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THE   ADELPHI   THEATRE   CALENDAR
A Record of Dramatic Performances at a Leading Victorian Theatre

Formerly the Sans Pareil (1806-1819), later the Adelphi (1819-1900)
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Contents

Introduction

We have made no attempt to compile an exhaustive bibliography of books and journals referring to nineteenth-century theatre and drama. To do so would needlessly rehash the standard bibliographies. The "Books and Other Published Materials" includes only those works directly mentioned in the calendar and indexes or found to be of particular value in our researches. Scholars interested in a more comprehensive bibliography of nineteenth-century theatre should refer to James Arnott and John Robinson's revision of Robert Lowe's English Theatrical Literature 1559-1900.

Books and Other Published Materials

Adams, W. Davenport. A Dictionary of Drama: A Guide to the Plays, Playwrights, Players, and Playhouses from the Earliest Times to the Present, Vol. I, 1904. Research and Source Work Series, 73. New York: Burt Franklin, 1965. (Vol. II on microfilm).

Adolphus, John. Memoirs of John Bannister, Comedian. 2 vols. London: Richard Bentley, 1839.

Altick, Richard D. The Shows of London. Cambridge, Mass: Belknap Press, 1978.

Appelbaum, Stanley. Scenes from the 19th-Century Stage in Advertising Woodcuts. New York: Dover Publications, 1977.

Appleton, William W. Madame Vestris and the London Stage. New York: Columbia UP, 1974.

Archer, William. English Dramatists of Today. London: Sampson Low, 1882.

Armstrong, Cecil Ferard. A Century of Great Actors, 1750-1850. London: Mills and Boon, 1912.

Arnott, James F. and John W. Robinson. English Theatrical Literature 1559-1900: A Bibliography. London: Society for Theatre Research, 1970.

Arundell, Dennis. The Story of Sadler's Wells 1683-1964. London: Hamish Hamilton, 1965.

Ashley, Leonard R. N., ed. Nineteenth-Century British Drama: An Anthology of Representative Plays. Glenview: Scott, Foresman, 1967.

Bailey, J. O., ed. British Plays of the Nineteenth Century: An Anthology to Illustrate the Evolution of the Drama. New York: Odyssey Press, 1966.

Baker, David Erskine, Isaac Reed, and Stephen Jones. Biographia Dramatica; or, A Companion to the Playhouse. 2 vols. London: Longman, 1812.

Baker, Henry Barton. English Actors from Shakespeare to Macready. 2 vols. New York: Henry Holt, 1879.

----------. History of the London Stage and Its Famous Players (1576-1903). London: George Routledge and Sons, 1904.

----------. Our Old Actors. London: Richard Bentley and Son, 1881.

Baker, Theodore. Baker's Biographical Dictionary of Musicians. Ed. Nicolas Slonimsky. 7 ed. New York: Schirmer Books, 1984.

Barnes, J. H. Forty Years on the Stage: Others (Principally) and Myself. London: Chapman and Hall, 1914.

Bingham, Madeleine. 'The Great Lover': The Life and Art of Herbert Beerbohm Tree. New York: Athenæum, 1979.

----------. Henry Irving: The Greatest Victorian Actor. New York: Stein and Day, 1978.

Bishop, Conrad Joy. "Melodramatic Acting: Concept and Technique in the Performance of Early Nineteenth Century English Melodrama." Diss., Stanford, 1967.

Boaden, James. Memoirs of the Life of John Philip Kemble, Esq. 2 vols. 1825. New York: Benjamin Blom, 1969.

Booth, Michael R. English Melodrama. London: Herbert Jenkins, 1965.

----------. "Going on Stage." The Mind and Art of Victorian England. Ed. Josef L. Altholz. Minneapolis: Minnesota UP, 1976.

Booth, Michael R. Prefaces to English Nineteenth-Century Theatre. Manchester: Manchester UP, n.d.

----------, et al. The Revels History of Drama in English: Volume VI 1750-1880. London: Methuen, 1975.

----------. Victorian Spectacular Theatre 1850-1910. Theatre Production Studies. Boston: Routledge, 1981.

----------, ed. Victorian Theatrical Trades: Articles from The Stage 1883-1884. London: Society for Theatre Research, 1981.

Boulton, William B. The Amusements of Old London. 2 vols. 1901. New York: Benjamin Blom, 1969.

Brayley, Edward Wedlake. Historical and Descriptive Accounts of the Theatres of London. London: Taylor, 1826.

Brook, Donald. A Pageant of English Actors. London: Rockliff, 1950.

Browne, Walter and E. De Roy Koch, eds. Who's Who On the Stage, 1908: The Dramatic Reference Book and Biographical Dictionary of the Theatre, Containing Careers of Actors, Actresses, Managers and Playwrights of the American Stage. New York: B. W. Dodge, 1908.

Bryan, George B. Stage Lives: A Bibliography and Index to Theatrical Biographies in English. Bibliographies and Indexes in the Performing Arts, 2. Westport, Conn.: Greenwood Press, 1985.

Burrows, Marie. The Marie Burrows Art Portfolio of Stage Celebrities. Chicago: A. N. Marquis, 1894.

Catalogue of Additions to the Manuscripts in the British Museum: Plays Submitted to the Lord Chamberlain 1824-1851. London: Trustees of the British Museum, 1964.

Chancellor, Edwin Beresford. Pleasure Haunts of London During Four Centuries. London: Constable, 1925.

Cheshire, D. F. Music Hall in Britain. Newton Abbot, Devon, Eng.: David and Charles, 1974.

Colman, George, the younger. Random Records. 2 vols. London: H. Colburn and Richard Bentley, 1830.

Conolly, L. W. and J. P. Wearing. English Drama and Theatre, 1800-1900: A Guide to Information Services. American Literature, English Literature, and World Literature in English: An Information Guide Series, 12. Detroit: Gale Research Co., 1978.

Cook, Dutton. Nights at the Play. London: Chatto and Windus, 1883.

----------. On the Stage: Studies of Theatrical History and the Actor's Art. 2 vols. London: Sampson Low, 1883.

Cooper, F. Renad. Nothing Extenuate: The Life of Frederick Fox Cooper. London: Barrie and Rockliff, 1964.

Cross, Gilbert B. "Next Week--East Lynne": Domestic Drama in Performance 1820-1874. Lewisburg: Bucknell UP, 1977.

Cumberland Minor Theatres. 1 and 2. London: John Cumberland. n.d.

Darbyshire, Alfred. The Art of the Victorian Stage: Notes and Recollections. 1907. New York: Benjamin Blom, 1968.

Davis, Jim. John Liston, Comedian. London: Society for Theatre Research, 1985.

Dibdin, Charles, the younger. Professional and Literary Memoirs of Charles Dibdin the Younger. Ed. George Speaight. London: Society for Theatre Research, 1956.

Dickens, Charles. The Letters of Charles Dickens. Eds. Madeline House and Graham Storey. 5 vols. Oxford: Clarendon Press, 1965-1982.

----------. The Life of Charles James Mathews. 2 vols. London: Macmillan, 1879.

----------. Memoirs of Joseph Grimaldi. Rev. ed. Ed. Richard Findlater. New York: Stein and Day, 1968.

----------. "Two Views of a Cheap Theatre." The Uncommercial Traveller. London: Chapman and Hall, 1907: 35-49.

Disher, Maurice W. Blood and Thunder: Mid-Victorian Melodrama and Its Origins. London: Frederick Muller, 1949.

Dobbs, Brian. Drury Lane: Three Centuries of the Theatre Royal, 1663-1971. London: Cassell, 1972.

Donohue, Joseph. Theatre in the Age of Kean. Oxford: Basil Blackwell, 1975.

Downer, Alan S. The Eminent Tragedian: William Charles Macready. Cambridge: Harvard UP, 1966.

Duggan, G. C. The Stage Irishman: A History of the Irish Play and Stage Characters from the Earliest Times. 1937. New York: Benjamin Blom, 1969.

Ellis, James and Joseph Donohue, eds. English Drama of the Nineteenth Century: An Index and Finding Guide. New Caanan, Conn.: Readex Books, 1985.

Emeljanow, Victor. Victorian Popular Dramatists. Boston: Twayne, 1987.

Erle, Thomas W. Letters from a Theatrical Scene-Painter. 2 vols. London: privately printed, 1859-62.

Evans, Bertrand. Gothic Drama from Walpole to Shelley. Publications in English 18. Berkeley: U of California P, 1947.

Fawcett, F. Dubrey. Dickens the Dramatist, on Stage, Screen, and Radio. London: W. H. Allen, 1952.

Fawkes, Richard. Dion Boucicault. London: Quartet, 1979.

Filon, Augustin. The English Stage. Trans. Frederic Whyte. 1897. Port Washington, N. Y.: Kennikat Press, 1970.

Findlater, Richard. Joe Grimaldi: His Life and Theatre. 2nd ed. Cambridge: Cambridge UP, 1978.

----------. See Charles Dickens. Memoirs of Joseph Grimaldi.

Fitzball, Edward. Thirty-Five Years of a Dramatic Author's Life. 2 vols. London: T. C. Newby, 1859.

Fitzgerald, Percy. Principles of Comedy and Dramatic Effect. London: Tinsley, 1870.

----------. The Romance of the English Stage. 2 vols. London: Richard Bentley, 1874.

----------. The World Behind the Scenes. 1881. New York: Arno Press, 1977.

Fitzgerald, S. J. Adair. Dickens and the Drama. New York: Scribner, 1910.

