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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Bibliography: Introduction

We have made no attempt to compile an exhaustive list 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.  Naturally, Allardyce Nicoll's A History of English Drama 1660-1900.  2nd ed. 6 vols.  Cambridge: Cambridge UP, 1955-1959, remains indispensable.

This revision employed some books not in the original bibliography.  They are indexed as an addenda.

The iconography includes all graphics found in the Calendar in a tabular format and divided into two.  The first listing is of productions.  In the left hand column is a thumbnail of each graphic.  The center column is in two parts.  The first describes the graphic—usually giving the title of the play in which it appeared and supplying names of authors and major performers.  These images are in chronological sequence, and their image sizes are given to let the user know how much data is involved.  Graphics used in the Daily Calendar have been cropped to appear rapidly.  They are usually extracted from a full-page "source," which is larger and takes longer to download.  Should there be a review of the piece, it will be loaded with the image.  One link takes the user to a full-size version of the image with some kind of critical review and the other to the image as it appears in its source.  Important contemporary details are sometimes found in this image.

A third link takes the user to the Calendar on the date the piece was first performed.

The final entry is the origin of the graphic—an individual, newspaper or collection.

The Iconography of performers, authors and composers contains graphics of individuals connected with the Sans Pareil/Adelphi Theatre.  They are in alphabetical order, and the same links apply.

The right hand column links the user directly to the Graphics Gallery.

Books and Other Published Materials:  Addenda

Braddon, Elizabeth. "Dead-Sea Fruit: A Novel." Belgravia: A London Magazine, IV, 131-157.

Burroughs, Catherine, ed. Women in British Romantic Theatre: Drama, Performance and Society 1790-1840. Cambridge: Cambridge UP, 2000.

Davis, Tracy C. The Broadview Anthology of Nineteenth-Century British Performance. Peterborough, Ontario: Broadview Press, 2011.

-------- and Ellen Donkin, eds. Women and Playwriting in Nineteenth-Century Britain. Cambridge: Cambridge UP, 2004

-------- and Peter Holland, eds. The Performing Century: Nineteenth-Century Theatre’s History. New York: Palgrave Macmillan, 2007.

Dimond, Michael. Victorian Sensation: Or, the Spectacular, the Shocking and the Scandalous in Nineteenth-Century Britain. London: Anthem Press, 2004.

Donohue, Joseph. Cambridge History of British Theatre, II, 1660-1895. Cambridge: Cambridge UP, 2004.

Franceschina, John. Ed. Sisters of Gore: Gothic Melodrama by British Women. New York; Routledge, 1997. Contains two versions of Jane Scott’s The Old Oak Chest; or, The Smuggler’s Sons and the Robber’s Daughter—the Larpent version and the inferior printed text.

Gould, Marty. "Nineteenth-Century Theatre and the Imperial Encounter," Victorian Studies, 56, 1 (Autumn 2013), 177-78.

Hughes, Amy E. Spectacles of Reform: Theater and Activism in Nineteenth-Century America. Ann Arbor: University of Michigan Press, 2012.

Moody, Jane. Ed. Cambridge Companion to British Theatre, 1730-1830. Cambridge: Cambridge UP, 2007.

--------. Illegitimate Theatre in London 1770-1840. Cambridge: Cambridge UP, 2000

Newey, Katherine. Women’s Theatre Writing in Victorian Britain. London: Palgrave Macmillan, 2005.

-------- and Jeffrey Richards. John Ruskin and the Victorian Theatre. London: Palgrave Macmillan, 2010.

Pisani, Michael. Music for the Melodramatic Theatre in Nineteenth-Century London and New York. Studies in Theatre History and Culture. Iowa City: University of Iowa Press, 2014.

Powell, Kerry, ed. Cambridge Companion to Victorian and Edwardian Theatre. Cambridge: Cambridge UP, 2004.

--------. Women and Victorian Theatre. Cambridge: Cambridge UP, 2007

Scott, Derek B. Sounds of the Metropolis: The 19th Century Popular Music Revolution in London, New York, Paris and Vienna. Oxford: Oxford UP, 2008.

Tromp, Marlene, Pamela K. Gilbert and Aeron Haynie. Beyond Sensation: Mary Elizabeth Braddon in Context. New York: SUNY Press, 1999.

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.



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."

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

(The Monthly Mirror I (new series).  Jan 1, 1807, pp. 1-73.)

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

(Wikipedia.  Feb 5, 1816.)

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

(Unknown.  Nov 15, 1841.)

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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.

(The Illustrated London News.  Dec 30, 1843, p. 424.)

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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.

(The Illustrated London News.  Feb 17, 1844, p. 109.)

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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.

(The Illustrated London News.  Nov 9, 1844, p. 300.)

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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).

(The Illustrated London News.  Dec 28, 1844, p. 409.)

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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.

(The Illustrated London News.  Jan 4, 1845, p. 16.)

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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.

(The Illustrated London News.  Feb 1, 1845, p. 73.)

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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.

(The Illustrated London News.  Feb 29, 1845, p. 204.)

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

(The Illustrated London News.  Apr 10, 1847.)

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Flowers of the Forest! by John Buckstone.

(The Pictorial Times.  Apr 10, 1847, p. 232.)

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Flowers of the Forest! by John Buckstone.

(The Illustrated London News.  Apr 10, 1847, p. 237.)

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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.

(The Illustrated London News.  Dec 2, 1848, p. 352.)

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

(The Illustrated London News.  Dec 30, 1848, p. 424.)

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Cockneys in California by Joseph S. Coyne.

(The Illustrated London News.  Mar 3, 1849, p. 141.)

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The Hop Pickers by Thomas Parry.

(The Illustrated London News.  Apr 14, 1849, p. 245.)

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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.

(The Illustrated London News.  Jan 12, 1850, p. 28.)

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Jessie Gray by Robert Brough and John Bridgeman.

(The Illustrated London News.  Nov 23, 1850, p. 409.)

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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.

(The Illustrated London News.  Dec 28, 1850, p. 514.)

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

(The Illustrated London News.  Jan 18, 1851, p. 45.)

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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).

(The Illustrated London News.  Apr 17, 1852, p. 309.)

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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.

(  Nov 9, 1852.)

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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.

(The Illustrated London News.  Dec 17, 1853, p. 517.)

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

(The Illustrated London News.  Apr 1, 1854, p. 296.)

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

(The Illustrated London News.  Dec 2, 1854, p. 561.)

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

(The Illustrated London News.  Feb 10, 1855, p. 132.)

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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.

(The Illustrated London News.  May 5, 1855, p. 428.)

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

(The Illustrated London News.  Jul 7, 1855, p. 29.)

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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.

(The Illustrated London News.  Jan 5, 1856, p. 12.)

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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.

(The Illustrated London News.  Jun 14, 1856, p. 672.)

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(The Illustrated London News.  Jul 26, 1856, p. 91.)

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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.

(The Illustrated London News.  Nov 29, 1856, p. 547.)

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

(The Illustrated London News.  Jan 3, 1857, p. 667.)

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

(The Illustrated London News.  Feb 12, 1859, p. 165.)

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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.

(The Illustrated London News.  Dec 17, 1859, p. 586.)

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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.

(The Illustrated London News.  Jun 2, 1860, p. 525.)

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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.

(The Illustrated London News.  Nov 30, 1861, p. 562.)

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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.

(The Illustrated London News.  Oct 17, 1863, p. 381.)

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

(The Illustrated London News.  Dec 17, 1864, p. 600.)

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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.

(The Illustrated London News.  May 6, 1865, p. 424.)

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

(The Illustrated London News.  Sep 30, 1865, p. 320.)

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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.

(The Illustrated London News.  Apr 6, 1867, p. 341.)

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

(The Illustrated London News.  May 18, 1867, p. 501.)

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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.

(The Illustrated London News.  Jun 22, 1867, p. 616.)

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Scene from Maud's Peril.

(Illustrated Sporting and Theatrical News.  Nov 30, 1867, p. 760.)

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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).

(Unknown.  Feb 10, 1868.)

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No Thoroughfare by Charles Dickens and W. Wilkie Collins.

(The Illustrated London News.  Apr 18, 1868, p. 381.)

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

(The Illustrated London News.  Jun 11, 1870, p. 600.)

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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.

(Not listed.  May 17, 1873, p. 56.)

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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.

(The Graphic.  Nov 7, 1874, p. 437.)

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The Geneva Cross by George F. Rowe.  Act IV: a casemate in the forts.

(The Illustrated London News.  Nov 7, 1874, p. 448.)

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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.

(The Illustrated Sporting and Dramatic News.  Apr 17, 1875.)

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

(The Illustrated Sporting and Dramatic News.  Jan 13, 1877.)

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Little Goody Two-Shoes by Edward Blanchard.  The pantomime was by children.  Master Bertie Coote played Clown, Master Meadows Pantaloon, Miss Connie Gilchrist was Harlequin and Miss Carrie Coote played Columbine.

(The Illustrated London News.  Jan 20, 1877, p. 60.)

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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.

(The Graphic.  May 5, 1877, p. 405.)

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Little Red Riding Hood, or, Harlequin Grandmama [sic].  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.

(The Illustrated Sporting and Dramatic News.  Aug 25, 1877, p. 544.)

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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.

(The Illustrated London News?.  Dec 29, 1877.)

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Scene from the opera of The Merry Wives of Windsor. T. Aynsley Cook played Falstaff.

(The Illustrated Sporting and Dramatic News.  Feb 23, 1878, p. 552.)

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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.

(The Illustrated London News.  Jun 18, 1881, p. 609.)

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Taken From Life

(The Illustrated Sporting and Dramatic News.  Jan 14, 1882, p. 441.)

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Scenes from Love and Money.

(The Illustrated Sporting and Dramatic News.  Dec 2, 1882, p. 268.)

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Strom Beaten

(The Illustrated Sporting and Dramatic News.  Mar 24, 1883, p. 38.)

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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.

(The Illustrated London News.  May 5, 1883, p. 441.)

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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.

(The Illustrated Sporting and Dramatic News.  Oct 20, 1883, p. 148.)

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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.

(The Illustrated London News.  Nov 10, 1883, p. 469.)

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Scenes from The Last Chance.

(The Illustrated Sporting and Dramatic News.  Apr 18, 1885, p. 115.)

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The Colleen Bawn Dion Boucicault’s famous domestic drama.

(The Illustrated Sporting and Dramatic News.  Nov 7, 1885, p. 193.)

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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.

(The Illustrated London News?.  Jan 4, 1886.)

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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.

(The Illustrated London News.  Oct 15, 1887, p. 458.)

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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."

