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622:, which also focused on a woman with a far from respectable past. Unlike Pinero's play, Wilde's ended happily, and was seen by the respectable habitués of the St James's as mildly shocking but acceptable. In Pinero's play Paula Tanqueray kills herself. In Wearing's words, "although not as avant-garde as Ibsen's plays, Tanqueray confronted its fashionable St James's audiences with as forceful a social message as they could stomach". Both Pinero and Alexander were apprehensive about the public reception of the piece, but it was a sensational success at its opening in May 1893, made a profit of more than £10,000, and was still playing to full houses when Alexander, who disliked acting in long runs, closed the production in April 1894 after 225 performances.
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the stage for the legitimate purposes of the stage he is without a rival. As it was said of
Euripides that he was τραγικώτατος, the most tragic of the tragic writers, as it might be said of Molière that he was the most comic of comic writers, so it may be said of Mr. Pinero that of all our dramatists to-day he is the most "dramatic". The art of drama is, quintessentially, the art of story-telling, as the sculptors say, "in the round". Mr. Pinero is supreme as a story-teller of that sort. We are always keenly interested in what his people are doing at the moment; we always have the liveliest curiosity about what they are going to do a moment later.
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667:, described by a 21st-century critic as "Pinero's love letter to theatre", the author addressed his regular topics of class and inexorable change, to which he added a study of the enduring power of the theatre. The play shows a popular actress in mid-Victorian melodramas marrying into the aristocracy, regretting it, returning to the stage and finding that she can no longer make the old style of plays work, successfully switching to works in the new realistic style. Wearing calls the play Pinero's homage to
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William Parry describes the libretto as "a verbose mess ... suffused with a fussy air of arch medievalism". At its premiere, on 28 May 1898, the piece ran for four hours, and Pinero and Carr had to accept some drastic cuts to their words, which also meant sacrificing some of
Sullivan's best music. The reviews for the music ranged from polite to enthusiastic; for the libretto they ranged from polite to damning.
861:. Among others who came under public pressure because of the war was Shaw, who opposed it strenuously, and was much vilified by the public and even by his colleagues. Pinero refused to join in the chorus of disapproval, and his friendship with Shaw endured, although they saw less of each other after Shaw resigned from the Dramatists' Club under pressure from its pro-war members led by
457:, he had tried "to raise farce a little from the low pantomime level". Instead of relying on the Parisian stereotype, revolving around potentially adulterous liaisons, he tried to create believable characters in credible situations. The piece played for 363 performances in its first run, the first play in the history of the Court to run for more than a year. When its star,
115:. They were descended from the Pinheiro family, described by Pinero's biographer John Dawick as "a distinguished family of Sephardic Jews who rose to prominence in medieval Portugal before suffering the persecutions of the Inquisition". Pinero's branch of the family fled to England. His grandfather abandoned the Jewish faith, became a member of the
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wrote, "Pinero cannot be outranked as a farceur by any other
English writer; not even Shakespeare consistently expended on this form the care and art which went into the Court Theatre farces or achieved such thoroughly satisfying results". Reviewing the book, the academic Robert Ronning agreed that the farces were Pinero's most enduring works:
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affected by it, which Shaw felt weakened the argument. Nevertheless, they were on good terms and both were prominent in campaigns for a national theatre and the reform or abolition of theatre censorship. Shaw conceived the idea that playwrights needed a titled figure to lead their campaigns, and lobbied the
British government to secure a
545:(1891) – did not match its success, running for 61 and 65 performances respectively. Nonetheless Pinero's attention continued to turn more to serious than to farcical topics. Wearing comments that Pinero began to write "problem plays", considering "the double standard of morality, applied unequally to men and women". His first was
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When Mr. Pinero is at his best we reckon ourselves as close upon the high water mark of theatrical enjoyment. … This or that playwright may show more "heart" than Mr. Pinero or a more delicate subtlety, a third may easily outclass him in intellectual gymnastic, but in his command of the resources of
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and
Alexander in the lead roles, and for Pinero; it ran for 430 performances and took more than £78,000 at the box-office. The alliance between Alexander had by now become a firm friendship, punctuated by occasional arguments between the actor-manager and the author, who became extremely prescriptive
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One of the most heartening developments in recent years has been the critical rehabilitation of the oft-scorned giants of the commercial theatre. Thus Coward has been revealed as an
English Chekhov and Rattigan as the supreme explorer of the hidden heart. But neither would have been possible without
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published polite obituaries that respectfully relegated his works to a bygone era. For twenty years after his death Pinero's reputation remained in what Dawick calls "a state of near-eclipse". From the 1950s onwards interest in his Court farces grew. In a 1972 study of the playwright, Walter
Lazenby
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for Pinero. Whether because of Shaw's canvassing or not is unknown, but Pinero was knighted in 1909, only the second dramatist to receive the honour (Gilbert having been knighted two years earlier). Pinero rarely used the title, but shortened his signature from "Arthur W. Pinero" to "Arthur Pinero".