FitzSimons, Raymund. Barnum in London. New York: St. Martin's, 1970.

----------. Edmund Kean: Fire from Heaven. London: Hamish Hamilton, 1976.

Foote, Horace. A Companion to the Theatres and a Manual of the British Drama. London: Sanger, 1829.

Forster, John. The Life of Charles Dickens. Ed. J. W. T. Ley. London: Cecil Palmer, 1928.

Frost, Thomas. The Old Showmen and the Old London Fairs. London: Tinsley, 1874.

Furnas, J. C. Fanny Kemble: Leading Lady of the Nineteenth-Century Stage. New York: Dial Press, 1982.

Genest, John, Rev.. Some Account of the English Stage, from the Restoration in 1660 to 1830. 10 vols. Bath: H. E. Carrington, 1832.

Glasstone, Victor. Victorian and Edwardian Theatres: An Architectural and Social Survey. London: Thames and Hudson, 1975.

Grant, James. Penny Theatres: From "Sketches in London", 1838. London: Society for Theatre Research, 1952.

Grebanier, Bernard. Then Came Each Actor. New York: McKay, 1975.

Grove's Dictionary of Music and Musicians. 5th ed. Ed. Eric Blom, 10 vols. London: Macmillan, 1975.

Haddon, Archibald. The Story of the Music Hall. London: Fleetway, 1935.

Hammerton, J. A., ed. The Actor's Art: Theatrical Reminiscences, Methods of Study and Advice to Aspirants. 1897. New York: Benjamin Blom, 1969.

Hare, Arnold. George Frederick Cooke: The Actor and the Man. London: Society for Theatre Research, 1980.

Hartnoll, Phyllis. Ed. The Oxford Companion to the Theatre. 3rd ed. London: Oxford UP, 1967.

Hays, Michael. The Public and Performance: Essays in the History of French and German Theater 1871-1900. Theatre and Dramatic Studies, No. 6. Ann Arbor: UMI Research Press, 1981.

Highfill, Philip H., Kalman A. Burnim and Edward A. Langhans. A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660-1800. 12 vols. to date. Carbondale: Southern Illinois UP, 1973- .

Hogan, Charles Beecher, ed. The London Stage: 1660-1800. A Calendar of Plays, Entertainments, and Afterpieces.. Part 5: 1776-1800. Carbondale: Southern Illinois UP, 1968.

Howard, Diana. Directory of Theatre Resources: A Guide to Research Collections and Information Services. London: Library Association, 1986.

----------. London Theatres and Music Halls 1850-1950. London: Library Association, 1970.

Huberman, Jeffrey H. Late Victorian Farce. Theatre and Dramatic Studies, No. 40. Ann Arbor: UMI Research Press, 1986.

Hughes, Alan. Henry Irving, Shakespearean. Cambridge: Cambridge UP, 1981.

Jerome, Jerome K. Stage-Land: Curious Habits and Customs of Its Inhabitants. London: Chatto and Windus, 1889.

Jerrold, Blanchard. The Life and Remains of Douglas Jerrold. London: W. Kent, 1859.

Johnson, Claudia D. and Vernon E. Johnson. Nineteenth-Century Theatrical Memoirs. Westport, Conn.: Greenwood, 1982.

Kemble, Frances Anne. Records of a Girlhood. 2nd ed. New York: Holt, 1884.

Klepac, Richard L. Mr. Mathews at Home. London: Society for Theatre Research, 1979.

Knight, Joseph. Theatrical Notes. London: Laurence and Bullen, 1893.

Kobbe, Gustav. The Definitive Kobbe's Opera Book. 1919. Ed. Earl of Harewood. New York: G. P. Putnam's Sons, 1987.

Lawrence, William J. Old Theatre Days and Ways. London: Harrap, 1935.

Lennep, William van, et al., eds. The London Stage 1660-1800: A Calendar of Plays, Entertainments and Afterpieces, Together with Casts, Box-Receipts and Contemporary Comment. 11 vols. Carbondale: Southern Illinois UP, 1960-1968.

Le Roux, Hugues and Jules Garnier. Acrobats and Mountebanks. Trans. A. P. Morton. London: Chapman and Hall, 1890.

Lewes, George Henry. On Actors and the Art of Acting. 1875. New York: Grove Press, 1957.

Lightning Image on Home Page, I'm not sure where the original image came from. It has been skewed, resized, and even had the timing altered from the original.

Lowe, Robert W. A Bibliographic Account of English Theatrical Literature. See James Arnott English Theatrical Literature.

McKenna, Wayne. Charles Lamb and the Theatre. New York: Barnes and Noble, 1978.

Macqueen-Pope, W. Gaiety: Theatre of Enchantment. London: W. H. Allen, 1949.

----------. Ghosts and Greasepaint: A Story of the Days That Were. London: Robert Hale, 1951.

----------. Haymarket: Theatre of Perfection. London: William H. Allen, 1948.

----------. Ladies First. London: W. H. Allen, 1952.

----------. St. James's: Theatre of Distinction. London: William H. Allen, 1958.

----------. Pillars of Drury Lane. London: Hutchinson, 1955.

----------. Theatre Royal Drury Lane. London: W. H. Allen, 1945.

Macready, William Charles. The Journal of William Charles Macready: 1832-1851. Ed. J. C. Trewin. London: Longmans, 1967.

----------. The Diaries of William Charles Macready: 1833-1851. 2 vols. Ed. William Toynbee. 1912. New York: Benjamin Blom, 1969.

Mander, Raymond and Joe Mitchenson. The Lost Theatres of London. London: Rupert Hart-Davis, 1968.

Magill, Frank N., ed. Cyclopedia of Literary Characters. New York: Harper and Row, 1963.

Magill, Frank N., ed. The Theatres of London. 2nd ed., rev. London: Rupert Hart-Davis, 1963.

Mapleson, J. H. The Mapleson Memoirs: The Career of an Operatic Impresario 1858-1888. Ed. and annotated by Harold Rosenthal. London: Putnam, 1966.

Marshall, Thomas. Lives of the Most Celebrated Actors and Actresses. London: E. Appleyard, 1847.

Martin, Theodore. Helena Faucit (Lady Martin). London: Blackwood, 1900.

Mathews, Mrs. [Anne]. Memoirs of Charles Mathews, Comedian. 4 vols. London: Richard Bentley, 1838-1839.

Matlaw, Myron, ed. The Black Crook and Other Nineteenth-Century American Plays. New York: Dutton, 1967.

Matthews, Brander and Laurence Hutton, eds. Kean and Booth; and Their Contemporaries. Vol. 3 of Actors and Actresses of Great Britain and the United States from the Days of David Garrick to the Present Time. New York: Cassell, 1886.

Maude, Cyril. The Haymarket Theatre: Some Records and Reminiscences. Ed. Ralph Maude. London: Grant Richards, 1903.

Mayer, David, III. Harlequin in His Element: The English Pantomime, 1806-1836. Cambridge: Harvard UP, 1969.

Meisel, Martin. Realizations: Narrative, Pictorial, and Theatrical Arts in Nineteenth-Century England. Princeton: Princeton UP, 1983.

Melling, John Kenedy. Discovering Theatre Ephemera. Discovering Series, 185. N.p.: Shire Publications, 1974.

Morley, Henry. The Journal of a London Playgoer. 1866. Introd. Michael R. Booth. The Victorian Library. Leicester: Leicester UP, 1974.

Mullin, Donald, ed. Victorian Actors and Actresses in Review: A Dictionary of Contemporary Views of Representative British and American Actors and Actresses, 1837-1901. Westport, Conn.: Greenwood Press, 1983.

Murdoch, James E. The Stage, or Recollections of Actors and Acting from an Experience of Fifty Years. 1880. New York: Benjamin Blom, 1969.

Murray, Christopher. Robert William Elliston, Manager. London: Society for Theatre Research, 1975.

Nalbach, Daniel. The King's Theatre 1704-1867. London: Society for Theatre Research, 1972.

Nicholson, Watson. The Struggle for a Free Stage in London. 1906. New York: Benjamin Blom, 1966.

Nicoll, Allardyce. A History of English Drama 1660-1900. 2nd ed. 6 vols. Cambridge: Cambridge UP, 1955-1959.

Osborne, Charles, ed. The Dictionary of Composers. New York: Taplinger Publishing, 1981.

Pascoe, Charles E. The Dramatic List: A Record of the Principal Performances of Living Actors and Actresses of the British Stage. 1879. St. Clair Shores, Mi: Scholarly Press, 1971.

Pearce, Charles E. Madame Vestris and Her Times. 1923. New York: Benjamin Blom, 1969.

Penzel, Frederick. Theatre Lighting Before Electricity. Middletown, Conn.: Wesleyan UP, 1978.

Perugini, Mark Edward. The Omnibus Box: Enter--Victoria! London: Jarrolds, 1946.

Planche, James Robinson. Recollections and Reflections: A Professional Autobiography. 1901. New York: Da Capo Press, 1978.

Playbills: A Collection and Some Comments. London: Francis Edwards, 1893.

Playfair, Giles. The Prodigy: A Study of the Strange Life of Master Betty. London: Secker, 1967.

Pollock, Frederick. Macready's Reminiscences and Selections from His Diaries and Letters. 2 vols. London: Macmillan, 1875.

Rahill, Frank. The World of Melodrama. University Park: Pennsylvania State UP, 1967.

Raymond, George. Memoirs of Robert William Elliston. 2 vols. 2nd. ed. 1846. New York: Benjamin Blom, 1969.

