUSE, SEATTLE, WASHINGTON 1872 Inverarity, Miss 1197 IPSWICH 461 IRELAND 1026, 1121 IRELAND, MISS 1121 IRELAND, T. 1078, 1093, 1122 Irish, F. W. 1596 Irschick, Magda 733 Irving, George 899 Irving, Henriette 2311 Irving, Henry 1722 Isaacs, J. 1186 Isaacs, Mark 1829 ISAACS, MISS REBECCA 1935 ISAACSON 1928 ISHERWOOD, CHRISTOPHER 1803 Isherwood, Mrs. H. 1028 Isherwood, Mrs. W. 1028 ISLINGTON 1169 ITV 87, 798, 1798 Ivars, Helen 917 Ivins, Perry 1738 Ivor, Frances 2654 J. P. 930 J. Pitt Hardacre Co 2687, 2710 JACK H. HARRIS ENTERPRISES 1284 Jack, John 1982 Jackson 1383 Jackson, A. W. 2502 Jackson, Miss 1918 Jackson, Mrs. 514, 1148, 1204 Jackson, Peter 2365-2367, 2375 Jackson, Sammy 2484 JACKSON, SIR BARRY 765, 766 Jacob, Irene 914 Jacobi, Derek 123,912 JACOBI, G. 1274 JACOBS, LIBBY 1856 Jacoby, Florence 39 JACOB'S LYCEUM, BROOKLYN 747, 2316 JACOB'S THIRD AVENUE THEATRE, NYC 2296, 2321, 2349, 2360, 2633,2664, 2670

439

JAEGER, KOBI 1874 JAMAICA OPERA HOUSE, LONG ISLAND 2262 JAMAICA TOWN HALL, LONG ISLAND 1599 JAMAICA, LONG ISLAND 594,638, 655, 1622, 2239, 2262, 2281, 2291, 2310, 2324, 2342, 2362, 2373, 2581 JAMES 1492, 1914 JAMES STREET, LONDON 464, 468 James Tumbull & Son 1250 James, Barry 1316 JAMES, C. J. 1967 JAMES, C. STANFIELD 1212 JAMES, DAVID 1030 James, Gennie 912 James, George E. 1238 James, H. 620 James, Lithgow 1075 James, Louis 2387 James, Millie 901,903, 904 James, Miss Kate 1051 James, Mrs. 1492 Jameson, Miss 543 Jamieson 2055 Jamieson, George 574 Jamieson, Malcolm 1433 Jamison, Frank E. 2418 Jamison, W. L. 2094 Janauschek, Fanny 2258 JANES, H. HURFORD 1752 Japs, Loretta 2446 Jarrett 2177,2181,2185,2187, 2202,2203, 2206, 2232, 2265, 2268 Jarrett and Palmer's Uncle Tom's Cabin Company 2181,2185,2187, 2202, 2203, 2206, 2232, 2240, 2265, 2268 Jarrett and Palmer 2181, 2185, 2187, 2202, 2206, 2232, 2240, 2265, 2268 Jarrett and Palmer's Uncle Tom's Cabin Company 2177 Jarrett, H. C. 2232 Jarvis, Mrs. 679 Jason, Neville 121 Jason, Sybil 905 Jasso 1756 Jay Rial 2236, 2238, 2242, 2243, 2245, 2248,2251,2252 Jean, Gloria 38 Jeater, Frances 79 Jefferies 266, 267, 283 Jefferson 202, 1153, 1494, 1553 Jefferson, Joseph 1105, 1107, 1982, 1999, 2008 Jefferson, Mrs. 1005, 1153, 1210, 2008 Jeffrey, Peter 1333 Jeffries 1930 Jeffries, Lionel 1752 Jenkins 1993 Jenkins, Dean 813 Jennings, DeWitt 1437 JENNINGS, FRED S. 2737 Jensen, Eulalie 2450 JEROME, HELEN 97, 99, 107, 108, 117, 119, 121, 762-769, 773-779, 784, 785 Jerrold, Mary 92 Jervis 1396, 1652 Jeys, Lais 2342 JIJI, VERA 2483 JIM DIAZ GALLERY, NYC 1855 Jochim, Keith 1839

INDEX OF PROPER NAMES John and Louisa Till's Marionettes 1253 JOHN B. RICE'S THEATRE, CHICAGO 1936 JOHN DREW MEMORIAL THEATRE, EAST HAMPTON, LONG ISLAND 2474 John M. East's East Lynne Company 2668, 2679, 2685, 2703, 2704, 2711, 2712, 2714-2716, 2718, 2720, 2721, 2725, 2727, 2732, 2735, 2739 John P. Smith's Uncle Tom's Cabin 2289, 2305 John, Caroline 62 Johns, Effie 1585 Johnson 993, 1025,1390, 1553,1555,1949 Johnson, Celia 99 Johnson, Charles 660 JOHNSON, CHARLES R. 1878 JOHNSON, DAVID 1338 JOHNSON, FANNY 82, 1379 JOHNSON, J. A. 1930 Johnson, J. T. 1914 JOHNSON, MARK 908 Johnson, Miss 1187 Johnson, Miss Hettie 2406 Johnson, Miss Phoebe 1956 Johnson, Mrs. 1555 Johnson, Noble 2448 JOHNSON, ROBERT 2208 Johnson, T. B. 679 Johnston 1097, 2208 Johnston, H. 533 Johnston, J. W. 2436 Johnston, R. 1993 Johnstone, H. 1547 JOHNSTONE, J. B. 578, 606, 1915, 1917, 1922 Johnstone, Master 1928 Johnstone, Miss 1928 Johnstone, Mrs. H. 994, 1547 Jolly, Edward M. 1938 Jolly, Miss 1938 Jolly, Miss C. 1938 Jones 566, 1182, 1198, 1515, 1643, 1915 JONES, ANNE JOHNSON 96 Jones, Basil 46 Jones, C. 313 Jones, Darby 781 Jones, Freddie 1349, 1778 Jones, Gemma 148 Jones, Griffith 1336 Jones, J. H. 1074 Jones, Jane 1872 Jones, Marcia Mae 905 Jones, Melinda 686 Jones, Miss 1094 Jones, Miss Maria 1725 Jones, Mr. S. 1059 Jones, Mrs. 2073, 2156, 2500 Jones, Mrs. C. 317, 334 Jones, Mrs. W. G. 1976, 2053, 2208 Jones, S. Major 2736 Jones, W. G. 899, 1911,2208 JONES-EVANS, ERIC 1347 Jordan 1097 Jordan, Emily 582 Jordan, George 679 JORDAN, GLENN 1802 Jordan, H. 678 Jordan, H. C. 2050 Jordan, Harry 2055, 2076 Jordan, Kate 2076 Jordan, Little Lulu 2073, 2076

Jordan, Miss 1486 Jordan, Miss Nellie 718 Jordan, Mrs. 1383 Jordan, Mrs. G. C. 574 Jordan, Mrs. H. 2050, 2073 Jordan, Mrs. Harry 2076 Joseph, Stephen 1807 Josephine, Miss 1499 Josephs, Miss Patti 616 Jourdan, Mrs. 715 Joyce, Miss 1002 Joyce, T. 1930 Juanita 1766 Jubilee Sisters 2178 Judd, Alan 45 Jules 1954 Julia, Raul 1874 JULIAN, JAY 1868, 1873 Julian, Rupert 900 JUNE, RAY 910 Justice, Edgar 1802 Kahan, Saul 1284 KAHLEIS, W. 1943 Kahn, Madeline 1811 Kamber, Stam 1299 KANDEL, ABEN 1747 Kane, Donna 810 KANE, JOSEPH 2 KAPER, BRONISLAU 910 Karen, Jim 1765 Karloff, Boris 1730, 1731, 1734, 1736, 1738, 1742, 1750, 1771, 1803 Karpe, Curtis 774, 779 KARPICK, AVRAHAM 1292 KATZ, NATASHA 1316 Kauffman, Joseph 899 KAUTSKY 1263 Kay, Charles 1427 Kay, Miss Jennie 2350 Keach, E. F. 1930 Kealing, Julia 1170 Kean, Charles 549, 550 Keating 522 Keats, Viola 121 Kee, Malcolm 1425 Keefe, Cornelius 2752 Keeley 1642,1648,1649,1655,1673,1679, 1887 Keeley, Mrs. 1679, 1934, 2013 KEENE 328 KEENE SUMMER THEATRE, KEENE, NEW HAMPSHIRE 2475 Keene, Laura 679, 1593 KEENE, LISA 1310 KEENE, NEW HAMPSHIRE 2475 Keene, S. W. 1075 Keene, T. W. 1135,2086,2513 Kehoe 2356 KEIGHLEY 725, 759 Keith-Johnson, Colin 97, 102 Kelcey, Herbert 1458 Kelcey, Mrs. Kerbert 1453 Kelland, John 53 Kellaway, Cecil 801 Kellerd, John E. 935, 2407 KELLEY, CHARLES 718 Kelley, Primrose 2178 KELLY 1194, 1884 Kelly, Charles 718, 721-723, 725, 728 Kelly, Eileen 2476 KELLY, FRANCIS 1867 Kelly, John 2451 KELLY, MARK 3 Kelly, Miss F.H. 321

440

Kelly, Paul 5 Kelly, Paula 2484 KELLY, TIM 1789, 1812, 1823, 1829, 1846 Kelly, W. W. 2322 Kelsey2013 Kelsey, Fred 2491 Kelsey, Lizzie 1048 Kelson, George 6 Kemble 226, 231, 233, 236, 238, 239, 242, 244,247, 250, 255, 256,259, 266, 267, 324, 335, 537, 1127, 1194, 1518,1559 Kemble, C. 244, 247, 250, 256, 266, 267, 277, 288, 293, 305, 324, 535, 537, 1548 Kemble, Fanny 326, 332 Kemble, Frances 2208 Kemble, Frank 596 Kemble, H. 284, 1194 Kemble, Miss 521 Kemble, Miss Violet 1051 Kemble, Mrs. 335 Kemp 1811 Kemp, Miss Annie 646 Kemp, Nick 1869 Kempe, Alfred 2564 Kempson, Rachel 792, 898 Kendal, Estabrook 835 Kendal, Mrs. 835 KENDALL, JANE 103, 139 Kendall, Miss 1121 Kendall, W. H. 2027 Kendrick, Alfred 1416 Kenna, Mrs. 223 KENNETT115 KENNETT, J. 1345 KENNETT,JOHN 115 KENNINGTON 963 KENNINGTON THEATRE 2744 KENNY, FRANCES 1872 Kensit, Patsy 1328, 1349 KENT 1652 Kent, Bertha 757 Kent, Crauford 757 Kent, Josephine 747 KENT, ROBERT 1282 Kent, S. Miller 935 KENTON, ERIE C. 1740 Kenworth, Miss 1209 Kenworthy, Miss 1082 KEN YON, FRANK 1163 Kerman, David 1765 KERN, ROBERT J. 101 KERR, JOHN 1666 Kerr, Miss 1494 Kerridgell21, 1209 Kerry, Norman 1478, 2752 Kershaw, Phoebe 45, 74 Keyes, Irwin 1867 KEYS, ANTHONY NELSON 1764, 1778 KIAM, OMAR 801 Kibbee, Guy 897 Kibbee, Milt 3 8 Kibble, Mamie 2423 Kidder, Kathryn 872 KIEFERT, KARL 820 Kier,Udol801 Kilner 291,1187, 1513 Kimball 2005 KIMBALL'S MUSEUM, BOSTON 1931 • King 266, 267, 1061, 1682, 1703 KING, BRADLEY 2750 King, D. W. 851

INDEX OF PROPER NAMES King, De Loss 2208 King, Eddie 2354 King, Emmet C. 896 King, John C. 2462 King, Miss 1061,2072 KING'S, HAMMERSMITH 990 Kingsbury, Alice 2077 Kingsland, C. 574 Kingsland, Miss 2223 Kingsley, Ben 1349 KINGSTON 1273,2718 Kingston, G. 1899 Kingston, Kiwi 1759 Kingston, Little Lucy 2200 KINGSWAY, LONDON 760 KING'S ROAD THEATRE, LONDON 1797 Kinloch 1913 Kinlock 1061 Kinlock, Georgina 1035 Kinney 2484 Kinney, Endyia 2484 Kinski, Klaus 1288 KINZER, CRAIG D. 1859 KIRBY 1125 Kirby, Mi's. Hudson 1373 Kirchner, Fraulein 1579 KIRK 993 Kirk, .1. 1404 KIRKWOOD, JAMES 853 Kirsch, Oona 132 KITCHIN, JACK 9 Kitt, Eartha2481 Kitzmiller, John 2481 KLAW 1277, 1416 KLEIN, AMANDA J. 1878 KLEIN, PHILIP 2491 Kline, J. C. 611 KNABE, BIRGIT 1769, 1774 Kneale 806 KNEALE, NIGEL 804, 806 Kneale, Patricia 132 Kneeland, Richard 1839 KNICKERBOCKER, NYC 2004 Knight 1394 KNIGHT, EDDIE 1778 Knight, Harlan 757 Knight, Miss Agnes 723 Knight, Mrs. 1000, 1035, 1061, 1094 Knight, Sandra 1751 Knightley, Will 1338 KNIGHTON, NAN 1434 KNOBLAUCH [KNOBLOCK?], EDWARD 1358 Knoc, Mickey 1874 Knott, Andy 914 Knowles, Edwin 829 KNOWLES, HARLEY 6 Knowles, Jane 62 Knowles, Patric 1741 KOCH 1786 KOCH, HOWARD W. 1750, 1786 KODKINSON 757 KOIZUMI, HAJIME 1760 KOL, ITZHAK1292 KORDA 1428 KORDA, ALEXANDER 1428 Korda, Rex 1280 KORDA SIR ALEXANDER 1429, 1431 KOSMINSKY, PETER 809 KRAMER, VIRGINIA 1867 KRASNER, MILTON 1740 KRAUSHAAR, RAOUL 1766 Kress, Frau 677

Kroeger, Berry 19 Kruger, Alma 97 Kruger, Oscar 748 Kruger, Otto 828 Kuhn, Fraulein 677 KUNKEL, GEORGE 1988, 2152, 2155, 2156, 2158, 2161, 2173, 2177, 2181,2193,2251 Kynaston 150 LaBretta, Viola 2418 La Fond, Florence 2073 La Forest 1383 La Grange, Ida 2199 La Mothe, Marie Catherine 1026 La Plance, Rosemary 38 La Verne, Lucille 2418 Lacey 1387 Lacey, Miss Marian 1949 Lacey, Mrs. 1952 Lack, Simon 52 Lackaye, Wilton 2407 Lacy 1949 Lacy, Miss 310 Lacy, Mrs. Walter 1913 LADBROKE HALL, LONDON 919 LADBROKE HALL, LONDON 854 Ladd, David 1438 LADY, STEPH 1880 LAEMMLE, JR., CARL 1736 LAFAYETTE, NYC 320 LAGRAVENESE, RICHARD 908 Laibach 1945 Laing 1030 LAIRD, BENJAMIN 1438 Lamb 1993 Lamb, Ed. 1976 Lamb, Edward 2535 Lamb, Frank 686, 872 Lambe, Mrs. 1194 Lambert 266, 1492 Lamon, Isabel 6 Lament, Duncan 1759, 1764 LANCASHIRE 1240 LANCASTER 246, 557 LANCASTER, PA 2033 Lanchester, Elsa910, 1736 LANDAU, RICHARD 1750, 1802 LANDER, GEORGE 1025 LANDER, GEORGE 671 LANDIS, JOHN 1284 LANDOLFF, M. 1263 Landor, Rosalyn 792 Landwerzek, Miss E. 849 Lane 1895 Lane, Agnes 2331 Lane, Mrs. S. 1010 Lane, Samuel 576, 1010 Lang, Peter 918 LANG, WALTER 905 LANGDALE 1449 LANGDALE, DOROTHY 1449 LANGDON, SAM 76 LANGFORD 1678 Langley 1488 Langstaff, Charles W. 2426 LANGTON, SIMON 133 LANGTRY, KENNETH 1747 LANPHER, VERA1310 Lansbury, Angela 1310 LANTAIGNE, GERRY 1859 Laporte, Miss 1213, 1956 Largo, Miss Kate 2166 Larpent 1057, 1392,1512 Larpent, W. 1190

441

Larry 1341 Lary 1614 Lascelles, Sara 704, 1457 LASKO 1881 LASSANGE, ESPERANCE-HIPPOLYTE 1660 LATCHMERE THEATRE, LONDON 1869 LATHAN, STAN 2484 Laughlin, Anna 2366 LAURA KEENE'S THEATRE, NYC 679, 1104, 1105,2208 LAURA KEENE'S, NYC 1043 Laurens, Josephine 686 Laurent 1954 La vine, Miss 1498 Lavis, MissT. 1030 Law, Burton 1478 Lawford, Peter 18 Lawler2521 Lawler, Frank 582 Lawler, Miss Poppy 1055 Lawrence, Gerald 859 LAWSON 1991 LAWSON, ARTHUR 1431 Lawson, Wilfred 2751 Lawton, Frank 1336 LAWTON, REED 2476 Le Brun, Marion 2499 Le Brun, Mrs. 2499 LECLERCQ1194 Le May, Roy 2462 Le Roy, Clara 2066 LEROY, MERVYN 18 Le Touzel, Sylvestra 70 LEACH 1143 Leachman, Cloris 140, 1811 LEAKEY, PHIL 1752 LEAMINGTON 721, 2695 Leander, Madlle701 LEARNING 1808 Learock, Charles 731 Learock, George 719 Lebatt, Miss 1928 Lebedeff, Ivan 993 LeClercq, Carlotta 718, 2553 Leclercq, Charles 704 Leclercq, Madame 1922 Leclercq, Miss Rose 861 Leclerq, Rose 865 LEE 545, 559, 1372, 1652, 1738, 1923 LEE AVENUE ACADEMY OF MUSIC, BROOKLYN 742,845, 874,1631, 1634, 2275, 2286, 2597, 2602, 2672 LEE AVENUE ACADEMY OF MUSIC, WILLIAMSBURGH 2286 LEE, ANG 148 Lee, Bernard 1810,2748 Lee, Christopher 1746 Lee, H. 1937 Lee, Henry 1716 Lee, Joanna Glassell 773 Lee, Leoni 1193 Lee, Little Amy 2141 Lee, Little Lillie 2199 Lee, Miss 1034, 1127,1199 Lee, Mrs. 545 LEE, NELSON 1923, 1949 LEE, ROWLAND V. 1738 LEE, SOPHIA 1884 Lee, T. 1696 Leebroker, Mrs. 679 LEEDS 350, 534, 968, 973, 982, 1217 LEES, ROBERT 1743

INDEX OF PROPER NAMES Leesugg, Miss 291, 1187 Lefevre 1991 Leffingwell2513

Leftler, Yankee 2066 LEGRAND, MICHAEL 808 Legree 1937 Leibold, Kate 849 LEICESTER 299, 309, 342, 668, 939, 956, 1116,1243,2543 Leicester, Ernest 2708 Leigh 1139, 1984 Leigh, A. 1596 LEIGH, HENRY S. 1139, 1140 Leigh, Janet 18 Leigh, Miss Ellen 608 Leigh, Sara 77 Leighton, Margaret 1431, 1803 Leighton, Miss Alexes 718 Leighton, Queenie 1142 Leipzig 1945 LEITCH, CHRISTOPHER 1306 LEITH 1543 Lemaire, Mme. 1954 Lemaitre, Charles 1954 Lemberg 1945 Lemnion, Miss 1507, 1971, 1984 LEMON, MARK 1934 Lemoyne 1980 Lemoyne, W. J. 1916 Lennox 1225 Leno, Dan 1263, 1276 LEONARD, CONRAD 1280 LEONARD, HUGH 807 LEONARD, ROBERT Z. 101 Leonardos Dramatic Association of the St. Leonard Academy 846 Leopold 1171 Leopold Troupe 1263 Lesdemier, Emily 679 Leslie 822 Leslie, Anne 1280 Leslie, Elsie 822, 824, 872 Leslie, Fred 1725 Leslie, J. Hubert 60 LESLIE, KATHERINE JEAN 1827 Lessing, Miss Madge 1276 Lester 1382 Lester, Kate 6 LETHBRIDGE, NEMONE 122 LETTS, BARRY 143 Levere 1028, 1079, 1087 Leverick, Milnes 1986 Levick 1892,2034 LEVINE, NAT 2 LEVITE 1051 Levite, Little 1051 LEVITT-PICKMAN 1783 LEVY, PETER 35 Lewes 1415, 1693 Lewes, Miriam 1413-1415 LEWIS 212, 215, 751, 1492, 2484 Lewis, Curigwen 762 Lewis, David 14 Lewis, Emily 703 Lewis, Etta 2143 Lewis, G. 2056 Lewis, Hattie 2231 Lewis, Ida 2586 Lewis, Jenny 2484 LEWIS, JOSEPH 602, 603 Lewis, Lena 2341 Lewis, M. G. 1194 LEWIS, MARK 3 5 Lewis, Miss 1492