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experience in writing for music, and yet obstinately refusing to accept any suggestions from me as to form and construction". He later wrote in his diary, "heartbreaking to have to try to make a musical piece out of such badly constructed (for music) mess of involved sentences". The musical analyst
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and
Bernard Shaw as well as Pinero. The critics were confused by the play. Pinero commented that they seemed "divided as to whether the piece is a weak farce or an imperfect realistic drama". It had a good, though not outstanding, run of 135 performances at the Court, but subsequently became one of
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Although he continued to write throughout the first three decades of the 20th century and into the fourth, it is Pinero's work from the 1880s and 1890s that has endured. There have been numerous revivals of many of his plays; and some have been adapted for the cinema or as musicals. By his later
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Another of Pinero's friends was Shaw. As authors they held very different views of the nature and purpose of drama. Although both addressed social problems in their plays, Shaw, who held that all good art is didactic, concentrated on the problem itself, whereas Pinero focused more on the people
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Pinero's wife died in 1919, having been an invalid for some time. Although her death was foreseen it caused Pinero deep distress, and after it he was often despondent, despite the devoted attention of his stepdaughter. During the last years of his life Pinero gradually ceased to be a figure of
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and who was to become a persistent irritant to Pinero, was particularly waspish. Besides the shortcomings of the libretto, the uncomic, romantic style of the piece was not in keeping with the traditions of the Savoy or the expectations of its audience, and the opera closed on 16 July after 50
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regards the play as of particular importance in the history of the St James's, a theatre previously known more for its failures than its successes. Pinero's play was regarded as daringly unconventional and a risky venture, but it caught on with the public, particularly for the character Baron
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does not mean much except for what they learn about craftsmanship, and this could be learned equally well from the farces. ... While we have seen considerable interest in the field of nineteenth century drama in recent years, one doubts if Pinero's social and problem plays will ever catch
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During his time at the
Haymarket Pinero married Myra Emily Wood (c. 1852–1919), who had acted under the stage name of Myra Holme, a widow with two children, Angus and Myra, from her first marriage. The wedding took place on 19 April 1883. There were no children of the marriage to Pinero.
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British citizens of German origin to make public statements of their loyalty to the King and reject
Germany's methods of warfare. In the following days, numerous letters were received by the newspaper from naturalised Britons affirming their loyalty, including public figures such as
553:, but the lessee, John Hare, persuaded a reluctant Pinero to tone down the ending to avoid alienating his respectable society audience: in the final version the protagonist does not kill himself, as Pinero had written, but is forgiven by his wife. The play ran for 129 performances.
119:, married a Christian Englishwoman, Margaret Wing, and became a highly successful lawyer. His younger son, Pinero's father, also took up the legal profession, but was much less successful; Pinero was brought up in circumstances that were not poor but were not affluent. He attended
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deputised for him for three weeks. Three touring companies were needed to meet the demand for the play in the British provinces, and local managements in Australia, India and South Africa were licensed to stage it; Pinero travelled to New York for the American premiere, at
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for 684 performances from March 1888 to January 1890. This piece concerns an impoverished clerk, a bibulous but wise barrister, fraudulent bankers, a long-lost sweetheart and happy endings all round. It was billed as "a domestic drama", and was mainly comic, but,
280:, a one-act comedy written in a single afternoon for a colleague to present at a benefit performance in 1877. The play was well received and was given several further performances, bringing Pinero's name a modest amount of publicity. His first full-length play,
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led Pinero to reconsider his approach to playwriting, which now seemed old-fashioned by comparison. He was far from uncritical of Ibsen's plays, but recognised that if he was to be a serious dramatist he must treat social problems and human misconduct frankly.