Rees, Terence. Theatre Lighting in the Age of Gas. London: Society for Theatre Research, 1978.

Reynolds, Ernest. Early Victorian Drama (1830-1870). Cambridge, Eng.: W. Heffer, 1936.

Reynolds, Frederick. The Life and Times of Frederick Reynolds. 2 vols. 2nd ed. 1827. New York: Blom, 1969.

Rice, Charles. The London Theatres in the Eighteen-Thirties. Eds. Arthur C. Sprague and Bertram Shuttleworth. London: Society for Theatre Research, 1950.

Richards, Kenneth and Peter Thomson. Essays on Nineteenth Century British Theatre. London: Methuen, 1971.

Robinson, Henry Crabb. The London Theatre 1811-1866: Selections from the Diary of Henry Crabb Robinson. Ed. Eluned Brown. London: Society for Theatre Research, 1966.

Robson, William. The Old Play-goer. 1846. Fontwell, Sussex, Eng.: Centaur Press, 1969.

Rowell, George, ed. Nineteenth Century Plays. London: Oxford UP, 1953.

----------. Queen Victoria Goes to the Theatre. London: Paul Elek, 1978.

----------. Theatre in the Age of Irving. Totowa, N. J.: Rowman and Littlefield, 1981.

----------, ed. Victorian Dramatic Criticism. London: Methuen, 1971.

----------. The Victorian Theatre 1792-1914: A Review. 2nd ed. Cambridge, Eng.: Cambridge UP, 1978.

----------. William Terriss and Richard Prince: Two Players in an Adelphi Melodrama. London: Society for Theatre Research, 1987.

Ruggles, Eleanor. Prince of Players: Edwin Booth. New York: Norton, 1953.

Russell, W. Clark. Representative Actors: A Collection of Criticisms, Anecdotes, Personal Descriptions, Etc. London: Warne, n.d.

Sanders, Lloyd C., ed. Celebrities of the Century: A Dictionary of Men and Women of the Nineteenth Century. Rev. ed. London: Cassell, 1890.

Sands, Mollie. Robson of The Olympic. London: Society for Theatre Research, 1979.

Saxon, A. H. Enter Foot and Horse: A History of Hippodrama in England and France. New Haven: Yale UP, 1968.

----------. The Life and Art of Andrew Ducrow and the Romantic Age of the English Circus. Hamden, Conn.: Archon Books, 1978.

Schneider, Ben Ross. Index to The London Stage 1660: 1800. Carbondale: Southern Illinois UP, 1979.

Scott, Harold. The Early Doors: Origins of the Music Hall. London: Nicholson and Watson, 1946.

Senelick, Laurence, David F. Cheshire and Ulrich Schneider. British Music-Hall 1840-1923: A Bibliography and Guide to Sources with a Supplement on European Music-Hall. Hamden, Conn.: Archon Books, 1981.

Sherson, Erroll. London's Lost Theatres of the Nineteenth Century, with Notes on Plays and Players Seen There. London: John Lane, 1925.

Short, Ernest. Sixty Years of Theatre. London: Eyre and Spottiswoode, 1951.

Simpson, Harold and Mrs. Charles Braun. A Century of Famous Actresses 1750-1850. London: Mills and Boon, n.d.

Slonimsky, Nicolas, ed. Baker's Biographical Dictionary of Musicians. 1900. 7th ed. New York: Schirmer, 1971.

Smith, James L. Melodrama. London: Methuen, 1973.

Southern, Richard. The Victorian Theatre: A Pictorial Survey. Newton Abbot, Devon, Eng.: David and Charles, 1970.

Stephen, Leslie and Sidney Lee. The Dictionary of National Biography. 66 vols. London: Smith, Elder, 1885-1901.

Stirling, Edward. Old Drury Lane. Fifty Years' Recollections of Author, Actor and Manager. 2 vols. London: Chatto and Windus, 1881.

Stoddard, Richard. Theatre and Cinema Architecture: A Guide to Information Sources. Vol. 5 in the Performing Arts Information Guide Series. Detroit: Gale, 1978.

Stoddart, James H. Recollections of a Player. New York: Century, 1902.

Stokes, John. Resistible Theatres: Enterprise and Experiment in the Late Nineteenth Century. London: Paul Elek, 1972.

Storey, Robert. Pierrot: A Critical History of a Mask. Princeton: Princeton UP, 1978.

Stratman, Carl J. Britain's Theatrical Periodicals 1720-1967: A Bibliography. New York: New York Public Library, 1972.

Swortzell, Lowell. Here Come the Clowns: A Cavalcade of Comedy from Antiquity to the Present. New York: Viking, 1978.

Thorne, J. O., ed. Chambers's Biographical Dictionary. 1897. New York: St. Martin's Press, 1961.

Three Victorian Telephone Directories: 1884, 1885. Introd. David St. John Thomas. Newton Abbot, Devon: David and Charles, 1970.

Tomlins, Frederick G. A Brief View of the English Drama. London: C. Mitchell, 1840.

Trewin, J. C., ed. The Pomping Folk in the Nineteenth-Century Theatre. London: Dent, 1968.

Troubridge, St. Vincent. The Benefit System in the British Theatre. London: Society for Theatre Research, 1967.

Walsh, Townsend. The Career of Dion Boucicault. 1915. New York: Benjamin Blom, 1967.

Watson, Ernest B. Sheridan to Robertson: A Study of the Nineteenth-century London Stage. Cambridge, Mass.: Harvard UP, 1926.

Wearing, J. Peter. American and British Theatrical Biography: A Directory. Metuchen, NJ: Scarecrow Press, 1979.

----------. The London Stage 1890-1899: A Calendar of Plays and Players. 2 vols. Metuchen, NJ: Scarecrow Press, 1976.

----------. The London Stage 1900-1909: A Calendar of Plays and Players. 2 vols. Metuchen, NJ: Scarecrow Press, 1981.

Webster, Margaret. The Same Only Different: Five Generations of a Great Theatre Family. New York: Alfred Knopf, 1969.

White, Eric Walter. A History of English Opera. London: Faber, 1983.

----------. A Register of First Performances of English Operas and Semi-Operas from the 16th Century to 1980. London: Society for Theatre Research, 1983.

Whyte, Frederic. Actors of the Century: A Play-Lover's Gleanings from Theatrical Annals. London: George Bell, 1898.

Wicks, Charles B. The Parisian Stage: Alphabetical Indexes of Plays and Authors, Part 1 (1800-1815). University of Alabama Studies, 6. University, Al.: Alabama UP, 1950.

Wilmeth, Don B. George Frederick Cooke: Machiavel of the Stage. Contributions in Drama and Theatre Studies, No. 2. Westport, Conn.: Greenwood Press, 1980.

Wilson, A. E. East End Entertainment. London: Arthur Barker, 1954.

----------. King Panto: The Story of Pantomime. New York: Dutton, 1935.

----------. The Story of Pantomime. London: Home and Van Thal, 1949.

Winston, James. Drury Lane Journal: Selections from James Winston's Diaries 1819-1827. Ed. Alfred L. Nelson and Gilbert B. Cross. London: Society for Theatre Research, 1974.

Winter, William. Vagrant Memories: Being Further Recollections of Other Days. New York: George H. Doran, 1915.

----------. The Wallet of Time: Containing Personal, Biographical and Critical Reminiscence of the American Theatre. 2 vols. New York: Moffat, Yard, 1913.

Woollcott, Alexander. Mr. Dickens Goes to the Play. 1922. Port Washington, N. Y.: Kennikat Press, 1967.

Wyndham, Henry Saxe. The Annals of Covent Garden Theatre from 1732 to 1897. 2 vols. London: Chatto and Windus, 1906.

Journals and Ephemera

"The Adelphi Scrapbook." See James Winston, "The Adelphi Scrapbook."

"Athenæum Journal of English and Foreign Literature, Science, the Fine Arts, Music and the Drama."

Baker, H. Barton. "The Old Melo-drama." Belgravia May 1883: 331-39.

Blanchard, E. L. "The Playgoer's Portfolio: History of the Adelphi Theatre." The Era Almanack (1877): 1-10.

The British Stage and Literary Cabinet. 1817-1822.

Donohue, Joseph. "Burletta and the Early Nineteenth-Century English Theatre." Nineteenth Century Theatre Research 1 (Spring 1973): 29-51.

The Drama; or, Theatrical Pocket Magazine. 1821-1825.

Educational Theatre Journal. 1949-1978.

The Era. 1838-1939.

The Era Almanac. 1868-1919.

Forman, W. Courthope. "The Story of the Adelphi Theatre." Notes and Queries June 14, 1930: 419-22.

Hamilton, Clayton. "Melodramas and Farces." Forum Jan. 1909: 25-32.

Harter, Jim, ed: Men A Pictorial Archive From Nineteenth-Century Sources. New York: Dover Publications, Inc., 1980

Harter, Jim, ed: Women A Pictorial Archive From Nineteenth-Century Sources. 2nd Ed, New York: Dover Publications, Inc., 1978, 1982

Mayer, David. "The Sexuality of Pantomime." Theatre Quarterly 4.13 (1974): 55-64.

"Metropolitan Theatres--No. 2. The Adelphi." Theatrical Times. June 19, 1847: 188-89.

Mirror of the Stage; or, New Dramatic Censor. 1822-1824.

Nelson, Alfred L. "'True Blue' Scott and His Daughter at the Sans Pareil." Unpublished essay.