Lewis, Mrs. 1657, 1682, 1937 Lewis, R. B. 2341 LEWIS, ROGER DAVID 1842 Lewis, Walter 2436 LEWISOHN, LYDIA 1329, 1330 Leworthy, F. 610 LEWTON781 LEWTON, VAL781 LEXINGTON AVENUE OPERA HOUSE, NYC 841,843 LEXINGTON AVENUE, NYC 2165 Lexy, Edward 77 Library Theatre, Scarborough 1753, 1807 Lickfold 1937 LIEBERMAN,JEFF1838 LIFELINE THEATRE, CHICAGO 796 Lightfoot, Miss 1913 Lightning the Wonder Dog 1437 LINCOLN 943 LINCOLN CENTER, NYC 1852 Lincoln Dramatic Club 2587 Lincoln, Abraham 1999 LINCOLN'S INN FIELDS, LONDON 161, 162, 164, 185, 392, 393,395, 396, 398, 403,405, 407,408, 412, 414, 416, 418, 419,423, 424,429,443, 446, 449 Lind, Gillian 44, 47, 49, 51, 114 Lind, Jenny 1976 Linda Edwin's Company 1115 LINDEN, ALIDA L. 2747 Linden, Laura 2148, 2219 Linden, Miss Maria 1170 Linden, Miss Marie 859 Linden, Sandy 1769 Lindley, Henrietta 1460, 1461 Lindon 1934 Lindsay, Clare 1731 LINDSAY, JOHN 41, 45 Lingard2061 Lingard, George 1015, 1892, 1976, 2034, 2073

Lingard, Horace 871 Lingard, James W. 1892, 1976, 1992, 2003, 2034, 2053, 2073 Lingard, Miss Nellie 2251 Lingard, Mrs. J. 1892, 1976, 2034 Lingham, Lizz Mahon 2251 Linz 1945 Lipman, Maureen 907, 909 LIPSCOMB, W. P. 1479 LISEMORE, MARTIN 53, 142 Lister, Francis 1429 Lister, Moira 73 Liston994, 1186 Liston, Mrs. 266, 267 Litchfield's Manchester Dramatic Company 2250,2594 Little Amy 2213 Little Blanche 2098 Little Cordelia 1916 Little Daisy 2251 Little Dot 2191, 2195, 2201, 2204, 2226 Little Edna 2338 Little Eva 2206, 2208 Little Frederica 2209 Little Gertie 2195, 2235 Little Katie 2202 Little Lulu (Jordan) 2073, 2076, 2201 LITTLE THEATRE CLUB, GARRICK YARD, LONDON 1758 LITTLE THEATRE, BRISTOL 41 LITTLE THEATRE, LEICESTER 668 LITTLE THEATRE, LONDON 1731

442

LITTLE THEATRE, SHREVEPORT 773 LITTLE, THOMAS K. 783 Littlefield, Lucien 2450 Liverpool 297, 860, 865, 947, 1025, 1049, 1056, 1158, 1174, 1176, 1239, 1252, 1254, 1339, 1340, 1450, 1562,2036 Livesey, Roger 2751 LIVING MARIONETTES, LONDON 1929 LIVING THEATRE PRODUCTION 1762, 1769, 1771, 1774, 1777 Livingston, Flora 1453, 1456 Lloyd 1697, 1699 LLOYD, FRANK 1479, 2750 Lloyd, Jr., Harold 1751 Lloyd, Robin 68 Lloyd, Rosalind 1378 Lloyd, William 900 Lloyds, C. 2007 LLOYDS, F. 1045 LOBB, HARRY 672 LOBI, VICTOR 1293, 1302, 1306 LOBLEY 1971, 1984 LOCKWOOD, LLOYD 1842 Lockwood, Preston 123 Lockyer, Miss 1039 Loder1888 Loder, E. J. 1938 Loder, Mrs. G. 1097, 1129 Lodge 543 LOEB, MAX 104 LOEFFLER, LOUIS 905 Loftus, Cecilia 918, 2462, 2750 Logan, Alice 1046 LOGAN, CAMPBELL 85, 114, 122, 787, 1348 Logan, Eliza 731 Logan, Miss Kate 1025 Lohr, Marie 138 Lorn, Herbert 2481 Lomath, Stuart 1731, 1732 LONDON 7, 10, 44, 92, 99, 138, 149-155, 157-214, 216-222, 224, 226-234, 236, 238, 239, 242, 244, 245, 247, 250, 254-256, 259, 262, 265-267, 269, 275, 277, 281, 283,288, 290, 293, 302, 305, 310, 315, 317, 324, 326, 329, 334, 351, 354, 358, 359, 362-460, 462-487, 489-493, 495-521, 523-525, 527-530, 532, 535, 537, 547, 549, 550, 559, 560, 568, 571-573, 575, 576, 578, 595, 599, 600, 605-608, 610, 612, 615-617, 619, 625, 626, 640, 647, 653, 666, 670-672, 674, 682, 718, 760, 762, 769, 811, 813, 818-821, 823, 826, 835, 854, 859, 861, 867, 891, 893, 894, 915,919,921, 922, 924, 926, 928, 931, 958, 977,986, 994-998, 1001, 1007, 1009-1011, 1021, 1027, 1030-1034, 1042, 1045, 1055, 1057-1060, 1073, 1076, 1078, 1082, 1084, 1089, 1091-1093, 1095, 1119, 1121-1125, 1127, 1128, 1131, 1137, 1138, 1140-1146, 1151, 1154, 1155, 1160, 1161, 1170, 1175, 1178, 1181, 1183, 1185, 1186, 1190, 1192, 1194-1197, 1199, 1209, 1212, 1213, 1215, 1218, 1223, 1228, 1229, 1231, 1234, 1235, 1246, 1248, 1258, 1260, 1263, 1264, 1266, 1267, 1274, 1276, 1278-1280, 1314,

INDEX OF PROPER NAMES 1316, 1320, 1322-1325, 1329, 1330, 1341, 1342, 1350, 1371-1375, 1380-1382, 1385, 1388-1391, 1393, 1394, 1409-1415, 1417-1420, 1435, 1 4 3 9 - 1 4 4 2 , 1446, 1454, 1460-1463, 1465, 1467, 1468, 1473, 1475, 1476, 1481, 1482, 1484-1487, 1493, 1498, 1504, 1508, 1509, 1511, 1512, 1518, 1536, 1547, 1548, 1551, 1552, 1563, 1571, 1586, 1596, 1640, 1642-1649, 1651, 1655, 1657, 1665, 1666, 1668-1670, 1672, 1673, 1676, 1677, 1679, 1682, 1685, 1686, 1690, 1691, 1695, 1698, 1701-1703, 1705, 1710, 1712-1714, 1716, 1719, 1725, 1731, 1732, 1758, 1777, 1796, 1797, 1836, 1848, 1849, 1861, 1869, 1884, 1886-1889, 1893-1895, 1898, 1899, 1901, 1902, 1905, 1908, 1912-1915, 1919, 1920, 1923, 1924, 1926, 1928, 1929, 1933, 1934, 1937-1939, 1941, 1949, 1956, 1967, 1969, 2002, 2013, 2025, 2035, 2041-2044, 2048, 2056, 2064, 2146, 2186, 2187, 2189, 2192, 2251, 2252, 2273, 2282, 2301, 2322, 2341, 2354, 2358, 2380, 2403, 2451, 2492, 2495, 2505, 2508, 2510, 2514, 2536, 2564, 2567, 2598, 2616, 2647, 2652, 2654, 2655, 2677, 2678, 2681, 2691, 2701, 2703, 2704, 2707, 2708, 2711-2717, 2720, 2721, 2726, 2728, 2736, 2737, 2739, 2748, 2749, 2757-2759 London Actors Theatre Company 1869 LONDON FILMS 1429, 1433 London Specialty Company. 2321 LONDON THEATRE, NYC 1173 LONDON WEEKEND TV 907 LONG BEACH, CALIFORNIA 1873 Long Island 594, 638, 850, 1270, 1599, 1622, 1623, 1627, 1845, 2098, 2225,2291 LONG ISLAND CITY 2369 Long, Maud 1732 LONGACRE THEATRE, NYC 800 Longfellow, Henry Wadsworth 1441, 2024 Longfellow, Malvina 1327 Longhurst 1196 Loruien, E. J. 1725 Looe, Molly 762 Loomis, William 1982 Loraine 1717 LORD, DEL 2448 LORD, KATHERINE 828 Lord, Louie 643 LORENTE, ISABELLE 914 Lorenz, Jack 14 LORETTO-HILTON REPERTORY THEATRE, ST. LOUIS, MISSOURI 1835 Lormer, Jon 1802 Lorraine, Paul 41 LOS ANGELES, CA 1754, 1763, 1809, 1843,2470,2471 Losee, Frank 2309, 2436 Lotta 2078, 2090, 2160, 2327 Lottie 2159, 2160 Lotto, Fred 2271

Louis 267, 283 Louis Downtown Sabbath and Day School 824 Louis XIII 1189 Louis XIV 1028, 1119 Louis XV 1028 Louise, Anita 905 Louisiana Troubadour Cabin Singers 2170 Louisiana Troubadour Quartet 2173, 2177 Love 226 Love, Miss 1388, 1949 Love, Montague 2491 Loveday 2049 Lovegrove 1884 Lovell, Mrs. 336, 1061 Lowe, Alex 70 LOWE, EDWARD T. 1742 Lowe, James B. 2450 LOWE, JR, EDWARD T. 1478 LOWE, LUCY C. 1354 LOWE, T. 1045 Lowell, Helen 880, 881 Lowell, Miss Molly 1276 LUBEZKI, EMMANUEL 908 Lucas, Sam 2139, 2247, 2428 Luckstone, Harry 899 LUDDY,TOM914 LUESCHER, CHRISTINA 914 Luff, William 2380 Lugosi, Bela 1738, 1740, 1741, 1743 Lukas, Paul 9 Lukis, Adrian 133 Lulli 1028 Lulu, Little 2182 Lummis, Dayton 1282 Lund, Jana 1750 Lupton, John 1766 LUTZ, MEYER 1725 Luxmore, Miss Ada 1239 LYCEUM (ENGLISH OPERA HOUSE), LONDON 1701 Lyceum Theatre 1189 LYCEUM THEATRE, BROOKLYN 2323 LYCEUM THEATRE, ELIZABETH, NEW JERSEY 2413 LYCEUM THEATRE, GLASGOW 2406 LYCEUM THEATRE, NEWPORT 969 LYCEUM, BROOKLYN 667, 2149, 2675 LYCEUM, EDINBURGH 869, 1421 LYCEUM, LONDON 1031, 1032, 1076, 1082, 1084, 1085, 1091, 1125, 1189, 1209, 1278, 1280, 1475, 1476, 1712,2736 LYCEUM, NYC 822, 1041, 2154, 2577 LYCEUM, SHEFFIELD 972, 979 LYCEUM, STAFFORD 934 LYCEUM, WILLIAMSBURGH, BROOKLYN 652, 2348, 2660 LYDIA MENDELSSOHN THEATRE, ANN ARBOR, MICHIGAN 2459 Lydon, Jimmy 3, 38 Lynch, John 914 LYNCH, SAUL 1299 Lyndon Dramatic Society 658 LYNN 1490 Lynn, George 1749 Lyon 1701 LYON, W. F. 1448 Lyons 1970 Lyons, E. D. 1051 Lyons, H. Agar 895 LYRIC 1460, 1461 LYRIC, HAMMERSMITH 922,931,1267, 2351, 2363, 2374, 2379, 2399,

443

2402, 2409, 2414, 2668, 2679, 2685, 2704, 2711, 2715, 2724, 2737 LYRIC, LONDON 818 Lytton, Emily 876 Lytton, Miss 877 L'Estrange212 1'Eveque 1093 M'Cready, Mrs. 333 MTJulty, Miss Jenny 1725 Mabel, Miss Clara 1051 Maberly, Kate 914 Maberly, Polly 133 MABUCHI, KAORU 1760 MAC ARTHUR, BEN 801 Macauley, Miss 261, 272, 307, 540 Maccione, Aldo 1826 Macdonald, Jeannie 1142 MacDougal, Alice 828 MACFARREN 1146 MACGOWAN, KENNETH 9 MacGrath, Leneen 99 Machanette 1954 MACILWAINE, ANTHONY 1314 Mack 1051, 1911 Mack, Mrs. 1015 Mack, Robert 1478 MACKAY 1674, 1687 Mackay, F. F. 686, 872, 877 MACKAYE, MARION MORSE 40 MACKAYE, MARY KEITH 90 Mackie, Danny 813 MACKINTOSH 1121 Macklin, F. H. 1460, 1461 Mackney, Mrs. 1010 Maclagan,T. 1051 MACLAREN, EUPHAN 1280 Maclean, J. 835 MACLOUGHLIN, SEAN 79 MACNAMARA 1076 MacNamara, Edward 2462 MACNAMARA, MARGARET 95, 1335, 1377 MacNamara, Mrs. 1082 Macnee, Patrick 66, 789, 1431 Macready293, 317, 334 Macready, Mrs. 1947 Macready, William 546 MACWILLIAMS, GLEN 1023 Madden, Ciaran 142 Maddern 1914 Maddem, Emma 1569 Maddem, Little Minnie 2107, 2114, 2116 Maddem, Miss 1582 Maddocks 1499 Maddocks, Miss W. H. 1920 Maddocks, W. H. 1503 Maddocks-Park Players 2437 Maddox 2237 Maddox, Diana 76 Maddox, George 2219 MADISON SQUARE GARDEN THEATRE, NYC 829, 830, 835, 877,904, 1795 Madrid 1027, 1032, 1078 Maeder, Mrs. F. 2511 Maflin, A. W. 1074 Magee, W. J. 2255 Maginley, Ben 839, 840 Magnolia Quartet 2290, 2431 MAGNUM ENTERTAINMENT 1813 MAGNUS, BRYN 1881 MAGNUS, JULIAN 866 MAGUIRE'S OPERA HOUSE, SAN

INDEX OF PROPER NAMES FRANCISO, CA 2077 Maher, Joseph 1858 MAIDENHEAD 1268 MA1DSTONE 331, 343, 2702 Mailes, Charles Hill 2491 MAIN STREET THEATRE, HOUSTON 1868 Mainz 1945 MAITLAND, FRANK 1109 Maitland, Lauderdale 1476 Maitland, Miss Fanny 1055 Maitland, Ruth 2708 MAJESTIC THEATRE, NYC 2437 MAJESTIC, NYC 2418 Makespeace, Deborach 906 MAKOVSKY, JUDIANNA 908 Malarini, Mercedes 2309 Malatesta, Fred 896 Malet, Arthur 908 Maley, Maria 813 MAUN, MARY 1 MALINA, JUDITH 1762, 1769, 1774 Malinoff, Anastasia 1869 MALLAM, PHOSPHOR 91, 1326, 1334, 1356 MALLE, LOUIS 1773 Malton, Miss 534 MALVERN FESTIVAL 766 Mamie, W. 2285 Mammoth Uncle Tom's Cabin Company 2430, 2447 MANCHESTER 946, 1109, 1166, 1222, 1238, 1251, 1259, 1275, 1958, 1985,2185,2250,2719 Mancini, Maurice 1481 Mander, Miles 801,905 Manders 1899 Manders, Mrs. 1914,2048 MANHATTAN OPERA HOUSE, NYC 2438 MANION, INDIANA 1739 Manisty, Mabel E. 2691 Manley, Charles 2148 MANN, DELBERT 140, 792 Mann, Terence 1434 Mannering, Mabel 2736 MANNERS, GEORGE 1547 Mansel 536 MANSFIELD, RICHARD 2486 Manson, G. 1025 Mantegna, Gianfranco 1769 Mara 1557 Marais, Jean 1281 Maravan, Lila 92 MARBLE, MRS. ANNA 1977 MARBLE, MRS. DAN 1936 Marchal, Arlette 1431 Marchand, Nancy 19 MARCHANT2013 MARCUS, ANDREW 1880 Marcus, James 896 Marden 1544 MARGATE 864 Marie d'Orleans 1078 MARION, FRANCES 853 MARKEY, GENE 905 Markham, Kika 123 Markham, Pauline 2640 Markoe, Daisy 2247 Marlborough, Leah 922, 931,938-954,956, 957, 959-974, 988 Marlborough, Miss 861 MARMONTEL 1190, 1391 Marner, Carmela 1292

MARNER, EUGENE 1292 Marriot-Watson, Florence 762 Marriott, Miss 1557, 2628, 2634, 2643 Mars, Kenneth 1811 Marsden 1046 Marseille 1970 Marshall, 1975, 1980 Marsh Troupe 1978 Marsh, Jean 792, 1328 Marsh, Mary 1216 Marsh, Mary Guerineau 1980 Marsh, Miss Louise 1216 MARSH, ROBERT 1975, 1980 Marshall 1059, 1383, 1524 MARSHALL THEATRE, RICHMOND, VIRGINIA 1910 MARSHALL, BILL 1782 Marshall, Bryan 87, 88 Marshall, H. 1076 Marshall, Herbert 910 Marshall, Miss 334, 1076, 1127, 1130 Marshall, Mrs. 854 Marshall, Nancy 1765 Marshall, S. 1693 Marson, Ania 53 Marston 1710,2235 Marston, E. W. 2148, 2306 Marston, H. 364 MARTELL, PHILIP 1764, 1778 MARTENS, ANNE LOUISE COULTER 103,139 MARTHA'S VINEYARD, MASS 2458 Martin, A. W. 2423 Martin, Augustin 1053 Martin, Bella 2205 Martin, Bob 2476 Martin, Derek 1759 MARTIN, SUSAN 914 Martin, Vivienne 116 Martin-Harvey, Sir John 819-821 Martindale, Miss 1083, 1189, 1209 Martinot, Sadie 1455, 1456 Martyn, Magill 2677 Martyr, Mrs. 1552 MARY PICKFORD 896 Mary, Princess 1026 MARYLAND 56 MARYLEBONE, LONDON 359, 578, 1258, 1685, 1889, 1902, 1919, 2041,2493,2647 MASCOT PICTURES 2 Maskell, Ray 875, 879, 881, 884 MASLOW, LAURENCE 1859 MASON 1684, 1982 Mason, C. W. 1596 Mason, Edna 2426 Mason, J. L. 2148 Mason, James 1336, 1429, 1803 Mason, Miss 322, 1667 Mason, Nellie 2148 MASON, SARAH Y. 9, 18 Mason, Shirley 1023 MASSEN 1971, 1984 Massen, Louis F. 830 Massey, Anna 70 Massey, Ilona 1741 Massey, Raymond 1428 Masson, Miss 718 Masterpiece Theatre 1328, 1349 Masterson, Lillian 886 Mastodon Uncle Tom's Cabin Company of New York 2262, 2263 MATCHMAKER 55 Mathews322, 1928,2492

444

Mathews, Charles 1031, 1122, 1207 MATHEWS, JUSTIN 1873 Mathews, Miss Julia 1160, 2026 MATHIESON, MUIR 1428-1430 Mathis, Samantha 35 Matthews 1189 Matthews, Charles 1121 Matthews, Francis 1752 Matthews, Frank 1032, 1076, 1082, 1084, 1189, 1209 Matthews, Liesel 908 Matthews, Miss 283, 1186 Matthews, Mrs. Frank 1032, 2492 MATTHISON, ARTHUR 860, 861 Mattley, Miss 1122 Maude, Cyril 1725 Maude, Margery 775 Maudslay, Susan 78 Maurice, Edmund 819-821 Maurice, Newman 2380 Max Rosenberg's Stock Company. 667 MAXPER 1773 Maxwell 571 Maxwell, James 1759 Maxwell, Terence 2748 May 2534 May, H,Gomer 2681 May, Jane 1640 Maye 866 Mayhew, Katie 2190 MAYJES, MENNO914 MAYNE, ERIC 2736, 2750 Mayne, Ernie 1278 Mayo 1914 Maywood 1513 MCA UNIVERSAL PICTURES 2450 MCARDLE, JOHN F. 1239, 1251, 1252, 1254, 1266 McCallum, David 1803 McCallum, Joanna 1427 McCarthy, Kevin 786 MCCARTHY, ROBERT 1765 McClannin, R. F. 1615 McClannin, R. P. 687 McClellan, Jennie 1074 MCCLELLAND, HARRY F. 1257, 1267 McCloskey2071 McCloskey, Mrs. 1494 McClure, Edwin 773 McCollom, J. C. 628, 636, 641, 644, 650, 657,2517,2574,2585 MCCONVILLE, BERNARD 896 McCormac, Loudon 2271 McCormack, Mary 774, 778, 779 McCormick, Myron 104 McCullough 1914 McCullough, John 2498 McCullough, Philo 1023 McCutcheon 1524 McDermott, Hugh 1430 McDonald, George 2171, 2219 McDonald, Miriam 2476 McDonough, J. E. 1891 McDonough, Miss 679, 1891 McDouall 1094 McDowell, E. A. 829 McDowell, Roddy 48 McEwan, Geraldine 66 MCGIFFERT, JOHN 50 McGill 1678 McGinnis, Elvin 2476 MCGRATH 55 MCGRATH, DOUGLAS 55 McGregor, Ewan 55