(The Illustrated Sporting and Dramatic News.  Aug 11, 1888, p. 662.)

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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.

(The Illustrated London News.  Jan 26, 1889, p. 104.)

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

(The Illustrated Sporting and Dramatic News.  Oct 19, 1889, p. 149.)

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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.

(The Illustrated Sporting and Dramatic News.  May 14, 1892, p. 320.)

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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.

(The Sketch.  Jun 5, 1895, p. 304.)

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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.

(The Sketch.  Jun 5, 1895, p. 305.)

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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).

(The Illustrated Sporting and Dramatic News.  Sep 7, 1895, p. 8.)

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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.

(The Illustrated London News.  Mar 4, 1896, p. 243.)

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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.

(The Illustrated London News.  Mar 4, 1896, p. 244.)

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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.

(The Illustrated London News.  Mar 4, 1896, p. 245.)

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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.

(The Illustrated London News.  Mar 4, 1896, p. 246.)

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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.

(The Illustrated London News.  Aug 29, 1896, p. 261.)

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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.

(Theatrical Poster Collection (Library of Congress),, Author Strobridge Lith. Co. Also available at  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.

(The Illustrated London News.  Oct 16, 1897, p. 522.)

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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).

(F. H. W. Sheppard, Survey of London, 36, Athlone Press, 1970. Plate 66a.  Dec 16, 1897.)

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(The Illustrated Sporting and Dramatic News.  Sep 10, 1898, p. 49.)

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(The Illustrated London News.  Dec 31, 1898, p. 978.)

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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 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.  Bonnie Dundee was played by Robert Taber.

(The Illustrated London News.  Mar 17, 1900, p. 373.)

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Addison, Fanny (Mrs. Henry Mader Pitt) (1844-1937): She was educated for the stage by her father Edward Addison, comedian. She played in the provinces before appearing at Her Majesty’s in 1866.  She appeared twice at the Adelphi in 1868 playing Maria in A Roland for an Oliver for the Treasurer, Anson’s, two day benefit.

(Carte de Visite Woodburytype - Print.  Located on Wikipedia:  Aug 19, 1868.)

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Ainsworth, William Harrison (1805-1882): Trained as a lawyer but quickly turned to writing historical novels.  The Tower of London (1840) covered the period from Lady Jane Grey’s accession to her beheading at the age of seventeen.  Ainsworth wrote over forty novels--many of them serialized.

(  Oct 28, 1839.)

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Ainsworth, William Harrison (1805-1882): He was an author of historical fictions.  Ironically, his most popular theatrical contribution was the drinking song from Jack Sheppard, "Jolly Nose," with music by George H. Rodwell, made famous by Paul Bedford.  The song appeared in eight Adelphi seasons.

(  Oct 28, 1839, p. 2.)

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Anson, John W. (1817-1881): Began his professional acting career in 1843.  He managed a company in Scotland.  In 1853, he moved to London appearing at the Astley’s Amphitheatre as Sir John Falstaff.  Becoming treasurer at the Adelphi (1859-1874), he virtually gave up performing.

(  Sep 17, 1865.)

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Ashwell, Lena (1872-1957): Born Lena Margaret Pocock, she grew up in Canada and studied music in both Lausanne and the Royal Academy of Music in London before taking up acting.  In 1891, she debuted in The Pharisee. In 1895, she appeared in King Arthur with Dame Ellen Terry and Sir Henry Irving.  Ashwell went on to appear in a number of Shakespeare productions.  In the 1900-1901 season, she played at the Adelphi in Bonnie Dundee and as Lygia in Quo Vadis.

(Via Wikipedia: Rotary postcard featuring a photograph of actress Lena Ashwell. Date likely late 1890s or 1900s. By Alexander Bassano (1829–1913).  Mar 10, 1900.)

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Barnett, Alice (1846-1901): Best known for her performances in Gilbert and Sullivan operas.  With an imposing physical build, she originated several formidable middle-aged heroines such as Ruth in The Pirates of Penzance and, as shown here, the Fairy Queen in Iolanthe.  She appeared in the 1899 Adedlphi season in the temperance melodrama Drink.

(Located on Wikipedia:;  Dec 26, 1899.)

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Barry, Helen (Elizabeth Short) (1840-1904): Began acting at the age of 32 after her first marriage failed.  In the 1870s, Helen played in comic and dramatic plays.  She appeared at a benefit at the Adelphi in 1874, playing Margaret in the quarrel scene from Arkwright’s Wife and for 40 nights in the 1879 season.

(Carte de Visite Woodburytype - Print.  Located on Wikipedia:  Apr 14, 1875.)

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Barry, Helen (Elizabeth Short) (1840-1904): With her third husband, Helen moved to America and took on a variety of roles, reprising Margaret in Arkwright’s Wife.  She played the quarrel scene at the Adelphi for a benefit 1874 and, in 1879, played Mrs. Arabella Buster in the first London performance of Boucicault’s Forbidden Fruit.  She became embroiled in copyright suits in England and America, where she died aged 64.

(Photo by Mora of New York.  Located on Wikipedia:;  Apr 14, 1875.)

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Bateman, Kate (Mrs. Crowe) (1842-01917):  Her greatest triumph was in Leah in Augustine Daly’s Leah the Foresaken (1863).  The critics panned the play, but it remained popular.  Miss Bateman acted the role in Boston, New York and at the Adelphi in1863, where it was a smash hit and ran for 211 performances.

(The Illustrated London News.  Apr 9, 1864, p. 337.)

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Bedford, Paul J. (1792-1871): When he entered into an engagement with Frederick Yates at the Adelphi in 1838, Bedford’s career blossomed.  He played Blueskin in Jack Sheppard and Jack Gong in Green Bushes.  In the burlesque, St. George and the Dragon, he appeared as the dragon "a national nuisance."

(The Illustrated London News.  Feb 29, 1845, p. 204.)

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Bedford, Paul J.: (1792?-1871): This veteran comedian of the Adelphi Theatre had a career lasting fifty years.   He had a fine singing voice, which he displayed in many farces.  He appeared at the Adelphi in 28 seasons.  At a farewell benefit at the Queen’s Theatre, he reprised a favorite role--the Kinchin in Flowers of the Forest.  This role he had played in a dozen seasons at the Adelphi.

(The Illustrated Sporting News.  Dec 3, 1864, p. 581.)

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Bernhardt, Sarah (Rosine Bernardt) (1844-1923): Playing Hamlet, she continued 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.

(The Graphic.  Jun 17, 1899, p. 755.)

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Blanche, Ada C. (1862-1953): She was fifteen when she played Hokey Pokey in Little Red Riding Hood in the 1876 and 1877 seasons.  In the latter, she also played The Demon Envy in Little Goody Two-Shoes.  When the new century dawned she added comic, but formidable, older women to her repertoire.  Her career lasted some forty-five years.

(  Dec 20, 1876, p. 2.)

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Bologna, John Peter (1775-1846): John "Jack" Bologna was Italian, and his career popularized the role of Harlequin.  He appeared at the Adelphi in the summer of 1810 with the Covent Garden Company, acting and stage-managing.  He formed a strong friendship with the famous clown, Joseph Grimaldi.  When the strain of performing became too demanding, he exhibited mechanical objects and devised a ghostly lantern slide show--a "Phantoscopia."  He died penniless.

(  Apr 23, 1810.)

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Booth, Sarah (1793-1867): Discovered in Manchester (c.1804) where she was a dancer.  She appeared as an actress at many London theatres but never achieved the rank of tragedienne.  She performed at the Adelphi in the 1824-25 season.  Described as "small in stature, nervous, with hair inclining to red," she was often cast as a young woman, such as Cordelia or Juliet.  Booth’s powers were agreeable rather than impressive.  To the last, her dancing remained a special attraction.

(Via Wikipedia: Portrait of Sarah Booth, 1815. By J. Bell.  Nov 1, 1824.)

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Boursiquot, Dionysius (Dion Boucicault) (1820-1890): Had 35 plays produced at the Adelphi including The Collen Bawn (1860) and The Octoroon (1861).  He was also a distinguished actor of "Irish men."  His philandering and constant financial difficulties necessitated a continuous stream of plays of which, perhaps, The Shaughraun, is the best.  Boucicault was still playing the role of Conn in 1885, ten years after the play appeared at the Adelphi.

(Photo of Dion Boucicault, c1862.  Located on Wikipedia:  Jan 1, 1862.)

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Buckstone, John Baldwin (1802-1879): Was even more prolific than Dion Boucicault.  Sixty of his plays were produced at the Adelphi.  Green Bushes was performed in 21 seasons and Wreck Ashore in 17.  He was an excellent comic actor whose ghost supposedly haunts the Haymarket Theatre.

(Carte de Visite Woodburytype - Print.  Located on Wikipedia:  Nov 15, 1825.)

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Burnand, Francis C. (1836-1917): Best known for the libretto of Arthur Sullivan’s Cox and Box.  He was intended for the law but caught the stage bug.  He produced at least two hundred plays--mostly comic.  For twenty-five years, he edited Punch, for which he was knighted.  Cox and Box had its debut at the Adelphi in 1866.

(  Apr 29, 1861.)

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Byron, Henry James (1835-1884): His plays were basically comedies, farces and extravaganzas, but he wrote serious plays, too.  In 1869, his Lost at Sea was performed and, in 1874, Lancashire Lass.

(Photo of Henry J. Byron, Hollingshead, John.  Good Old Gaiety, London 1903. p 14.  Located on Wikipedia:  Jan 1, 1903.)

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Campbell, Mrs. Patrick (Beatrice Stella Tanner) (1865-1940): Made her debut in 1888, four years after her marriage.  "Mrs. Pat" appeared at the Adelphi in March 1890 at a matinee when she played Helen in Knowles' The Hunchback.  Next season, she played Lady Teazle, also at a matinee.  

Photographed in the United States pre-1897; Philip H. Ward Collection of Theatrical Images (1856-1910).

(Located on Wikipedia:;  Jan 1, 1897.)

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Campbell, Mrs. Patrick (Beatrice Stella Tanner) (1865-1940): In the 1892-93 season, Mrs. Pat played two roles at the Adelphi: Clarice in The Black Dimond and Tress in The Lights of Home.  She left the Adelphi to become a hit the following season when she starred in Pinero’s The Second Mrs. Tanqueray.

(c1901.  Located on Wikipedia:  Jan 1, 1901.)

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Cameron, Violet (1862-1919): Made her debut at the age of nine.  Five years later, she appeared at the Adelphi in the pantomime: Harlequin, the Children in the Wood, Old Father Aesop, Cock Robin, and Jenny Wren.  She had a successful stage career in pantomime, burlesque and opera bouffe productions.

