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

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

Graphics: Introduction

Version 2 of the Adelphi Calendar contains illustrations of performances taken from contemporary publications, chiefly the Illustrated London News.  This graphics section is entirely new and mainly the work of Theodore Seward of the Northrop Grumman Corporation, the project’s systems analyst.  Unfortunately, illustrations from the first part of the century are rare.  However, those from the period 1850-1900 are more plentiful.  At a future date, we hope to add more images to the calendar.

The project is most anxious to give credit to copyright owners and has striven to find them.  However, some images do not carry any copyright information.  With few exceptions, unchecked graphics are not reproduced in the daily calendars.

All graphics preceded by a green check mark either are purchased or appear here by permission.
All graphics preceded by a yellow check mark were not purchased but are likely to be out of copyright.

(Mr. Seward received an additional thirty-six illustrations of non-Adelphi productions.  We decided to include these at the end of the list in order to preserve them.)

Below is a typical entry.  Next to the image is the title of the play and its author(s).  A description follows, identifying actors wherever possible, and adding relevant information.  Occasionally, illustrations of performers are displayed.  (Photographs become more available at the end of the century.)

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.

  • Image (0.4 MB)
  • Image and Source (5.7 MB)
  • First Performance: Sep 9,1897

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

"First Performance" brings up the image and the opening night of the piece in the daily calendar.  The source of the graphic appears in parentheses.

Graphic Images of Sans Pareil/Adelphi Performances

The editors wish to express their indebtedness to F. H. W. Sheppard, ed. Survey of London, 36: Covent Garden located at British History Online, http://www.british-history.ac.uk/report.aspx?compid=46127#s5 for historical details mentioned in this section.

In this section are illustrations taken from newspapers and magazines of the day–-most often the Illustrated London News, which commenced publication in May 1842.  Prior to that date, we have found little of note.  Engravings and photographs gave the reader a glimpse of what to expect at a production.  For the student of theatre, the images represent the only record of a scene from plays never likely to be performed again.  The task of locating the pictures and preparing them for digital reproduction was an extraordinary one, and, once again, the project is greatly indebted to the skills of Theodore Seward.  Each Adelphi image found in the "Graphics Gallery" is linked to the opening date of the play it illustrates.  (A few non-Adelphi images were obtained, and they are indexed separately under the names of their respective theatres.)  In those instances where we have a picture of an actor, we have assigned him to a contemporary play in which she or he appeared.

We gain an idea of the acting style throughout the century, and it is as we might expect.  By modern standards, it is exaggerated with much posturing.  As plays began to deal with more serious themes, acting became less flamboyant.  However, the illustration of Sarah Bernhardt playing Hamlet in 1899 is proof enough that posturing was far from dead.

Naturally, all the graphics are in black and white with the exception of brightly-colored renditions of T. P. Cooke and of Celine Celeste in her favorite role, Miami, in Green Bushes.  For the rest, alas, we have to add our own colors.  Nevertheless, these illustrations are all we have of these productions, and we echo the melancholy Dane in saying, "they are the abstract and brief chronicles of the time."

These illustrations are found in the Book Version Vols.5-13.  They are listed under "Illustrations" at the top of the Contents.

Illustrations from Other Theatrical Productions

After the Sans Pareil/Adelphi graphics is a selection from other London theatres–mainly Drury Lane, Haymarket, and Lyceum.  Most of the images are from the same source as the Adelphi illustrations.  The editors include them because they are valuable historical records in their own right.

Graphic Images of the Sans Pareil/Adelphi Theatre

From time to time, illustrations of the Sans Pareil/Adelphi appeared.  We have gathered nine of these to illustrate the evolution of John Scott’s theatre.  The first image is dated 1816.  In 1858, manager Ben Webster decided to build a new house.  There are extensive records of this construction.  A lengthy article in The Builder describes the design, makes comparisons to rival theatres, and includes a drawing of the dress circle.  Theodore Seward has redrawn and relabeled this design because the original is of poor quality.  All important parts of the house are designated and their measurements given in the article.

The last image is of the theatre as it was in 1880 under the proprietorship of the Gatti Brothers.

Computer Simulations of the Theatre

Mr. Seward has constructed a series of images firmly based on what we know about Adelphi Theatre and its surroundings c. 1826.  Views are from different perspectives.  The final image is for those familiar with Trimble Navigation’s SketchUp program, which allows users to model in 3-D.  With three-dimensional models, users can view the theatre from every conceivable angle.