Nevin, Robert. "Stephen C. Foster and Negro Minstrelsy." Atlantic Monthly. Nov. 1867: 608-616.

Nineteenth Century Theatre. 1973- .

Oxberry's Dramatic Biography and Historical Anecdotes. 1825-1826.

Quinn, Gerard, ed: The Clip Art Book, New Jersey: Crescent Books, 1990

The Theatre: A Weekly Critical Review. 1877-1897.

Theatre History Studies. 1981- .

Theatre Journal. 1979- .

Theatre Notebook. 1945- .

Theatre Research International. New Series. 1976- .

Theatre Survey. 1960- .

The Theatrical Inquisitor; or, Literary Mirror. 1812-1820.

The Theatrical Journal and Stranger's Guide. 1839-1873.

Theatrical Observer. 1821-1876.

The Theatrical Times. 1846-1851.

Trussler, Simon. "A Chronology of Early Melodrama 1764-1840." Theatre Quarterly 1.4 (1971): 19-21, 93.

Winston, James. "The Adelphi Scrapbook." MS. London Theatre Museum.

Iconography

The first two images are of the Sans Pareil Theatre.  The exterior is dated 11 Oct 1816, which would be a decade after the theatre opened and three years before it became the Adelphi.

The remaining graphics are from The Clip Art Book edited by Gerard Quinn and published by Crescent in 1990.  They are reproduced in accord with the publishers' note, which states: "The Clip Art Book is a new compilation of illustrations that are in the public domain.  The individual illustrations are copyright free and may be reproduced without permission or payment.  However, the selection of illustrations and their layout is the copyright of the publisher, so that one page or more may not be photocopied or reproduced without first contacting the publishers."

Image Source Used

[The Rout] & [Tempest Terrific] by Jane Scott played by Jane Scott.

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The Old Oak Chest by Jane Scott who played Roda.  Daly played Rofus, a bandit.

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An "order" (complimentary admission) for Ten Thousand a Year by Richard Peake, signed by Frederick Yates, theatre manager.

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A scene from Harlequin Blue Beard; or, The Fairy of the Silver Crescent by Edward Stirling, choreography by Frederick Frampton and composed by William Kearns.

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The Christmas Carol; or, Past, Present, and Future was sanctioned by Charles Dickens and written by Edward Stirling.  O. Smith played Scrooge and R. Hughes was the Ghost of Old Jacob Marley.

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The Mysterious Stranger, founded upon Satan; ou, Le Diable à Paris.  Written by Charles Selby.  Mme. Céleste played the Mysterious Stranger.  James Hudson played the Count.  Mlle. de Nantelle was Miss Emma Harding.

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Cat's Castle; or, Harlequin and the King of the Rats, author William B. Buckstone, composer Alfred L. Mellon.  Whiskers was Christopher J. Smith and Killcat, John Sanders (later they become Clown and Pantaloon).

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The Chimes, a Goblin Story of Some Bells that Rang an Old Year Out and a New Year In (based on Dickens' novel) by Mark Lemon and Gilbert A. à Beckett.  Toby (Trotty) Veck was played by W. O. Smith.  Meggy by Julia H. Fortescue, Will Fern, James Hudson and Lilian, the Orphan, Emily M. Turtle.

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Green Bushes; or, A Hundred Years Ago, author John B. Buckstone.  Miami, later Mme. St. Aubert, was played by Céline Céleste, Evelleen (a child) Miss Robins, Geraldine Mrs. Frederick Yates and George Kennedy by James Hudson.

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Saint George and the Dragon by Gilbert A. à Beckett and Mark Lemon.  "Founded upon a polite request of Mme. Céleste." St. George was played by Sarah Woolgar, Almidor (a black monarch) Wright, Princess Sabra by Miss Ellen Chaplin and Ptolemy Charles Selby.

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Flowers of the Forest by John Buckstone.  Cynthia (left) is played by Céline Céleste, Lemuel Sarah Jane Woolgar, and Starlight Bess (right) by Fanny Fitzwilliam.

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Flowers of the Forest by John Buckstone.

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Flowers of the Forest by John Buckstone.

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The Enchanted Isle; or, Raising the Wind on the Most Approved Principles by William and Robert Brough. A burlesque based on Shakespeare's "The Tempest."  Miranda was played by Marian A. Taylor.

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The Haunted Man and the Ghost's Bargain by Mark Lemon.  Edward R. Wright as A. Tetterby.

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Cockneys in California by Joseph S. Coyne.

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The Hop Pickers by Thomas Parry.

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Frankenstein; or, The Model Man by Robert and William Brough.  Frankenstein was played by Edward Wright and "The What Is It" by Paul Bedford.  Published with a subtitle–A Piece of Golden Opportunity.

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Jessie Gray by Robert Brough and John Bridgeman.

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La Tarantula; or, The Spider King by Albert Smith.  Spiderion, King of Spiders, was played by Sidney.  Luigi played by Sarah J. Woolgar and Loretta by Céline Céleste.

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Belphegor, the Mountebank; or, The Pride of Birth by Ben Webster.  Ben Webster played Belphegor.

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Scene from the new drama of the "Queen of the Market," by H. C. Coape and Ben Webster at the Adelphi Theatre.  There is also a review of Mephistopheles; or, An Ambassador from Below! by Robert Brough   (April 14, 1852).

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Slave Life; or, Uncle Tom's Cabin by Tom Taylor and Mark Lemon.  Mrs. Robert Keeley appeared as Topsy.  This is its premiere performance.  A copy of the book, which contains this image and is edited by Charles Jefferys, was listed on Amazon.com, but it is no longer available.

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Thirst for Gold; or, The Lost Ship and the Wild Flowers of Mexico by Ben Webster.  Tableau 2 was " The sea of ice."  Jules de Valois (Captain of The Eugenie) was played by Charles Selby.

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Two Loves and a Life by Tom Taylor and Charles Reade.  Scene: Bardsea Hole by moonlight.

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The Slow Man by Mark Lemon.  Ned Crosswell (alias the Brentford Pet) was played by Sanders.

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Janet Pride by Dion Boucicault.  The heroine was played by Mme. Céleste.

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The Fairy Tales of Mother Goose, author unknown, composer Alfred Mellon.  Lively Jack was Sarah Woolger.  Here she rescues Little Red Riding Hood (Mary L. Keeley) from the wolf (Paul Bedford).  Mother Goose was played by Miss Wyndham.

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Mm. Céleste's benefit night.  Helping Hands by Tom Taylor.  Robert Keeley as William Rufus and 'Tilda, by his wife.

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Jack and the Bean Stalk; or, Harlequin and Mother Goose at Home Again.  The author is unknown, but the composer was Alfred Mellon.

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"A little one-act piece, adapted from ... Pas de Fumée Sans Feu was produced at the Adelphi, under the title A Bottle of Smoke.  The adapter is, we believe, a lady; and that lady is herself the artiste who divides with Mr. Wright the honours of the performance."  Sunday Times, 25 Mar 1856, p. 3.  John Cambricson (proprietor of "Merino House"): Edward Wright; Lucy Merton (an artist): Miss Wyndham.

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Mr. and Mrs. Barney Williams, popular American actors.

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Written by Charles Selby and based on Les Elfes.  The Elves; or, The Statue Bride.  Last scene "the fairy bower of roses" designed by Tom Pitt.

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Mother Shipton, Her Wager; or, Harlequin Knight of Love and the Magic Whistle by C. T. Thompson.

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The Borgia Ring; or, A Legend of Stonehenge by Angelo R. Slous.

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The Fall of the Bastille scene from The Dead Heart (Watts Phillips) at the New Adelphi Theatre.  Robert Landry (center) was played by Ben Webster.

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It's An Ill Wind That Blows Nobody Good by John Oxenford.  Alfred S. Wigan and his wife starred in the piece.

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The Octoroon; or, Life in Louisiana by Dion Boucicault.  Scene "The sale of the Octoroon (Zoë)" Zoë was played by the author's wife, Agnes Robertson.

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Leah by Augustin Daly.  Leah, a Jew, was played by Kate Bateman who "made the role." Rudolph, her Christian lover, was played by John Billington.

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The Workman of Paris; or, The Drama of the Wine Shop. (author unknown, composer M. Artus)  Tableau 8 (James Gates) Quai des Ormes with view of Seine and Paris by moonlight.

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Pan; or, The Loves of Echo and Narcissus by Henry J. Byron.  New and original classical pastoral extravaganza in 7 scenes.  Pan was played by John L. Toole.  Syrinx was played by Miss Lilian Bruce and Narcissus by Mrs. Alfred Mellon.

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Rip Van Winkle; or, The Sleep of Twenty Years by Dion Boucicault.  The famous American actor, Joseph Jefferson, played Rip.

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Lost in London by Watts Phillips.  Final scene: Job Armroyd (Henry Neville) confronts Featherstone, the owner of the Bleakmore Mine (Ashley).  His wife was played by Adelaide Neilson.

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Amateur Performance at the Adelphi Theatre:  Scene from A Sheep in Wolf's Clothing (by Tom Taylor).

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Dora (based on Tennyson's poem) by Charles Reade.  Dora was played by Kate Terry and Luke, in love with her, by John Billington.  The scene is a wheat field in the setting sun.

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Scene from Maud's Peril.

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No Thoroughfare by Charles Dickens and W. Wilkie Collins.  The cast is Joey Ladle (Benjamin Webster), Sally Goldstraw (Mrs. Alfred Mellon), George Vendale (Henry G. Neville), Jules Obenreizer (Charles Albert Fechter), Marguerite (Carlotta Leclercq), Walter Wilding (John Billington) and Bintrey (George G. Belmore).