INDEX OF PROPER NAMES McGuire, Dorothy 22, 23 McGuire, Mrs. 1494 MCINTOSH 2495 MCINTOSH, HEATHER 1782 Mclntosh, Nancy 1342 McKee, Raymond 1023 McKellen, Ian 1433 MCKELVY, LORI 1292 McKenna, M. J. 846, 849 McKemia, Maggie 846 McKenzie, David 1946, 2115 McKeon, T. 2072 MCKEON, THOMAS 584 McKeown, Geraldine 74 McKinney 566 MCKINNON, ANDREW 132 McLaglen, Victor 1479 MCLEOD, NORMAN Z. 3 McManus2177 McMartin, John 1298 MCNALLY, JOHN J. 1277 MCNAMARA, MARGARET 98 MCNEELY, JOEL 1877 McNeil, Fannie 2593 MCRAE, JOHN 793 McTarnahan, Grace 775 McVicker2051 McVicker, Mary 2051 MCVICKER'S THEATRE, CHICAGO 685, 2051 MCWADE, EDWARD 2428 Mead, T. 1928 Meadows 334, 997, 1146 MEADOWS, J. 1076 Mealing, Miss 1096 MECHANICS' INSTITUTE, KEIGHLEY 725 MEDAK, PETER 1301 Meddinger, Miss Kate 2350 Meeker, Annie 1111 MELBOURNE, AUSTRALIA 2480 MELFORD, AUSTIN 1336 MELLE, GIL 1803 Mellish 2356 Mellish, Fuller 853, 2654 MELLON 1714 Mellon, Alfred 193 8 Mellon, Miss Viet. 1381 MELLOR, KAY 798 Melmoth, Mrs. 235, 1549 MELODEON GRAND CONCERT HALL, CINCINNATI, OHIO 1989 MELODIE2481 Melrose, Ada 1171 Melrose, Miss 2043 MELTON, C. 595 MELVILLE 2156 MELVILLE, FREDERICK 1278-1280 MELVILLE, WALTER 1278 Melvin 1387 MENDLESON, ANTHONY 792 Menjou, Adolphe 993 MENKEN, ALAN 1310, 1316 Mercer, Beryl 761,905, 2750 MERCIER,G. W. 1866 MERCURY THEATRE ON THE AIR 780 Meredith 543 Meredith, June 1463 Merideth, Ann 75 Merivale, Philip 1416 Merle 1666 MERLE, JEAN-TOUSSAINT 1656 Merrall, Mary 92 Merry, Alice 1043

Merry, Mrs. 251,252,316 Merveilleuse 1190 MESCALL, JOHN 1736, 2491 Messager, Andre 1614 MESSEL, OLIVER 1428 Mestayer, Charles 2195, 2204 Mestayer, Louis 2169 Mestayer, Miss Emily 1892, 1986 Metra, G. 1442 METROPOLE, GLASGOW 949 MEURER, TERRY DUNN 1 MEXICO 1755, 1756 MEYER, ABE 761 MEYER, STANLEY A. 1316 Meyers, Master 1390 Meyrick, Miss Ellen 610 Mezieres 1614 MOM 18, 101, 897, 910, 1407, 2477 MIAMI, FLORIDA 1870 Michael, Ralph 47 MICHEL 1964 MICHELL, ROGER 89 Mickery, Elizabeth 1807 MIDDLESBOROUGH 987 MIDDLESBROUGH 1443 MIDDLESEX 2427 Middleton 1551, 1552,2086 Middleton, George 2209 MIDDLETON, PETER 814 MIDWALL, SAUL 1765 MILANO1155 Milbome, W. 1915, 1967 Miles, Helen 757 Miles, Miss 1094, 1922 MILES, ROBERT E. J. 1989 Miles, Sophie 589, 590, 642, 645, 2551 Millar, Mary 1316 MILLARD, H. 2266 MILLER 1688, 1950 MILLER, ARTHUR 905 MILLER, BRIAN 86 MILLER, CLAIRE G. 1785 MILLER, ERNEST 2, 2752 MILLER, GILBERT 99 Miller, Henry 824 Miller, Larry 1877 Miller, Lawrence 855 Milliken, Sandol 899 Mills, George 1118 Mills, Grace 13, 14 Mills, Jimmy 38 Mills, Miss 1505 Mills, Sir John 1879 Mills, T. E. 1914, 1956 Millward, Charles 1049, 1051, 1116 MILNE 123 MILNE, A. A. 118 Milner 1148, 1642, 1657, 1720 MILNER, H. M. 1657, 1669, 1670, 1677, 1715, 1717 MILNER, H.M. 1643 Milroy, Austen 1475 MILTON, PERCY 1262 MINER, MICHAEL 1874 MINER, WORTHINGTON 763 MINER'S FIFTH AVENUE, NYC 2488 MINER'S, BOWERY, NYC 1171 MINER'S, EIGHTH AVENUE, NYC 1172 MINER'S, NYC 1171, 1172, 1253 MINGAYE 1949 Miniature Opera Company 2220 Miniter, James F. 849 MINSKOFF, NYC 1434 MINSKY, CHARLES 908

445

MINT

THEATRE COMPANY PRODUCTION 2485 Minton 1887 MIRAGE 148 MIRAMAX 55, 797 Mirante, Arnold J. 2476 MISS A, EDMOND 1467 Mistral, Jorge 805 MITCHELL 1005,1129,1200,1203,1594, 1617, 1628, 1653, 1911 Mitchell, Alan 813 Mitchell, Barbara 68 Mitchell, Cameron 1844 Mitchell, Charlotte 61 Mitchell, F. 2567 Mitchell, Gordon 1831 Mitchell, Harry 2323 MITCHELL, HOWARD M. 1023 MITCHELL, Julian 87, 88 Mitchell, Keith 795 MITCHELL, LIONEL H. 2482 Mitchell, Maggie 681, 685, 687, 688, 691, 692, 709-711, 717, 727, 737-740, 742, 744, 745, 749, 1561, 1565-1569, 1574, 1576, 1578, 1583, 1584, 1588, 1589, 1591, 1593, 1594, 1597, 1598, 1600-1606, 1608-1613, 1615-1617, 1619, 1625, 1626, 1628, 1631-1634, 1636, 1637 Mitchell, Mason 2496 Mitchell, Miss 2523 MITCHELL, POPPY 126-130 Mitchell, Virginia 696 Mitchell, W. 1015 Mittermayr, Gertraud 2481 Mizuno, Kumi 1760 MOBIL MASTERPIECE THEATRE 814 Modjeska 2580 Moffat-Lynch, Tony 1782 Molesworth, Ida 1475 MOLINA, JACINTO 1773 Mollison, William 1342 MON761 MONCRIEFF, W. T. 1388, 1389 Mondragon, Jorge 1756 MONK, KENNETH 1744 Monroe, J. L. 1930 MONTAGNANA, LUIS A 1826 Montague 1920 Montague, C. 1404 Montague, H. J. 608

MONTAUK THEATRE, BROOKLYN 2440 Montefiore, Ernest 2691 Monteleon 1032 MONTEREY STUDIO 1844 Montford, Eva 2659, 2666 Montgomery, Douglas 9 Montgomery, H. W. 686 MONTMARTRE, PARIS 1970 Moodie, Miss Louise 653, 2639 Moody, Carolyn 132 MOORE 2434 MOORE & BURGESS MINSTRELS 2434 Moore, Dickie 2 Moore, Eva 893 MOORE, JACK D. 18 Moore, Lucy 1041 MOORE, MCELBERT 38 Moore, Miss 1263 MOORE, TOM 1839 Moore, William 2280 Moore, Wyke 1030

INDEX OF PROPER NAMES Moorehead, Agnes 1803 Moorhouse 1937 MORA, A. 1170 Moran, M. T. 1638 Moran, Robert 1311, 1312 Morant, Fanny 689 Mordaunt 1552 Mordaunt, Frank 574, 2309, 2549 Mordaunt, Miss Jane 1489, 1501 Moreau, Mme. 2533, 2537 Morgan 1384, 1384, 1385, 1387 MORGAN, AINSWORTH 1437 MORGAN, ELAINE 1376 Morgan, Frank 1407 Morgan, Fred 2741 Morgan, George 1802 Morgan, Priscilla 131 Morgan, Ralph 2 Mori 283 Morita, Pat 1318 Morley 1197 Morley, Karen 101 MORRIS 1026, 1121, 1194, 1390 Morris, Clara 702-704 MORRIS, G. 1034, 1078, 1093 MORRIS, GEORGE 1122 MORRIS, JOHN 1811 Morris, Mary 1430 Morris, Master 1928 Morris, Miss 1551, 1552, 1952 Morris, Miss Eleanor 2350 Morris, Mrs. 1390 Morris, Robert 1764 Morris, T. E. 620, 689, 2497, 2499 Morrison 1373, 1914,2048 Morrison, Lewis 2232 MORRISSEY, PAUL 1801 Morse, Beryl 901,903 Mortimer 1525, 1560, 1682 Mortimer, James K. 1595, 1596, 2100 Mortimer, Little Blanche 2098 Mortimer, Miss A 1507 Mortimer, Mrs. 1525 Mortimer, Peggy 1463 Morton, AT. 1891 Morton, Arthur 866 Morton, Charles 2056 Morton, Jennie 1587 Morton, May 2741 Morton, Samantha 798 MOSCOW 2452 Moses, Burke 1316 Moss 1498 Mossop, Mrs. 1200 Mother Goose 1190 Mouillot, Frederick 604, 605 Moulton 1492 MOirNT MORRIS THEATRE, NYC 730, 731,834, 1616,2254,2270,2604, 2605,2615 MOUNT, THOM 1874 MOUNTAIN, MARTHA 810 Mountain, Mrs. 1552 Movin, Miss 1519 Mowbray, Maud 715, 716 Moxon 534 Moyes, Frederick 99 Moyne, L. 1925 MOZART 326, 1390, 1884 MPI HOME 1831 MRS CON WAY'S PARK THEATRE, BROOKLYN 585, 587, 631, 634, 635,641,1569,1570,2072,2103, 2518,2524,2532,2534,2550

Mrs. Marshall's Type Writing 854 MUDD THEATRE, CLAREMONT, CALIFORNIA 1833 Mude317 Muetee 1954 Mulcahy, Jacinta 1879 Mullen, Sadie 757 Muller, Paul 1794 Mulligan, John 2003 Mulligan, Miss 2003 Munden994, 1552 Mundin, Herbert 1479, 2751 Municipal Hall, Newcastle 1807 Munro 272 Munroe, J. L. 1986 Munto 1553 Murat 1026, 1388 MURFIN, JANE 101 MURILLO, MARY 2746 MURPHY, DALLAS 1825 Murphy, Donald 1751 Murphy, John Daly 2462 Murray 255, 259, 266, 267, 275, 277, 281, 616, 1198, 1667, 1952,2515 Murray Hill 2355 MURRAY HILL THEATRE, MURRAY HILL, NJ 2384 MURRAY HILL, NJ 2384, 2489, 2490, 2682, 2689 MURRAY, KATRIN A 911 Murray, Leigh 360, 1712 Murray, Lucy 2380 Murray, Master 1015 Murray, Master J. 1911 Murray, Miss 1127, 1667, 2056 Murray, Mrs. 2064 Murray, Randolph 2606 Murrray, Leigh 1716 MUSEUM, BROOKLYN 2629 MUSEUM, PROVIDENCE, R.I. 1951 MUSIC BOX 97 MUSIC HALL, BROOKLYN 2219 MUSURACA, NICK 3 Myers, Josephine 2058 Myers, Lillian 2446 MYERS, RUTH 55 M'ARDLE, JOHN F. 1250 M'Kenzie 1553 Nagel, Conrad 6, 2750 Nagle, J. R. 2053 Naish 1787 Naish, J. Carrol 1742, 1781, 1787 Naish, J. Carroll 1779 N ALL 1194 NANNUZZI, ARMANDO 1874 Nansen, Deborah 1476 Nantes 1028, 1970 Nantz, F. C. 1700 Nares, Owen 993 Naschy, Paul 1773, 1779 Nash, Mary 905 Nash, Miss 2013 NATIONAL ARTS THEATRE, NYC 1841 NATIONAL ASSEMBLY ROOMS, NYC 1579 NATIONAL THEATRE, PHILADELPHIA 1995 NATIONAL, BOSTON 2006 NATIONAL, NYC 1015,1016,1039,1069, 1071, 1098, 1101, 1103, 1134, 1153, 1531, 1534, 1535, 1890, 1911, 1976, 1992, 2014, 2038, 2040, 2280, 2285, 2293, 2625 NATIONAL, WASHINGTON, DC 767,

446

778 NATURALCOLOUR KINEM ATOGRAPH 895 Natwick, Mildred 22, 23 Naumann, Fraulein 1579 Naylor, Hattie2149 NBC 1803 NBC KRAFT THEATRE 48 NBC PHILCO PLAYHOUSE 111, 140 NBC THEATRE 72 NBC UNIVERSITY OF THE AIR 43, 105 NBC UNIVERSITY THEATRE 112 Neagle, Anna 44 NEAL, LAURENCE 668 NEALE 1559, 1923 NEALE, FREDERICK 1923 NEATH 825 Neham, W. H. 1010 NEILL, ROY WILLIAM 1741 Neilson 1409, 1410 Neilson, Adelaide 601 Neilson, Julia 1409-1412, 1415-1421, 1424-1426 Neilson-Terry, Phyllis 116 NELLGWYNNE, HEREFORD 1842 Nelson 682, 954 Nelson, Andrea 1877 Nelson, Ernest K. 2380 Nelson, Linda 775 Nelson, Lizzie 2380 Nelson, Nellie Yale 850 Nelson, Vigie 2600 NEMIER, ROGER 1773 Neri, Rosalba 1794 Netterville, Gertrude 893 NETTLESHIP, MRS. 718 NETZEL, SALLY 1790 NEUMARKT, ZURICH 1850 NEUMEIER, ED 1874 Neve, Suzanne 52 Neville, G. F. 1321 Neville, Gerard 1463 Neville, Henry 608, 610, 647, 818 NEW BEDFORD, CONN 2426 NEW BOWERY, NYC 1022, 1072, 1106, 1224, 1384, 1537, 1539, 2053, 2061,2063,2073 NEW BRIGHTON LYCEUM STATEN ISLAND 597 NEW BRUNSWICK 1808 NEW CHATHAM THEATRE, NYC 347 NEW CITY THEATRE, LONDON 1484 NEW CROSS 2727 NEW CROSS, LONDON 986 NEW EAST LONDON THEATRE, LONDON 1138 NEW FIFTH AVENUE THEATRE, NYC 2178 NEW GREENWICH, NYC 1150 NEW HAVEN, CONN 2461 NEW HOPE, PENNSYLVANIA 1862 NEW LONDON, CONNECTICUT 2326, 2329 NEW LYCEUM THEATRE, BROOKLYN 2323 New Orleans Jubilee Singers 2174 New Orleans Opera Troupe 1983 NEW ORLEANS, LA 755, 2175 NEW PARK THEATRE, NYC 300 New Royal Adelphi, LONDON 1073 New Royal Surrey Theatre, London 2510 NEW ROYALTY THEATRE, LONDON 1228, 1229 NEW STADT-THEATRE, NYC 684

INDEX OF PROPER NAMES NEW STAR ENTERTAINMENT 1867 New Strand Theatre 1185 NEW THEATRE, BRIDGNORTH 306 NEW THEATRE, EALING 957 NEW THEATRE, HYTHE AND SANDGATE 1671 NEW THEATRE, LEICESTER 342 NEW THEATRE, LONDON 7,1411-1413, 1415, 1417, 1418 NEW THEATRE, OSWESTRY 295 NEW THEATRE, OXFORD 782 NEW THEATRE, ST MARTIN'S LANE, LONDON 1409 NEW WELLS, SHEPHERDS' MARKET, LONDON 478 NEW YORK ATHENAEUM 2059 NEW YORK CITY 4, 5, 8, 13, 14,97, 117, 215, 223, 225, 235, 240,251, 252, 258, 264, 271, 274, 279, 282, 289, 291, 294, 300, 304, 308, 316, 318-320, 332, 335, 340, 346-348, 522, 564, 566, 567, 574, 580, 582, 583, 588-591, 593, 596, 609, 611, 620-622, 624, 627-629, 632, 633, 637, 639, 642, 643, 645, 649, 660-663, 665, 669, 674-680, 683, 684, 686, 689, 693-695, 699, 702-705, 707, 709, 711-713, 715, 717, 719, 720, 724, 730-733, 735, 738-741, 743-745, 748, 750, 752, 771, 774, 800, 822, 824, 828-830, 832, 834, 837, 839, 841, 843, 848, 851, 852, 855-857, 866, 872, 875, 877, 879, 881, 884, 887-889, 899, 901-904, 913, 916, 917, 919, 935, 936, 1000, 1003, 1005, 1006, 1008, 1015, 1016, 1019, 1020, 1022, 1028, 1034-1041, 1043, 1044, 1046-1048, 1052, 1 0 6 1 - 1 0 6 4 , 1066, 1067, 1069-1072, 1074, 1075, 1077, 1079-1081, 1086, 1087, 1094, 1096-1108, 1110, 1112-1114, 1117, 1118, 1129, 1134-1136, 1 1 4 7 - 1 1 5 0 , 1 1 5 2 , 1153, 1171-1173, 1182, 1184, 1187, 1188, 1200-1205, 1208, 1216, 1219, 1220, 1224, 1226, 1232, 1233, 1237, 1253, 1255, 1277, 1317, 1380, 1383, 1384, 1396, 1398, 1400, 1401, 1405, 1406, 1416, 1434, 1453, 1455, 1458, 1459, 1470, 1474, 1494, 1497, 1506, 1513, 1514, 1516, 1517, 1520-1524, 1526-1535, 1537-1540, 1544-1546, 1549, 1553, 1555, 1558, 1561, 1564, 1566, 1568, 1572, 1573, 1575-1577, 1579, 1580, 1583, 1585, 1587-1593, 1598, 1600, 1602, 1604-1607, 1610, 1611, 1613-1616, 1618-1620, 1624, 1625, 1628, 1629, 1632, 1633, 1652, 1654, 1706, 1724, 1729, 1780, 1795, 1799, 1816, 1822, 1828, 1829, 1832, 1834, 1839, 1841, 1852, 1855, 1859, 1860, 1863-1865, 1871, 1878, 1890-1892, 1906, 1907, 1911, 1972, 1976, 1981, 1986, 1987, 1991-1993, 2001, 2003, 2004, 2010, 2014-2016, 2030, 2034, 2037-2040, 2046, 2047, 2049, 2050, 2052, 2053, 2055,

