IN SLOANE SQUARE

At this time the Bancrofts' old and well loved comrade, John Hare, was acting and managing in friendly rivalry with them at the original Court Theatre in Sloane Square. In 1876, the Kendals, having concluded a most prosperous season with him, left to fulfil an engagement in Tottenham Street, and he secured the services of Ellen Terry, whose husband, Charles Kelly, was already serving under his banner.

Before he went to fulfil his first engagement in America, John Hare entrusted me with the task of writing his biography, and, apart from my own observations of them, I became very well acquainted with the history of the series of plays in which Ellen Terry appeared in the dainty Chelsea playhouse.

Her first venture in her new home was as Kate Hungerford, in an original comedy by Charles Coghlan, entitled "Brothers," of which great things were expected. The cast included John Hare, Charles Kelly, H. B. Conway (one of the handsomest young actors of his day), G. W. Anson (a born comedian), Miss Bessie Hollingshead (the pretty and gifted daughter of the valiant and erudite John Hollingshead), and the always delightful Mrs. Gaston Murray. It was a cleverly written play, and the acting had the ensemble that John Hare had striven so hard and so successfully to impart, but it did not "draw the town," and it was very speedily succeeded by a revival of Tom Taylor and A. W. Dubourg's charming comedy, "New Men and Old Acres," in which Ellen Terry played the part created by Mrs. Kendal on the original production of the piece at the Haymarket Theatre, and Hare followed Chippendale as Vavasour. By all concerned this was so beautifully performed, and by the indefatigable actor-manager so perfectly stage-managed, that solid and lasting success was assured. The good work that was being done was generously as well as generally recognised, and the critical AthenÆum spoke for the public when it said:—

"Without going to the best Parisian theatres, it is not easy to rival the performance now given, and there even the majority of the impersonations would call for notice. The result is highly gratifying to the public, unused to spectacles such as are now presented to it, and is most honourable to the management.... We may congratulate accordingly Mr. Hare and his company upon a performance that lifts off a portion of the reproach under which we have lain, and that is the more noteworthy inasmuch as of the dozen actors concerned in the performance, there is no one that does not deserve praise."

The character of Lilian Vavasour had been so inseparably associated with the name of Mrs. Kendal, who when she first appeared in it was still using her maiden name (well loved by the public) of Madge Robertson, that it must have been difficult for Ellen Terry to take it up, as it were, at second-hand. That she succeeded in it to admiration, and once more secured a long run for the pretty comedy, speaks volumes for her talent and personal charm. I suppose nowadays "New Men and Old Acres" would be called "old-fashioned." Many of us would like to see it again as played by those dozen actors who all "deserved praise."

Early in 1877 it was apparent that Henry Compton, the veteran Haymarket comedian, whose name will ever rank with the greatest of his art, would be unable to return to the active work of the stage. By his professional brothers and sisters he was both loved and respected, and they resolved to give evidence to their sympathy by organising a history-making benefit performance.

This was given at Drury Lane Theatre on March 1. The substantial item on the bill of fare was Lord Lytton's "Money," with a cast that included the well-known names of Henry Neville, John Hare, W. H. Kendal, Benjamin Webster (he emerged from his retirement to play his original character of Graves, and it was his last appearance on the stage), David James, and Squire Bancroft. Mrs. Bancroft played Lady Franklin; Mrs. Kendal, Clara Douglas; and Ellen Terry, Georgina Vesey.

All concerned in this undertaking were anxious to do honour to the name of Henry Compton, and the happy thought was conceived of inviting his son, Edward Compton, then a young fellow "serving his time" with the provincial stock companies, to play the central part of Alfred Evelyn. It was a nervous first appearance in London for so youthful and inexperienced an actor, but he performed his task bravely, and delighted his worthy father as well as his audience. He has often told me of the kindly encouragement he received from the great artists by whom he so unexpectedly found himself surrounded. Since then, as the founder and indefatigable manager of the Compton Comedy Company, he has helped many excellent actors and actresses to reach the coveted London boards.

As a motto to "Money," the following cynical lines are often used—

In the little world of the theatre lending and giving ungrudgingly goes on; the worthy, unfortunate, and unasking beggar is (to put him in that light) charitably treated; and one will cheerily help another to obtain his own.