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No Thoroughfare by Charles Dickens and W. Wilkie Collins.

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Put Yourself in His Place; or, Free Labour by Charles Reade.  Henry G. Neville played Henry Little.

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Wandering Jew, from Eugene Sue's novel, written by Leopold Lewis (author of The Bells).  Scene 1: The Arctic regions.  Howard Russell played the Wandering Jew.

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The Geneva Cross by George F. Rowe.  Act II: a grand marquee in the grounds.  Performed 500 times in the United States.

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The Geneva Cross by George F. Rowe.  Act IV: a casemate in the forts.  Performed 500 times in the United States.

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Nicholas Nickleby by Andrew Holliday, based on Dickens' novel.  Squeers was played by John Clarke and Mrs. Squeers by Mrs. Alfred Mellon.  William Terriss played Nicholas Nickleby and Lydia Foote was Smike.

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British tars dance in Little Goody Two-Shoes by Edward Blanchard.

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Little Goody Two-Shoes by Edward Blanchard.

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True to the Core.  A Story of the Armada by Angelo Slous.  A nautical melodrama that won the Thomas Potter Cooke prize.  Cooke left the interest on £2,000 to fund an annual prize for the best nautical melodrama.  This prize was never given again, and the principal's fate remains a mystery.  This scene is the reef of Eddystone (as it appeared in 16th Century) with wreck of Spanish man-of-war.

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Little Red Riding Hood, or, Harlequin Grandmama.  A summer pantomime performed entirely by children.  Written by Edward Blanchard.  Rose de l'Amour was played Miss Emilie Grattan and Bonbon by Master Harry Grattan.

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Robin Hood and His Merry Little Men by Edward L. Blanchard--a pantomime performed by children.  Harry Grattan played Robin Hood and his sister, Emilie, Maid Marion.

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Scene from the opera of The Merry Wives of Windsor. T. Aynsley Cook (see page 551) played Falstaff.

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Michael Strogoff was based on Adolphe P. Dennery and Jules Verne's play from the latter's novel. Adapted by Henry J. Byron. "It is enriched with many passages of dialogue which are of the adapter's own invention ... thoroughly in the vein in which English audiences take delight" (Times, 17 March 1881). The title role was played by Charles Warner, his wife, by Mrs. Hermann Vezin.

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Scenes from Love and Money.

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Storm-Beaten by Robert Buchanan.  The scenic designer was E. W. Goodwin.  Jabez Greene, the shepherd, was played by H. Beerbohm Tree.  Mrs Christianson was played by Mrs. John Billington.

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In the Ranks by George Sims and Henry Pettitt.  Scenery by Walter Hann and Bruce Smith.  The graphic shows a drop curtain (cloth) of the village in Act III, ii in front of Dingley Wood of Act I, iii.  John Ryder played Colonel Wynter and John Beauchamp, the hop picker.

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In the Ranks by George Sims and Henry Pettitt.  Scenery by Walter Hann and Bruce Smith.  O'Flanigan was played by "Archer" real name Prince.  It was he who subsequently murdered William Terriss.  Act I Woodside Farm, Act II, ii the villiage church, Act IV the barrack yard.

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Scenes from The Last Chance.

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The Colleen Bawn Dion Boucicault’s famous domestic drama.

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The Harbour Lights by George Sims and Henry Pettitt.  Lt. David Kingsley, R. N. was played by "matinee idol" William Terriss.

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The Bells of Haslemere by Henry Pettitt and Sydney Grundy.  William Terriss played Frank Beresford (Squire of Haslemere).  Jessie Millward played his love interest, Evelyn Brookfield.  Act III, iii the corn brake was designed by Bruce Smith.

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The Union Jack by Henry Pettitt and Sydney Grundy.  Jack Medway (a sailor) was played by William Terriss and Ethel Arden by Jessie Millward.  "Rose cottage" was designed by William Perkins. Note on playbill: "Theatre lighted entirely by electricity by the Edison and Swan United Electric Company."

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The Silver Falls by George Sims and Henry Pettitt.  In this scene, William Terriss discovers beautiful Lolla (Olga Nethersole) is an unscrupulous adventurer who, he believes, had been murdered by a rejected suitor. Eric Normanhurst was played by William Terriss and Primrose Easterbrook by Jessie Millward.  Terriss' future murderer, Richard Archer Prince, played Diego.

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London Day by Day by George Sims and Henry Pettitt.  The Leicester Square scene was by Bruce Smith.

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The White Rose (based on Scott's Woodstock) by George Sims and Robert Buchanan.  Charles Cartwright played Cromwell, Fuller Mellish, Prince Charles and J. D. Beveridge played Sir Harry Lee.

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The Girl I Left Behind Me by Franklin Fyles and David Belasco.  Photos of the Adelphi actors in costume.  1. Jessie Millward as Kate Kennion 2. Marie Montrose as Wilbur's Ann and E. W. Gardiner as Dr Penwick 3. Julian Cross as John Ladru and 4. Mary Allestree as Fawn Ladru.

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The Girl I Left Behind Me by Franklin Fyles and David Belasco.  Photos of the Adelphi actors in costume.  1. William Abingdon as Lt. Morton Parlow 2. Charles Fulton as Major Burleigh 3. Francis Macklin as Gen. Kennion and 4. William Terriss as Lt. Hawksworth.

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The Swordsman's Daughter by Brandon Thomas and Clement Scott (based on Jules Mary and George Grisler's play Maitre d'Armes).  Prominently displayed are Jessie Millward and William Terriss (right center).

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One of the Best by Seymour Hicks and George Edwardes.  Esther Coventry was played by Henrietta Watson, not Jessie Millward, from 30 Jan to 26 Feb 1896.

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One of the Best by Seymour Hicks and George Edwardes.  William Terriss played Dudley Keppel (Lt. Second Highlanders) and Jessie Millward, Esther Coventry.

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One of the Best by Seymour Hicks and George Edwardes.  William Terriss played Dudley Keppel (Lt. Second Highlanders) and Jessie Millward, Esther Coventry.

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One of the Best by Seymour Hicks and George Edwardes.  Scenes from the play, which was loosely based on the Dreyfus affair.  A super, Richard Archer Prince, conceived his murderous hatred for Terriss during a fake rehearsal for this piece.

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Boys Together by C. Haddon Chambers and J. Comyns Carr.  Scene i--Frank Villars (William Terriss) is rescued.  Scene ii--William Terriss with Luigi LaBlanche as Hassan.  Scene iii--William Terriss and Jessie Millward attempt to save Hugo (William Abingdon) who has fallen over a precipice in the Alps.

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Secret Service by Wm. Gillette.  The American production of Secret Service opened 15 May 1897.  The Theatre (1 June 1897) declared it "the best play of its kind which America has yet sent us."  It follows the basic rules of melodrama and includes a war theme.  The heroine of one side falls in love with the hero of the other.  Love rises above politics.  After bowing to these conditions, the author brought a small part of the American Civil War to the London Stage.

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  • First Performance: May 15, 1897
  • (Theatrical Poster Collection (Library of Congress), http://hdl.loc.gov/loc.pnp/var.0871, Author Strobridge Lith. Co. Also available at http://en.wikipedia.org/wiki/File:William_Gillette_-_Secret_Service.jpg, May 15, 1897)

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In the Days of the Duke by C. Haddon Chambers and J. Comyns Carr.  Colonel Lanson was played by C Cartright (left).  Captain of Grenadier Guards, William Terriss, faces off against the Irish adventurer, O'Hara (James Beveridge).  Upper inset, Terriss and Millward.  Richard Prince stabbed Terriss mortally on December 16, 1897 while The Secret Service was being performed.

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William Terriss had a key to enter by the Adelphi’s Royal Entrance in Maiden Lane.  Just before a performance of Secret Service, he was murdered by Richard Prince (16 December 1897).

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Bonnie Dundee by Lawrence Irving.  Act I, i--a country churchyard and Act III, i--room in Dudhope Castle were designed by Hawes Craven.  Bonnie Dundee was played by Robert Taber.  Bonnie Dundee was John Graham, 7th Laird of Claverhouse.  He died at the battle of Killiecrankie (1689). Walter Scott immortalize him in a poem that was later adapted into a song.  The tune became a marching song for many regiments and the Confederate armies in the American Civil War.

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Addison, Fanny (Mrs. Henry Mader Pitt) (1844-1937): Actress

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Barnett, Alice (1846-1901): Singer, Actress

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Barry, Helen (Elizabeth Short) (1840-1904): Actress

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Barry, Helen (Elizabeth Short) (1840-1904): Actress

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Bateman, Kate: As Leah (from the play of the same name by Augustin Daly).

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Bedford, Paul J.: as Saint George and the Dragon by Gilbert A. à Beckett and Mark Lemon.  The Dragon (a national nuisance) was played by Paul J. Bedford.

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Bedford, Paul J.: Veteran comedian of the Adelphi Theatre

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Bernhardt, Sarah.: Hamlet, played by Sarah Bernhardt.  She continues a tradition of women playing male roles.  She had already performed King Lear.  This Hamlet was a prose adaptation by Eugene Morand and Marcel Schwab.  It ran four hours!  (See Robert Gottlieb, Sarah.  The Life of Sarah Bernhardt.  New Haven, YUP, 2010, p 142. Ophelie was played by Marthe Mellot.