2057-2063, 2066, 2071, 2073, 2074, 2079, 2082, 2083, 2087, 2088, 2090, 2093, 2094, 2100, 2101, 2104, 2105, 2112, 2113, 2117, 2120, 2123-2126, 2129, 2130, 2133, 2134, 2137, 2140-2144, 2147, 2148, 2150, 2152-2156, 2158, 2159, 2161, 2162, 2164, 2165, 2168-2171, 2177-2180, 2182, 2184, 2190, 2193, 2200, 2201, 2205, 2206, 2208-2210, 2213-2218, 2223, 2224, 2228, 2229, 2231-2233, 2235-2237, 2243, 2246, 2247, 2254, 2257, 2258, 2264, 2270, 2274, 2276, 2280, 2283-2285, 2287, 2289, 2290, 2292, 2293, 2295-2297, 2303, 2305-2307, 2311-2313, 2317, 2318, 2320, 2321, 2328, 2331, 2333-2335, 2337, 2339, 2343-2347, 2349, 2350, 2352, 2353, 2356, 2357, 2359, 2360, 2364, 2366-2368, 2371, 2372, 2378, 2382, 2383, 2389-2392, 2394, 2395, 2397, 2398, 2404, 2407, 2408, 2410, 2418, 2426, 2430, 2431, 2437, 2438, 2441, 2445, 2462, 2465, 2467, 2469, 2473, 2476, 2482, 2485-2488, 2490, 2496, 2498-2502, 2504, 2507, 2509, 2512, 2513, 2516, 2517, 2520, 2523, 2525, 2527, 2528, 2530, 2531, 2533, 2535, 2537, 2538, 2541, 2542, 2544, 2546, 2549, 2551, 2553, 2554, 2558, 2559, 2562, 2563, 2569-2573, 2577, 2579, 2580, 2 5 8 2 - 2 5 8 4 , 2587-2591, 2593, 2603-2605, 2607-2609, 2611-2615, 2618, 2622, 2624, 2625, 2627, 2632, 2633, 2635, 2636, 2640, 2642, 2645, 2648, 2653, 2656, 2659, 2662-2667, 2669, 2670, 2674, 2675, 2683, 2684, 2692, 2694, 2696, 2705 New York Grand Opera House 2160 New York Grand Opera House Combination 2160 New York Mastodon Company 2262 New York Orphan Asylum 841 NEW YORK PLAYERS' CLUB 2465 NEW YORK THEATRE, NYC 215, 223, 225, 235, 240, 251, 252, 258,264, 294,627,629, 1187, 1553, 1573 NEWARK, NJ 2020 Newby, Mrs. Edgar 357 NEWCASTLE 261, 268, 272, 287, 327, 540, 546, 551, 1013, 1053, 1088, 1164,1250, 1265, 1678 Newcomb, Blanche 2236 Newcomb, Bobby 2224 Newcomb, Gussie 2255 Newcombe, Miss 1937 Newcombe, Mrs. 1059, 1178 Newham, F. W. 1249 Newham, New 1010 NEWMAN 682 NEWMAN, ALFRED 801 NEWMAN, CHRIS 1880 NEWMAN, LIONEL 1738 NEWMAN, THOMAS 35 NEWMARK, DAN 1809 Newmark, Louis 1809

447

NEWPORT 969 NEWSOM, TED 1876 NEWTON, HENRY CHANCE 1725 Newton, Hollie 773 Newton, Kate 582 Newton, Miss 1198 Newtdn, Miss A. 1030 Newton, Miss Mary 2007 Neyler 248 NIBLO'S GARDEN THEATRE, NYC 574, 591,881, 1036, 1067, 1083, 1147, 1149, 1184, 1203, 1220, 1566, 1610, 2141, 2247, 2264, 2271, 2290, 2305, 2352, 2357, 2368, 2496, 2498, 2504, 2507, 2509, 2530, 2531, 2579, 2613, 2624, 2656,2663, 2674 Nichol, Miss 1486 Nichollsll46 Nicholls, Kate 1173 Nicholls, Phoebe 89 Nichols 580 Nichols, Dorothy 828 Nichols, Harry 1263 Nichols, Miss 1263 Nichols, Mrs. H. F. 1911 NICHOLSON 1143, 1491 NICHOLSON, JAMES H. 808 NICHOLSON, MEREDITH 1751 Nicholson, Miss 1490, 1678 Nicholson, Miss A. 1678 Nickinson 1028, 1036, 1037, 1079, 1083, 1087,1129, 1147, 1149, 1200 Nickinson, Isabella 1043 Nickinson, Miss 1028, 1083 Nickinson, Miss C. 1087 Nickinson, Miss I. 1087 Ninon, Madame 1667 NINTH AND ARCH MUSEUM, PHILADELPHIA 2294 Nisbett, Mrs. 1489, 1501 Nissenson, Gloria 1870, 1871 Niven 1431 Niven, David 801, 1431 Nixon, Marion 2752 Nixon, Marni 810 NOBLES, WILLIAM 2 Noel, Miss 1146, 1655, 1667 Nois 596 NOIS, VALDE 596 NOKES, DAVID 673 NONNE, ERNEST 1944 Nordall, Mile. 1614 Norfolk 1338, 1684 Norman 1669, 1898 NORMAN ROSEMONT PRODUCTIONS 898 Norman, Gertrude 900 Norman, R. 1701 Norris 266, 267 Norris, Mrs. 283 Norris, William 2486 North, Joe 2752 NORTH ALL 1079 Northam, Jeremy 55 NORTHAMPTON 1696 NORTHSTAR PRODUCTIONS 1851 NORTHWICH 263 Norton 3 50, 1991 Norton Folgate 1949 Norton, Bruce 1904 Norton, Charles 617 Norton, Edgar 1738 Norton, Miss 312

INDEX OF PROPER NAMES Norton, W. H. 620 Norwich 314, 1065, 1392, 1469, 1684 Norwich Circuit 1164 Nonvick, Natalie 2476 NOTTING HILL GATE, LONDON 2721 NOTTINGHAM 488,555,925,1408,2555, 2564 Novello, Ivor 92 NOVELTY THEATRE, LONDON 612, 666, 2341, 2380, 2652 NOVELTY THEATRE, NYC 2345 N O V E L T Y T H E A T R E , WILLIAMS BURGH, BROOKLYN 726,833,836,1608, 1612, 2197, 2227, 2241, 2253, 2267, 2278, 2575, 2637 NOVELTY, NYC 2371 NOWLAN 1808 NOWLAND, MISS 1031, 1032, 1085 Nunanl907,2511 Nunns, Mrs. 270 O'Brien, Margaret 18, 783 O'Donnell, Eaton 1924 O'FERRALL, GEORGE MORE 772, 802 O'Neill, Miss 275, 281, 287, 288 O'Sullivan, Maureen 101, 1407 Oakie, Jack 3 GATES, MARK 1862 Oberon, Merle 801,1428 Odeal, Babette 1279 Odell 1341 Odry, Charles 1658 OENSLAGER, DONALD 2463 OFF CENTER THEATRE 1822, 1852 Off-Center Theatre Group 1799 Ogden, Angelo 754 Ogden, Joan 788 Ogilvy, Ian 808 Ogle, Charles 1726 OHIO 2430, 2431,2447 Ohlsson, Jan 1821 OLD BOWERY, NYC 1110, 1112, 1538, 2060 OLDHAM 708, 2029 Olive, Nell 2126 Oliver, Barrett 912, 1858 Oliver, Edna May 9, 101 Oliver, Olive 2486 Oliver, Sherling 800 Olivier, Laurence 101, 801 OLNEY THEATRE, OLNEY, MARYLAND 810 OLNEY, MARYLAND 810 Olp, Georgie 2407 Olsen, Christopher 1829 OLYMPIA, DUBLIN 1769 OLYMPIC THEATRE, BROOKLYN 2095, 2108,2172 OLYMPIC, LONDON 608,610,647,1092, 1121, 1155, 1442, 1504, 1571, 1651, 1705, 1716, 1913, 2655, 2691 OLYMPIC, NYC 582, 1028, 1029, 1037, 1079-1081, 1087, 1096, 1099, 1100, 1102, 1108, 1129, 1149, 1152, 1200, 1202, 1470, 1576, 1600, 1724, 2100, 2179, 2208 OLYMPIC, ST LOUIS 681 OMNIBUS PRODUCTIONS 792 Onyx, Narda 1766 OPERA COMIQUE, LONDON 861, 2681 OPERA HOUSE, BOMBAY 2743 OPERA HOUSE, BROOKLYN 2548 OPERA HOUSE, FLUSHING 2240, 2325

OPERA HOUSE, HARROGATE 953 OPERA HOUSE, JAMAICA, LONG ISLAND 594, 2310, 2324, 2373 OPERA HOUSE, LEICESTER 939, 956, 1116 OPERA HOUSE, LONG ISLAND 2225 OPERA HOUSE, PERTH 948 OPERA HOUSE, SOUTHPORT 980 OPERA, PARIS 1658 OPIE 1382 Opie, Mrs. A A. 1390-1392, 1394, 1402, 1403

Opperman, Frank 2418 Opperman, Kate 2451 Orbach, Jerry 1310 ORCZY 1407 ORCZY, BARONESS 1407-1409, 1411-1422, 1424-1426 O R I E N T A L (NEW LONDON), CONNECTICUT 2326 ORION 808 ORMEROD, JAMES 1851 Ormond, Miss E. 1155 ORMSBY, ALAN 1819 Ormsby, Mrs. 1595 ORR, GERTRUDE 2 Orton, Miss 1892 Osbaldiston 1676 Osbome, Henrietta 2513 Osbome, Miss Kate 821 Oscar 148 Oscarsson, Per 1821 OSES, FERNANDO 1788 Oswego 1975 OSWESTRY 295 OTFINOSKI, STEVEN 1832 Ouida 1440, 1442-1444, 1453, 1464, 1466, 1474, 1481 OUR LADY OF GOOD COUNSEL, WHITE PLAINS, NY 751 Ouspenskaya, Maria 1741 Owen, Daniel 1443 Owen, Ethel 104 Owens, John E. 830-834 Owens, Tom 697 Owenson 1384 Oxberry269, 1146 OXENFORD, JOHN 607, 2510, 2567 Oxford 782, 1488, 1714,2494 OXFORD PLAYHOUSE 1814 O'Brien, Margaret 910 O'BRIEN, RICHARD 1796, 1797 O'Brien-Moore, Erin 2 O'Connor 1383 O'Connor, Doreen 2741 O'Connor, Eileen 1732 O'Connor, Eliza 2575 O'Connor, James 2746 O'Connor, Una 1736 O'Heaney, Caitlin 1298 O'Mara, Kate 1783 O'NEAL, CHRISTOPHER 1840 O'Neill, Miss 277, 283 O'Neill, Mrs. 1638 O'RORKE,J. 1174 O'ROURKE, JAMES C. 1284 O'Sullivan, Archive 1821 O'Toole, Peter 1432 PACIFIC LITTLE THEATRE 2454 Packer 216, 219, 220, 222, 226, 231, 233, 234, 236, 238, 239, 242, 244, 250 Pagden, Henry 867 Page, John 1277 Page, Norman 1423

448

PAINESVILLE, OHIO 2442 PAKINGTON, MARY 817 Palace Cinema, Carlisle 788 PALACE THEATRE, LONDON 92 PALACE THEATRE, NYC 1317, 1839 PALFI, VICTOR 2481 Palfrey, Miss May 859 PALLOTTINI, RICCARDO 1794 PALMER 518, 521, 1144, 1196, 1399, 1492, 1548, 1920, 2177, 2181, 2185, 2187, 2202, 2203, 2206, 2232, 2265, 2268, 2555 PALMER, ERNEST 1479 PALMER, F. GROVER 1272 Palmer, H. J. 2232 PALMER, MISS 1263, 1892, 1899 Palmer, Mrs. A H. 2446 Palmer, R. 222, 226 PALMER, ROGER 1782 Palmer, Rosie 2209 Palmer, S. 1930 PALMER, T. A. 1381,2555 PALMER'S, NYC 852 Paltrow, Gwyneth 55 Paltzer, Miss Florence 1263 PANAMA CLUB, LONDON 2758 Pankhurst, Marie 2272 PANNEWITZ, GUNTHER 1769, 1774 Pannewitz, Gunthur 1769 PAPE, MEL 2478 Paquin, Anna 797 PAR 993 Paragon, Charles 2525 Paramount Pictures 809, 1810, 2436 Parely, Mila 1281 Paris 1034, 1189, 1190, 1466, 1560, 1656, 1658-1662, 1664, 1667, 1681, 1723, 1953, 1960-1965, 1968, 1970 Paris, Miss 1121 PARK THEATRE, BROOKLYN 623, 648, 650, 651, 710, 727, 840, 880, 1111, 1225, 1594, 1597, 1603, 1609, 1617, 1621, 1626, 2119, 2503,2560,2574,2586,2596 PARK THEATRE, NYC 5, 279, 300, 304, 308, 316, 332, 335, 346, 707, 717, 1035, 1038, 1061, 1063, 1064, 1094, 1182, 1188, 1549, 1555, 1589, 1591, 1605, 1607, 1652, 2066,2155,2367,2571 Parker 214, 488 Parker, Jean 9 Parker, Joseph 1982 Parker, Leila 1831 Parker, Louisa 1930 Parker, Miss 1134, 1930 Parker, Mrs. 1002, 1187, 2014 PARKER, R. E. 2405 Parkhurst Theatre 2497 Parkhurst, George 872 Parkhurst, George A. 1615 Parrish, Helen 1437 Parry 1691,2043, 2492 Parry, J. 1702 Parry, Mrs. J. 1899, 1967 Parsloe 1196 Parsloe, Miss 277, 283, 288 PARSON, MARY 2751 PARSONS, DONOVAN 2751 Parsons, Miss 253 Parsons, Mrs. 215, 522 Partello, W. H. 2148 Parterre 1028

INDEX OF PROPER NAMES Partington, Kate 2227, 2228, 2244, 2333, 2343 Partington, Sallie 2190, 2231, 2236, 2320 PARTLETON, GEORGE 1764 PASADENA COMMUNITY PLAYHOUSE, PASADENA, CA 39, 1641,2446,2464 Pate, Michael 1282 Pateman, Miss Bella 609, 610, 647 Pateman, Robert 610, 647, 1588 PATHE 38 Paton, Miss 647 Patric, Jason 1874 Patrick, Dora Mary 1731, 1732 Patrick, John 2491 PATRY 145, 147 PATRY, ROSE I. 58, 145-147 Patterson, David 911 Patterson, Elizabeth 19 Paul, Fred 2741 Paul, Guy 1859 PAUL, T. H. 708 Paulin-Menier 1954 Paulina, Miss 1051 PAULTON, JOSEPH 2647 PAIILVE, ANDRE 1281 Pauncefoit 682 Pauncefort, Claire 1327 Pauncefoit, George 2115 Pavey, Marie 4 PAVILION SUMMER THEATRE, BROOKLYN 2268 PAVILION THEATRE, BROOKLYN 2265 PAVILION, BUXTON 890, 923 PAVILION, LONDON 568, 605, 1246, 1473, 1920, 1923, 2002, 2450, 2701,2713,2717 PAVILION, WHITECHAPEL 2650 Pavlovitch, Dolly 1882 PAXTON, GLENN 119 Payne 2677 Payne, F. 1223 Payne-Palmer, F. 760 Peach, G. R. 1595 Peach, Pemberton 2678 PEAK 1681 PEAKE 1642, 1643 PEAKE, RICHARD BRINSLEY 1642, 1646-1650, 1655, 1663, 1665, 1667, 1668, 1672, 1674, 1675, 1678, 1679, 1687, 1688, 1690, 1692-1696, 1699, 1701-1703, 1707, 1708, 1712, 1735, 1887 PEAKE, T. P. 1681 Peake-Jones, Tessa 126-130 Peakes, Henry C. 2313 Peakes, James G. 2313 Pearce, J. Edward 958 Pearman 1642 Pearson, Harry 574 Pearson, Jan 1314 Pearson, Jr., H. 702 PEARSON, MARY 2751 Pearson, S. 1094 PEASLEE, RICHARD 1839 Peck 2332,2342, 2343 Peck & Fursman 2343 Peck & Fursman Mammoth Spectacular 2343 Peck and Fursman 2332 Peck and Fursman's Uncle Tom's Cabin 2332 PECKHAM 2725 PECKHAM, ENGLAND 2222 Peile514

Pelby, Miss 1398 Pelham, Miss 565 PELL, STEPHEN 1862 PELLETREAU'S GRAND MUSEUM, BROOKLYN 2620 Pendy 1173,2224 Pendy, Jeffreys 1173 Penley, Miss Rosina 303, 323, 327, 341 Penn 1186 PENNSYLVANIA 2430, 2431, 2447 Penny, Reginald 859 Penson,G. 1197 PEOPLE'S THEATRE, EASTERN DISTRICT 2287 PEOPLE'S THEATRE, NYC 2659 PEOPLE'S THEATRE, WILLIAMSBURGH, BROOKLYN 664, 2304, 2630 PEOPLE'S THEATRE, NYC 596,663,665, 744, 839, 1455, 2359, 2609, 2653, 2666 Percheron, Betty 762 Percival, F. 708 Percy, Ernest 2691,2708 Percy, Esme 1330 Percy, Kate 1627 PERKINS 718, 1263, 1690, 1695 Perlman, Ron 1293-1307 Perpperdine, Vickie 1314 Perrault 1026, 1028, 1029, 1838 Perrault, Robert 1838 Perry, Mary 778, 779 Perselle, Miss Rene 596 PERTH 948 PERTWEE.GUY 135, 1366 PERTWEE, ROLAND 1430 Peter 1407 Peter Jackson's Uncle Tom's Cabin 2365 PETERBOROUGH 1448 PETERS, HANS 905 Peters, House 918 Peters, Maude 598 Peters, Timothy 53 Petersen, Erika 1859 PETIT 1189,2493 Petit, Mrs. William B. 2606 Petsche 1878 Pert,John 75 Pettiferl895 Pettifer, Miss 1010,2043 Phelps354, 358, 1928 Phelps, Samuel 1218 PHIDELAH RICE PLAYHOUSE, MARTHA'S VINEYARD 2458 PHILADELPHIA, PA 1771, 1982, 1983, 1995, 1997, 2008, 2294, 2376, 2463 PHILDAELPHIA 1979 PHILHARMONIC, ISLINGTON 1169 Phillimore 226 Phillips, Alfred 723 Phillips, Augustus 1726 PHILLIPS, FREDERIC LAURENCE 1898 Phillips, Garrison 1878 Phillips, H. 1178, 1642, 1887 Phillips, H. B. 1594,2527 Phillips, Kate 7, 891, 1462 Phillips, Leslie 132 Phillips, Miss 559, 1035, 1061, 1087, 1096, 1490 Phillips, Mrs. 1383 Phillips, Mrs. A. 1913 Phillips, Phyllis 901,903 Phillips, R. 1642, 1884, 1924

449

Piantadosi, Joseph 1284 Picardo Troupe 1051 Picardo, F. 1051 Picardo, R. 1051 Pickering, Donald 906 Pickering, E. Eastern 1416 PICKETT, BOB 1784 PICKFORD 896 PICKFORD, JACK 896, 900 Pickford, Mary 853, 896, 905 Pickles, Vivian 122 Pienne, Yvette 762 Pierce, George 2491 PIERCE, JACK 1282, 1734, 1736, 1741, 1746

Pierce, Miss Nellie 719 Pierpoint, Eric 1298 PIERPONT, W. H. CECIL 2417 Piggot, E. L. S. 1341 Piggott, F. S. 1167 Pike 580 PIKE'S OPERA HOUSE, NYC 2090, 2527 Pinder, Miss 1595 PINE STREET THEATRE 2054 PIONEER DRAMA, DENVER 1812, 1823 Pippin 2741 Pistone, Charles 810 Pit, Cecil 2048 PITLOCHRY FESTIVAL THEATRE, PITLOCHRY 2760 Pitman, Richard 899 Pitt 1714, 1895, 1920 Pitt, C. 1010,2043 Pitt, Charles 899 Pitt, Dibdin 1486, 1686 Pitt, George Dibdin 1151, 1920 Pitt, H. W. 2048 Pitt, Miss H. 1913 Pitt, W. H. 1905 PITTSBURGH 2065 Pixley, Annie 2190 PLACERVILLE, CA 2078 PLACERVILLE, CA(?) 2078 Placide 1652 Placide, Thomas 2498 Plait 267 PLANCHE, J. R. 1026, 1031, 1032, 1035, 1056, 1059, 1061, 1076, 1078, 1079, 1082, 1084-1087, 1091, 1 0 9 3 - 1 0 9 6 , 1121, 1127, 1155-1158, 1161, 1167, 1189, 1199, 1206, 1207, 1209, 1215, 1388 PLANCK, ROBERT 761 PLANCK, ROBERT H. 18 Platt 266 PLAYFAIR, NIGEL 93 PLAYHOUSE, AUSTIN, TEXAS 2478 PLAYHOUSE, LONDON 894 PLAYHOUSE, NYC 4, 8 PLAYHOUSE, WILMINGTON, DELAWARE 2429 Playlet, Wellington 918 PLAYMAKER'S THEATRE, CHAPEL HILL, NORTH CAROLINA 2455 Pleasance, Angela 70, 1349 Pleasence, Donald 1853 Pleasence, Miranda 673 Pleon, Tom 1263 PLOBERGER, HERBERT 2481 Plowright, Joan 797 Plumb, Eve 22, 23 Plumer 1000, 1184 PLUNKETT, H. 1987