John Scott Builds His Daughter a Theatre

This section traces the beginnings of the Sans Pareil and its proprietor John Scott.  His daughter’s musical and dramatic talent convinced him he should build her a theatre.  The first map is redrawn from one of Richard Horwood’s Maps of London, published between 1792 and 1799.  It shows 411 The Strand and the buildings behind, which were to become the Sans Pareil.  The second map is from Christopher and John Greenwood’s Map of London, 1830.  The theatre, now called the Adelphi, is colored blue.  The final redrawing is from Edward Stanford’s Library Map of London & its Suburbs, 1862.  This Adelphi is the house Ben Webster rebuilt in 1858.

Graphic Images

The following graphics are generally taken from the Illustrated London News.  Most are for performances at the Adelphi, but a few are for other theatres and are included to preserve them.  Unhappily, virtually no images are of Sans Pareil productions.  Besides each image, there is a title, description, three links, and the source.

The first link is to the image.  If there is a review, the link will read "Image and Review."  The second link is to the Image and Source.  If there is a review, the link will read "Image, Review, and Source."  The third link takes the reader to the first performance of the piece as entered in the Online Daily Calendar.

The Image and Review link leads to an illustration, the title of the piece and a description--identification of performers (if known) and any other relevant information.  There is a link to the opening night production as entered in the Daily Calendar.  The source is noted, usually the Illustrated London News and there is a link to it.  The size of the entry is given in megabytes (older systems take more time to download large images).  Images used in the Daily Calendar have been cropped so they download rapidly.

Users of the Calendar will find the reviews valuable material.  Most of them are favorable, certainly less scathing than those we read today.  While they vary in value, many contain plot summaries–useful information considering few of the plays are printed.  While it is impossible to say how accurate the renditions of the players are, the invention of photography later in the century produced pictures as accurate as any studio photograph.

Should the reader wish to see the source in its entirety, there is a link--Image, Review, and Source.  In addition to the information given in the Image and Review page, there is a link to the source--usually a full page, which may contain valuable details of contemporary productions and historical events.  The graphic is larger in the source than in the Daily Calendar.

Graphic Images

 

Graphic Images of the Sans Pareil/Adelphi Performances

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

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

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

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 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 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.

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 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.

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.

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.

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

Flowers of the Forest by John Buckstone.

Flowers of the Forest by John Buckstone.

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

Cockneys in California by Joseph S. Coyne.

The Hop Pickers by Thomas Parry.

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.

Jessie Gray by Robert Brough and John Bridgeman.

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.

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

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).

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

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.

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

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

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

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.

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

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

"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.

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

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.

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

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

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.

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

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.

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

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.

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

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.

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

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.

Scene from Maud's Peril.

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).

No Thoroughfare by Charles Dickens and W. Wilkie Collins.

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

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.

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

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

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.

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

Little Goody Two-Shoes by Edward Blanchard.

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.

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

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.

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

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.

Scenes from Love and Money.

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.

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.

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.

Scenes from The Last Chance.

The Colleen Bawn Dion Boucicault’s famous domestic drama.

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

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 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 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.

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

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 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 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 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).

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.

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

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

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.

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.

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.

  • Image (1.3 MB)
  • Image and Source (4.5 MB)
  • First Performance: May 15, 1897
  • (Theatrical Poster Collection (Library of Congress), http://hdl.loc.gov/loc.pnp/var.0871, Author Strobridge Lith. Co. Also available at http://en.wikipedia.org/wiki/File:William_Gillette_-_Secret_Service.jpg, May 15, 1897)

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.

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).

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

People of the Sans Pareil/Adelphi Theatre

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  • Image (0.3 MB)
  • Image and Source (1.3 MB)
  • First Performance: Jan 27, 1845
  • (Female Costumes, Historical, National, and Dramatic, Thomas Hailes Lacy, 1865, Plate 14.  The University of Georgia Libraries, http://djvued.libs.uga.edu/GT513xL32/ldcmenu.html., Jan 27, 1845)