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Boursiquot, Dionysius (Dion Boucicault) (1820-1890): Actor, playwright

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Buckstone, John Baldwin (1802-1879): Actor, playwright, comedian

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Byron, Henry James (1835-1884): Dramatist, editor, journalist, director, manager, novelist, and actor.  Photo of Henry J. Byron, Hollingshead, John. Good Old Gaiety, London 1903. p 14.

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Campbell, Mrs. Patrick (Beatrice Stella Tanner) (1865-1940): Actress.  Photographed in the United States pre 1897; Philip H. Ward Collection of Theatrical Images (1856-1910).

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Campbell, Mrs. Patrick (Beatrice Stella Tanner) (1865-1940): Actress

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Céleste, Mme. Céline (c1810/11–1882) dancer, actress, manager, was born in Paris and studied at the Paris Conservatory.  In 1827, she made her first professional appearance at the Bowery Theatre, New York.  At age of 18, she married Henry Elliott of Baltimore, with whom she had a daughter.  Elliott died soon after the marriage.  In 1830, she moved to England where she played mute parts, which allowed her to conceal her halting English.  With Benjamin Webster, her business partner and lover, Madame Céleste became manager of the Adelphi.  In The Green Bushes (1845), she played Miami, a French-Indian huntress of the Mississippi.  Its author, John Baldwin Buckstone, wrote several plays specifically for her.  After a falling out with Webster (with whom she eventually reconciled), she became lessee of the Lyceum and Olympic.  Mme. Céleste retired after twelve final appearances as Miami (November 1873).  She died of cancer in 1882.

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Céleste, Mme. Céline, c1810/11–1882 : In her favourite role, Miami, Huntress of the Mississippi, in John B. Buckstone's Green Bushes; or, A Hundred Years Ago.

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  • First Performance: Jan 27, 1845
  • (Female Costumes, Historical, National, and Dramatic, Thomas Hailes Lacy, 1865, Plate 14.  The University of Georgia Libraries, http://djvued.libs.uga.edu/GT513xL32/ldcmenu.html., Jan 27, 1845)

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Céleste, Mme. Céline, c1810/11–1882: In her favourite role, Miami, Huntress of the Mississippi, in John B. Buckstone's Green Bushes; or, A Hundred Years Ago.

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Cook, Aynsley: As Falstaff.  Stretch, Matt, 19th cent., artist.

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Cooke, Thomas Potter: As Marmaduke Morgan [sic] in Buckstone's Presumptive Evidence.

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Collins, William Wilkie (1824-1889): Novelist, playwright, author. Picture by Elliott and Fry of 55 Baker Street, taken possibly in 1871. Library of Congress, Carries notation "No known restrictions on publication."; 1871 (2011-11-13, according to EXIF data); Photographer Elliott and Fry.

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Collins, William Wilkie (1824-1889). Painted by Rudolph Lehmann (1895-1905), given to the National Portrait Gallery, London in 1947. (See source website for additional information.)

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Courtneidge, Robert (1859-1939): Manager, producer, and playwright.  Printed in and scanned from ''The Playgoer and Society Illustrated'', Volume 6 (1912), p. 84.

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D'Auban, Frederick John (1842-1922): Dancer, choreographer, actor.  A 19th century newspaper caricature of John D'Auban, artist unidentified. Reprinted in and scanned from "The Savoy Choreographers", The Savoyard, Vol. XX No. 1, March 1981, published by the D'Oyly Carte Opera Trust.

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D'Auban, Frederick John (1842-1922): Dancer, choreographer, actor.  Drawing of John D'Auban rehearsing the bass-baritone W. H. Denny for the role of The McCrankie in Haddon Hall, scanned from Burgin, G. B, "Rehearsing the Savoy Opera", Idler, January 1893 p.354.

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Edwin, Elizabeth Rebecca (1771?-1854): Actress.  NYPL, Billy Rose Collection.

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Emery, Samuel Anderson (1817-1881): Actor

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Fechter, Charles Albert (1824-1879), Actor.  Fechter as Hamlet around 1872, published 1879; Author Boning & Small, London.

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Fitzwilliam, Frances Elizabeth (Fanny Elizabeth Copeland) (1801-1854): Actress

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Fowler, Emily (1850-1896): Actress, singer, theatre manager.

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Furtado, Teresa Elizabeth (1845-1877): Actress

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Gillette, William Hooker (1855-1937): Actor, playwright, stage-manager.  United States Library of Congress's Prints and Photographs division under the digital ID cph.3a03734.

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Hicks, Sir Arthur Seymour (1871-1949).  Actor, music hall performer, playwright, screen writer, theatre manager, and producer.

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Jefferson, Joseph (1829-1905): Actor.  "Dis von don't count." U.S. actor Joseph Jefferson, in his celebrated character of Rip Van Winkle.  Library of Congress, Prints & Photographs Division, LC-USZC4-631 (color film copy transparency).

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Jefferson, Joseph (1829-1905): Actor.  Rip van Winkle, photographed by Napoleon Sarony in 1869. Western History/Genealogy Department, Denver Public Library.

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Jefferson, Joseph (1829-1905): Actor.  Between 1870 and 1880; Library of Congress Prints and Photographs Division. Brady-Handy Photograph Collection. CALL NUMBER: LC-BH826- 1380.

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Jerrold, Douglas William (1803-1857): Dramatist and writer.  Painted by Sir Daniel Macnee (died 1882), given to the National Portrait Gallery, London in 1869. See source website for additional information.

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Keeley, Mrs. Robert (Mary Anne Goward) (1805-1899): Actress & actor-manager

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  • First Performance: Jul 1, 1830
  • ((c1830-1850) cityoflondon.gov.uk; ‘Breeches Role’.  Located on Wikipedia: http://en.wikipedia.org/wiki/Mary_Anne_Keeley; http://www.cityoflondon.gov.uk/Corporation/lma_learning/theatrelands/gallery.asp?ID=TL-IG-09.jpg., Jul 1, 1830)

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Keeley, Mrs. Robert (Mary Anne Goward) (1805-1899): Actress & actor-manager

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  • First Performance: Jul 1, 1830
  • (National Portrait Gallery, London: NPG 1558; Age 92.  Located on Wikipedia: http://en.wikipedia.org/wiki/Mary_Anne_Keeley; http://www.npg.org.uk/collections/search/portrait.php?search=ap&npgno=1558&eDate=&lDate=., Jul 1, 1830)

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Keeley, Robert (1793-1869): Actor, Manager, Female impersonator.  Photograph of Robert Keeley 1864; Photographer W. Walker & Sons.

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  • First Performance: Oct 1, 1821
  • (Located on Wikipedia: http://en.wikipedia.org/wiki/Robert_Keeley_%28comedian%29; http://www.npg.org.uk/collections/search/portraitLarge/mw123898/Robert-Keeley?search=ss&firstRun=true&sText=robert+keeley&LinkID=mp82656&role=sit&rNo=2., Jan 1, 1864)

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Keeley, Robert (1793-1869): Actor, Manager, Female impersonator.  Portrait of Robert Keeley (comedian) as 'Mrs Caudle' in Douglas Jerrold's Mrs Caudle's Curtain Lectures; Scanned from Walter Goodman's The Keeleys On Stage and At Home, London: Bentley and Son (1895) pg 197; 1895.

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Mathews, Charles (1776-1835): Theatre manager and comic actor.  Detail from a mezzotint by Charles Turner, 1825, after an oil painting by James Lonsdale.

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Millard, Evelyn Mary (1869-1941): Actress.  Photograph of Evelyn Millard as Maid Marian in Robin Hood; Scanned from a postcard c1906.

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Millward, Jessie (1861-1932): Actress.  Seen here with William Terriss in The Harbour Lights, c1890.

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Moore, Maggie (Margaret V. Sullivan) (1851-1926): Actress.  Maggie Moore, photographed in the 1870s. La Trobe Picture Collection, State Library of Victoria, IAN07/09/74/148.

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Neville, Thomas Henry Gartside (1837-1910): Actor, dramatist, teacher, manager

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Owens, J. E. , the American Comedian, as "Solon Shingle,"

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Planché, James Robinson (1796-1880): Dramatist, antiquary, officer of arms.  Painting of James Planché from 1835. Author Henry Perronet Briggs (1793–1844).

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Poole, John.: Paul Pry by John Poole.  Benefit performance for Edward Wright playing the title character for the first time.  The Illustrated London News judged him to be "second only to the great original [John] Liston."

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Regondi, Giulio. Italian classical guitarist and composer, Giulio Regondi (1822?-1872), appearing as a child prodigy at the Royal Adelphi Theatre in London on 22 August 1831.

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Rice, Thomas Dartmouth (1808-1860): White performer and playwright, minstrel show entertainer.  Picture from 1832 Playbill of Thomas D. Rice as "Jim Crow"; 1832 New York.

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Rignold, William (1836-1910): Actor.  (There is considerable confusion about his dates.)

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Roselle, Amy (Mrs. Arthur Dacre) (1854-1895): Actress

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Stirling, Fanny (Mrs. Edward Stirling): Of the Adelphi & Strand Theatres.  Holl, Benjamin (1808-1884), printmaker.

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Stoepel, Robert Auguste (1821-1887): Composer, conductor.  Photograph portrait (carte de visite) of composer Robert Stoepel (1821?1887); 1875 circa 5 years, photographer Jeremiah Gurney.

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Taber, Robert Schell (1865-1904): Actor.  1902 Postcard of Robert Taber; Rotary Postcard attributed to Lizzie Caswall Smith.