(  Dec 24, 1874.)

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Céleste, Mme. Céline (c1810/11–1882) 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.

(Photo by C. D. Fredricks.  Located on Wikipedia:;"rghiggin/ephem/People.html.  Nov 14, 1831.)

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Céleste, Mme. Céline (c1810/11–1882): With Benjamin Webster, her business partner and lover, she became manager of the Adelphi.  In The Green Bushes (1845), she played Miami, a French-Indian huntress of the Mississippi.  The part required little English from Madame and so was ideal.

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

(Female Costumes, Historical, National, and Dramatic, Thomas Hailes Lacy, 1865, Plate 14.  The University of Georgia Libraries,  Jan 27, 1845.)

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Céleste, Mme. Céline, (c1810/11–1882): 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.

(The Illustrated London News.  Feb 1, 1845, p. 73.)

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Chatterley, William Simmonds (1787-1822): He was said to have appeared at Drury Lane when three years old.  In 1804, he appeared in the provinces and at Bath, where he married.  He led a dissolute life, and when he appeared at the Adelphi he had only three years of life left.  It was said his Justice Woodcock (Love in a Village) was third only to that of Munden and Dowton.

(  Oct 18, 1819.)

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Cole, Blanche (1851-1888): Born in Portsmouth to a musical family.  The Musical Times praised the "delightful silvery quality of her voice." She appeared at the Adelphi with the Carl Rosa Opera Company in 1878 as Senta in The Flying Dutchman and as the Countess in The Marriage of Figaro.

(Via Wikipedia: Blanche Cole 1851-1888, English Actress. 19th century. Carte de Visite Woodburytype - Print. By Elliot & Fry, 55 Baker Street London.  Mar 20, 1878.)

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Collins, William Wilkie (1824-1889): Called Wilkie by his friends, he wrote many articles for Charles Dickens' Household Words and produced thirty novels in his lifetime.  The Moonstone (1868) is sometimes called the first detective novel and The Woman in White is an archetypical "sensation" novel.  He lived a Bohemian life, loving good food and fine wines to excess.

(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.  Located on Wikipedia:;  Jan 1, 1871.)

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Collins, William Wilkie (1824-1889): His friendship with Charles Dickens was of great significance.  Together they produced plays for the Olympic.  Collins was a capable dramatist of "sensationalist" dramas such as No Thoroughfare (1867).  However, a play such as Black and White (1868) dealing with racial discrimination was evidence of his concern with serious issues.

(  Dec 26, 1867.)

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Comstock, Nanette (1866-1942): Made her professional stage debut In New York.  She appeared at the Adelphi in the 1994-95 season when she took over the role of Wilbur’s Ann in The Girl I Left Behind Me.

(Via Wikipedia: Nanette Comstock. Billy Rose Theatre Collection photograph file / Personalities / C / Nanette Comstock. The New York Public Library for the Performing Arts / Billy Rose Theatre Division.  Jun 15, 1895.)

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Comstock, Nanette (1866-1942): Toured with Joseph Jefferson playing Bertha in a stage adaption of the Charles Dickens’ novella, The Cricket on the Hearth.

(Via Wikipedia: Nanette Comstock, Billy Rose Theatre Collection photograph file / Personalities / C / Nanette Comstock. The New York Public Library for the Performing Arts / Billy Rose Theatre Division.  Jun 15, 1895.)

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Cook, Aynsley (1832-1894): Was a member of the famous Carl Rosa Opera Company, which made its first appearance in London at the Princess Theatre in September 1875. The company held a special season at the Adelphi in 1887.  T. Aynsley Cook appeared as Falstaff in The Merry Wives of Windsor.

(Folger Shakespeare Library Digital Image Collection [Id 36738].  Feb 11, 1878.)

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Cooke, Thomas Potter (1786-1864):  Sailed (under age) on board the sloop HMS Raven to Toulon and was present at the battle of Cape St. Vincent in 1797.  In 1804, Cooke made his stage début at the Royalty Theatre, and, when Yates and Terry took over the Adelphi in 1825, he played Long John Coffin in The Pilot. Eventually, he would appear at the Adelphi for twelve seasons.  In 1828–9, Cooke played in Luke the Labourer, The Pilot, and Presumptive Evidence.

(Via Wikipedia: Engraving of Thomas Potter Cooke (1786–1864), English actor, in the part of Jack Sykes, from Nelson by Edward Fitzball. By Engraver Nathaniel Whittock, after Thomas Charles Wageman. Date 1827 or later.  Oct 10, 1825.)

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Cooke, Thomas Potter (1786-1864): His most conspicuous success was at the Surrey in 1829 as William in Douglas Jerrold's Black-Eyed Susan, which ran for over 100 performances.  He last appeared at the Adelphi in the 1857-58 season playing William and Harry Halyard in My Poll and My Partner Joe.

(Via Wikipedia: Folger Shakespeare Library Digital Image Collection Collection Source Creator: Thomson, James, 1788-1850, printmaker. Author Thomson, James, 1788-1850, printmaker. Source Creator Source Title: Mr. T. Cooke as Carlos [in Sheridan's The Duenna] [graphic] / Burgess del.  Oct 10, 1825.)

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Cooke, Thomas Potter: Buckstone's Presumptive Evidence was not particularly successful.  It ran for a total of 23 times in two seasons. It seems T.P. Cooke’s performance as Marmaduke Dorgan was more popular than the piece itself.

(New York Public Library Digital Gallery [Id 1156871].  Feb 28, 1828.)

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Courtneidge, Robert (1859-1939): Made his London debut at the Adelphi replacing Ernest Travers as Solomon in Harbour Lights--its 173rd perf.   The following season, he played Patrick Desmond in The Belles of Haslemere again with William Terriss and Jessie Millward in the leads. Subsequently, he moved more into production and management.

(Printed in and scanned from "The Playgoer and Society Illustrated", Volume 6 (1912), p. 84. Located on Wikipedia:  Jan 1, 1912.)

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Craven, Hawes (1837–1910): English theatre scene-painter who produced stage sets of unprecedented realism.  Craven's career lasted from 1853 to 1905.  He was regarded as the finest scene-painter of his day and was the last major scenic designer in the ultra-realistic tradition.  In the 1868, 1869, and 1899 seasons, Craven painted scenery at the Adelphi which was highly praised in the newspapers.

(Via Wikipedia: Photograph of Hawes Craven scanned from "The Illustrated London News", 30 August, 1910. Public domain.  Oct 5, 1867.)

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D'Auban, Frederick John (1842-1922): He became popular as a "grotesque" dancer and famous as a choreographer in the 1890s.  He spent the 1892-93 season at the Adelphi.  For forty years he was associated with W. S. Gilbert.

(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.  Located on Wikipedia:  Jan 1, 1981.)

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D'Auban, Frederick John (1842-1922):  His family had a song and dance act, and later he danced professionally with his sister.  Although he was resident choreographer at the Adelphi in 1892-93, his name was not associated with any particular production in the programs.

(Drawing of John D'Auban rehearsing the bass-baritone, William 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.  Located on Wikipedia:  Jan 1, 1893.)

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Dibdin, Charles (1745-1814): He was born in 1745, wrote at least 600 songs and is best known for "Tom Bowline." Although he appeared only once at the Sans Pareil, most of his songs, particularly "Tippitywitchet," written for Joseph Grimaldi, were very popular there.

(  Sep 19, 1808.)

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Dibdin, Charles Isaac Mungo (1768-1833): He was the illegitimate son of Charles Dibdin and Harriet Pitt.  He was also known as Charles Dibdin, the younger.  In 1808, he became manager of Sadlers’ Wells but lost his fortune when a false fire alarm caused a stampede and eighteen people died.

(  Mar 29, 1819.)

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Dickens, Charles (1812-1870): Was a keen amateur actor, but he was angry when adaptations of his books appeared on stage--sometimes before the serials were completed.  Making a virtue of necessity, he permitted Mark Lemon and Gilbert á Beckett to dramatize The Chimes (1844).  Adaptions of two of his books were performed this night.

(  Dec 26, 1867, p. 2.)

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Edwin, Elizabeth Rebecca (1771?-1854): She performed in Dublin and the provinces before appearing with the Drury Lane Company performing at the Lyceum while their house was rebuilt.  She played at the Adelphi in two seasons, 1828-1830, in a variety of undistinguished roles.  NYPL, Billy Rose Collection.

(Located on Wikipedia:  Sep 29, 1828.)

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Emery, Samuel Anderson (1817-1881): First performed in London at the Lyceum in 1843.  He appeared at the Adelphi for eight seasons starting in 1850 and acting in Dickens' adaptations and Boucicault’s plays.  Like his father, John, he specialized in old men and rustics.  He moved around a great deal, perhaps because he had a violent temper.

(Carte de Visite Woodburytype - Print.  Located on Wikipedia:  Mar 24, 1851.)

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Farren, William, Jr. (1825-1908): Son of actor, William Farren, brother of Henry and uncle of Nellie.  He made his London début under the name of Forrester.  On 9 September 1871, he moved to the Vaudeville, with which he was long associated.  He appeared once at the Adelphi for a matinee benefit on 14 December 1883, when he played Sir John Vesey in Edward Bulwer Lytton’s Money.

(Via Wikipedia: William Farren jr., 1825-1908 English Actor. 19th century. Carte de Visite Woodburytype - Print.  Dec 14, 1883.)

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Fechter, Charles Albert (1824-1879).  Born in London of French parents, he trained as a sculptor but showed even greater talent for the stage.  Learning English, he appeared at the Princess Theatre in a variety of roles including Hamlet, Othello, Iago.  In 1867, he transferred to the Adelphi, appearing in No Thoroughfare and the following season in The Count of Monte Cristo and as Count de Leyrac in Black and White. He then moved to America, returning in 1871 for a four week Adelphi engagement as Ruy Blas.

(Fechter as Hamlet around 1872, published 1879; Author Boning & Small, London.  Located on Wikipedia:;  Jan 1, 1872.)

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Fitzwilliam, Frances Elizabeth (Fanny Elizabeth Copeland) (1801-1854): She married Edward Stirling and eventually became a leading actress and theatre manager.  She played Adeline in Howard Payne's Adeline; or, The victim of Seduction at Drury Lane in 1822.  Her first appearance at the Adelphi was in a burletta called Killigrew (24 Oct 1825); she appeared in fourteen roles that season.  Fanny played a dozen seasons at the Adelphi, working closely with John B. Buckstone, whom she was engaged to marry.  Shortly before the wedding, she died of cholera. Her daughter, Kathleen, acted at the Adelphi for many seasons.