INDEX OF PROPER NAMES PLUNKETT, L. 1364 Plunkett, T. J. 872 PLUNKETT, WALTER 9, 18 Plunsky, Isaac 598 PLYMOUTH 313, 920, 1132, 1395, 1397, 1399,1489, 1922 Plympton, Eben 830 Pniewski, Michael 1299 POCATELLO, IDAHO 2466 POLE 2474 POLGLASE, VAN NEST 3 Polidori, John 1725, 1803 POLLACK, SYDNEY 148 POLLARD, HARRY A. 2450 Pollard, Snub 2752 Pollett, Albert 1478 POLYGRAM 898 Ponisi, Mme. 1458, 1891 Poole2170 Poole, John F. 2500 Poole,Missll28, 1183, 1884 Poole, Miss Annie 1250 Poole, Mrs. Charles 1952 POOLE'S, NYC 2306 POOLE'S, NYC 2632, 2635, 2640 Pope 221, 256, 269, 524, 525, 527, 532, 537,994, 1547, 1551 Pope, Mrs. 292, 527, 529, 532, 1551, 1643 Pope, W. H. 830-832 POPPENHUSEN INSTITUTE, COLLEGE POINT, FLUSHING 2106 PORTE SAINT-MARTIN, PARIS 1662 Porter 1482, 1510, 1515, 2067 PORTER, E. 2415 Porter, Eric 898 Porter, Jane 1488, 1495, 1500, 1502, 1507, 1510,1518 Porter, Nyree Dawn 792 Porter, W. A. 2026 PORTMAN, RUTH 55 PORTSEA 544 PORTSMOUTH 714, 1024 Post 1891 POTTER, PAUL M. 1474, 1480 Potts, Cliff 22 POULTNEY, NANCY 124 Povey 1035,1182 Powel 1552 Powell 247, 499, 1407, 1551 Powell, Chris 1809 Powell, Howard 2423 POWELL, MICHAEL 1431 Powell, Mrs. 530 Powell, Robert 1851 Powell, W. 1918 Powell, William 1407 Power 1380 Power, H. R. 1920 Power, Miss Nelly 1030 Powers 267 POWNALL, DAVID 126-130, 132 Prado, Lilia 805 Pratt, H. H. 1074 PRATT, ROGER 1880 Presbrey, G. W. 832, 839, 840 Presbrey, G. Wiley 830, 831 Presley, Elvis 1311 PRESSBURGER, ARNOLD 1429 PRESSBURGER, EMERIC 1431 Preston 1262, 1730 Preston, Master 1930 Preston, May 2280 Preston, Mrs. 1005 PREVIN, ANDRE 910

PREVIN, CHARLES 38, 1740 Price, Dennis 1783, 1793 Price, Edward 646, 707 Price, Ellen 2761 PRICE, EVADNE 2755 Price, J. P. 1930 Price, Kate 896 Price, Mark 2309 Price, Miss 266, 1573 P R I N C E OF WALES, WOLVERHAMPTON 1909 PRINCE OF WALES, BIRMINGHAM 613 PRINCE OF WALES, LIVERPOOL 1025, 1049,1252, 1254, 1384 PRINCE OF WALES, LONDON 867, 1342 PRINCE OF WALES, SOLON 2723 Prince, Jennie 1075 PRINCE'S THEATRE, BRISTOL 983 PRINCE'S THEATRE, NILE STREET, GLASGOW 579, 618 PRINCE'S, BRISTOL 944 PRINCESS THEATRE, LONDON 823, 2177 PRINCESS THEATRE, TORONTO 754 PRINCESS, EDINBURGH 1451 PRINCESS, LEEDS 1217 PRINCESS, LONDON 571, 1123, 1146, 1161, 1235, 1481, 2187, 2301, 2322, 2354, 2677, 2708 PRINCESS'S, DUBLIN 357 PRINCE'S, GLASGOW 1221 PRINCE'S, MANCHESTER 1259 Pring, Gerald 828 Pringle, Aileen 761 Prior 298 Prior, J. J. 1992 Prior, Mrs. 1594,2103 Prior, Mrs. J. J. 1992 PRITCHARD 289, 322, 350, 545, 1187, 1667, 1675, 1687, 1952 PRITCHARD, MARK 126-130 Pritchard, Miss Marie 861 Pritchard, Spencer 2251 PROBYN, BRIAN 1810 PROCTOR'S NOVELTY, NYC 2339 PROCTOR'S CRITERION, BROOKLYN 2641 PROCTOR'S NOVELTY THEATRE, BROOKLYN 598, 2637, 2644, 2649 PROMETHEUS THEATRE, NYC 1863 PROTHEROE, BRIAN 1315 Protheroe, Miss May 821 PROVIDENCE 763 PROVIDENCE, RHODE ISLAND 1951 Prowse, David 1783, 1810 Prowse, Heydon 914 PRYDE, BILL 126-130 PUGH 1144, 1196 PUGHE, CYNTHIA 118 PUGLIESE THEATRE, COLLEGE PARK, MD56 PUGSLEY, WILLIAM 1781 PULMAN, JACK 792 PURCELL, HENRY 149-151 Purdom, Edmond 1813 Purdy 1976,1995, 2008, 2014 Purdy, Captain 1976 Purdy's National Theatre 1976 Putti 993 Quaid, Randy 1879 Quayle, Anthony 99 QUEEN'S THEATRE, DUBLIN 1927,1974 QUEEN'S THEATRE, LONDON 155, 157,

450

377, 381, 573, 615, 769, 1140, 1212, 1323, 1329, 1482, 1485, 1493, 1498, 1702, 1899, 1915, 1967

QUEEN'S THEATRE, MANCHESTER 946,1109, 1251,1985 Quick 1552 Quill, John 1207 QUIMBY, FRED 2477 Quine, Richard 2, 1437 Quinn 1880 Quinn, Miss A. M. 2045 Rabett, Catherine 1874 RADCLIFFE 1547-1549 Radinski, Mrs. 1892 RADNITZ, ROBERT 1438 Rae549, 1499, 1884, 1886 RAE, LEONARD 2192 Rafferiy, Frances 38 Rafter 1209 Rafter, Miss Lucy 1913 Ragsdale, William 1877 Raiemond 647 RAIKES 77 RAIKES, RAYMOND 73, 77 Rainer 1407, 2356 Rainer, Luise 1407 Rainforth, Miss 1185, 1199 Rake 1479 Ralph, Jessie 897 Ralton, D. 1930 RAMSEY, KENNARD 2484 Ramsy 1930 Rand, Rosa 2535 Rand, Victor 2476 Randal 1194 Randal, J. U. 2285 Randall 1899, 1915, 1967 Randall, Adelaide 1075 Randall, Edward 2338 Randall, Harry 1142 Randall, J. U. 2350 Randegger 829 Randolph, Jane 1743 Rankin, McKee 689, 703, 2527 Rankin, Mrs. McKee 2486 Ranson 1519 Rashad., Phylicia 2484 RATCLIFF, NORA 1369 Rathbone, Basil 1738 Ratoff, Gregory 1479 RAVOLD, JOHN D. 11, 1344 Ray, Aldo 1853 Ray, Frank 2272 Ray, J. W. 1922 Ray, Mona 2450 Raymond 1501, 1914, 1956 Raymond, Augusta 689 Raymond, John T. 1043 Raymond, Miss 707, 2095 Raymond, Miss Sydney 611 Rayne, Lin 2567 RAYNER1199, 1714 RAYNER,MISS 1127 Raynor, Ethel 2380 Raynor, Miss Alice 714 Rea, F. 620 Rea, Frank 1225 Rea, Mrs. Frank 2606 Reach, Angus 1189 Read, Miss Kate 2671 Reade 571,865 READE, CHARLES 865 READING 276

INDEX OF PROPER NAMES Reals, Grace 916 Reap, William 2426 REBUPLIC 1303 Rede, Mrs. L. 1503 Rede, W. L. 1671 Redfield, L. A. 2423 Redgrave, Corin 89 REDMOND, HARRY 9 REDMOON 1881 Redmund, W. 1596 REECE1166 REECE, ROBERT 1166, 1170 REED 1513, 1993 REED, H. 1922 Reed,J. 1890 REED, T. G. 1026, 1093 REED,T. GERMAN 1034, 1078 REEVE 1552, 1559 Reeves 2507 Reeves, George 2478 Reeves, H. 1915, 1967 Reeves, Mrs. 2055 Reeves, W. H. 1206 REGENT THEATRE, LONDON 1463, 2748 Reid, Frances 13 Reigiiolds, Emma 580 Reignolds, Georgiana 580 Reignolds, Miss E. 1891 Reigiiolds, Miss K. 1891 Reigiiolds, Miss Kate 679 Reilly, Robert 1765 Reiss, Renee 828 Reitch, L. 2673 Remington 540, 541 Renaud 1488 Rendle, Violet 760 Renig, Louise 2338 Renney, J. H. 2406 Rennie 1779 Rennie, Michael 1779 REPERTORY PLAYHOUSE, SEATTLE 2456 REPUBLIC 1293, 1298, 1300-1302, 1304-1306 Republic Studios 1292 RETFORD 249, 257 Revelle, Arthur 2552, 2565 Rey, Mine. Maria 1954 Reynolds 341,997, 1001, 1087 Reynolds, Carrie 715 REYNOLDS, FREDERICK 994 Reynolds,! 1010 Reynolds, Miss 1034, 1952 Reynolds, Miss Laura 723 REYNOLDS, WALTER 1481 REYNOLDSON, T. H. 2492 RHINO HOME 1876 Rial, Jay 2136, 2231, 2234, 2236, 2238, 2242, 2243, 2245, 2248, 2251, 2252 Rial, Louise 2309 Rial, Mrs. Jay 2231,2236 Ricard, Amy 916 RICE 1992, 1993 Rice,C. 1924 Rice, Edward 2264 RICE, HOWARD 1316 Rice, Joan 1783 Rice,T. D. 1891, 1993 RICE'S THEATRE, CHICAGO 1977 Rich, Arthur 1239 RICH, DAVID LOWELL 22 Richard, Cliff 811, 812

Richard, Irene 143 Richards 313 Richards, Miss Cicely 867 Richards, Susan 118 RICHARDSON, ABBY SAGE 916 Richardson, John 1831 Richardson, Sir Ralph 1803 Richings 1182 RICHMOND 2023 RICHMOND HILL, NYC 1400, 1401 RICHMOND THEATRE, RICHMOND 132,2023 Richmond, Adah 1048 RICHMOND, DAVID 1859 RICHMOND, KENTUCKY 2139 RICHMOND, LONDON 400, 2712 Richmond, Susan 762 RICHMOND, VIRGINIA 1910 Richwood, Patrick 1877 Rickards, J. H. 1905 Rickman, Alan 148 Ricks, Claude 1463 Ridely, Paul 1338 RIDGEWAY 1390 Ridyard 557 RIESENFELD, HUGO 2 Right, Maude 917 Righton, Edward 1046 Rigl, Emily 703, 2407 Rignold, Bessie 2677 Rignold, George 1321 Rignold, William 1342 RILEY, JOAN 66, 74 Rilla, Walter 1428 R1NALDO, FREDERIC I. 1743 Ringgold 704, 2055 Rintoul, David 131 Risdon, Elizabeth 2462, 2463 Ritchie, J. G. 866 Rivers 1341 Rivers, Gertrude 916 Rivers, H. 608, 1928 Rivers, Lillian 2446 RIVERSIDE STUDIOS, HAMMERSMITH, LONDON 813 RIVIERE 1073 RKO3, 9, 781,783, 1437 Roache, Viola 800 ROAKES, JOHN 608 ROBBINS, CARRIE F. 1839 Robe, Annie 1458 Roberts 360, 1000, 1198, 1396, 1928 ROBERTS, DEBORAH 1867 Roberts, Desmond 761 ROBERTS, G. 1439 ROBERTS, GEORGE 616, 618, 647 Roberts, Hal 2476 Roberts, Miss 1028,1037,1079,1087,1096 Roberts, Theo 2407 Robertshaw, Jerrold 859 Robertson 258, 289, 1187 ROBERTSON, AMY M. 1368 Robertson, Forbes 610, 647 Robertson, Madge 2027 Robertson, Miss East 2273, 2282, 2616, 2713,2717 Robertson, W. 1928 Robespierre 1429 Robinson, Anna 935 Robinson, Frederic 689, 693 Robinson, Frederick 695 ROBINSON, GEORGE 1738, 1741 Robinson, Lucy 133 Robinson, Margaret 1474

451

Robson 1143 Robson, Dame Flora 801 Robson, E. M. 1025 Robson, F. 1155, 1156 Roby 1702 Roche, Zhivila 1378 ROCHEFORT, EDMUND 1660 ROCHEFORT-LUCAY 1660 Rochelle 1190 ROCHESTER 280, 337, 344 Rockingham, Miss Madge 1266 Rockville, (Maryland?) 2332 ROCKVILLE, MD 2343 Rockwell, C. H. 582 Rockwell, Charles 704 ROCKWELL, PENNY 1864, 1865 Rodes, Miss 1899 Rodes,MissM. 1899 Roe, Bassett 2354, 2655 ROE, J. E. 1159, 1227 Rogers 1054, 1275, 1486, 1559, 1895 Rogers, Christine 1829 ROGERS, IVOR 1882 Rogers, J. H. 1250 Rogers, Lydia Ann 850 Rogers, Miss 1061 Rogers, Miss Jenny 1725 ROGERS, STANLEY 1054, 1275 Rolfe, Foumess 1025 Rollason, Jon 68 Rollason, Miss 618 Romand, Gina 1788 Romer 1934 Romer, Miss 1181, 1183 Romer, Miss E. 1887 Romero, Cesar 905 Rooney, J. S. 2535 Rooney, Mickey 897 ROOS, FRED 914 Root, Amanda 89 Rorke, Mary 94 Rorke, Miss M. A. 1025 Rorke, Miss Mary 867 Rosa 829 Roscius, African 557, 558, 560-562, 565, 569 Rose 1976 ROSE, EDWARD E. 916 Rose, Jill P. 1839 Roselle, Myra 2426 ROSEMONT PRODUCTIONS 912 ROSEN, KEN 2 Rosenberg, Max 667 ROSHER, CHARLES 896, 897 ROSKAM, CLAIR 50 Rosmer, Milton 114 Ross, Charles J. 1277 Ross, Charlie 1725 Ross, Frederick 2736 ROSS, JACK 1832 ROSS, JOHN 1867 Ross, Leonard 612 Ross, Master Charlie 1170 Ross, Minnie 1173 Ross, Robert 1952 ROSS, VIRGIL 2472 ROSSE, HERMAN 1734 Rossi-Drago, Eleanora 2481 Rossington, Norman 1316 Rossitto, Angelo 1787 Rosson, Dick 900 ROSSON, HAROLD 1407, 1428 Rostock 1945 ROSZAK, THEODORE 1817

INDEX OF PROPER NAMES ROTH, ROBERT JESS 1316 ROTHERHITHE, LONDON 513 ROTUNDA LIVERPOOL 1450 ROUND HOUSE, LONDON 1777 Rouse 1051 Rouse, Mrs. W. A. 2232 Rouse, W. A. 2143 Rowbotham 1642, 1648, 1657, 1670, 1949 Rowbotham, Mrs. 1651 Rowe, Ben 2412 Rowe, Bentick 2386, 2393 ROWE, GEORGE FAWCETT 2153, 2177, 2185-2187,2189 Rowe, John 69 Rowland, Eva 7 Rowlands, Patsy 126-130 Roxby 1671 Roxby, S. 1666 ROYAL ADELPHI, LONDON 2146 ROYAL ADELPHI, SHEFFIELD 1718 ROYAL ALFRED, LONDON 2536 ROYAL AMPHITHEATRE, LONDON 1119,1509 ROYAL AQUARIUM, LONDON 2189 ROYAL CIRCUS [SURREY], LONDON 1391 ROYAL CLARENCE THEATRE, DOVER 1680 ROYAL CLARENCE, LONDON 1691 ROYAL COBURG, LONDON 1657, 1682 Royal County Theatre Kingston 1273 ROYAL COURT THEATRE UPSTAIRS, LONDON 1796 ROYAL COURT THEATRE, LONDON 820, 958, 2493, 2495 R O Y A L EFFINGHAM SALOON, W H I T E C H A P E L ROAD, LONDON 1939 Royal Lyceum Theatre, London 1076, 1082, 1084, 1091 Royal Lyeum Theatre, London 1031, 1032, 1085 ROYAL MUSIC HALL, LEAMINGTON 721 ROYAL OLYMPIC THEATRE, LONDON 1155,1161,1913 Royal Opera House, Leicester 1116 ROYAL OPERA HOUSE, LONDON 1440 ROYAL OPERA HOUSE, TORQUAY 1090 ROYAL PARK, LIVERPOOL 2036 Royal Princess Theatre, Glasgow 2406 Royal Princess Theatre, London 823, 1123 ROYAL PRINCESS, LONDON 1481 Royal Surrey Theatre, London 1324, 1928 ROYAL, DUNDEE 1471 ROYAL, GREENWICH 1444 ROYALTY THEATRE, LONDON 1229 ROYALTY, LONDON 1322, 1640, 1646, 2654 Royce, Brigham 916 Royds, Herbert 1381 Royton, Velma 13, 14 RUANOVA, ALFREDO 1755 Rub, Christian 1437 RUDALL, H. A. 1465 Rudd, Paul 54 RUGBY REPERTORY THEATRE 42 RULON, SAMUEL A. 1806 Rumann, Sig 1742 Russel, Lottie 2272 RUSSELL 45, 313, 1263, 1949 Russell, Annie 829-834, 872 Russell, G. Malcolm 1731, 1732

Russell, H. E. 718 Russell, Helen 1458 Russell, Henry 2499 Russell, J. 317, 1001, 1375 RUSSELL, JOHN 993 Russell, Little Tommy 872, 874-876, 879-881,2586,2593 Russell, Marion 872, 2586 Russell, Miss E. 723 Russell, Mrs. 1400 Russell, Mrs. Jane 2586 RUSSELL, PETER 914 RUSSELL, RONALD 41 Russell, Rosalind 1479 Russell, William 51 Ruth, John 13 Ruth, Miss 2423 Rutherford, Ann 101 Ryall 266, 267 Ryan 522,1263 Ryan, Irene 38 Ryan, Mrs. 215, 522 Ryan, Mrs. Bevil 2094 RYDE312 Ryder, Winona 35 Rye, John 79 Ryecart, Patrick 1349 Ryer, George C. 2059, 2063 Rynar 2049 Sackett, Marion 1048, 2559 Sackett, Millie 2120, 2184, 2200 SADLER'S WELLS THEATRE, LONDON 351,354,358,362-364,670,1131, 1143, 1154, 1218, 1260, 1264, 1389, 1399, 1446, 1710, 1941, 2013, 2044, 2273, 2282, 2616, 2707, 2757 SAGE 917 SAGITTA 792 Saintsbury, Kathleen 2449 SAKASH, EVELYN 1878 Sala, George Augustus 922, 958, 975 Sala, Madame 1146 SALAZAR, ALFREDO 1756 SALISBURY 1495 Salisbury, Miss Ethel 1263 Sallis, Peter 126-130 Salome 1216 SALT LAKE CITY, UT 1946, 2099, 2115 Salter 1146, 1642 S ALTER, HANS 1740, 1741 Salvator 1614 SALZEDO, LEONARD 1746, 1752 SAM H. HARRIS THEATRE, NYC 2441 Samon, James 2478 Sampson, Teddy 900 SAMS, JEREMY 1427 SAMUELS, JACKSON 1782 SAN DIEGO COMIC CONVENTION 1830 SAN DIEGO, CALIFORNIA 1830 SAN FRANCISCO 779 SAN FRANCISCO, CA 2131, 2136, 2196 SAN FRANCISCO, CALIFORNIA 1770, 1825, 1998 SAN FRANCISO, CA 2077 San Fransico Mime Troupe 1770 SAN MATEO, CA 1772 SAND 1560 Sand, Georges 1563, 1586, 1596 SANDBERG, R. N. 1872 Sanders 1380, 1934 Sandford2127 SANDGATE 1671 SANDOW, GREG 1845