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Terriss, William (1847-1897): Actor.  One of England’s leading actors of the later Victorian stage.  His birth name was William Charles James Lewin.  He rose quickly through the ranks and, in 1880, he joined Sir Henry Irving at the Lyceum Theatre.  Three years later, he moved to the Adelphi Theatre where, as the hero of romantic melodramas, often playing opposite Jessie Millward, he became known as "Breezy Bill."  In 1897, he was stabbed to death by Richard Prince at the royal entrance.

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Terry, Daniel (1780-1829): Adelphi manager from (1825-1827).  In 1825, he became manager of the Adelphi with his friend, Frederick Yates.  He opened the season in the title role of Killigrew.  He played other roles but gave up his management because of financial problems not connected with the theatre.

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  • First Performance: Oct 10, 1825
  • (Portrait by Henry William Pickersgill.  Located on Wikipedia: http://www.nationalgalleries.org/collection/online_az/4:322/result/0/3970?initial=P&artistId=7289&artistName=Henry%20William%20Pickersgill&submit=1; http://en.wikipedia.org/wiki/Daniel_Terry., Oct 10, 1825)

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Terry, Ellen (1847-1928): Actress. Dame (Alice) Ellen Terry.  During an engagement at the Haymarket Theatre, Terry and her sister Kate had their portraits painted by the eminent artist George Frederick Watts, and he soon proposed marriage; Ellen was sixteen years old. Watts's famous portraits of Terry include "Choosing," in which Terry must select between earthly vanities, symbolized by showy, but scent-less camellias and nobler values symbolized by humble-looking, but fragrant violets.  Other famous portraits include "Ophelia."  Ellen and Watts married on 20 February, 1864, and separated after only ten months of marriage.  Source National Portrait Gallery, London: NPG 5048.

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Terry, Ellen (1847-1928): Actress.  Entitled "Sadness", this photo shows the actress Ellen Terry at the age of 16. Carbon print, 242 x 240mm (9 1/2 x 9 1/2"). Royal Photographic Society. Depicted person: Ellen Terry (age: 16); 1864; Source Scanned from Colin Ford's Julia Margaret Cameron: 19th Century Photographer of Genius, ISBN 1855145065. Page 139. Photographer Julia Margaret Cameron.

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Terry, Fred (1863-1933): Actor, theatrical manager

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  • First Performance: Jun 20, 1894
  • (Postcard of Fred Terry in The Scarlet Pimpernel, 1905.  Located on Wikipedia: http://en.wikipedia.org/wiki/Fred_Terry; http://www.collectorspost.com/cgi-bin/ShopLoader.cgi?Inventory.cgi&BUY&A14&NS., Jan 1, 1905)

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Terry, Kate (1844-1924): Actress, was the elder sister of the famous Ellen Terry.  She made her debut as a child at age three, became a leading lady, and retired in 1867 when she married.  Her grandson was John Gielgud.  Carte de Visite Woodburytype – Print; Programme Supplement January 1, 1876. Photograph from life by Lock and Whitfield, 178 Regent Street, London.

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Toole, John Lawrence (1830?-1906): English comic actor and producer.  He was a theatrical producer and comic actor, famed for roles in farce and melodramas.  He was the first actor to have a West End theatre named after him.

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Toole, John Lawrence (1830?-1906): English comic actor and producer.  He was a theatrical producer and comic actor, famed for roles in farce and melodramas.  He was the first actor to have a West End theatre named after him.

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Toole, John Lawrence (1830?-1906): English comic actor and producer.  He was a theatrical producer and comic actor, famed for roles in farce and melodramas.  He was the first actor to have a West End theatre named after him.

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Vokes, Fawdon (Walter Fawdon) (1844-1904): Actor.  Fawdon Vokes’ name was actually Walter Fawdon, but the name change was necessary for him to join the family troupe.

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Vokes, Frederick Mortimer (1846-1888): Actor, dancer.  Frederick and his sisters are buried in Brompton Cemetery, London.

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Vokes, Jessie (1851-1884): Actress.

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Vokes, Rosina (1854-1894): Actress.  Rosina was considered the prime attraction of the family group. She toured America with her siblings and later with her own company.  She died at the age of 40 from TB.

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Vokes, Victoria (1853-1894): Actress.

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Webster, Benjamin (1797-1882): Actor, manager, dramatist

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Webster, Benjamin (1797-1882): Actor, manager, dramatist. Famous comedian and lessee of the Theatre Royal, Adelphi.

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Wigan, Alfred Sydney (1814-1878): Actor, manager

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Woolgar, Sarah Jane (Sarah Jane Mellon) (1824-1909): Actress.  Shown here as the Countess in Taming a Tartar.  Chalon, Alfred Edward (1780-1860), artist.

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Woolgar, Sarah Jane (Born Sarah Jane Mellon) (1824-1909), actress.

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Wrench, Benjamin (1778?-1843): Actor.  Drawing of Benjamin Wrench in Actors by Daylight, Volume 1 Publisher J. Pattie, 1838; Source; Google books, page 177; 1838; Author.

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Yates, Mrs. Frederick (Elizabeth Brunton) (1799-1860): Actress.  She had an impressive career both before and after her marriage to Frederick Yates.  He died in 1842, and she became co-manager of the Adelphi but gave up after one season.  Elizabeth played at the Lyceum in (1848-1849), then retired.  She died of a long and painful illness in 1860.

  • Image (0.1 MB)
  • Image and Source (0.8 MB)
  • First Performance: Oct 8, 1827
  • (Located on Wikipedia: http://en.wikipedia.org/wiki/Elizabeth_Yates_%28actress%29; http://www.npg.org.uk/collections/search/portraitLarge/mw39303/Elizabeth-Yates-ne-Brunton-when-Miss-Brunton?LinkID=mp51695&role=sit&rNo=0., Nov 1, 1817)

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Yates, Mrs. Frederick (Elizabeth Brunton) (1799-1860): Actress.  She had an impressive career both before and after her marriage to Frederick Yates.  He died in 1842, and she became co-manager of the Adelphi but gave up after one season.  Elizabeth played at the Lyceum in (1848-1849), then retired.  She died of a long and painful illness in 1860.

  • Image (0.1 MB)
  • Image and Source (0.8 MB)
  • First Performance: Oct 8, 1827
  • (Located on Wikipedia: http://en.wikipedia.org/wiki/Elizabeth_Yates_%28actress%29; http://www.npg.org.uk/collections/search/portraitLarge/mw199050/Elizabeth-Yates-ne-Brunton-in-Grace-Huntley?LinkID=mp51695&role=sit&rNo=2., Nov 11, 1833)

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The Elephant's Feat, Astley's.

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A scene from Harlequin Blue Beard; or, The Fairy of the Silver Crescent by Edward Stirling, choreography by Frederick Frampton and composed by William Kearns.

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Richard III, Richard played by Mr. C. Kean.

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Mrs. Nesbitt.

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M. Jullien's Concert at Drury Lane Theatre.--The Corps de Tambours.

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Scene From the New Comedy of The Old Love and the New, At Drury Lane Theatre.

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Scene from Harlequin and Humpty Dumptry at the Drury-Lane.

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Richard Cœur de Lion, at Drury Lane.

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A Sailor & His Lass; or, Love and Treason, First night: 15 Oct 1883.  Written by Robert Buchanan and Augustus Harris.  Harriet Jay played Mary Norton.  "There is a terrific explosion by dynamite scene."

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Scene from Pleasure, at Drury Lane Theatre.

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Scene From The Fair One With The Golden Locks, at the Haymarket Theatre.

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Scene From Gracioso and Percinet, at the Haymarket Theatre.

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Scene from the new Extravaganza of The Sphinx, at the Haymarket Theatre.

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Scene from Romeo and Juliet, at the Haymarket Theatre.

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Scene from The New Haymarket Spring Meeting, at The Haymarket Theatre.--The Lord Mayor's Fool Introducing Westminster to London.

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The New Amphitheatre, Holborn.

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Newmarket, at the Holborn.

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Scene from The Castles of the Seven Passions, at the Lyceum Theatre.  Mr. and Mrs. Keeley often appeared at the Adelphi.

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Valentine and Orson, at the Lyceum Theatre.  The Keeleys appeared at the Adelphi.

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Mr. Keeley, as Toby Veck, at the Lyceum Theatre.  Keeley was a favorite at the Adelphi.

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Scene from the burlesque of Whittington and His Cat, at the Lyceum Theatre.

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Scene from the new burlesque of Cinderella, at the Lyceum Theatre.

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Miss Adams in An Artist's Model, at the Lyric Theatre (From a Photograph by Hana, Strand.)

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The New Standard Theatre, Shoreditch.

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Scene from Prince Dorus; or, The Romance of the Nose at the Olympic.

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Hyldemoer, by Hans Christian Andersen.

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The Vicarage, Arthur Cecil was played by Kendal and George Honey by Carlotta Addison.

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Sketches from M. Planquette's New Comic Opera, Paul Jones, at the Prince of Wales's Theatre.

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A Scene from the New Comic Opera of the Barcarolle.

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Scene from King John, at the Princess' Theatre.

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Scene from Alonzo the Brave and the Fair Imogene at the Princess.

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Scene from the Pantomime of Harlequin and the Dragon of Wantley at Sadler's Wells Theatre.

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Scene from Pierre le Rouge at the St. James Theatre.

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Old Sailors, at the Strand.

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Babes & Beetles.

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Scene from Harlequin £.s.d, at the Surrey Theatre.