Until October 1877, "New Men and Old Acres" pursued its prosperous course, and by that time John Hare was ready with one of his most ambitious efforts.

This was the production of Lord Lytton's posthumous work, "The House of Darnley," and concerning it I cannot do better than quote Dutton Cook, when he said: "A critic wrote concisely of the late Lord Lytton's play of 'Not so Bad as we Seem' that it was 'not so good as we expected.' Perhaps a like judgment might fairly be passed upon the noble author's posthumous comedy, 'The House of Darnley.' It was inevitable, however, that Lord Lytton's fame should stimulate hope unduly. The author of 'The Lady of Lyons' and 'Money' may reasonably be reckoned the most successful dramatist" (let it be remembered that this was written in 1877) "of the nineteenth century. It may be said at once that with those established works the new comedy cannot afford comparison. But in estimating the worth of 'The House of Darnley' it is very necessary to bear in mind the peculiar conditions under which it is submitted to the public. The play was left in an unfinished state; the whole of the last act has been furnished by Mr. Coghlan, who was without other clue than his fancy could suggest as to the original design of the dramatist. More than any other literary work, a drama must benefit by revision and reconsideration on the part of the author; in such wise weak points in construction may be strengthened, gaps in the story supplied, the dialogue braced, and the action quickened."

That in the face of all these very properly pointed out difficulties success should have been won, speaks volumes for the tact of the courageous manager, and the skill of his fellow-workers.

Let me again quote my authority:—

"With all its defects," he says, "'The House of Darnley' secures the attention and the respect of the audience, and succeeds in right of its own good qualities, and not merely because of the esteem in which the performances of its departed author are generally held. If the theme be weak, it is yet strongly handled, and demonstrates sufficiently the wit and the humour and the literary accomplishments of the late Lord Lytton. The comedy has been provided for with the good taste and liberality which have so laudably distinguished Mr. Hare's management."

Ellen Terry acted with great distinction as Lady Juliet, and excellent work was done by John Hare, Charles Kelly, Alfred Bishop, Amy Roselle, and others, but, interesting though it was, the play did not long hold the stage.

There was another performance in 1877 that must not be forgotten. This was on June 20th, at the Gaiety Theatre, for the benefit of Charles Lamb Kenney, who had through illness lasting over a considerable time been unable to ply his facile pen. "The School for Scandal" was the piÈce de rÉsistance, and it was then that Ellen Terry appeared for the first time as Lady Teazle. Charles Kelly was the Sir Peter; Henry Neville, Charles Surface; and John Clayton, Joseph Surface. By those who remember the prodigiously long run of Sheridan's masterpiece at the Vaudeville Theatre, the last mentioned performances of the admirably contrasted brothers will ever be borne in appreciative memory. Mrs. Arthur Stirling was the Mrs. Candour; and Mrs. Alfred Mellon the Lady Sneerwell. As may be imagined Ellen Terry played Lady Teazle with winsome high spirits in the earlier acts, and plaintive remorse in the great screen scene.

John Hare's next venture at the Court Theatre was not successful. In spite of the care lavished upon its production, and of much clever acting on the part of the company, Tom Taylor's comedy "Victims," originally presented at the Haymarket in 1857, failed to attract audiences in 1878, and was speedily withdrawn. Withdrawn, it may be unhesitatingly said, in favour of his greatest managerial success—the stage version by W. G. Wills of Oliver Goldsmith's immortal story "The Vicar of Wakefield," entitled "Olivia." John Hare suggested the subject to Wills, and it was at once seized with the characteristic avidity of a prolific and graceful writer. No one who knew that unquestionable, but all too kindly and erratic, genius will be surprised to hear that the first draft of the play was for stage purposes impossible. It was made up of scenes of great beauty hopelessly choked with vast quantities of irrelevant matter. It was not consecutively written, but was jotted down at random in untidy copy-books, on the backs of used envelopes, chance scraps of paper, and even on the eager but unmethodical author's wristbands. At one time the task of bringing all this heterogeneous matter into workmanlike form seemed to be a hopeless one, but with full faith in his project and his author, John Hare was not to be baffled.