452

SANDS, MICK 1314 Sanford, Sam S. 1983, 2033, 2128, 2142, 2215 Sangerl913 Sanger, Master 1913 SANGSTER, ALFRED 802 SANGSTER, JIMMY 1746, 1752, 1783 Sans Pareil Theatre 1320 SANTA CLARA, CALIFORNIA 1824 Santer 1122 Sapio 1027 Sappho 2118 Sarandon, Susan 35, 1288 SARATOGA CIVIC THEATRE, SANTA CLARA, CALIFORNIA 1824 Sarge, Miss 1051 Sarjant 266, 267 SARNE, MICHAEL 1776 Sarrazin, Michael 1803 SASDY, PETER 807 SATRINA, CAROLE LUCIA 1292 Sauerman, Carl 4 SAUL, EDMUND 1144, 1197 Saunders, Adele 2237 Saunders, Mrs. 582 Savage, John 1292 Savage, Nellie 993 Savill, Mrs. 1492 Saville 1380, 1949 Saville, E. F. 1382, 1691 Saville, Miss Harriet 1504 SAVOY, NYC 903 Sawalha, Julia 133 Sawford 1920 Sawford, S. 2048, 2056 SAWTELL, PAUL 1438 Sawyer, Kathleen 1782 Scacchi, Greta 55 Scales, Prunella 65, 114 SCARBOROUGH 553, 1753 Scardon 2428 SCHAMUS, JAMES 148 SCHATZ, WILLY 2481 SCHENK, AUBREY 1750 SCHERICK, EDGAR J. 2484 Schiller 1660 SCHLESINGER, LEON 2472 SCHMIDT, DOUGLAS W. 1839 Schmidt, Frau 677 Schmidt, Mme. 676 Schneider, Michael 1292 Schneider, Pauline 1630 SCHOENBAUM, CHARLES EDGAR 18 SCHONBERG, JAMES 611 SCHULENBURG, TEXAS 1840, 1846 Schulz, Fraulein 1618 SCHWARTZ, HANS 1429 Schwartz, Scott 1839 Schwimmer, Rusty 908 SCKACZ, ILONA 1807 SCORPIO RISING, NYC 1809 Scott 795, 1320, 1482, 1500, 1507 Scott, Douglas 801 Scott, George C 792 Scott, Gertrude 2708 Scott, J. M. 320 Scott, J. R. 348 SCOTT, JOHN 1338 Scott, Lucy 133 Scott, Margaretta 1429 SCOTT, MICHAEL 1874 SCOTT, MISS JANE M. 1320 Scott, Miss Waverley 350 Scott, Mrs. Clement 1462

INDEX OF PROPER NAMES Scott, Mrs. J. R. 574, 620, 679 Scott, Nellis 2247 Scott, Sir Walter 1501, 1502, 1505, 1507, 1510,2026 SCOTTSDALE, ARIZONA 1789 SCRUTON 1194 Scruton, Miss 1488 Seabert, C. F. 2086 Seabert, Charles 2272 Seacombe, Dorothy 1278 Seagrave, Miss 1915 Seagrove, Jenny 795 Scale, Douglas 1839 SEAMAN 1688 Seaman, Miss Julia 2048 Seaman, W. 1719 SEAMAN, WILLIAM 1010 Searle, W. 674 SEARLE, WM. 1949 SEATON, A. M. 1450 SEATTLE REPERTORY PLAYHOUSE, SEATTLE 2456 SEATTLE, WA 1872, 2425, 2456 SEATTLE, WASHINGTON 1872 SEAVER'S OPERA HOUSE, W I L L I A M S B U R G H , BROOKLYN 1541, 2076, 2081, 2519 SECOND AVENUE THEATRE, NYC 1865 Seebach, Madame 683 SEEBOHM, E. V. 867, 872, 888, 889 Sefton 1083, 2492 Sefton, Annie 2086 Sefton, Gary 1314 Sefton, John 1005 Sefton, Mrs. John 1083 Seglow, Ruth 1807 Seguin 1178, 1180 Seitz, John 1839 SEITZ, JOHN F. 2750 Selby, Charles 193 7 Selby, David 183 8 Selwyn, Edgar 899 SELZN1CK, DAVID O. 9, 897 SENDRY, AL38 Sennett, Charles 1899 Sennett, David 1859 Sequin 1181 SERDEMAN, TED 1438 SERRES 1194 SEVEN ARTS, HAMMER 1764 Sewell, Georgia 2451 Sexton 283 Seyboldt. Eleanor 5 SEYMOUR 1555 SEYMOUR, F. 1252 Seymour, H. James 2590 Seymour, Jane 1433, 1803 Seymour, Mrs. Carrie M. 2590 Seymour, Willie 689 SHADYAC, TOM 1877 Shaffer, Marie 757 SHAFTESBURY THEATRE, LONDON 921 SHAKESPEARE THEATRE, CLAPHAM 927,2716,2735 SHAKESPEARE THEATRE, LIVERPOOL 947,1174, 1176 Shalders2013 Shalders, Miss 1913 Shand, Phyllis 762 Shankley, Amelia 907, 909 Shanks, Rosalind 69, 79, 86 Shannon, Hollie 762

SHARI, WILLIAM 1769, 1774 Sharkey 2098 Sharpe, Edith 60 SHARROCK, IVAN 1880 Shatner, William 22 Shaw, Fiona 89 Shaw, J. A. 2567 Shaw, Mary 935, 1225 Shaw, Miss 1380 Shaw, Mrs. 348 Shaw, Robert 1432 Shaw, Rosina 1406 SHAW, W. B. 1221 Shayne, Cari 1 Sheene 1685 Sheene, Mrs. 1685 SHEFFIELD 71, 321, 539, 799, 972, 979, 1012, 1054, 1256, 1272, 1339, 1340, 1515, 1704, 1718, 1897, 1900, 1921, 1973, 1990, 1994, 2012,2028,2557,2566 SHEFFIELD 1017 SHEFTER, BERT 1438 Shelby 2056 Sheldon, A. H. 1048,2143 Sheldon, Julia 1117, 2230 Sheldon, W. P. 1117 SHELLEY 1880 SHELLEY, HERBERT 2693 Shelley, Mrs. Mary 1642, 1652,1681,1684, 1693, 1723, 1725, 1731, 1732, 1735, 1736, 1738, 1742, 1748, 1758, 1762, 1765, 1782, 1789, 1802, 1803, 1821, 1831, 1834, 1856, 1859, 1869, 1873, 1874, 1877, 1879-1881 SHELTON, BRIAN 2760 Shelton, Maud 894 SHENTON 1163 SHENTON,J. W. 1163, 1241 Shenton, Sophie 2708 Shepard, Patty 1779 Shepherd 682, 1089, 1928,2510 Shepherd, R. 1536,2567 Sheppard2013 Sheppard, R. A. 1982 Sheridan 1190, 2301 SHERIDAN, ALICIA 1883 SHERIDAN, FRANCES 1884 Sheridan, Richard Brinsley 1189, 1190 Sheridan, W. E. 2527 SHERMAN, GEOFFREY 1857 SHERMAN, SAMUEL M. 1781 SHERWOOD 60 Sherwood, Blanche 2212 Sherwood, Lydia 60, 64, 123 SHERWOOD, ROBERT 1428 Shewell, L. R. 574, 688, 2091, 2498 SHIEL'S OPERA HOUSE, SAN FRANCISCO, CA 2131, 2136 Shield 1642 Shields 927 SHIFF, BUK1 1292 Shirley, Alfred 104 SHIRLEY, ARTHUR 1476 Shirreff, Miss 1178, 1180 Shoemaker, Ann 1437 Shore, Lois 2462 Shoreditch 1011 Short, Hubert H. 821 SHOWTIME 2484 Showtime Cable 2484 SHREVEPORT, LA 773 SHREWSBURY 341, 352, 541

453

Shroder, Ricky 898 SHUBERT THEATRE, NEW HAVEN 2461 SHUBERTS 1727-1729 Shuler, Ferdinand 1563 Sibley, Lucy 2700 Sidaway, Robert 121 SIDDONS, HENRY 1552, 1554, 1557 Siddons, Jun. 248 Siddons, Sarah 214, 216, 219, 220, 222, 226, 231-234, 236-239, 242-244, 246-248, 250, 254-256, 259, 260, 265-267,316 Sidney 249, 257, 863, 864 Sidney, Sylvia 774-779 SIDNEY, WILLIAM 864 SIEGE OF PARIS OPERA HOUSE, BOSTON 2212 Siegmann, George 2450 Sills, Douglas 1434 Silver 342 SILVER, LOUIS 1479 SILVERA, DARRELL 3, 781 SILVERMAN, ADAM 1314 SILVERS, LOUIS 905, 1479 Silverstone, Alicia 54 Simmons 266, 267, 275 SIMMS, WILLARD 1815 Simon, Charles 86 SIMONNIN, ANTOINE-JEAN-BAPTISTE 1659 SIMPSON 264, 289, 1513, 1652 SIMPSON, GEOFFREY 35 SIMPSON, HAROLD 1362, 1363 Simpson, Miss 1915, 1967 Simpson, Mrs. 1549 Simpson, Russell 2491 SIMS, GEORGE 2434 Simson, Miss 521 Sinclair, E. T. 582 Sinclair, H. 1507 Sinclair, Hugh 116 Sinclair, Mary 19, 803 Sinclair, Miss 1097 SINCLAIR, ROBERT 97 Sinden, Donald 1427 SINGER, JOSEPH 1768 Singleton, Kate 1225, 2164, 2165 Singleton, Miss 1129, 1200 SINN'S PARK THEATRE, BROOKLYN 651,880, 1597, 1626,2596 SIODMAK, CURT 781, 1741 Sione, George 1725 Siple, S. M. 1911, 1976 SISSON, ROSEMARY ANNE 1337 SISTROM, WILLIAM 1437 Sitgreaves, Beverley 1462 SKALL, WILLIAM 905 SKEGGS, ROY 1810 Skerrett 1991,2507 Skerrett, Emma 704 Skerrett, Mrs. 1063, 1064 SKINNER, FRANK 1738, 1743 Skinner, Otis 2166, 2461, 2462 Slater, Daphne 85, 114, 138 Slater, Joseph 22 5 5 Slaughter, G.W. 2178 Slaughter, Tod 2449 Slavin2214, 2223 Slavin, Little Amy 2213, 2229 Slavin's Georgia Jubilee Singers 2155, 2158 Slavin's Uncle Tom's Cabin Company 2214, 2223 Slidell, Master 2177

INDEX OF PROPER NAMES Slidell, Miss 2177 SLOMAN 316, 319, 1032, 1076, 1390 SLOMAN, EDWARD H. 1437 SLOMAN, H. 1084, 1127, 1199 Sloman, Mrs. 305, 314, 316, 319, 328, 330, 331, 334, 337, 339, 343, 344, 346, 347 SMART, SIR G. 1197 SMIGHT. JACK 1803 SMITH 214, 216, 219, 220, 222, 549, 627, 1144, 1146, 1643, 1714, 1884, 1895 Smith, Alfred B. 1955 SMITH, C. H. 2260 Smith, C. J. 1710, 1934 Smith, Dame Maggie 914 SMITH, EVELYN 16, 83 Smith, J. A. 1930 SMITH, J. C. 1051, 1059 SMITH, J. PEMBERTON 2178 Smith, John P. 2289, 2305, 2350 SMITH, LEE 35 Smith, Madeleine 1810 Smith, Mark 1220 Smith, Master 1678, 1986 Smith, Miss 267-269, 273, 276, 535, 537, 1547, 1915 Smith, Mrs. Mark 620 Smith, Mrs. Sol 1455 Smith, O. 1657, 1668, 1672, 1673, 1682, 1683, 1690, 1695, 1703, 1714, 1934 SMITH, ROY 668 Smith, S. 1076 Smith, Sir Aubrey C. 897 Smith, Sol 1456 SMITH, TOM 1783 Smith, W. 1010 Smith-Wood, Jackie 70 SMITHERS 1194 Smithson, Miss 1194, 1394 SMITHSONIAN HALL, BROOKLYN 2199,2203 SMITHSONIAN HALL, GREENPOINT 2263 SMITHYES 1031, 1032, 1084 SMITH'S OPERA HOUSE, TARRYTOWN, NY 2271 Smollett 1390 Smythe, Miss Frances 1250 SMYTHERS 1643, 1714 Snyder, Ella 1277 Snyder, M. B. 876 Snyder, Rose 876, 1474 Soane 313 SOCIAL HALL IN SALT LAKE CITY, UTAH 1946 SOCIETY FOR ETHICAL CULTURE, NYC 1799 Sohlke, August 2313 SOHO, LONDON 2035 SOLARES, RAUL MARTINEZ 1788 Soler, Andres 1755 SOLGER, CHRISTINE A. 1881 Solomon, Fred 824 SOLOMON, FREDERICK 1277 SOLON 2723 SOLT, ANDREW 18 Somerset 926, 931 Somerset, C. S. 958 Somerset, C. W. 867, 869, 922, 931, 932, 937 Somerset, Miss Geraldine 958 Somerville, Miss 284,285, 549,1180,1185,

1690 Sommer, Josef 1838 SONY 24, 26-29 Sorbonne 1028 Sothem 822 SOUNES, JENNIFER 108 Soutar, R. 608, 1138,2013 South Carolina Jubilee Singers 2199, 2217, 2291 SOUTH SHIELDS 929 South Shields Theatre Royal 927 SOUTHAMPTON 1157 Southampton Row 1488 Southerland, John 2418 Southern, Ella 2606 SOUTHERN, FRED 2726 SOUTHERN, THOMAS 149-218,227-230, 245, 247,253, 254, 268,269, 275, 282, 284, 287, 292, 295-297, 303, 307,311,313,321,324,334,341, 348, 350, 351, 355, 359, 360, 362-487, 489-493, 495-521, 523-530, 532, 533, 535, 536, 538, 540, 542, 546, 547, 549-554, 557, 559-561,564-566,568-570 Southey 1194, 1643 Southey, Mrs. 313 SOUTHPORT 980 SOUTHSEA 125 SOUTHWARK, LONDON 410, 434, 458, 474 Spademan, Tom 1859 Spangler 832 Spangler, E. G. 831 Sparrow, Walter 914 Spelvin, George 2285 Spencer 1489, 1980 Spencer, H. J. 612 Spencer, Marian 87 Spencer, Mirian 116 Spies, J. J. 866 SPOHR 1197 SPONG718 SPRINGFIELD, IL 1999 SPRIT PRODS 1877 SPRY, H. 1055 SPRY, H. 1033, 1175 SQUIRE, EILEEN H. A. 92 SQUIRE, J. C. 92 SQUYRES, TIM 148 STALBANS1492 St Casse, Miss Clara 2043 ST CHARLES THEATRE, NYC 1529 St George, Miss Cissy 1263 St George, Miss Julia 1084, 1215 ST HELEN'S, LANCASHIRE 1240 St James Palace 1167 ST JAMES THEATRE, LONDON 99,607, 616,835,915, 1439, 1462,2508 ST JAMES THEATRE, NYC 913 ST JOHN'S 2435 ST JOHN-ST MATTHEW EMMANUEL LUTHERAN CHURCH, BROOKLYN 1818 St Lawrence, V. 2380, 2678 StLeger, Mrs. 1557 ST LOUIS, MO 681, 692, 1835, 1837 ST MATTHEW'S EPISCOPAL DAY SCHOOL, SAN MATEO, CA1772 StMaur2071 ST PAUL, MINN 2387 St. Albyn 1215 STADT-THEATRE, NYC 676, 677, 684, 1564, 1575, 1577,2101

454

Stafford 934, 1383, 1911 Stafford, Henry 2436 STAGEBRUSH THEATRE, SCOTTSDALE, ARIZONA 1789 Stainville 1954 Stamford, Mrs. 1404 STANDARD 1336 STANDARD MUSEUM, BROOKLYN 1457,2288,2619 STANDARD MUSEUM, NYC 2303 STANDARD THEATRE, MANCHESTER 2185 STANDARD, LONDON 1009,1011, 1912, 2192,2252,2598 STANDARD, NYC 1624,2223,2582,2591 Standing, Joan 2752 Stanfield 1556 Stanford, Mrs. 488 STANGATE 1894 Stanhope, Adeline 659 Stanley 543, 1643, 1667, 1692, 1697, 2747 Stanley, Blanche 2736 Stanley, Carrie 2356 Stanley, G. 1952 Stanley, J. 1388 Stanley, Miss F. 1667 Stanley, Montague 1667, 1699 Stanley, Mrs. 1027, 1078, 2492 Stanley-Alder, Karen 2748 Stanmore 1492 Stannard, Heather 66 Stansbury, G. 326 Stanton 2086 Stanton, C. 1504 Stapleton2210 STAR, NYC 735, 743, 824, 2382, 2390, 2391, 2395, 2397, 2408, 2618, 2683,2694 STAR,, NYC 2611 Stark, James 1588 Stark, Timothy 1879 Starr, Frances 786 Starr, Sylvia 754 STATEN ISLAND 597, 2601 STATEN ISLAND THEATRE, NYC 660, 2201,2205 Staunton218 Staveley 1239 Steadman, Alison 133 Steafel, Sheila 78 STEELE, GILE 101 Steele, Jadrien912 STEER, J. 604, 605 Steerman, A. Harding 1423 Stein 1752 STEINER, MAX 9, 897 Stella, Miss Sylvia 2406 STEPHANOFF, BLAGUE 801 Stephens, E. H. 747 Stephens, Jonathan 70 Stephens, Toby 673 Stephens, W. H. 1596 STEPHENS, WILFRID T. 2754 Stephens, Yorke 818 STEPHENSON MEMORIAL HALL, CHESTERFIELD 728 Stephenson, C. H. 1010 STEPPENWOLF STUDIO THEATRE, CHICAGO 1881 Sterling, Mrs. 283, 1186 Sterling's Uncle Tom's Cabin Company 2430, 2431 STERN, BUDDY 1818 Stem, Daniel 1858

INDEX OF PROPER NAMES Stem, Joan 1475 Stemroyd, Vincent 1462 Sterrall, Gertrude 99 Stetson 2426, 2443 Stetson, Mrs. 2519 STETSON'S FIFTH AVENUE, NYC 2593 Stetson's Uncle Tom's Cabin Company 2426, 2443 Steuart, Eldean 2746 STEVENS 2161 STEVENS, HENRY E. 1993, 2148, 2155, 2158 Stevens, Ogden 2232 Stevens, Sara 2055 STEVENSON, JOHN 1798 Stevenson, Juliet 55 Stevenson, Margot 13 STEVENSON, ROBERT 783 Stewart, Athole 99, 762 Stewart, Gwendolyn 84 Stewart, Lock 2746 Stewart, Mrs. 2515 Stewart, Paul Anthony 1878 Stewart, Sophie 1429 Stickney 2060 Stickney, Mrs. 1494 STIER, GEOFF 148 STILLS 2016 Stilt 1061 STIMSON, F. J. 1254 STIMSON, FRED J. 1252 Stirling, Arthur 616 STIRLING, EDWARD 670, 1518 STOCK, HERBERT L. 1747, 1749 Stockman 1758 STOCKMAN, PEGGY 1758 Stockwell, Dean 910 Stockwell, L. R. 2231, 2236, 2407 Stockwell, Master 1553 STODDARD, HUGH 1338 Stoddart,J. H. 1043, 1593 Stohwasser, Miss 1004 STOKE-ON-TRENT971, 1807 Stoker, Miss 1703 STOKER, SU JANE 1859 Stokum, H. J. 842 STOLL 1423 Stoltz, Eric 3 5 Stone 1993 Stone, H. F. 1071, 1976, 2326 STONE, MARY 2486-2488 Stone, W. B. 2331 STOTHART, HERBERT 101 Stout 1993 Stover, Florence 1117 Stowe, Mrs. Harriet Beecher 1891, 1892, 1899, 1903, 1909, 1911, 1913, 1928, 1930, 1940, 1971, 1976, 1987, 1992, 2006, 2024, 2042, 2046, 2048, 2188, 2452, 2484 STRAND SANS PAREIL, LONDON 1320 STRAND, LONDON 1021, 1419, 1420, 1424, 1454, 1518, 1563, 1725, 1926,2042 Strange, Ethel 612 Strange, Glen 1742, 1743 Straparola 1190 Strasberg, Susan 1802 Strasbourg 1970 STRATFORD 977, 985, 992 STRATFORD, WALTER 1269 STRATFORD-UPON-AVON 1315,2377 Straton614 Stratton, John 1810