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The Merry Wives of Windsor; or, Harlequin and Sir John Falstaff a Harlequinaded version.

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The New Music Hall at the Surrey Gardens.

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The Image Going to the Pantomime by John Leech (1817-1864).

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Exterior of the Sans Pareil, published by Robert Wilkinson.  In 1814, John Scott obtained a lien on the frontage of 411 Strand.  He made an entrance through a Greek Doric portico of three bays projecting from the ground floor of the house.  In the following year, Scott bought the freehold of the house, and the theatre was sometimes known as The Strand rather than the Sans Pareil.  The columns supporting the portico are Doric in style. They are fluted, meaning they have vertical grooves, a smooth rounded capital, and no separate base. The columns rest on a stylobate, which is a flat pavement where rows of columns are supported.

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Interior of the Sans Pareil Theatre.  The auditorium had two straight-sided galleries and was decorated in the Grecian taste.  Galleries had been added in 1809.  The house could accommodate about 1800 people (£200 a night).

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Adelphi Theatre Image, published c1826.  The house remained substantially unchanged. The outdoor lanterns were repositioned and a garden added on top of the portico.

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  • Image and Source (2.0 MB)
  • (Photo of page by Manuel Palomino Arjona.  Found on Flickr., Jan 1, 1826)

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Adelphi Theatre Image, published c1880 but showing the theatre as it was c1826.  It appears to be another version of the one above but drawn near curtain time.  Two sets of window boxes, filed with flower pots, decorate the third floor windows.

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Partially Enhanced Sketch of Adelphi theatre, c1830.  Frederick Yates made some changes around 1829. The theatre was renamed the Adelphi Theatre Royal. The Doric columns of the portico had more attenuated shafts and were placed on square pedestals. The drawing shows the front of the building, which is four stories high, stucco-faced, and is only two windows wide. On the roof is a triangular Greek pediment. The strange garden has disappeared from the roof of the portico.

  • Image and Review (0.4 MB)
  • Image, Review, and Source (3.3 MB)
  • (The printed version is found in F. H. W. Sheppard’s Survey of London, 36, The Parish of St. Paul Covent Garden. (London: Athlone Press, 1970), plate 64b., Jan 1, 1830)

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Simulation of Adelphi Theatre based on sketch, c1830

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Adelphi Theatre Image, published c1840.  Samuel Beazley, architect/playwright, designed the elaborate wide elliptically arched entrance opening to a deep porch.  Above was a three-story high window flanked by boldly projecting Corinthian pilasters, surmounted by a segmental balcony.  On the third story, a single round-arched window was flanked by the seated figures of Momus (Criticism) and Erato (Love Poetry), sculpted by Edward Davis.  On top was a crested pediment topped with a lyre.  In the Survey of London, 36, p.246, it was summed up as "a kind of profane elaboration of the Exeter Hall façade nearby," and "an essay in narrow-shouldered assertiveness."

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Another picture of Beazley’s façade.  The artist seems to have had trouble with the segmented balcony.  The long central window seems to have lost some of its elaboration.  Striped awnings cover the front of the famous Hampshire Hog Tavern.

  • Image (0.4 MB)
  • Image and Source (3.1 MB)
  • (Mirror of Literature, Amusement, and Instruction, 7 November 1840, p.289., Jan 1, 1850)

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New auditorium at the Adelphi, 1848.  The general supervision of the work was credited to the Adelphi business manager, Charles Manby.  Thomas Henry Wyatt’s younger brother, Matthew Digby Wyatt was responsible for the decorative design.  The auditorium contained two circles with straightened horseshoe parapets.  French Rococo themes were a major motif.  There was a saucer-shaped dome from which hung a great chandelier.  Crimson predominated in the warm coloring of the auditorium.

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The New Adelphi Description and Floor Plan from The Builder.

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The Second Adelphi Theatre.  Auditorium.  In 1858, Ben Webster demolished the theatre and constructed a larger, more elegant house in its place.  The architect was T. H. Wyatt, and the decorative work was executed by Frederick Sang and J. H. Parsons.  A new act drop was painted by Clarkson Stanfield.  John Willson built a wrought iron roof supported by iron stanchions independent of the brick walls.  Inside, the three circles were supported by widely spaced and slender-shafted iron columns.  Excavating the ground made it possible to have the pit below the street level, making room for the extra tier.  The gallery entrance was moved to Bull Inn Court.  The new theatre could seat 1,500 people, with standing room for another 500.  The interior was lighted by a Stroud's Patent Sun Lamp, a brilliant array of gas mantles passed through a chandelier of cut-glass.

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The Third Adelphi Theatre (1901).  The Gatti brothers bought the theatre from Ben Webster in 1880 and made only cosmetic changes.  In 1886–87, they purchased 409 and 410 Strand converting them into the Adelphi Restaurant.  The frontage remained essentially the same but with plate glass windows.

  • Image (2.4 MB)
  • Image and Source (14.9 MB)
  • (New York Public Library Digital Gallery: http://menus.nypl.org/menu_pages/43819, Jul 20, 1892)

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The Third Adelphi Theatre (1901).  The Gatti brothers bought the theatre from Ben Webster in 1880 and made only cosmetic changes.  In 1886–87, they purchased 409 and 410 Strand converting them into the Adelphi Restaurant.  The frontage remained essentially the same but with plate glass windows.  On 11 September, 1901, the third building opened as The Century Theatre.  It reverted to the old name in 1904.  Ernest Runtz designed the new theatre, and Frank Kirk was the builder.

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The Fourth Adelphi Theatre (1930).  Architect Ernest Schaufelberg designed a new building in the art deco style.  There were to be no curves either inside or outside, and an angle of thirty-two degrees was the master note.

"The lower half of the walls and fronts of the two circles has been panelled in wood of a deep orange colour, perfectly plain, polished and with no decorative motif whatsoever.  This, with the general colour scheme of orange, green, and gold, with bronze insets on the underside of the circles, gives a most bizarre and opulent atmosphere."  "Trigonometry in the Theatre" Architects' Journal (3 December 1930).

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Andrew Lloyd Webber has been a theatre owner since 1983 and now owns six London theatres: the Adelphi (in association with Nederlander International Limited), London Palladium, Drury Lane, New London, Her Majesty’s and the Cambridge.  The Adelphi home page shows the theatre as it was in September 2010.  A curious passer-by in a yellow sweater learns the current production is Love Never Dies.

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Simulated Adelphi Image (c1826): Front Façade (With Shadow)

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Simulated Adelphi Image (c1826): Full Image (with Shadow)

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Simulated Adelphi Image (c1826): Left Perspective

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Simulated Adelphi Image (c1826): Right Perspective

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Simulated Adelphi Image (c1826): Front Façade

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Simulated Adelphi Image (c1826): Sketchup 8 source file

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411 Strand, site of the future San Pareil, The Adelphi 1830, The Adelphi 1862

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3-D Simulation of 411 Strand a Surrounding Buildings

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Ink Bottles, Magic Lanterns, and Neighbors

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The Clip Art Book, Page 24

Stock modified to only held one person.

Theatre Research Page

New York Public Library Digital Gallary [Id 1156871], Feb 28, 1828

Graphics Gallery Page

The Clip Art Book, Page 31

Color was added to face.

Authors and Titles Page

The Clip Art Book, Page 34

Color to face and clothing.

Actors and Actresses Page
The Clip Art Book, Page 36 Editorial Page

The Clip Art Book, Page 54 Daily Calendar Page
The Clip Art Book, Page 100 Book Download Page
The Clip Art Book, Page 128 Musicians Page

The Clip Art Book, Page 133

Color added face and clothing.

Musicians Page
The Clip Art Book, Page 173 Management Page
The Clip Art Book, Page 296 Home Page
The Clip Art Book, Page 314 Bibliography Page
The Clip Art Book, Page 326 Management Page

Female Costumes, Historical, National, and Dramatic, Thomas Hailes Lacy, 1865, Plate 14, Jan 27, 1845

Actors and Actresses Page
The Clip Art Book, Page 356 Bibliography Page

Photograph of Alfred L. Nelson in Dedication.

Editorial Page

Photo of the Adelphi entrance taken by Dr. Gilbert Cross. Adelphi Today Page

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EDITORIAL
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DAILY
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AUTHORS
& TITLES

ACTORS &
ACTRESSES

MUSIC, SONG,
& DANCE

MANAGEMENT

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GRAPHICS
GALLERY

THEATRE
RESEARCH

ADELPHI
TODAY

BOOK
VERSION

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Thank you for visiting this site.
Copyright © 1988, 1992, 2013 by Alfred L. Nelson, Gilbert B. Cross, Joseph Donohue.
Originally published by Greenwood Press as The Sans Pareil Theatre 1806-1819, Adelphi Theatre 1819-1850: An Index to Authors, Titles, Performers, 1988, and The Adelphi Theatre 1850-1900: An Index to Authors, Titles, Performers and Management, 1992.
Creative Commons License
The Adelphi Theatre Calendar revised, reconstructed and amplified.  Copyright © 2013, by Alfred L. Nelson, Gilbert B. Cross, Joseph Donohue.  This work is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License, with the exception of graphics from The Clip Art Book, edited by Gerard Quinn and published by Crescent in 1990.  These images are reproduced in accord with the publisher’s note, which states "The Clip Art Book is a new compilation of illustrations that are in the public domain.  The individual illustrations are copyright free and may be reproduced without permission or payment.  However, the selection of illustrations and their layout is the copyright of the publisher, so that one page or more may not be photocopied or reproduced without first contacting the publishers."