Night after night the two sat up together, and the play was re-constructed and re-written in accordance with the practical managerial views. When it was at last completed the dramatist prudently withdrew from the scene. W. G. Wills had no interest in or talent for stage management, and he wisely left the production in the experienced hands of John Hare, only attending the perfected rehearsal on the eve of the first performance.

John Hare can rarely be induced to talk about himself or his work, but in connection with this production he is inclined to be somewhat enthusiastic. "The beauty of the subject," he told me, "made the stage management of this play profoundly interesting to me, and stimulated my imagination and inventive powers to a greater height than I had ever reached. By working out the whole scheme of the play in my home study I planned all the movements and minute stage directions, so that at the very first rehearsal it practically was the same as when it was presented to the public. The part of the Vicar I offered in the first instance to Alfred Wigan, making every effort to induce him to return to the stage in order that he might create this beautiful character. I could not induce him, however, to face the footlights again. So Hermann Vezin became the 'Court' Vicar, and how admirably he played the part we all know."

No one grudges Hermann Vezin his well-won success in the part, but some of us who ponder over things theatrical, sometimes wonder whether, if the Court Theatre had had another manager, and the services of John Hare had been available, he might not have been induced to impersonate Dr. Primrose.

The part of Olivia had of course been designed for Ellen Terry, and how much she was pleased with it is proved by the following little note impulsively dashed off to the author:—

"Court Theatre,
Monday, March 5, 1878.

"Dear Mr. Wills,—I can't tell you how much I was delighted with the play, and with my part, but I was delighted!

"I only hope I shall be able to please you in my part of the work.—Believe me to be, very sincerely yours, Ellen Terry."

Indeed, she always liked to study the words of this author. At the Lyceum, in addition to the repetition of Olivia, she played his Queen Henrietta Maria in the revivals of "Charles I."; his Ruth Meadows in "The Fate of Eugene Aram," and his Margaret in "Faust."

Concerning "Charles I.," she wrote to him (this letter was published by Mr. Freeman Wills in his highly interesting memoir of his brother):—

"I'm just returned from our last rehearsal of 'Charles I.,' and, coming home in my carriage, have been reading the last act, and I can't help writing to thank you and bless you for having written those five last pages. Never, never has anything more beautiful been written in English—I know no other language. They are perfection; and I—often as I've acted with Henry Irving in the play—am all melted at reading it again. An immortality for you for this alone."

She greatly grieved over her well-loved author's death, and concerning it wrote to her friend, Alfred C. Calmour:—

"22 Barkston Gardens, Earl's Court, S.W.,
December 15, 1891.

"Thank you for writing. Wretched news, is it not? A genius and a dear fellow. I know how much you will miss him, and I'm very sorry for you and for myself too.

"I hope he was conscious and had folk he cared for by him.—Yours ever, Ellen Terry."

She is indeed the most charming of letter writers, and, if it were permissible, it would be pleasant to fill a chapter with her lively, as well as sympathetic, correspondence with the famous men and women of her day; but she very strongly, as well as very rightly, holds the opinion that to publish private letters intended for one person only is like asking an audience to put their ears to a keyhole and listen to a private conversation.

But to return to "Olivia." The beautiful play was produced at the Court Theatre on 30th March 1878, and at once won its well deserved victory. The first-night audience having watched the course of the story with that breathless silence which is the highest form of applause, having been over and over again moved to tears, became, at the fall of the curtain, a demonstrative one, and the unrestrained enthusiasm of the plaudits could be heard without Sloane Square. The critics were in their appreciation and praises as loud as the audience, and Ellen Terry's triumph was complete. She was the idolised heroine of a memorable evening.

"Mr. Wills," said Dutton Cook, "has been fortunate not merely in his performers, but also in his manager. Mr. Hare demonstrated anew that he has elevated theatrical decoration to the rank of a fine art; indeed, his painstaking and outlay in placing the play upon the stage justify suspicion that it was produced almost as much for its pictorial as for its dramatic merits. In either case, advantage has been taken of the opportunity to present a special reflection of the artistic aspects of the last century with regard to furniture and costumes, china and glass, &c. A sort of devout care has been expended upon the veriest minutiÆ of upholstery and ironmongery; a fond ingenuity is apparent in every direction of the scene; and the foibles and fancies of those who love, or imagine that they love, cuckoo clocks, brass fenders, carved oak, blue and white crockery, and such matters, have been very liberally considered and catered for. Prettier pictures have not, indeed, been seen upon the stage than are afforded by the Primrose family, their friends and neighbours, goods and chattels, and general surroundings in this play of 'Olivia.'