(Fanny Fitzwilliam as Adeline published by G Virtue.  Located on Wikipedia:  Oct 10, 1825.)

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Foote, Lydia (1843-1892): Lydia Foote made her debut at the age of nine.  She appeared at the Adelphi in the 1870s.  Her first notable appearance was as Smike in Nicholas Nickleby.  She originated the role of Midge in Boucicault’s Rescued (1879) which, according to the bill, was first performed at Booth's Theatre, New York, on 4 September, 1879.

(  Feb 27, 1875.)

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Fowler, Emily (1850-1896): She played one night at the Adelphi for the treasurer, John Anson’s, benefit.  She took the role of Lady Betty Noel in Tom Taylor’s Lady Clancarty (21 May 1871).

(Carte de Visite Woodburytype - Print.  Located on Wikipedia:  May 21, 1874.)

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Furtado, Teresa Elizabeth (1845-1877): Played ten seasons at the Adelphi.  Her first app was Katherine Kloper in Pas de Fascination, an extravaganza (24 Jun 1865).  Her last performance was at a benefit when she acted Esmeralda in the prison scene from Notre Dame by Andrew Halliday (28 Jun 1875).  She died two years later at the age of 32.  Her husband followed her to the grave two years later.

(Carte de Visite Woodburytype - Print.  Located on Wikipedia:  Jul 24, 1865.)

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Gilchrist, Connie (Countess of Orkney) (1865–1946): Began as a child actress, dancer, and artist's model, who attracted the attention of many painters and photographers (including Lewis Carroll).  Her debut was in 1873 at Drury Lane.  The following year, she played Harlequin in the Adelphi pantomime, Children in the Wood.  In 1876 and 1877, she also played Harlequin.  Gilchrist appeared on December 14, 1883, in Young Fra Diavolo--a matinee benefit performed by the Vaudeville Theatre.

(Via Wikipedia: Connie Gilchrist, Countess of Orkney. Connie Gilchrist (1865-1946). Billy Rose Theatre Collection photograph file / Personalities / G / Connie Gilchrist (1865-1946). By W. & D. Downey c.1885. The New York Public Library for the Performing Arts / Billy Rose Theatre Division.  Dec 20, 1876.)

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Gillette, William Hooker (1855-1937): For ever associated with Sherlock Holmes, the American was an actor and dramatist of note.  He appeared 47 nights at the Adelphi as Lewis Dumont in his play Secret Service (1897).  He became a life-long friend of Sir Arthur Conan Doyle.

(United States Library of Congress's Prints and Photographs division under the digital ID cph.3a03734.  Located on Wikipedia:;  May 15, 1897.)

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Grundy, Sydney (1865–1946): Called to the bar in 1869 and practiced law until 1876.  He adapted plays from France and Germany.  Two of his plays, co-written with Henry Pettitt, were played at the Adelphi in 1887 and 1888--Bells of Haslemere (279 perfs.) and Union Jack (129).  Jessie Millward and William Terriss appeared in both.  He also wrote libretti.

(Via Wikipedia: Mr. Sydney Grundy, Author of "An Old Jew." 1894. By Lombardi & Co. University of Pennsylvania Libraries. Furness Theatrical Image Collection. From a page in the Pall Mall Budget, Jan. 11, 1894.  Jul 28, 1887.)

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Hall, Anna Maria (1800-1881): Irish novelist who wrote Lights and Shadows of Irish Life for the New Monthly Magazine edited by her husband.  The major tale was "The Groves of Blarney," which she dramatized to give a role to Tyrone Power at the Adelphi.  It ran for only 21 nights the 1837-1838 season.

(Via Wikipedia: Anna-Maria-Hall. From a commercially available carte de visit c.1875. Author Unknown.  Apr 16, 1838.)

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Hall, Anna Maria & Samuel Carter (1800-1881): Hall’s husband was editor of Art Journal.  Together they collaborated on a work entitled Ireland: Its Scenery, Character, Etc. (1841–43).

(Via Wikipedia: Anna Maria Hall (1800-1881) and her husband Samuel Carter Hall (1800-1889). By John Watkins (1823-1874), Charles Watkins (1836-1882).  Apr 16, 1838.)

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Hamblin, Thomas S. (1800-1853): Made his professional debut in minor roles at the Adelphi in the 1815-1816 season.  He toured the provinces over the next few years before leaving for America.  He soon became a popular target for satirists due to his irregular lifestyle.  Here he is No. 8. in the "Gallery of Rascalities."

(  Oct 30, 1815.)

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Hamblin, Thomas S. (1800-1853): His career took off after he moved to America and obtained the lease of the Bowery Theatre where emerged the American working-class theatre.  The toy theatre illustration is of the title character, Red Riven, from the melodrama played at the Coburg in 1825.

(  Oct 30, 1815, p. 2.)

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Hicks, Edward Seymour (1871-1949): Seymour Hicks married Ellaline Terriss in 1893.  Two of his plays were hits at the Adelphi.  This photograph was taken around 1900 and also shows their first child, Betty.  Seymour Hicks was knighted and acted until his death in 1949.  Ellaline died at the age of 100.

(  Apr 13, 1871.)

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Honey, George (1822-1880): Mainly played comic roles often revealing more than mere superficiality.  His first experience with professional theatre was said to be as call boy at the Adelphi.  His Muster Grinnidge in Green Bushes was a favorite role.

(  Oct 15, 1850.)

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Honey, Laura (1816?-1843): First appeared on the stage in juvenile roles as Laura Bell.  At Yates’ Adelphi, under the name of Mrs. Honey, she made a great success as Slykey (Psyche) with John Reeve in a burlesque called Cupid and in the title role of the fairy drama Lurline. She remained at the Adelphi from 1832 to 1840 and undertook the management of the City of London. Her performances were confined to light comedy roles, especially breeches parts.  She died young.

(Likeness by kind permission of Joseph Donohue, c1838.  Oct 1, 1832.)

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Irving, Henry (1838-1905): The first actor to be knighted.  From 1871-1902, he was associated with the Lyceum.  He appeared only once at the Adelphi to perform a recitation.  The poem he chose was "The Sacrilegious Gamester" (1700 lines) by Eliza Cook author of "The Old Arm-chair."  Presumably he gave a shortened version.

(  Jun 7, 1882.)

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Jefferson, Joseph (1829-1905): There had been plays about Rip Van Winkle before he made his own version of Washington Irving’s story in 1859.  However, Jefferson would be identified with this role for forty years.  In 1865, he arranged with Dion Boucicault for a revision. Theatre history was made on September 4, 1865 when the play opened at the Adelphi.  It ran for 172 performances, and became an established part of theatre repertoire.

("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).  Located on Wikipedia:;  Sep 4, 1865.)

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Jefferson, Joseph (1829-1905): At the age of 4, the American actor was carried on to the stage by Thomas D. Rice.  At the age of eight, he was acting to support the family.  In 1858, as Asa Trenchard in Tom Taylor’s Our American Cousin, he established himself as a first rank actor.  He is reputed to have said "There are no small parts, only small actors" to E. A. Southern who had complained about the length of his part.

(Between 1870 and 1880; Library of Congress Prints and Photographs Division. Brady-Handy Photograph Collection. CALL NUMBER: LC-BH826- 1380.  Located on Wikipedia:;  Jan 1, 1870.)

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Jerrold, Douglas William (1803-1857): Was a midshipman under Francis Austen (Jane’s brother).  He contributed to many journals including Punch.  In 1829, he wrote Black-Eyed Susan for R.W. Elliston at the Surrey Theatre.  The play was produced eight times at the Adelphi.  The 1896 revival ran for 110 performances.

(Painted by Sir Daniel Macnee (died 1882), given to the National Portrait Gallery, London in 1869. See source website for additional information.  Located on Wikipedia:;  Dec 16, 1830.)

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Keeley, Mrs. Robert (Mary Anne Goward) (1805-1899): Appeared at the Adelphi, particularly in the 1830s.  She played in the provinces before appearing at the Lyceum in 1825.  She married Robert Keeley in the summer of 1829, and they often performed together.  In 1838, she was a hit as Smike and later triumphed in another male part--Jack Sheppard.

((c1830-1850); ‘Breeches Role’.  Located on Wikipedia:;  Jul 1, 1830.)

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Keeley, Mrs. Robert (Mary Anne Goward) (1805-1899): Followed her husband into retirement in 1859.  Her last appearance was as Hector in Brough’s burlesque The Siege of Troy.  However, she still appeared in her old parts at benefits.  One of these was as the heroine of Betsy Baker on 17 December 1870.   The Times reported the Adelphi audience gave "a general burst of enthusiasm."

(National Portrait Gallery, London: NPG 1558; Age 92.  Located on Wikipedia:;  Jul 1, 1830.)

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Keeley, Robert (1793-1869): In 1818 he made his first London appearance at the Olympic and originated the role of Fritz in Presumption at the English Opera House.  He acted with his wife for many seasons at the Adelphi, and they managed the Lyceum from 1844-1847 where he played Mrs. Gamp in Martin Chuzzlewit.

(Photograph of Robert Keeley 1864; Photographer W. Walker & Sons.  Located on Wikipedia:;  Jan 1, 1864.)

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Keeley, Robert (1793-1869): In 1821, he played Jemmy Green in Moncrieff’s Tom and Jerry.  Later, he played female roles in many Dickens’ adaptations and was a hit as Mrs. Caudle in Jerrold’s Mrs. Caudle’s Curtain Lectures.  He had a daughter who also acted at the Adelphi--Mary Lucy Keeley.

(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.  Located on Wikipedia:  Jan 1, 1895.)

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Kenningham, Charles (1860-1925): After a musical career as singer and organist, Charles Kenningham made his stage debut at the Adelphi in 1852.  He sang Duvalor in F. J. Haydn Millar’s operetta Mariette’s Wedding.  He joined the D’Oyly Carte Company in 1891.

(  Sep 30, 1882.)

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Leclerq, Carlotta (1838-1893): Carlotta Leclercq was a favorite at the Adelphi.  She first appeared in 1847 aged nine.  Twenty years later, she played Ophelia.  She was the oldest daughter of Charles Leclercq (né Charles Clark).  All her siblings were actors.

(  Oct 21, 1847.)

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Lees, Hanlon (1833-1868): The Hanlons practiced “entortillation”--tumbling, juggling and knockabout.  There were three brothers at first who trained with John Lees and debuted at the Adelphi in 1846.  After the death of Lees, all six brothers performed under the name Hanlon-Lees.  They embraced the trapeze when Jules Léotard introduced it at London's Alhambra Theatre in 1861.  They perfected the safety net after Thomas fell.  He later committed suicide.