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

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

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

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

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

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

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

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

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

Emery, Samuel Anderson (1817-1881): Actor

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

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

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

Furtado, Teresa Elizabeth (1845-1877): Actress

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

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

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

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

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

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

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

  • Image (0.4 MB)
  • Image and Source (1.2 MB)
  • First Performance: Jul 1, 1830
  • ((c1830-1850) cityoflondon.gov.uk; ‘Breeches Role’.  Located on Wikipedia: http://en.wikipedia.org/wiki/Mary_Anne_Keeley; http://www.cityoflondon.gov.uk/Corporation/lma_learning/theatrelands/gallery.asp?ID=TL-IG-09.jpg., Jul 1, 1830)

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

  • Image (0.9 MB)
  • Image and Source (7.0 MB)
  • First Performance: Jul 1, 1830
  • (National Portrait Gallery, London: NPG 1558; Age 92.  Located on Wikipedia: http://en.wikipedia.org/wiki/Mary_Anne_Keeley; http://www.npg.org.uk/collections/search/portrait.php?search=ap&npgno=1558&eDate=&lDate=., Jul 1, 1830)

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

  • Image (0.1 MB)
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  • First Performance: Oct 1, 1821
  • (Located on Wikipedia: http://en.wikipedia.org/wiki/Robert_Keeley_%28comedian%29; http://www.npg.org.uk/collections/search/portraitLarge/mw123898/Robert-Keeley?search=ss&firstRun=true&sText=robert+keeley&LinkID=mp82656&role=sit&rNo=2., Jan 1, 1864)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

  • Image (0.2 MB)
  • Image and Source (0.9 MB)
  • First Performance: Oct 10, 1825
  • (Portrait by Henry William Pickersgill.  Located on Wikipedia: http://www.nationalgalleries.org/collection/online_az/4:322/result/0/3970?initial=P&artistId=7289&artistName=Henry%20William%20Pickersgill&submit=1; http://en.wikipedia.org/wiki/Daniel_Terry., Oct 10, 1825)

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

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

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

  • Image (< 0.1 MB)
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  • First Performance: Jun 20, 1894
  • (Postcard of Fred Terry in The Scarlet Pimpernel, 1905.  Located on Wikipedia: http://en.wikipedia.org/wiki/Fred_Terry; http://www.collectorspost.com/cgi-bin/ShopLoader.cgi?Inventory.cgi&BUY&A14&NS., Jan 1, 1905)

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

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

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

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

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

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

Vokes, Jessie (1851-1884): Actress.

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

Vokes, Victoria (1853-1894): Actress.

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

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

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

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

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

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

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

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

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

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

Illustrations from Other Theatrical Productions

Astley's

The Elephant's Feat, Astley's.

Drury Lane

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.

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

Mrs. Nesbitt.

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

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

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

Richard Cœur de Lion, at Drury Lane.

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."

Scene from Pleasure, at Drury Lane Theatre.

Haymarket

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

Scene From Gracioso and Percinet, at the Haymarket Theatre.

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

Scene from Romeo and Juliet, at the Haymarket Theatre.

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

Holborn

The New Amphitheatre, Holborn.

Newmarket, at the Holborn.

Lyceum

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

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

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

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

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

Lyric

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

New Standard

The New Standard Theatre, Shoreditch.

Olympic

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

Polytechnic

Hyldemoer, by Hans Christian Andersen.

Prince of Wales

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

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

Princess

A Scene from the New Comic Opera of the Barcarolle.

Scene from King John, at the Princess' Theatre.

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

Sadler's Wells

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

St. James

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

Strand

Old Sailors, at the Strand.

Babes & Beetles.

Surrey

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

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

The New Music Hall at the Surrey Gardens.

Non-specific

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

Graphic Images of the Sans Pareil/Adelphi Theatre

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.

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).

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

  • Image (0.7 MB)
  • Image and Source (2.0 MB)
  • (Photo of page by Manuel Palomino Arjona.  Found on Flickr., Jan 1, 1826)

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.

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

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

Simulation of Adelphi Theatre based on sketch, c1830

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."

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

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

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 New Adelphi Description and Floor Plan from The Builder.

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

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

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

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

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

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

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

Computer Simulations of the Adelphi Theatre

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

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

Simulated Adelphi Image (c1826): Left Perspective

Simulated Adelphi Image (c1826): Right Perspective

Simulated Adelphi Image (c1826): Front Façade

Simulated Adelphi Image (c1826): Sketchup 8 source file

John Scott Builds His Daughter a Theatre

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

3-D Simulation of 411 Strand a Surrounding Buildings

Ink Bottles, Magic Lanterns, and Neighbors


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