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in October 1885. He had turned 30 earlier that year. A retrospective review of his career published in 1928 pointed out that Pinero – who had recently celebrated 50 years as a West End playwright – achieved fame at an unusually early age: his contemporaries
450:. Wearing writes that in these plays Pinero "attacked facets of Victorian society by creating credible though blinkered characters, trying to preserve their respectability while trapped in a relentless whirlpool of catastrophically illogical events".
228:, and Pinero retained his role as an elderly solicitor. The production was not the hoped-for success in London, but Pinero received good notices for his performance, and when the run finished after ten weeks he was immediately engaged by
779:, another work for Alexander and the St James's. This piece is a drama about a put-upon second wife who eventually triumphs over the domineering family of her husband's dead first wife and wins his undivided love. It was a triumph for
2798:, in an unauthorised American silent version in 1914, which prompted a successful but not very lucrative lawsuit by the author. With his approval, eight of his plays were adapted for the silent cinema, an authorised version of
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Pinero was drawn to the theatre from an early age, and became a professional actor at the age of 19. He gained experience as a supporting actor in British provincial theatres, and from 1876 to 1881 was a member of
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John Daniel Pinero died in May 1871, leaving very little money. To contribute to the family income, Pinero continued to work as a solicitor's clerk, earning £1 a week. In the evenings he studied elocution at the
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badly affected his wish and ability to write. He had suffered an emotional blow in 1913 when his stepson killed himself, and the outbreak of war the following year appalled Pinero. Following the sinking of
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Pinero wrote his first play in 1877. Seven years later, having written 15 more, three of them highly successful, he abandoned acting and became a full-time playwright. He first became known for a series of
200:. His engagement in Edinburgh came to a sudden end in February 1875 when the theatre was destroyed by fire. He was fortunate in being offered another provincial engagement, at the Royal Alexandra Theatre,
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importance in the theatre. After the end of the war he wrote eight more plays; two of them remained unstaged and of the four that were produced in London the longest-running lasted for 64 performances.
703:, an art critic, gallery owner and part-time author of dramas. Sullivan, who was used to Gilbert's skill and flexibility, quickly found his new collaborators inept: "gifted and brilliant men, with
139:. He and his fellow students staged several productions of plays, and Pinero became irresistibly drawn to the theatre. In May 1874 he abandoned the legal profession and joined R. H. Wyndham at the
744:, a story of a determined and resourceful young woman and a reformed aristocratic philanderer, had an initial run of 300 performances, and has proved one of Pinero's more revivable plays.
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Although the tour was uncongenial, and Pinero gathered some highly critical notices, he continued to work as a supporting actor to Irving for five years. He first appeared at the
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Pinero, whose surprisingly moving, amazingly theatrical and deeply humane plays still have the power to astonish and delight 100 years after they first created such a stir.
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399:. Pinero received mixed notices, some unfavourable, and others among the best of his acting career. This was his last professional engagement as an actor.
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612:, to whom Pinero then offered the play, said, "Sorry, I daren't do it". He had second thoughts, and accepted it. The production was scheduled to replace
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510:(1893) – ran for 291, 262, 199 and 114 performances respectively, an aggregate of 866. Their success was outstripped by that of the gentler comedy
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Parry, William (2009). "Identity crisis and the search for English opera: the Savoy Theatre in the 1890s". In David Eden; Meinhard Saremba (eds.).
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When his next such drama came to be produced Pinero remained firm: the play would, and did, end in tragedy. This was his best-known serious work,
239:, Irving's London base, in December 1876 and played a total of 21 parts there between then and 1881. His Shakespearean roles were Lord Stanley in
64:(1893), dealing with a woman with a scandalous past, was regarded as shocking, but ran well and made a large profit. His other successes included
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reported, "there are scenes where the laughter is hushed, where smiles give way to tears, and where mirth is merged in heartfelt sympathy".