(  Dec 26, 1846.)

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Legrand, Paul (1816-1898): Made his debut in 1839.  He joined the company at the Théâtre des Funamules under the great mime, Jean Gaspard Debureau.  He played roles he was not enthusiastic about, but when his master died, he donned the white blouse and wide pantaloons of Pierrot.  He appeared at the Adelphi in the 1847-48 season in two roles--one a mute and the other his beloved Pierrot.

(  Dec 27, 1847.)

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Legrand, Paul (1816-1898): When Jean Gaspard died, Legrand took on the role of Pierrot, helping change him into the sentimental, tearful figure of modern times.  He was the first French mime to perform in England, choosing the Adelphi in 1847.

(  Dec 27, 1847, p. 2.)

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Lewis, Leopold (1828-1890): Lewis was a solicitor from 1850 to 1875.  In 1871, he adapted The Bells from Emile Erkmann and Alexander Chatrain’s Le Juif Polonais, produced by Henry Irving at the Lyceum.  The author always felt his adaptation not Irving’s skill accounted for the play’s triumph.  The following year, he wrote The Wandering Jew performed at the Adelphi for 151 nights.

(Scanned from Henry Irving and 'The Bells': Irving's Personal Script of the Play. Edited by Eric Jones-Evans. Published by Manchester University Press (1980). 1883. By Alfred Bryan.  Via Wikipedia: Caricature of Leopold Davis Lewis by Alfred Bryan - The Entr'acte 30 June 1883.  Apr 14, 1873.)

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Loder, Edward (1809-1865): English composer and conductor whose family sent him to Frankfurt in 1826, to study under Ferdinand Ries.  He returned to England in 1828 and embarked on a successful career as an opera conductor in London.  He composed all the songs for Never Judge by Appearances, a series of solos and duets performed by Henri Drayton and his wife at the Adelphi that ran five nights in the 1858-59 season.

(Via Wikipedia: Portrait of Edward James Loder as it appeared on the first page of the London Illustrated News, November 27, 1858.  Jul 7, 1859.)

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Mathews, Charles (1776-1835): Despite his Wesleyan father’s disapproval, Charles took up the stage, making his first London appearance at the Haymarket.  He joined Frederick Yates at the Adelphi in 1823, eventually purchasing a half share.  He specialized in one man shows, which were popular, yet he died poor.

(Detail from a mezzotint by Charles Turner, 1825, after an oil painting by James Lonsdale.  Located on Wikipedia:  Jan 1, 1825.)

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Millard, Evelyn Mary (1869-1941): Appeared in 1891 and 1892 in dramatic roles at the Adelphi such as Trumpet Call, Black Domino and Lights of Home (where she appeared for 121 performances).  In November 1906, she played Maid Marian in Robin Hood at a Command Performance before Edward VII.

(Photograph of Evelyn Millard as Maid Marian in Robin Hood; Scanned from a postcard c1906.  Located on Wikipedia:  Jan 1, 1906.)

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Millward, Jessie (1861-1932): Made her debut in 1881.  The following season, she appeared with Henry Irving and performed several Shakespearian roles.  In 1885, she began her partnership with William Terriss at the Adelphi appearing as Dora in The Harbour Lights.  The piece ran for 217 nights and 243 the following season. Many dramatic successes followed until the murder of Terriss in 1897. Millward continued acting but never with the success she had enjoyed with Breezy Bill.

(Located on Wikipedia:;"lnbdds/home/prince.htm.  Jan 1, 1890.)

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Moore, Maggie (1851-1926): In 1873, she had just married J. C. Williamson when he bought a one act script called The Dead, or Five Years Away and had it rewritten by his friend Clay Greene and retitled Struck Oil. The play was a huge success in Australia and made Williamson a fortune.  When Moore divorced him in 1899, Williamson tried unsuccessfully to prevent her appearing in the piece.  At age 68, she acted in the unsuccessful film version.  She died in 1926 after being struck by a cable car in San Francisco.

(Via Wikipedia: Maggie Moore, photographed in the 1870s. La Trobe Picture Collection, State Library of Victoria, IAN07/09/74/148.  Apr 17, 1876.)

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Murray, Henry Leigh (1820-1870): An amateur actor before making his professional debut at Kingston upon Hull.  Murray's first appearance in London took place at the Princess's Theatre in 1845.  His first Adelphi appearance was on 16 July, 1851, at a benefit for Miss Woolgar in Road to Ruin.  He accompanied Benjamin Webster to the Adelphi in 1853 and played there for most of the decade, often appearing with his wife.  On 1 April 1853, he played in Mark Lemon's farce Mr.Webster at the Adelphi.

(Via Wikipedia: Photograph of Henry Leigh Murray (1820–1870), English actor. (Probable identification.) Late 1850s. Medium albumen print, arched top. By (George) Herbert Watkins (1828-after 1901).  Jul 16, 1851.)

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Neilson, Julia (1868–1957): At age of twelve, she was sent to a boarding school in Wiesbaden, Germany, where she learned to speak French and German and began to study music at which she excelled.  Returning to England, Julia entered the Royal Academy of Music in 1884 and studied the piano.  After establishing her reputation in a series of plays by W. S. Gilbert in 1888, Neilson joined the company of Herbert Beerbohm Tree at the Haymarket.

(Via Wikipedia: Source: Postcard of Julia Neilson in Dorothy Vernon of Haddon Hall 1907.  Jun 20, 1894.)

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Neilson, Julia (1868–1957): At the Haymarket, she remained for five years, meeting her future husband, Fred Terry, with whom she played in London and on tour for nearly three decades.  She appeared in the 1893 and 1898 seasons at the Adelphi and had a stage career of fifty years.

(Via Wikipedia: Miss Julia Neilson ca.1894. The Era Almanack 1894. By Edward Ledger.  Jun 20, 1894.)

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Neilson, Lilian Adelaide (1848–1880): Neilson was the illegitimate daughter of a strolling actress named Brown.  In 1865, at Theatre Royal, Margate, she appeared as Julia in The Hunchback, a character with whom her name was long associated.  At the Adelphi, in 1866, she played Nelly Armroyd in Lost in London and the title role of Victorine. She also appeared in the 1868-69 season.  Her last appearance at the Adelphi was in 1878 when she played Julia in The Hunchback 45 times.  She died of a blood rupture at age 32.

(Via Wikipedia: Portrait of Adelaide Neilson. By Napoleon Sarony (1821–1896).  Nov 14, 1866.)

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Neville, Thomas Henry Gartside (1837-1910): Made his London debut in 1860 in Boucicault’s Irish Heiress at the Lyceum.  At the Olympic, he created the role of Bob Brierley in Tom Taylor’s Ticket of Leave Man.  He first appeared at the Adelphi was in 1866.  The following season, he played George Vendal in No Thoroughfare for 151 times.  At his benefit, he played Hamlet and reprised his hit part of Bob Brierley at a benefit for R. Phillips, the stage manager.  He opened up a successful school for actors but still acted until the year before his death.

(Carte de Visite Woodburytype - Print.  Located on Wikipedia:  Mar 16, 1867.)

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Otway, Grace (1860/1-1935): Real name Emily Maynard Palmer.  Appeared at the Adelphi only in the fall of 1880 in Wanted 1,000 Milliners, Borrowed Plumes, and Dion Boucicault’s The O’Dowd.  The Theatrical News reported she then sailed to New York with the Irish dramatist and actor.

(Illustrated Sporting and Theatrical News.  Nov 6, 1880, p. 169.)

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Owens, John E. (1823.86) Went to America in 1828, making his New York debut as Uriah Heep (1851).  In 1864, he played Solomon Shingle in The People’s Lawyer.  It was an instant hit, and he performed it that year at the Adelphi under the title Solon Shingle for 42 nights.

(The Illustrated Sporting News.  Jul 8, 1865, p. 277.)

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Pettitt, Henry (1848-1893): Preferred writing in tandem, but his first piece at the Adelphi was his alone--Taken From Life.  Soon after, with George Sims, he produced hits such as In the Ranks and Harbour Lights.  In 1887, he co-wrote The Bells of Haslemere and, a year later, Union Jack, with Sydney Grundy.

(  Dec 31, 1881.)

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Planché, James Robinson (1796-1880): A prolific writer of perhaps two hundred plays of all genres. Thirty-two of his pieces were performed at the Adelphi of which the most popular was the farce Who’s to Father Me?  He wrote all genres and was especially talented in adapting French plays and writing extravaganzas.  He was also a noted antiquarian who insisted on historical accuracy in productions.

(Painting of James Planché from 1835, by Henry Perronet Briggs (1793–1844).  Located on Wikipedia:  Jan 1, 1835.)

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Poole, John (1786-1872): One of the best of the early nineteenth-century playwrights.  Three of his farces were played at the Adelphi and one comedy.  This play was Poole’s masterwork, Paul Pry, which was performed in fourteen seasons.  The title role had been played by John Liston in 1825.  In May 1845, Edward Wright played it at his benefit.

(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."  The Illustrated London News.  May 17, 1845, p. 320.)

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Prince was known as "Mad Archer." He had acted as a "super" in the provinces and at the Adelphi. He harbored an all-consuming hatred of William Terriss whom he accused of "blackmailing" him. He probably meant "blackballing" because, despite Breezy Bill’s frequent kindnesses and a letter to the directors of the Actors’ Fund, Archer had been told he would not receive further grants. On December 16, 1897, he waited across Maiden Lane until Terriss appeared at 5:00 PM ready to star in Secret Service and stabbed him three times—once through the heart.

(  Dec 16, 1897, p. 11.)

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Reeve, John (1799-1838): He was an Adelphi favorite who played Tom Twig, the ostler, in Catching An Heiress, at the Adelphi in 1836--his eighteenth and last season.  His health was in rapid decline when he appeared at the Surrey the following year.  While performing, he burst a blood vessel and died soon after.

(  Oct 18, 1819, p. 2.)

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Regondi, Giulio (1822?-1872) Swiss born classical guitarist who performed mainly in England. He appeared as an infant prodigy at the Adelphi on August 22, 1831 during the visit of the English Opera House.  He was allegedly eight years old.

(Wikipedia.  Aug 22, 1831.)

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Reynolds, Frederic (1764-1841): Of the almost two hundred pieces written by Frederic Reynolds only two were performed at the Adelphi.  The pantomime, Harlequin and the Enchanted Fish, was his last play.  He died shortly after writing it.

(  Dec 26, 1840.)