Streader, Norma 133 Street 266 Stretton 1183, 1185 STRIP CITY, LOS ANGELES 1754 STROMBERG, HUNT 101 STROMBERG, JR., HUNT 1803 STRONG, PERCY 2751 Strook, Gloria 14 Stuart 336, 565, 1681, 1694 Stuart, Miss Ruby 1249 STUDEBAKER THEATRE, CHICAGO 2460 STUDIO ARENA THEATRE, BUFFALO, NY 1857 Studley 580 Studley, J. B. 2096, 2208, 2497,2499,2562 STUMAR, JOHN 1336 Suett521, 1548 Sugarman, Jeff 1878 Sullivan 1010 Sullivan, J. 1239 Sullivan, Miss 546 SUMMER PAVILION, BROOKLYN 2279 Summer, Oliver 1215 Sunday School of St. John's 1270 SUNDERLAND 952 SURREY, LONDON 547, 560, 682, 1007, 1045, 1055, 1089, 1175, 1192, 1215, 1324, 1385, 1390, 1391, 1393, 1468, 1508, 1644, 1669, 1676, 1686, 1698, 1713, 1898, 1928,2510 SUTER, WILLIAM A. 615 SUTER, WILLIAM E. 1899 Sutherland 1155, 2305 Sutherland, John 935 Sutherland, Mrs. 678 SUTHERLAND, SIDNEY 2472 Sutton, J. E. 2098 Sutton, John 783 Sutton, Master 821 Svenson, Bo 1802 Swain, Miss Carrie 2295 Swann, Robert 143 SWANSEA 333, 562, 970, 1261, 2753 Swayne, Marion 5 SWICORD, ROBIN 35 Swift, Ward 2237 Swinburne, John 872 SWINDON 602 Sylvester, Louise 1590, 2143 Symonds, Augustin 2678 Symonds, Robert 1301 Symons, Harry 1239 Syracuse Theatre 1975 SYRACUSE, NY 1975 T ABO AD A, RAFAEL ENRIQUE 1755 Tabra, R. 1250 TAGANROG, RUSSIA 2167 Takashima, Tadao 1760 Talbot 1743 Talbot, Miss 2567 Tamblyn, Russ 1787 Tamburi, Jenny 1826 TANAKA, TOMOYUKI 1760 Tannehill, Frank A. 2148, 2156,2208,2247 Tanner 1913 TANNURA, PHILIP 38 TARRYTOWN, NY 2271 Tate, Reginald 107, 762 TAYLEURE, CLIFTON W. 681, 687, 688, 1918, 2497, 2501, 2502, 2523, 2589, 2595, 2600 Tayleure, Miss 1083

455

Taylor 5 88, 1134, 1667 Taylor, Ben 1051 TAYLOR, CHARLES WESTERN 1015, 1890, 1907, 1911, 1976, 1992, 2014, 2208, 2378, 2382-2384, 2389, 2390, 2392, 2394, 2395, 2397, 2398 Taylor, E. F. 704, 1892,2034 Taylor, Elizabeth 18, 783 Taylor, Emma 1083 TAYLOR, GILBERT W. 1782 Taylor, J. G. 861 Taylor, Joyce 1282 TAYLOR, KEN 70 Taylor, Mary 1029,1079, 1083, 1096,1211 Taylor, Miss 1036, 1037,1066, 1081, 1129, 1147, 1149, 1200, 1203, 1223, 1390 Taylor, Miss A 1380 Taylor, Miss C. 1980 Taylor, Mrs. 249 TAYLOR, TOM 608, 610, 612, 1934 Teams, Frank 612 Tearle, Osmond 1453, 1455, 1456 TEATRO LE PERLA, VENICE 1762 Tedeschi, Gianrico 1826 Teed, John 99 TELBIN 1059, 1382 Temple 905 ! Temple, George 1263 Temple, Miss Annie 1239 Temple, Shirley 905 Templeton 1185 Tennant1875 TENNANT, EMMA 1875 Tennant, Mrs. 1643 Tennant, Victoria 898 Tennessee Jubilee Singers 2175 TENNEY, DEL 1805 Teman 327 Ternan, Miss Ellen 1505 TERRACE GARTEN, NYC 1580 Terriss 1263 Terry 1409, 1410 Terry, Don 800 Terry, Ellen 92 Terry, Ethel Grey 1478 Terry, Fred 1409-1422, 1424-1426 Terry, J. B. 1992 TERRY, MEGAN 1809 Terry, Miss Kate 608 Terry, Muriel 1467 TEXIER, EDMUND 1953 THACKER, JAMES 1472 Thalasso, Arthur 896 THALIA-THEATRE, NYC 733, 1572, 1618,2318,2642 THANHOUSER 752, 2419, 2420 Thayer 340 Thayer, A L. 1930 THEAKSON, GRAHAM 1338 THEATRE AM NEUMARKT, ZURICH 1850 THEATRE BRIGHTON, NYC 1117 THEATRE BUILDING, CHICAGO 1847 THEATRE COMIQUE, HARLEM, NYC 739, 740, 1625, 1628, 2130,2289, 2312,2525 THEATRE DE LA PORTE SAINTEMARTIN, PARIS 1656, 1681 THEATRE DU GYMNASE, PARIS 1960 THEATRE DU PALAIS ROYAL, PARIS 1963 THEATRE FRANCAIS, NYC 2533, 2537

INDEX OF PROPER NAMES THEATRE GUILD, PROVIDENCE 763 THEATRE LYRIQUE, PARIS 1965 THEATRE R O Y A L ADELPHI, SHEFFIELD 1012, 1017, 1921 Theatre Royal Lyceum 1125 Theatre Royal Sheffield 1054 THEATRE ROYAL, ADELPHI, SHEFFIELD 1900 THEATRE ROYAL, BARROW 2417 THEATRE ROYAL, BATH 129, 292, 311, 325, 336, 543, 548, 565, 569, 1130, 1133, 1193, 1206, 1207, 1500, 1501, 1503, 1519, 1681, 1694, 1947 THEATRE ROYAL, BIRMINGHAM 601, 1051, 1156, 1249, 1482, 1500, 1502, 1505, 1507, 1525, 1717, 1903,1971, 1984 THEATRE ROYAL, BLACKBURN 1257 THEATRE ROYAL, BRADFORD 723,974 THEATRE ROYAL, BRISTOL 1245 THEATRE ROYAL, CARDIFF 945 THEATRE ROYAL, DUBLIN 355, 360 THEATRE ROYAL, DUMFRIES 2269 THEATRE ROYAL, DUNDEE 1904,1935, 2007,2188,2202,2578 THEATRE ROYAL, DUNLOP STREET, GLASGOW 1721 THEATRE ROYAL, EDINBURGH 322, 356, 361, 554, 570, 955, 1198, 1643, 1642, 1667, 1674, 1675, 1687, 1692, 1697, 1699, 1707, 1711, 1889,2710 THEATRE ROYAL, ENGLISH OPERA HOUSE, STRAND, LONDON 1642, 1655, 1665, 1667, 1668 THEATRE ROYAL, GLASGOW 286,561, 646, 1663, 1689, 1959, 2515, 2552,2565 Theatre Royal, Haymarket 1078, 1093 THEATRE ROYAL, HUDDERSFIELD 758 THEATRE ROYAL, HULL 542, 1595 THEATRE ROYAL, LANCASTER 557 THEATRE ROYAL, LINCOLN 943 THEATRE ROYAL, LIVERPOOL 297 THEATRE ROYAL, MAIDLAND 2702 THEATRE ROYAL, MANCHESTER 1166, 1238, 1958,2719 T H E A T R E R O Y A L , MIDDLESBOROUGH 987, 1443 THEATRE ROYAL, NEWCASTLE 261, 268, 272, 287,327, 540, 546, 551, 1250,1510, 1678 THEATRE ROYAL, NOTTINGHAM 1408 THEATRE ROYAL, OLDHAM 2029 THEATRE ROYAL, PECKHAM 2222 THEATRE ROYAL, PLYMOUTH 313, 1132,1489, 1922 THEATRE ROYAL, PORTSMOUTH 714 THEATRE ROYAL, PRESTON 1262 THEATRE ROYAL, SHEFFIELD 1054, 1256, 1340, 1897, 1973, 1990, 1994,2012,2028,2557 THEATRE ROYAL, SOUTH SHIELDS 929 THEATRE ROYAL, STRATFORD-UPONAVON 1315,2377 THEATRE ROYAL, WINDSOR 45,51,61, 66,74, 108, 121 THEATRE ROYAL, YORK 538 THEATRE, BELFAST 1387, 1403, 1952 THEATRE, BIRMINGHAM 237,241,243, 248,531,533, 1554, 1557

THEATRE, BRIDGNORTH 552 THEATRE, BUCKINGHAM 1269 THEATRE, CALAIS 303 THEATRE, CANTERBURY 278, 328,330 THEATRE, CHELTENHAM 1241 THEATRE, CHESTER 1236 THEATRE, CHICHESTER 1688 THEATRE, DARLINGTON 1556 THEATRE, DURHAM 298, 338, 345 THEATRE, HAMPTON COURT 1402 THEATRE, HUDDERSFIELD 536 THEATRE, LANCASTER 246 THEATRE, LEEDS 350 THEATRE, LEICESTER 299, 309 THEATRE, LYNN 1490 THEATRE, MAIDSTONE 331, 343 THEATRE, NORTHAMPTON 1696 THEATRE, NORTHWICH 263 THEATRE, NORWICH 314, 1684 THEATRE, NOTTINGHAM 488, 555 THEATRE, NYC 282, 289, 291, 522 THEATRE, PORTSEA 544 THEATRE, READING 276 THEATRE, RETFORD 249,257 THEATRE, ROCHESTER 280, 337, 344 THEATRE, RYDE 312 THEATRE, SALISBURY 1495 THEATRE, SCARBOROUGH 553 THEATRE, SHEFFIELD 321, 539, 1515 THEATRE, SHREWSBURY 341,352, 541 THEATRE, ST MARY 1488 THEATRE, ST. ALBANS 1492 THEATRE, SWANSEA 333, 562 THEATRE, TUNBRIDGE WELLS 339 THEATRE, WALSALL 270 THEATRE, WARRINGTON 999 THEATRE, WARWICK 273, 301 THEATRE, WEYMOUTH 1002, 1404, 1499 THEATRE, WIGAN 253 THEATRE, WINDSOR 323, 1004 THEATRE, WORCESTER 349, 558, 1483 THEATRE, WORTHING 1496 THEATRE, WREXHAM 296, 545 THEATRE, YARMOUTH 1491 Theol614 Theodore 2048 THEODORE, LUKE 1769, 1774 Theodore, Mdlle. 2048 Thesiger, Ernst 1736 Thiery 1954 THIRD AVENUE THEATRE, NYC 1611, 2142, 2164, 2206, 2283, 2296, 2335, 2367, 2378, 2394, 2627, 2636,2664, 2692 Thirlwell, George 44 THIRTY-NINTH STREET THEATRE, NYC 1729 Thomas 829, 2387, 2407 THOMAS JEFFERSON PARK, NYC 2467 THOMAS, A. E. 2461-2463, 2467 THOMAS, AUGUSTUS 822, 827 Thomas, Dyfed 1807 Thomas, Frankie 1437 Thomas, H. A 2343 THOMAS, HARRY 1751 Thomas, Jameson 761 Thomas, John Sutherland 872 Thomas, L. Cory 2691 Thomas, Master Vyvian 891 THOMAS, PETER 2481 Thomas, T. F. 2272 Thomas, T. J. 2353 Thomason, James 118

456

THOMPSON 621, 719, 731, 741, 1551 THOMPSON, ALFRED 1170 THOMPSON, CAROLINE 914 THOMPSON, CHARLOTTE 686, 689, 690, 693-698, 715-717, 719, 720, 724, 726, 729-731, 734-736, 741, 746,747,2611 THOMPSON, EMMA 148 Thompson, G. W. 2073, 2519 Thompson, Lydia 2630 THOMPSON, MARK 1427 Thompson, Miss 1911 Thompson, Sophie 89 Thompson, W.J. 2081 Thomdike, Eileen 108 Thomdike, Russell 45 THORNE 1398, 1400, 1401, 1559, 1667, 1675,2141 Thorne, Charles 2045 THORNE, GEORGE 1272 Thorne, Miss Emily 1321 Thorne, Mrs. 1400, 1401 Thorne, Mrs. Charles 2045 Thorne, Nella 1277 THORNE, THOMAS 1030 Thornehill, Miss Marion 821 Thomhill 1950 THORNTON 1496 Thornton, Frank 1725 THORNTON, MARTIN F. 895 Thornton, T. R. 598 Thornton, T.B. 596 Thorpe, Hattie 686 Thorpe, J.W. 686 Thorpe, Laura 689 Thropp, Clara 715, 716 THUILLIER, JEAN 1773 Thumb, Tom 1892 Tickle, Frank 762 Tidswell, Miss 549 Tiffany 2752 Tiffany, Annie Ward 2608 Tilbury 1027, 1034 Till, John 1253 Till, Louisa 1253 TILLER, TERENCE 65 Tilley, Miss Vesta 1263 TILLEY, PATRICK 808 TILSLEY, VINCENT 49 Tilton 1383, 2521 Tilton, E. L. 2527 Tilton, Edwin Booth 1023 TIMELESS 1432 Timeroff, Florence 2476 TIMM, H. C. 1200 Timm, Mrs. 1028, 1081, 1200 Tinney, Mrs. 283 TIPTON, JAMES 2176 Tiquet 1029 Tiroff, Jim 1769 TITUS PRODUCTIONS 1838 TIVOLI, NYC 1077 TOBIAS, LILY 1329, 1330 Tobias, Walter V. 1330 Tobin, Professor 1724 Todd, Mary 39 Todd, Sally 1751 TOEI 25 TOLAND, GREGG 801 Toland, Hugo 2486 TOLSON, GEORGINA 1828 TOMKINS 1121 Tompkins, Joan 97 TONY PASTOR'S THEATRE, NYC 2105,

INDEX OF PROPER NAMES 2113,2126,2276 TORONTO 754 TORQUAY 1090, 1447 Torrence, David 761,2750 Tottenham Court Road 1488 Tottenham Court Theatre, London 1482, 1967 Tottenham Street 1493 Toulmin 1911, 1976 Toulouse 1970 TOURNEUR, JACQUES 781 Towers 1893 Towers, Edward 1239 TOWN HALL, FLUSHING 2097, 2160, 2191,2204,2221,2355 TOWN HALL, JAMAICA, LONG ISLAND 2581 TOWNE, GENE 3 TOWNSEND, STEPHEN 825, 855-859 Townsend, Thompson 1374 TOWNSEND, W. 1894 TOWNSEND, W. T. 1374 Tozer, J. B. 1918 TRACH810 TRACH, EDWARD 810 Tracy, Helen 1453 TRAIN 2486 TRAISTER, ANDREW J. 1872 Travers 1949 Travers, Marisa 1831 Treacher, Arthur 905 TREBLE, H. A. 15, 136, 137, 1367 Tree 2495 Tree, Miss 1193 Tresham, Jennie 2423 Trever, Norman 757 Treves, Frederick 1349 TRI STAR 1880 TRIANGLE THEATRE, NYC 2445 TRIMBLE OPERA HOUSE, ALBANY 2109 Trimble, George 916 TRIPLER HALL, NYC 622,628,632, 679, 2050,2502,2516,2517 TROLLOPE 2492 Trollope, Mrs. Frances 2492 Troppau 1945 Troughton, Patrick 1810 Trouncer, Cecil 107, 113 TROUSDALE, GARY 1310 TROY MUSEUM, TROY, NEW YORK 1916, 1925, 1932,2068 TROY, NY 1916, 1925, 1932, 1975, 1992, 2068 Tucker, Ethel 1624, 2620 Tucker, Nonie 2306 TUCKER, REX 791, 1337 Tulliver 1336 TULLY 1031, 1121 TULLY, J. H. 1031, 1032, 1084, 1127, 1189, 1199 TUNBRIDGE WELLS 339 Tunstall, Darren 1314 Tunstall, Miss 1644, 1667 Turnbull, James 1250 TURNBULL, MARK 35 TURNER 1051, 1714, 1980 Turner, Jessica 1338 Turner, Miss 1714 Turner, Miss Ellen 1913 Turpin, Ben 2433 Turrin 1870 TURRIN, JOSEPH 1871 Tutin, Dorothy 118

TUTTLE, WILLIAM J. 1811 Tuttle, Zoe 2232 Twaits, Mrs. 264 TWEED ENSEMBLE, SOLEBURY SCHOOL, NEW HOPE, PENNSYLVANIA 1862 Twilight Quartet 2320 TYDEMAN, JOHN 52 Tyler 251, 252, 1553, 1555 Tyler, Jennifer 796 TYNE, NEWCASTLE 1053, 1265 Tyrer 295 Tyrrell, Mrs. 1930 Tyrrell, Mrs. G. F. 1225, 2513 Ugarte, Julian 1773 Uhl 1982 Umper,J. 1055 Uncle Tom's Cabin Company 2276 Uncle Tom's Cabin Jubilee Singers 2246 Underwood 2006 Underwood, Francis R. 2006 UNION LEAGUE CLUB THEATRE, NYC 2583 UNION SQUARE THEATRE, NYC 686, 689,694,720, 1047, 1074 UNITED ARTISTS 801, 896, 897, 1282, 1428, 2448 UNFIT, E. G. 916 UNIVERSAL PICTURES 1478, 1734, 1736, 1738, 1740-1743, 1759, 2450 UNIVERSAL TV 22, 1803 URBAN, JOSEPH 2750 Urquhart, Belle 824 Urquhart, Robert 1746 URSANO, RON 810 Utica 1975 UTOPIA THEATRE, PAINESVILLE, OHIO 2442 Vache 1204, 1382 Vaders, Emma 611 Valaire, Valerie 13 Valdes 1756 Vale 1486 Vale, Mrs. 1486 Valentine, Sydney 1342 Vallancey, Miss 1143 Vallot, Mile. 1614 Van Brunt, Mrs. M. 851 VAN BUREN 2453 Van Deren, D. W. 704 VAN ENGER, CHARLES 1743 Van Sloan, Edward 1734 Van Tosh, Diana 1769 Van Vooren, Monique 1801 VANCOUVER 1817 Vandenhoff 297, 548, 554 VANDENHOFF, H. 600 Vanderen, D. W. 704 VANDOM, JOHN 1781 Vansittart, Rupert 133 VARIETES, PARIS 1560 VAUDEVILLE, LONDON 1030 VAUDEVILLE, PARIS 1660, 1962 Vaughan, Heidi 1802 Vaughan, Mrs. 1482 Vaughn 1838 Vaughn, Bernard 895 Vaughn, Robert 1838 Vauxhall 1714 VAUXHALL, LONDON 1145 Vavasour, Junius 2638, 2757 VEITCH, JOHN PATRICK 1880 Veness, Amy 1336

457

VENICE 1762 Venice Film Festival 1734 Venice Theatre Festival 1762 VERAZZI 1190 Verity, Miss 1494 Vemer, Charles 2064 Vernon 1061,2492 Vernon, Ada 2100 Vernon, Charles 1371 Vemon, Gilbert 2341 Vernon, Howard 1793 Vemon, Ida 935, 2548 Vernon, Marie 2237 Vemon, Mrs. 1064, 1083 Vemon, W. R. 2600 Versailles 1027, 1028 VERSCHLEISER, BEN 761 Veryan, Nora 1756 Vestris, Madame 1031, 1032, 1076, 1082, 1084, 1085, 1121, 1122, 1127, 1128, 1189, 1199, 1207, 1209 VESTRON VIDEO 1851 Vezin, Hermann 640, 1341 Vezin, Mrs. Herman 835 Vicof1189 VICTOR, DAVID 22 Victor, Henry 2448 Victor, Katherine 1844 VICTORIA HALL, STANLEY 2747 VICTORIA THEATRE, STOKE-ONTRENT1807 Victoria, Kate 1171 VICTORIA, LONDON 600, 606, 619, 674, 1213, 1373, 1382, 1703, 1893, 1905, 1914, 1956,2048 VIDEO CITY 1853 VIDEO GEMS 1801 VILLARD, DIMITRI 1867 Villeneuve 1190 Villers, Jessie 1173 Villiers 1025 Villiers, Christopher 70 Villiers, James 1433 Villiers, Miss Laura 2631 Vincent 1041, 1914 Vincent, Eliza 1914, 1956 Vincent, G. 608 Vincent, Miss 674, 1486 Vincent, Miss Helen 702 Vincent, Mrs. 1930 Vincent, Ruth 1467 Vinchon, Mile. 1614 Vine, Mme. 2507 Viner, Edward 895 Vining311, 1482, 1487, 1651 Vining, F. 2492 Vining, J. 559 Vining, Mrs. 548, 1178, 1180 Vining, Mrs. Henry 1914 Vining, Mrs. W. 1956 Vinton, Carrie 872, 2593 Virginia Jubilee Singers 2160, 2170 VITAGRAPH 2420-2422 Vitali, Leon 1821 Vivash 1489 VLAD, ALESSIO 797 Vogt, Petra 1769 Vokes, G. 1051 VOLKSGARTEN, NYC 1118, 2209 Vollaire, George 2451 Vollet 1954 Voltaire 1189 VON HERINGEN HERING, MME 701 VON MEGERLE, THERESE 1945