"But a higher claim to distinction arises from the method of its representation. In the hands of Miss Ellen Terry, Olivia becomes a character of rare dramatic value, more nearly allied, perhaps, to the Clarissa of Richardson than to the heroine of Goldsmith. The actress's singular command of pathetic expression obtains further manifestation. The scene of Olivia's farewell to her family, all unconscious of the impending blow her flight is to inflict upon them, is curiously affecting in its subtle and subdued tenderness; while her indignation and remorse upon discovering the perfidy of Thornhill are rendered with a vehemence of emotion and tragic passion, such as the modern theatre has seldom exhibited.

"Only an artist of distinct genius could have ventured upon the impulsive abrupt movement by means of which she thrusts from her the villain who has betrayed her, and denotes the intensity of her scorn of him, the completeness of her change from loving to loathing.

"Miss Terry is not less successful in the quieter passages of the drama, while her graces of aspect and manner enable her to appear as Olivia even to the full satisfaction of those most prepossessed concerning the personal charms of that heroine—so beloved of painters and illustrators—to whom have been dedicated so many acres of canvas, so many square feet of boxwood."

This criticism well sums up the general opinion. Joseph Knight was equally full of praise, and said: "Miss Terry was altogether life-like as Olivia, and much of her business was extremely natural and touching. It was full of suggestion, and, in one point at least, when she repelled the further advances of the man who had wronged her, it touched absolute greatness."

Clement Scott pays his tribute as follows:—"'Olivia,' as I first saw it at the Court Theatre, is a memory that will never die while life lasts. It is one of the most precious souvenirs in my collection.... Words fail to convey an adequate impression of the original Olivia—the spoiled child and darling of the English home as portrayed by Ellen Terry. I see the idol of her old father's heart. Vividly and clearly is presented to my memory the scene where Olivia, under the hypnotic influence of love, bids farewell to her loved ones, scattering around her little treasures, and that 'white face at the window,' when 'Livy' is on the high road to destruction. All that was pathetic enough; but the dramatic effect was bound to follow, and it came with vivid truth in the great scene between Ellen Terry and William Terriss. At that time, both actor and actress were perfect specimens of manly beauty and feminine grace. Terriss was just the dare-devil, defiant creature, handsome to a fault, that women like Olivia love. He looked superb in his fine clothes, and his very insolence was fascinating and attractive.

"When Olivia struck Squire Thornhill in her distraction and impotent rage, an audible shudder went through the audience. It was all so unexpected. But the truth of it was shown by the prolonged and audible 'Oh!' that accompanied it. When we talk of the Ellen Terry manner, and her indescribable charm, may I ask, were they ever better shown than in the scene where Olivia kisses the holly from the hedge at home, and then hangs it on a chair and dances round it with childish delight? And so it went on from perfection to perfection. For me there will only be one Olivia—Ellen Terry."

No wonder that this fascinating Olivia became the rage of the day. Her photographs went like wildfire; the milliners' windows were full of Olivia hats, caps, 'kerchiefs, and other items of feminine adornment; everywhere such dainty trifles were in evidence; and how many little "Olivias" were christened in 1878 it would be hard to say.

Among the pretty schoolgirls who figured in the play a young aspirant for dramatic honours made her first appearance on the stage. This was Kate Rorke. How highly Ellen Terry thought of her sister artist's talents will be seen in the course of these pages. She has ever been ready to recognise merit in her fellow-workers—ever willing to render them a helping hand.

Ellen Terry has modestly declared that it was because of her popularity as Olivia that Henry Irving invited her to be his helpmate in his great projects for his management of the Lyceum Theatre. It was not only this: many things pointed to the fact that she was destined to be the greatest Shakespearean actress of the latter years of the nineteenth century.