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Rice, Thomas Dartmouth (1808-1860): Daddy Rice was a white performer and playwright who became one of the most famous minstrel show entertainers.  His signature act was as Jim Crow whose dancing and speech patterns he said he had learned from a black stable boy. He appeared at the Adelphi during four seasons.

(Picture from 1832 Playbill of Thomas D. Rice as "Jim Crow"; 1832 New York.  Located on Wikipedia:  Jan 1, 1832.)

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Rignold, William (1836-1910): He and his brother George were both actors.  He made his London debut as Jem Starkie in The Long Strike.  Rignold appeared at the Adelphi for two matinees in 1881 and took single roles in 1882 and 1893.  His eyesight failed at the end of the century, and he retired.

(Carte de Visite Woodburytype - Print.  Located on Wikipedia:  Nov 29, 1869.)

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Roselle, Amy (Mrs. Arthur Dacre) (1854-1895): Appeared at the Adelphi in the 1882 season, playing three parts including Mary Bartley in Love and Money for 93 nights.  She married Arthur Dacre, and they set up a theatre company, which eventually travelled to Australia.  There, in despair, they committed suicide.

(Carte de Visite Woodburytype - Print.  Located on Wikipedia:  Aug 7, 1882.)

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Seymour, Katie (1870-1903): Primarily remembered for dancing, which her mother taught her, and considered one of the first to perform a style called the skirt dance.  On 20 December 1876, she appeared at the Adelphi in a children’s pantomime, Little Goody Two-Shoes, by E. L. Blanchard, based on the nursery tale.  After a return from America, she stated: "Dancing is not cultivated there as it is here.  I am very glad to be at home again."

(Via Wikipedia: Drawing of Katie Seymour in A Runaway Girl, from a book entitled "Players of the Day", published in London by George Newnes, circa 1902. Source:  Dec 20, 1876.)

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Sheridan, Amy (1838-1878): Made her début at the St. James’s Theatre in 1861.  She moved to the Olympic where she appeared for five years.  In comediettas and farces she was popular.  Upon leaving the Olympic, Sheridan appeared fifty times at the Adelphi as Miss Sefton in Watt Phillips’ Maud’s Peril, based on a story by Charles de Bernard.  That Christmas, she joined the company of Covent Garden, appearing in Gilbert à Becket’s burlesque Robin Hood.  She subsequently appeared at Astley’s Amphitheatre where she gave "her beautiful and chaste impersonation of Lady Godiva" (The Standard, Wed, 6 March 1872).

(Illustrated Sporting and Theatrical News.  Nov 16, 1867, p. 737.)

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Sims, George Robert (1847-1922): Wrote over thirty plays, most of them adapted from European pieces. His first hit, Crutch and Toothpick, was produced at the Royalty Theatre in 1879 and enjoyed a run of 240 nights.  In 1881, he wrote The Lights o' London, which ran for 286 nights.  His most successful collaboration was with Henry Pettitt, with whom he created a substantial body of hits at the Adelphi: In the Ranks (1883, 457 performances) and The Harbour Lights (1885, 513).  Robert Buchanan and Sims co-authored five melodramas at the Adelphi, including The Trumpet Call (1891), starring Mrs. Patrick Campbell early in her career.  One night, her costume collapsed which, her biographer suggests, extended the run of that play.

(Via Wikipedia: Photo of en:George Robert Sims. 1903. Good Old Gaiety: An Historiette and Remembrance, published by London Gaiety Theatre Co., p. 61. Book by John Hollingshead (1827–1904); Photo by Ellis and Walery (business partnership of Alfred Ellis and Stanislaw Walery).  Oct 6, 1883.)

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Soutar, Robert (1830–1908): He began his career as a journalist but soon moved into acting.  In 1867, he married actress Nellie Farren.  His play, The Fast Coach, was played at the Adelphi at the end of the 1867-68 season.  That year he stage-managed and wrote for the theatre in addition to acting.  He appeared on stage at the Adelphi twice, both benefits, on 9 September 1868, and 14 June 1887.  In 1890, he returned to the Adelphi for a season as stage manager.

(Via Wikipedia: Carte de visite of Robert Soutar (1830–1908). 1870.  Jul 27, 1868.)

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Stanley, Alma (1854–1931): Popular on both sides of the Atlantic, she made her debut in Milan and her British debut in 1873.  Stanley's first big success in America came in February, 1882 at Wallack's Theatre in New York.  She returned to London and appeared at the Adelphi in a revival of Dion Boucicault’s Streets of London (1883).

(Via Wikipedia: Alma Stanley. By Elliott and Fry c. 1880s. Benjamin R. Tucker papers, 1860s-1970s, bulk (1870s-1930s) / Photographs, New York Public Library - Catalog Call Number - MssCol 3040 Digital ID: 1158549 Record ID : 450705.  Sep 15, 1883.)

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Stanley, Alma (1854–1931): In 1893, she played at the Adelphi in three pieces most notably, Woman’s Revenge, where, as Mabel Wentworh, she performed for 157 nights.

(Via Wikipedia: Alma Stuart Stanley. By Alfred Ellis, London, c. 1894. Billy Rose Theatre Collection photograph file / Personalities / S / Alma Stuart Stanley. The New York Public Library for the Performing Arts / Billy Rose Theatre Division.  Sep 15, 1883.)

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Stephenson, Benjamin C. (1839–1906): Began as a civil servant writing for the theatre, using the pen name "Bolton Rowe." His biggest hit was the comic opera Dorothy, which set records for the length of its original run.  In 1894, Stephenson co-wrote a melodrama with C. Haddon Chambers for the Adelphi, The Fatal Card, which ran for 167 performances and included William Terriss and Jessie Millward in its cast.  Asked how he and Chambers collaborated, he replied.  "We divide the labour.  I write all the vowels and Mr. Chambers all the consonants."   Benjamin C. Stephenson is on the far right.

(Via Wikipedia: Photo of Alfred Cellier, H J Leslie and B C Stephenson. Original c 1889: Book publication 1930; Scan 2008. H. Coffin, Hayden Coffin's Book (Alston Rivers, London 1930), Plate facing p 56. Photo by Walery (Muswell Hill Studio of either Count Stanislaw Julian Ostrorog (1830-1890) OR Stanislaw Julian Ignacy, Count Ostrorog jnr. (1863-1935)); scan by Steven J Plunkett.  Sep 6, 1894.)

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Stirling, Fanny (Mrs. Edward Stirling) (1815-1895):  Made her debut at the Adelphi on December 26, 1835, as Biddy Nuts in Buckstone’s The Dream at Sea.  She quickly became a favorite.  The following season, she appeared in several roles ranging from burlettas to melodramas.  Her most popular role was Sally Snow in William Callcott’s Flight to America, which she played 67 nights.

(Holl, Benjamin (1808-1884), printmaker.  Folger Shakespeare Library Digital Image Collection [Id 30955].  Dec 26, 1835.)

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Stoepel, Robert Auguste (1821–1887): German-born American composer and conductor.  In 1850, impresario Max Maretzek, brought him to New York City.  He wrote incidental music for all of the plays written by Dion Boucicault during his stay in New York from 1854 through 1860.  Sometime in the 1870s, he moved to London.  During the 1880-81 season, he was musical director of the Adelphi.  Around 1884 he became deaf, and moved back to New York.

(Via Wikipedia: Photograph portrait (carte de visite) of composer Robert Stoepel (1821?1887). By Jeremiah Gurney (1812-1886). 1875 circa 5 years.  Oct 21, 1880.)

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Taber, Robert Schell (1865-1904): Born 1865 in New York, his first professional engagement was in 1886 as Silvius in As You Like It with the theatrical company of Helena Modjeska.  In 1888, he joined Julia Marlowe’s company.  They subsequently married but divorced in 1900.  Appearing in the 1899-1900 season at the Adelphi, he played Viscount Dundee in Bonnie Dundee and Marcus Vinicius in Quo Vadis. He died, destitute, four years later from pleurisy.

(Via Wikipedia: Postcard of Robert Taber. 1902. Rotary Postcard attributed to Lizzie Caswall Smith. There is some debate on the date and hence the public domain status.  Jan 1, 1902.)

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Terriss, Mary Ellaline (1871-1971): Lady Hicks, was the daughter of the Adelphi favorite, William Terriss, but she never appeared at the Adelphi.  Ellaline made her debut at the age of 16 in Cupid's Messenger at the Haymarket and specialized in Edwardian musical comedies.  She married the actor-producer Seymour Hicks in 1893.  In 1897, when her father was murdered, she received enormous public sympathy and returned, a year later to the stage in A Runaway Girl.

(  Apr 13, 1871, p. 2.)

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Terriss, Mary Ellaline (1871-1971): The daughter of the Adelphi’s "Breezy Bill" Terriss, she appeared in light musical comedies, many written by her husband, Seymour Hicks.  His dream play, Bluebell in Fairyland, opened at the Vaudeville in 1901.  It was a hit and was performed regularly at Christmas until 1937.

(  Apr 13, 1871, p. 3.)

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Terriss, William (1847-1897): 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.

(William Terriss, c1880.  Located on Wikipedia:;  Jan 1, 1880.)

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Terry, Daniel (1780-1829): 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.

(Portrait by Henry William Pickersgill.  Located on Wikipedia:;  Oct 10, 1825.)

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Terry, Ellen (1847-1928): 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.  Located on Wikipedia:;  May 11, 1867.)

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Terry, Ellen (1847-1928): Began performing as a child and toured the provinces.  She was married briefly at 16 and soon became the premier Shakespearian actor of the day.  In 1878, she joined Henry Irving’s company.  She only appeared three times at the Adelphi in benefits. 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.  Located on Wikipedia:  May 11, 1867.)

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Terry, Fred (1863-1933): He and his wife had a touring company based in Portsmouth.  Five of their children became actors, two went into management. Fred, the youngest son, married Julia Neilson in 1892.  They appeared together in Shall We Forgive Her by Frank Harvey at the Adelphi.  In 1900, they took over the Haymarket.  There, in 1905, Fred appeared in The Scarlet Pimpernel.

(Postcard of Fred Terry in The Scarlet Pimpernel, 1905.  Located on Wikipedia:;  Jan 1, 1905.)

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Terry, Kate (1844-1924): Kate was the oldest of the Terry children.  She played Prince Arthur in King John so effectively that Queen Victoria ordered a Command Performance.  She and her sister were hits in Brough’s extravaganza, Perseus and Andromeda (1861).  She played many Shakespearian roles. In June 1867, she starred in Dora, by Charles Reade (based on Lord Tennyson's poem), and, in July, she played Beatrice in Much Ado about Nothing. She bade farewell to the West End in the title role of Romeo and Juliet.  She was only 22.