INDEX OF PROPER NAMES Von Nessen, Doug 1878 VON PINELLI, ALDO 2481 VON RADVANYI, GEZA 2481 Von Rittberg, John 5 Vorkov, Zandor 1781, 1787 Vosper, Frank 1425 VOYSEY, MICHAEL 85, 1365, 1378 Waddell, Clyde 774, 779 Waddington, Patrick 64 Wade 1690 Wade, Little Grade 703, 2152, 2156, 2158, 2161,2170,2171,2193 WAGONER, GEORGE 1740, 1741 Wagner, Chuck 1317 WAGNER, SIDNEY 1479 WAITE, MURRAY 38 Walcot 2058 Walcot, Charles 831-833, 839, 840, 1041, 1043, 1200,2058 Walcot, Mrs. Charles 678, 831-833, 839, 840, 1383,2058 WALDAUER, AUG. 1586 WALDEN, R. W. 1248 Waldo, Minnie 660 Waldron 309, 556, 1371, 1515, 2492 Waldron, Charles 853 Waldron, Miss 1503 WALDRON, W. RICHARD 1371 Waldteufel, E. 1442 Walford, Franklyn 859 WALHAM 2754 Walker 202, 534, 1512 WALKER, BILL 1857, 1866 WALKER, C. E. 1512 Walker, Fiona 53 Walker, Kathryn 2484 WALKER, PETER 1827 Walker, Polly 55 WALKER, R. 1513 Wall 215 Wall, H. H. 620 Wallace, A. A. 2280 Wallace, Amanda 2423 Wallace, Carrie 2280 Wallace, Charles 1263 WALLACE, ENRIQUE 1756 Wallace, Henry 1937 WALLACE, INEZ 781 Wallace, Little Maud 2095 Wallace, Mamie 2280, 2285, 2625 Wallack 317, 347, 609, 1201, 1382, 1453, 1455, 1456, 1559, 1642,2313 WALLACK, ARTHUR 2313 Wallack, H. 347 Wallack, Julia 1184 Wallack, Lester 2170 WALLACK'S NATIONAL THEATRE, NYC 703, 855, 857, 1453, 1455, 1458, 1561, 1614,2059,2553 WALLIS 270 WALLIS,CEDRIC114 Wallis, Lizzy 1891 Wallis, Miss 2055 Wallis, Mrs. 579 Wallis, Mrs. Lancaster 1481 Wallis, S. 582 WALPOLE, HUGH 897 Walrdon 1548 Walrdon, Jr 1548 WALSALL 270, 964 Walsh, Alice 1052 Walsh, Mabel 886 WALT DISNEY 1310, 1858 Walter, Harriet 148

WALTER, OLIVE 817 WALTERS 1982 Walters, Annie 679 WALTERS, ROBERT 616, 647, 653 WALTERS, SHANNON 813 Walters, Thorley 1764 Walton 1146, 1492 Walton, Douglas 1736 Walton, Fred 1263 Walton, Lizzie 2050 Walton, Miss 345 Walton, Miss Retta 1263 Waram, Percy 97, 859 WARD 754, 2055, 2356, 2493, 2495 WARD, ALBERT 2744 WARD, ANTHONY 132 Ward, J.M. 1046 Ward, James T. 2498 WARD, MARY A. 2493 Ward, Miss Ada 2567 WARD, MRS. HUMPHRY 2494 Ward, Robin 1782 Ward, S. W. 582 Ward, Simon 1778 Ward, William 2050 Warde 285, 292, 310, 326, 548, 704, 1922 Wardhaugh,T. 1250 WARE 859, 1144, 1196 Ware, Mrs. B. 1010 Warhol 1854 Warhol, Andy 1801, 1854 Waring, Miss 1516 Waring, Richard 803 Warmer, W. 1915 WARNER BROTHERS 908, 914, 1734, 1746, 1778,2472,2491 WARNER INSTITUTE, BROOKLYN 846 Warner, Charles 1481 Warner, David 1851 Warner, Mrs. 359 Warner, Rick 911 Warren 610, 2492 Warren, Barry 1764 WARREN, JERRY 1844 Warren, Mrs. 258 Warren, W. 1930,2091 Warren, William 2005, 2183 WARRENTON, GILBERT 1282 WARRINGTON 603, 999 WARWICK 126, 273,301 Warwick, Charles 2149 Washbum, Leon W. 2426 W A S H I N G T O N H A L L (WILLIAMSBURG?), LONG ISLAND 2098 Washington, Amy 2290 WASHINGTON, DC 767, 768, 778 WASHINGTON, GEORGE 2216 Washington, Master George 1216 Washington, Sarah 2177 Waterman, Ida 853 Waters, Miss Nelly 1030 WATHEN, STEPHEN C. 1824 WATKIN, DAVID 797 Watkinsll33, 1470 Watkins, Graham 1807 Watkins, Mrs. 1470 Watkinson, Mrs. 1490 Watson 1196, 1338, 1642, 1649, 1655, 1673, 1679, 1690 Watson, Denis Elliot 1426 Watson, Emily 1338 Watson, Groves 2708 Watson, Henrietta 7

458

Watson, Louise 731 Watson, Lucile 97 Watson, Miss 703, 1194, 1388, 1677, 1682 Watson, Miss Henrietta 618 Watson, Miss Lizzie 1051 Watson, Moray 131 Watson, Mrs. 283 Watt, Billie Lou 14 Watteau 1028 Watts 1382 Watts, Mrs. 1147 WAXMAN, FRANZ 1407, 1736 Waylett, Mrs. 1482 Weatherby 1341 WEATHERLEY, F. E. 1465 Weaver, Affie 1588 WEAVER, EDWARD 94 Weaver, H. A 1588 WEBB 2024 Webb, Ada 1224 WEBB, MRS. MARY 2024 WEBB, ROY 3, 781 Webber, Carrie Dillon 2309, 2319, 2331, 2335 Webber, Harry 2309, 2313, 2323, 2335, 2338,2348 WEBBER, LOUIS 2448 Webber, Miss Estelle D. 2478 Webber-Brown, James 1338 Weber, Lisa 1046 Webling 1758 Webling, Miss Lucy 868 WEBLING, PEGGY 1730-1732, 1734, 1758 Webster 559, 572, 682, 1934, 2508 Webster, Ben 92, 1425 WEBSTER, BENJAMIN 572, 1073, 1571, 1714, 1934,2508 Webster, J. 2492 Webster, Miss 835, 1194 Weippert, Mrs. J. 1642 WEISBERG, STEVEN 908 WEISS, GEORGE 119 Weiss, Mitch 1290, 1291 Welch, Mary 13 WELCH'S NATIONAL AMPHITHEATRE, PHILDAELPHIA 1979 WELDON, FAY 131 WELLCLOSE SQUARE 995 WELLES 795, 1880 Welles, Charles B. 832 WELLES, MEL 1794 WELLES, ORSON 780, 783 WELLS 2507 WELLS, FRANK 43, 105 Wells, Marie 2423 Wells, Miss Cora 750 Wells, Miss Mary 574, 679, 1220, 1588, 1593,2498,2511 Wells, Mrs. 216,218,221 WELLS, PEGGY 123 Wells, Thea 65 WELLS, VIRGINIA 43, 105 Wells, W. F. 849 Welsh 1678 Welsh, John 1752 WELSH, T. A 2751 Wemyss, Miss 675, 678 Wemyss, T. 1993 Wemyss, T. C. 2072 Wensley, Ivy 1278 Wesley, Marion 5 WEST LONDON 1666 WEST LONDON THEATRE 2739

INDEX OF PROPER NAMES WEST LONDON [LATER QUEEN'S], LONDON 1666 WEST PIER, BRIGHTON 1177 WEST SIDE THEATRE, NYC 2180 West, Beverly 4 West, Eva 2149 WEST, MATT 1316 West, Miss 1915 West, Sam 89 West, Samuel 89 WEST, VERA 1738 West,W. 1901 Westbrook 118 WESTEMORE, BUD 1743 Western 2504 Western, Helen 1930 Western, Lucille 2497-2499, 2501-2504, 2507, 2509, 2511, 2513, 2520, 2527, 2530-2532, 2534, 2540-2542, 2549, 2554, 2560-2563 WESTINGHOUSE STUDIO ONE 803 W E S T I N G H O U S E STUDIO ONE SUMMER THEATRE 786 WESTMACOTT, CHARLES 1143 WESTMINSTER, LONDON 10 Weston253, 1554 WESTON, GARNETT 1336 Weston, Horace 2177, 2283, 2290 Weston, Lizzie 1982 Weston, Miss 1488 Weston, Mrs. 994, 1643 Weston's Mississippi Cabin Jubilee Singers 2182 WEYMOUTH 1002, 1404, 1499 WHALE, JAMES 1734, 1736, 1843, 1880 Whalley 1112, 1540 Whalley, Stephen 583 Whalley, William H. 2096, 2120, 2554, 2560 Wharton 278 Wharton, Belle 2177, 2181 Wheatcrofl, Nelson 659, 824 Wheatcrolt, Stanhope 1477 Wheatley, Alan 67 Wheelock, Joseph 837, 839, 840 WHELAN, TIM 1336 Whiffen, Mrs. 830 Whiffen, Thomas 829, 830 Whitbeck, Jane 1277 WHITBY 526 Whitby, Gwynne 45 White 1692 WHITE PLAINS, NY 751 White, Becky 2354 White, Charles 5 White, DeVoreaux 1877 White, J. H. 1155 White, Maude 659 White, Miss 2050 White, Miss George 2680 White, Miss Phyllis 1249 WHITECHAPEL, LONDON 2650 Whitehead, Harry 1758 Whitelaw. Billie 797 WHITEMORE, HUGH 797 Whitfield212, 234, 514 Whitfield. Mrs. 514. 516, 517 Whitford, Annabelle 1277 Whiting 1803, 1891 Whiting, J. 2050 Whiting, J. E. 582 Whiting, Leonard 1803 Whitlock, Caroline 1993

Whitlock, Mrs. 252 Whitman, Frank 1930 WHITMORE, HUGH 1767 Whitney, Claire 38, 1477, 2746 Whitrow, Benjamin 133 Whittle, Charles 1978 Whitty, Dame May 92 Whyebrow, Lucy 1338 Whyte 352 WICKES, DAVID 1879 Wickes, Mary 35 WICKHAM, CHRIS 70 Wickwire, Nancy 50 Widdell,J. 1381 Widdicomb, H. 1034, 1685, 1928 Widdicomb, Jarvis 821 Wiest, Dianne 1839 WIGAN 253 Wigan, Alfred 1934 WIGAN, HORACE 608 WIGGINS, JIM 1807 Wilby, James 795, 1328 Wilcox, Frank 2463 WILCOX, FRED 910 WILCOX, JOHN 1759, 1820 Wild 1682 Wild, George 1937 WILDE, LILLA 2690 WILDER 1593 WILDER, GENE 1811 Wilder, J. H. 1593 WILDHORN, FRANK 1434 Wilding, Michael 1803 Wilford, Miss Lily 1055 Wilkes, Annie 2058 Wilkins 1643 Wilkins, Alfred Klein 872 WILKINS, JOHN 1949 Wilkins, Marie 686, 689, 2527 Wilkins, Master 1915 Wilkins, Mrs. 1064 Wilkins, Mrs. S. 2071 Wilkinson 248, 1380, 1701 Wilkinson, June 1853 Wilkinson, Kate 1839 Wilkinson, Lillie 2065 Wilkinson, Mrs. 1486 Wilkinson, Tom 148 William Winter Literary and Dramatic Club 597 Williams 150, 1559, 1895, 2407 Williams, Arthur 867, 891 Williams, B. 1991 Williams, Bransby 1327 WILLIAMS, C. 601, 1010 Williams, Clark 13, 14 Williams, David 2426 Williams, H. 1677, 1682 Williams, Hugh 99, 801 Williams, J. R. 1399 WILLIAMS, JOHN 792 Williams, Miss 1483 Williams, Miss Fanny 1967 Williams, Miss L. 1595 Williams, Mollie 1118 Williams, Mrs. B. 1991 Williams, Muriel 775 Williams, Nina 2654 Williams, Odell 2407 Williams, Richard 73 Williams, S. H. 608 WILLIAMS, SIDNEY 1163 WILLIAMS, WILL 2481 WILLIAMSBURG, BROOKLYN 2069

459

Williamsburgh Dramatic Association 652 WILLIAMSBURGH, BROOKLYN 652, 654, 664, 726,742, 749, 833, 836, 874, 878, 1214, 1541, 1542, 1608, 1612, 1637, 1980, 2067, 2069, 2076, 2081, 2086, 2096, 2128, 2135, 2197, 2207, 2227, 2241, 2253, 2267, 2278, 2286, 2304, 2348, 2519, 2521, 2575, 2592, 2630,2644, 2660 Williamson 218 Williamson, Anna 851 Williamson, Betty 2748 WILLIAMSON, IVY 17 WILLIAMSON, MALCOLM 1783 Williamson, Miss Edith 859 WILLING, JAMES 707, 714 Willis, Austin 1782 Willis, Bertie 2655 WILLIS, EDWIN B. 18, 101, 1407 WILLOUGHBY, ALGERNON 2202 WILLS, WILLIAM GORMAN 718, 721, 723,725, 728 Wilmington Jubilee Singers 2150 WILMINGTON, DELAWARE 2429 WILMORE1198 Wilmore, Lizzie 1046 Wilmot 1061 WILSON 1010, 1178, 1180, 1197, 1390, 1887, 1888 Wilson, Grace 844 WILSON, IAN 55 Wilson, Isabella 2209 WILSON, J. 1155 Wilson, Kate Denin 829, 831, 832, 839, 840 Wilson, Lambert 1879 Wilson, Miss Lizzie 1725 Wilson, Ralph 1758 Wilton 1010 Wilton, Ann 758, 760 Wilton, J. G. 2341 Wilton, Miss 1015 Wilton, Miss Ann 759 Wiltsie, S. S. 2331 WIMLETT, TREVOR 70 WIMPERIS, ARTHUR 1428, 1429 Winans678, 1383, 1993 WINDSOR 45, 51, 61, 74, 108, 121, 323, 1004, 2568 WINDSOR 66 WINDSOR THEATRE, NYC 611, 715, 832, 884, 1602, 1606, 2218, 2228, 2233, 2243, 2258, 2295, 2311, 2328, 2331, 2346, 2584, 2603, 2665 WINDSOR, BRONX 776 Winslet, Kate 148 Winstanley 1382 Winstanley, Kate 2578 Wiaston, Thomas 2350 WINTER GARDEN, NYC 620, 628, 1107, 1219,2055,2058,2501,2517 Winter, Cecil 46 Winter, Joseph P. 2097, 2106, 2121, 2237 Winter, William 597 WINTERS, RALPH 18 WISE, KIRK 1310 Wise, Ray 1294-1297 WISEMAN, CAROL 907, 909 Withers, Googie 80 Witherspoon, Cora 774, 775, 779 Wolfenden 1952 Wolff, Frau 677 WOLK, JAMES 810

INDEX OF PROPER NAMES Wollstonecraft, Mary 35 WOLVERHAMPTON 1909 WONSEK, PAUL 1857 Wood 2177, 2497, 2498, 2552, 2557 Wood, Aggie 1117 Wood, Douglas 38 Wood, Fannie 2164 Wood, Florence 866 Wood, Frank 1051 WOOD, J. HICKORY 1142, 1276, 1277 Wood, Miss Emily 1034 Wood, Miss Lizzie 579 Wood, Mrs. 1043 Wood, Mrs. Henry 2567, 2682, 2744, 2755, 2761 Wood, Mrs. John 1105 Wood, Peggy Ann 41 Wood, Theresa 1046, 1135, 2143, 2535 Wood,W. 1134 Woodbury Theatre 847 Woodbury, David 660 Wooderson, John L. 715 Woodfall, Miss 257 WOODFORD1174 WOODGATE, HERBERT 919, 921 Woodhull 1513 Woodnut, John 911 Woods, Ren 1298-1301 Woodthorpe, Peter 1759 Woodward 2484 Woodward, Edward 2484 Woodward, Eugenia 2746 Woodward, Mrs. 1993 WOOD'S BROADWAY, NYC 2217 WOOD'S MINSTREL HALL, NYC 1044, 1113,2512,2513 WOOD'S MUSEUM, NYC 590, 645,1046, 1135, 1583, 2112, 2124, 2134, 2137, 2143, 2153, 2161, 2535, 2538,2546,2551,2554 WOOD'S OLYMPIC, NYC 2549 WOOD'S THEATRE COMIQUE, NYC 2512,2525 WOOD'S THEATRE, NYC 589, 642, 649, 1048, 1136, 1232, 1587, 1972, 2083, 2094, 2147, 2169, 2182, 2542, 2559, 2572 WOOLF, B. W. 2682-2684 WOOLFE, J. H. 1176 WOOLFF, B. E. 2498 Woolgar 1714, 1934 Woolgar, Miss 1714 Woolls 1553 WOOLVERTON, LINDA 1310, 1316 WOOLWICH 962, 1472, 2673 Woolen, Sarita 801 Woottwell, Tom 1142 WORCESTER 349, 558, 940, 1242, 1483 Worgman, Miss 267 WORKSHOP OF PLAYERS ART, 333 2482 WORLD 2428 Worrell 2492 WORRELL SISTERS', NYC 1114 Worret 676, 677 Worret, Frau 677 WORTH, BOBBY 38 WORTH, LOTHROP B. 1747, 1766 Wortham Theatre Center 1191 WORTHING 1496 WORTHING 124 Woulds 1681 Woulds, Miss 1093 WRAY, ARDEL781

Wray, Mrs. 1015, 1890 Wren Comedy Company 1623 Wren, Alice 2086 Wren, Fred. R. 696 Wren, Mrs. 1627 Wren, Mrs. Ella 750 Wren, Oliver 1627 Wrench 2492 WREXHAM 296, 545 WRIGHT 1091, 1714,2708 WRIGHT COLLEGE THEATRE 1748, 2479 Wright, H. H. 1416 Wright, F. 1371 WRIGHT, FRED. 1174 Wright, Haidee 2658 Wright, Hugh E. 2751 Wright, Mrs. E. 2513 WRIGHT, NORMAN 68, 79 Wri glit, Stephen 916 WRIGHT, THOMAS J. 1300 Wrought 226 Wroughton 516 Wye 1934 WYLER, WILLIAM 801 Wylie 2343 Wyman 1690 Wyndham, Arthur 1051 WYNDHAM'S, LONDON 891 Wynne 1669 Wynne, Miss Clara 1928 Yanes, T. J. 2056 YARBROUGH, JEAN 1813 YARDLEY, WILLIAM 1263 YARMOUTH 1491 Yamold267, 1004, 1059, 1895, 1937 Yamold, Mrs. E. 1010 YATES, GEORGE WORTHING 1750 Yates, Mrs. 516 Yeamans, Annie 2407 Yeamans, Emily 2255 Yeamans, Jennie 2103, 2130, 2208, 2213 Yeamans, Lydia 2255 Yelland, David 909 Yeomans 1382 Yerance, Frank L. 594 Yerance, William 715 YORK 538, 1167 YORK BUILDINGS, LONDON 442 YORK, NYC 1871 York, Susannah 792 Yorke, Leonard 2677 YORKSHIRE TV 1851 YORUM GLOBUS 1292 YOST, DOROTHY 1437 Young 277, 281, 283, 288, 559, 596, 614, 994, 1002, 1928 Young Men's League 2342 YOUNG VIC, LONDON 1314 Young, Alfred 850 YOUNG, B. 1997 Young, Brigham 2115 YOUNG, C. 596 Young, Clara Kimball 2419 Young, Gillian 138 Young, Gladys 67 YOUNG, H. 1893, 1933, 1956, 2029 Young, H. Wilmot 2435 YOUNG, HAROLD 1428 YOUNG, HARRY 800 YOUNG,JEMOND614 YOUNG, JOHN WRAY 773 Young, Miss 524 Young, Mrs. 539, 1486, 1657

460

Young, Mrs. Charles 579, 618 Young, Nellie 2148 Young, Raymond 49 Young, Robert 22, 1407 Younge275,314, 317, 334, 1004 Younge, A. 1928 ZANUCK 905 ZANUCK, DARYL 1479 ZEFFIRELLI, FRANCO 797 Zeller, Sourka 1769 ZERANG, MICHAEL 1881 ZOETROPE 1880 Zuniga 2356 ZURICH 1850