(Via Wikipedia: Kate Terry (later Kate Terry-Lewis) as Andromeda, photographed by Lewis Carroll in 1865. Scanned from book, John Gielgud (author) "An Actor in His Time", ISBN 0 283 98573 9.  Nov 26, 1866.)

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Terry, Kate (1844-1924): Elder sister of the famous Ellen Terry, grandmother of John Gielgud, she was born into a theatrical family, made her debut when still a child, and became a leading lady in her own right.  Her last season was spent at the Adelphi where she appeared in a variety of pieces including: A Sheep in Wolf's Clothing, Ethel; or, Only a Life and A Sister's Penance by Tom Taylor and Augustus Dubourg.

(Via Wikipedia: Kate Terry 1844-1924, Mrs. Arthur Lewis, English Actress. By Programme Supplement January 1. 1876. Photograph from life by Lock and Whitfield 178 Regent Street London. 19th century. Carte de Visite Woodburytype - Print.  Nov 26, 1866.)

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Toole, John Lawrence (1830?-1906): Was the first actor in London to have a theatre named after him. In 1850, he performed in amateur theatricals and caught the attention of Charles Dickens. He made his professional debut in Dublin in 1852.

(Folger Shakespeare Library Digital Image Collection [Id 27456].  Dec 27, 1858.)

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Toole, John Lawrence (1830?-1906): In 1854, he appeared in London at the St. James.  He was engaged in 1856 at the Lyceum where he met Marie Wilton, with whom he often appeared.  In 1858, at Dickens’ suggestion, he joined Ben Webster’s company at the Adelphi where he remained as principal low comedian for nine seasons, frequently partnering with Paul Bedford.

(Carte de Visite Woodburytype - Print.  Located on Wikipedia:  Dec 27, 1858.)

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Toole, John Lawrence (1830?-1906): In the nine seasons he spent at the Adelphi, Toole played an average of 15 roles, some of them well over 30 times.  His longest run was as Azucena in Ill Treated Il Travatore, a burlesque, but he played comic and serious roles with equal acclaim.

(The Illustrated Sporting News.  Dec 3, 1864, p. 580.)

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Vezin, Jane (1827-1902): Accompanied her parents to Australia, and as a child singer and dancer, earned a reputation as a prodigy.  As Mrs. Charles Young she made her first appearance on the London stage at Sadler's Wells Theatre.  She divorced Young and married Hermann Vezin.  She appeared at Drury Lane many times in her career.  In 1866, she performed at the Adelphi in a benefit for the treasurer.  Near the end of her career, in the 1880-81 Adelphi season, she appeared 100 times as Olga Strogoff in H. J. Byron's Michael Strogoff.  She fulfilled her last professional engagement at the St. James's Theatre, on 20 October 1883.  The death of her daughter, in 1901, drove her to suicide.

(Via Wikipedia: Jane Elizabeth ('Eliza') Vezin (née Thomson; later Young). woodburytype, 1870s. acquired F.J. Eberlen, 1978. Photographs Collection. NPG  Sep 4, 1867.)

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Vokes, Fawdon (Walter Fawdon) (1844-1904): Fawdon Vokes was an honorary brother; his real name was Walter Fawdon.  The family first appeared in W. S. Gilbert’s one and only pantomime, Harlequin Cock Robin and Jenny Wren.  At the Adelphi, they had one appearance in 1872.  In 1874, they performed E. L. Blanchard’s A Pantomime Rehearsed 16 nights.

(Old Photo, note Fawdon is the person on the right.  Located on Wikipedia:;  Nov 1, 1872.)

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Vokes, Jessie (1851-1884): Was the "mother" of the group, undertaking the business side of their arrangements. The family appeared at Drury Lane in 1869 in the annual pantomime.  They appeared each Christmas for a decade except for 1873 when they were touring.

(Located on Wikipedia:  Nov 1, 1872.)

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Vokes, Rosina (1854-1894): Rosina was considered the prime attraction of the family group. She was only six when she appeared at Drury Lane for Gilbert’s pantomime.  She toured America with her siblings and later with her own company.  When she married, it helped to break up the act. She died at the age of 40 from TB.

(Located on Wikipedia:  Jan 22, 1876.)

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Vokes, Victoria (1853-1894): First appeared on stage at the Surrey Theatre aged two.  She was an excellent vocalist, but she gave an excellent account of herself when she played Amy Robsart at Drury Lane.

(Located on Wikipedia:  Jan 15, 1876.)

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Waters, Billy (1778-1823): He was born c1778 and claimed to be ex-American slave who traded his servitude to be a British Sailor.  He lost his leg when he fell from the rigging.  His navel pension made it necessary for him to busk outside the Adelphi. His name was taken by William Moncrieff for a character in Tom and Jerry (1821), but Billy refused an offer to appear on the stage.  

(  Oct 18, 1819, p. 3.)

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Waylett, Harriet (1798-1851): Born Harriet Cooke, she appeared on the Bath stage on 16 March 1816.  She then acted at Coventry, where she met and married a bigamist using the name Waylett.  In 1820-23, she was at the Adelphi, where she was the original Amy Robsart in James Planché's adaptation of Kenilworth, and Sue to her husband's Primefit in William Moncrieff's Tom and Jerry.  She returned to the Adelphi in 1833, first as part of the homeless English Opera House and then for the 1833-34 season.  There were few London houses at which she was not seen and was a favorite in the country and long considered one of the best soubrettes in her day.

(Via Wikipedia: English: Portrait of Harriet Waylett (1798–1851), English actress, in character as as Miss Dorville. By Engraver John Rogers, after Thomas Charles Wageman. 1827.  Oct 9, 1820.)

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Webster, Benjamin (1797-1882): Born in Bath, the son of a dancing master, he began his career at Drury Lane as Harlequin and graduated to the Haymarket where he took care of the comedy character business.  He managed that house from 1837-1853.  He first appeared at the Adelphi in 1835 playing a variety of comic parts interspersed with melodrama.  He was particularly popular as Triplet in Masks and Faces.

(Carte de Visite Woodburytype - Print.  Located on Wikipedia:  Sep 28, 1844.)

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Webster, Benjamin (1797-1882): Famous comedian and lessee of the Adelphi.  In 1859, he built a new theatre and continued acting comic and serious roles until 1872 when he played his last Adelphi part, Rodin in The Wandering Jew 147 times.  He bade farewell to the stage in 1874 at Drury Lane, though he appeared in a benefit for his friend John Buckstone in 1877.

(The Illustrated Sporting News.  Jan 14, 1865, p. 677.)

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Wigan, Alfred Sydney (1814-1878): Had a distinguished acting career but seldom in a leading role.  He first appeared at the Adelphi in the 1852 season where he played George Harris, a quadroon in Slave Life; or, Uncle Ton’s Cabin (82 nights). He also played in the 1858 and 1859 seasons.  He wrote plays and managed theatres between bouts of ill-health.  He played Frenchmen (he was fluent in the language) and his John Mildmay in Still Waters Run Deep was his masterpiece.  He played this part in 1858 and 1859.

(Late 1850s, photographer Herbert Watkins.  Located on Wikipedia:  Nov 29, 1852.)

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Williams, Barney (1824-1876) and Maria (1828-1911): Barney Flaherty’s parents immigrated to America in 1831.  He was already famous in the "line of Irish comedy" when he married Maria Pray, a widowed actress in 1849.  The couple was successful at the Adelphi in the 1856 season.  They opened in Ireland As It Is "performed by Mr. and Mrs. Barney Williams 763 nights in the United States." (bill)

(  Jul 21, 1856.)

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Williamson, James Cassius (1845-1913): In 1871, Williamson was engaged as leading comedian at the California Theatre, in San Francisco, where he met Maggie Smith, whom he married.  They starred together in Struck Oil and Williamson purchased the script for $100.  They played 101 times in Struck Oil at the Adelphi in the 1875-76 season.  After their divorce, he tried unsuccessfully to stop her from appearing in the play.  She starred in the 1919 film in her late 60s.

(Via Wikipedia: J. C. Williamson, c. 1868.  Apr 17, 1876.)

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Woolgar, Sarah Jane (Sarah Jane Mellon) (1824-1909): Made her London debut at the Adelphi, where she was based for 37 years.  Her first part was the title role of Selby’s burletta Antony and Cleopatra Married and Settled.  She was the original Lemuel in Buckstone’s Flowers of the Forest.  The following season, she played the Countess in Taming a Tartar for 51 nights.  She reprised the role in 1846 and 1847.

(Folger Shakespeare Library Digital Image Collection [Id 35794].  Oct 20, 1845.)

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Woolgar, Sarah Jane (Sarah Jane Mellon) (1824-1909): Married Alfred Mellon, the Adelphi orchestra leader in 1855.  She briefly joined the Lyceum Company but, in 1858, acting under her married name, she played 22 more seasons at the Adelphi.  The DNB claims her finest role was Catherin Duval in Phillips’ The Dead Heart.  In 1867, she was the original Sally Goldstraw in No Thoroughfare.  Her last role at the Adelphi was as Angelica Tod in the farce Wanted 1,000 Milliners, which ran until 12 November 1880.  She retired three years later.

(Located on Wikipedia:  Jan 1, 1886.)

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Wrench, Benjamin (1778?-1843): A great favorite with Adelphi audiences, appearing in ten seasons.  He began in the provinces and replaced R. W. Elliston at Bath in 1804.  He moved to Drury Lane and was there for five years.  He opened at the Adelphi as Captain Somerville in Capers at Canterbury.  He followed with his greatest success Corinthian Tom in Moncrieff’s Tom and Jerry.  He was a good comedian, not a great one.

(Drawing of Benjamin Wrench in Actors by Daylight, Volume 1 Publisher J. Pattie, 1838; Source; Google books, page 177; 1838.  Located on Wikipedia:  Jan 1, 1838.)

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Wyatt, Thomas Henry (1807-1830): Was elected President of the Royal Institute of British Architects 1870-73.  His younger brother, Matthew Digby Wyatt, was better known.  In 1858, Ben Webster hired Wyatt to design a large and more elegant Adelphi seating 1,500 people with standing room for 500.

(Via Wikipedia: Thomas Henry Wyatt, by George Landseer (died 1883). Architect. This set of images was gathered by User:Dcoetzee from the National Portrait Gallery, London website using a special tool. All images in this batch have been confirmed as author died before 1939 according to the official death date listed by the NPG. Unknown date, but author died in 1883. National Portrait Gallery, London: NPG 5710.  Dec 27, 1858.)

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Yates, Mrs. Frederick (Elizabeth Brunton) (1799-1860): She had an impressive career both before and after her marriage to Frederick Yates.  She played the Adelphi for twenty seasons in such roles as Mlle. Adelaide in Monsieur Mallet, Alice in Wreck Ashore (several times) and the title role of Victorine. On 6 August 1845, she appeared in a single performance as Eugenie in James Kenney’s Sweethearts and Wives.

(Located on Wikipedia:;  Nov 1, 1817.)

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Yates, Mrs. Frederick (Elizabeth Brunton) (1799-1860): Her husband’s death in 1842 left her with managerial duties with which she quickly dispensed.  In 1844, Madame Céleste and Ben Webster took over the theatre and Buckstone became resident dramatist.  Elizabeth played Geraldine in Green Bushes 82 times.  Her last full season at the Adelphi was 1846, though she appeared very briefly in the following two seasons. She died in 1860 after a long and painful illness.

(Located on Wikipedia:;  Nov 11, 1833.)

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The Elephant's Feat, Astley's.

(The Illustrated London News.  Dec 17, 1853, p. 517.)

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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.

(The Illustrated London News.  Dec 30, 1843, p. 424.)

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

(The Illustrated London News.  Feb 17, 1844, p. 109.)

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Mrs. Nesbitt.

(The Pictorial Times.  Apr 10, 1847, p. 232.)

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

(The Illustrated London News.  Nov 23, 1850, p. 409.)

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

(The Illustrated London News.  Jan 18, 1851, p. 45.)

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

(The Illustrated London News.  Dec 28, 1850, p. 513.)

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Richard Cœur de Lion, at Drury Lane.

(The Graphic.  Nov 7, 1874, p. 437.)

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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."

(The Illustrated London News.  Nov 10, 1883, p. 469.)

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Scene from Pleasure, at Drury Lane Theatre.

(The Illustrated London News.  Oct 15, 1887, p. 458.)

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

(The Illustrated London News.  Dec 30, 1843, p. 424.)

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Scene From Gracioso and Percinet, at the Haymarket Theatre.

(The Illustrated London News.  Dec 28, 1844, p. 409.)

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

(The Illustrated London News.  Apr 14, 1849, p. 245.)

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Scene from Romeo and Juliet, at the Haymarket Theatre.

(The Illustrated London News.  Feb 10, 1855, p. 132.)

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

(The Illustrated London News.  May 5, 1855, p. 428.)

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The New Amphitheatre, Holborn.

(The Illustrated London News.  Jun 22, 1867, p. 616.)

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Newmarket, at the Holborn.

(The Graphic.  Nov 7, 1874, p. 437.)

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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.

(The Illustrated London News.  Nov 9, 1844, p. 300.)

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

(The Illustrated London News.  Jan 4, 1845, p. 16.)

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

(The Illustrated London News.  Jan 4, 1845, p. 16.)

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

(The Illustrated London News.  Feb 29, 1845, p. 204.)

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

(The Illustrated London News.  May 17, 1845, p. 320.)

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

(The Sketch.  Jun 5, 1895, p. 303.)

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The New Standard Theatre, Shoreditch.

(The Illustrated London News.  May 17, 1845, p. 320.)

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

(The Illustrated London News.  Dec 28, 1850, p. 513.)

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Hyldemoer, by Hans Christian Andersen.

(The Illustrated London News.  Jan 20, 1877, p. 60.)

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

(The Graphic.  May 5, 1877, p. 405.)

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

(The Illustrated London News.  Jan 26, 1889, p. 104.)

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A Scene from the New Comic Opera of the Barcarolle.

(The Pictorial Times.  Apr 10, 1847, p. 232.)

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Scene from King John, at the Princess' Theatre.

(The Illustrated London News.  Apr 17, 1852, p. 309.)

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

(The Illustrated London News.  Dec 28, 1850, p. 513.)

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

(The Illustrated London News.  Jan 12, 1850, p. 28.)

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

(The Illustrated London News.  Feb 1, 1845, p. 73.)

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Old Sailors, at the Strand.

(The Graphic.  Nov 7, 1874, p. 437.)

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Babes & Beetles.

(The Graphic.  May 5, 1877, p. 405.)

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

(The Illustrated London News.  Dec 28, 1844, p. 409.)

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

(The Illustrated London News.  Dec 28, 1850, p. 514.)

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(The Illustrated London News.  Jul 26, 1856, p. 91.)

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

(The Illustrated London News.  Dec 24, 1853, p. 580.)

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The Aesthetic Monkey / engraved, by permission, from the picture by W.H. Beard, in the possession of Mr. Hugh Auchinclos.

(Harper's Weekly dated Jan 28, 1882, p. 49, obtained from US Library of Congress,  Jan 28, 1882, p. 49.)

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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.

(Joseph Donohue, private collection. Dated Oct 1816.  Oct 11, 1816.)

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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).

(Joseph Donohue, private collection. Dated Oct 1816.  Oct 11, 1816.)

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Under Terry and Yates, the exterior of the house remained substantially unchanged except for the name, which Rodwell and Jones had changed to Adelphi Theatre in 1819.  The architrave adds the words "Adelphi Theatre" over "Sans Pareil."  The outdoor lanterns were repositioned and a garden added on top of the portico.

(Photo of page by Manuel Palomino Arjona, Scanned Feb 28, 2010.  Image posted on Flickr. URL  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.

(Unknown.  Jan 1, 1880.)

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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.

(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

(Theodore J. Seward, Jr.  Jan 1, 1830.)

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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."

(Unknown.  Jan 1, 1840.)

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A picture of Samuel 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.

(Mirror of Literature, Amusement, and Instruction, 7 November 1840, p.289.  Jan 1, 1850.)

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Matthew D. Wyatt's 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.

(The Illustrated London News.  Oct 7, 1848, p. 224.)

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The Second Adelphi Theatre 1858 Description and Floor Plan from The Builder.

(The Builder.  Dec 11, 1858, p. 834.)

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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.

(The Illustrated London News.  Dec 18, 1858, p. 579.)

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Adelphi Façade, 1892.  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.

(New York Public Library Digital Gallery:, Jul 20, 1892.  Jul 20, 1892.)

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We believe this to be a picture of the third Adelphi theatre.  The Gatti brothers bought the theatre from Ben Webster in 1880.  In 1886–87, they purchased 410 and 409 Strand and converted them into the Adelphi Restaurant.  The frontage of the houses remained essentially the same but with plate glass windows.  On 11 September, 1901, the house opened as The Century Theatre.  It reverted to the old name soon after. c1901

(Post Card image from The Theatre Trust Web Siteçade-of-the-adelphi-theatre-london.  Creator Rotary Photo. E.C.  Jan 1, 1904.)

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The Fourth Adelphi Theatre, 1930.  Architect Ernest Schaufelberg designed a new building in the art deco style.  The façade demonstrates his conception: 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 [sic] 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).  The opening production was Evergreen starring Jessie Matthews.

This Image is from the front page of the program for "Helen!" (1931-1932).  To see the full program: Helen! program (15.1 MB).

(Program cover for Helen! at the Adelphi Theatre, January 30, 1932.  Jan 30, 1932.)

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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.  In 1993, the auditorium was reconstructed in vibrant gold and orange colors to appear as it did in 1930.  Major changes were also made to the stage machinery in order to mount the technically complex Sunset Boulevard.  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.

(Dr. Gilbert Cross.  Sep 30, 2010.)

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A simulated Adelphi Image (c1826): Front Façade (With Shadow)

(Theodore J. Seward, Jr.  Jan 1, 1826.)

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A simulated Adelphi Image (c1826): Full Image (with Shadow)

(Theodore J. Seward, Jr.  Jan 1, 1826.)

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A simulated Adelphi Image (c1826): Left Perspective

(Theodore J. Seward, Jr.  Jan 1, 1826.)

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A simulated Adelphi Image (c1826): Right Perspective

(Theodore J. Seward, Jr.  Jan 1, 1826.)

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A simulated Adelphi Image (c1826): Front Façade

(Theodore J. Seward, Jr.  Jan 1, 1826.)

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A simulated Adelphi Image (c1826): Sketchup 8 source file

(Theodore J. Seward, Jr.  Jan 1, 1826.)

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

(Theodore J. Seward, Jr.  Jan 1, 1799.)

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A 3-D Simulation of 411 Strand a Surrounding Buildings

(Theodore J. Seward, Jr.  Jan 1, 1804.)

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Various images about what the neighborhood of the theatre looked like when it first opened.

(Multiple Sources.  Jan 1, 1804.)

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(Theodore J. Seward, Jr.  Jun 1, 2015, p. 6.)

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(Theodore J. Seward, Jr.  Jun 1, 2015, p. 3.)

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(Theodore J. Seward, Jr.  Jun 1, 2015, p. 10.)

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(Theodore J. Seward, Jr.  Jun 1, 2015, p. 2.)

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(Theodore J. Seward, Jr.  Jun 1, 2015.)

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(Theodore J. Seward, Jr.  Jun 1, 2015, p. 4.)

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(Theodore J. Seward, Jr.  Jun 1, 2015, p. 5.)

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(Theodore J. Seward, Jr.  Jun 1, 2015, p. 9.)

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(Theodore J. Seward, Jr.  Jun 1, 2015, p. 7.)

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(Theodore J. Seward, Jr.  Jun 1, 2015, p. 8.)

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(Theodore J. Seward, Jr.  Jun 1, 2015, p. 11.)

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(Theodore J. Seward, Jr.  Jun 1, 2015, p. 12.)

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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
pref_bibl.jpg The Clip Art Book, Page 36 Editorial Page


The Clip Art Book, Page 54 Daily Calendar Page
dwnl_bibl.jpg The Clip Art Book, Page 100 Book Download Page
musi_bibl.jpg The Clip Art Book, Page 128 Musicians Page


The Clip Art Book, Page 133

Color added face and clothing.

Musicians Page
mgmt_bibl.jpg The Clip Art Book, Page 173 Management Page
main_bibl.jpg The Clip Art Book, Page 296 Home Page
bibl2_bibl.jpg The Clip Art Book, Page 314 Bibliography Page

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

Actors and Actresses Page
bibl_bibl.jpg The Clip Art Book, Page 356 Bibliography Page

Photograph of Alfred L. Nelson in Dedication.

Editorial Page

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

To top of page Home page Editor’s page Daily calendar Authors and titles Actors and actresses Composers, Music and Song Musicians and singers Dance, entertainment and spectacles Management and back stage All-Inclusive Index Bibliography Graphics gallery Theatre research Adelphi today Book version Site map


















Thank you for visiting this site.
Copyright © 1988, 1992, 2013 and 2016 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 and 2016  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."