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to mark the retirement of the Bancrofts from management at the Haymarket in July 1885. Other stars appearing in that programme included
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In the first decade of the century Pinero continued to be regarded as among the forefront of British playwrights. His comedy of manners
691:'s long partnership. It is not clear why Carte chose to commission a libretto from two writers with no experience in the genre, but for
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4040:, 12 May 1915, p. 9; Schuster, Felix. "Barbaric Warfare", The Times, 13 May 1915, p. 9; Henschel, George. "Naturalized Citizens",
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Pinero was born in London, the only son, and second of three children, of John Daniel Pinero (1798–1871), and his wife Lucy,
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204:, where he began to be noticed by the press, gaining approving reviews for his acting in supporting roles. A production of
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444:, where five of his farces were presented, with great success at the box office, between 1885 and 1892, beginning with
82:(1898), was not a success, and Pinero thereafter generally stuck to his familiar genre of society dramas and comedies.
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on 28 November 1934, after which, by Pinero's request, his ashes were buried in his wife's grave in the churchyard of
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years, Pinero was seen as old-fashioned, and his last plays were not successful. He died in London at the age of 79.
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Among the notable British revivals of Pinero plays singled out in John Dawick's 1993 study of the dramatist were:
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According to the Measuring Worth website this equates to £4,300,000 in 2017 values in terms of average earnings.
143:, as a "general utility" actor. He made his professional debut in the small role of a groom in an adaptation of
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in recent years, Pinero is being dusted down, reappraised and hailed as one of the great British playwrights".
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549:(1889), in which past misdeeds come to haunt a seemingly respectable man. It was chosen to inaugurate the new
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Pinero made a single later appearance as an actor, in the role of Dolly Spanker in a special performance of
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The year 1898 saw one of Pinero's most enduring successes and his most conspicuous failure. The first was
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32:(24 May 1855 – 23 November 1934) was an English playwright and, early in his career, actor.
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in 1878, and he wrote four more one-act comedies, staged in London in 1878–1880, playing in two of them –
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As a junior member of Wyndham's company Pinero quickly gained experience in a range of roles, supporting
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232:'s manager, Mrs Bateman, as a member of the supporting cast for Irving's forthcoming provincial tour.
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The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961
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There have been many adaptations of Pinero's works for broadcasting. Television versions include
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His heart weakened by a serious bout of influenza, Pinero failed to survive an operation for a
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were all given in London for the first time during 1891 and 1892, mostly at special matinées.
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Hoyle, Ben. "Forgotten master of comic melodrama is centre stage again a hundred years on",
2804:(1916) with George Alexander in his first film role, reprising the part he created in 1893;
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In the second decade of the century Pinero had his last two real successes. The comedy
775:(1901) ran for 115 performances, and in 1906 he had one of his biggest successes, with
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671:, whose pioneering theatrical realism influenced two generations of writers including
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3488:"Hare, Sir John (real name John Joseph Fairs) (1844–1921), actor and theatre manager"
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By the time of Pinero's death in 1934 the paper had become less enthusiastic. Both
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were presented in London for the first time, regarded by much of polite society as
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After leaving Irving's company Pinero joined another well-known London management,
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818:, his last play for Alexander had 111 performances at the St James's in 1915. The
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3748:"Five Ways to Compute the Relative Value of a U.K. Pound Amount, 1270 to Present"
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The original London productions that were followed by New York productions were:
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and five comedies. During this period he became particularly associated with the
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Croodle, a "disreputable but delightful old reprobate and card-shark" played by
58:(1885) was the longest-running. During the 1890s he turned to serious subjects.
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Sullivan already knew both men, having previously written a song for Pinero's
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Wearing comments that the public's appetite for similar Pinero plays varied.
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131:, London, until the age of ten, when he went to work in his father's office.
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3979:, 4 February 1943, p. 4; and Billington, Michael. "The Gay Lord Quex",
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were all in their thirties before their plays were produced in London.
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While in Irving's company Pinero wrote his first plays. He began with
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remarked on a revival in interest in Pinero, with new productions of
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569:) successfully leaps over a hurdle marked "Convention", followed by
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Pinero told an interviewer that with the first of his Court farces,
70:(1898), a romantic comedy celebrating the theatre, old and new, and
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centred on "a woman with a past". Hare declined to present it, and
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as "a genuine triumph"; the play transferred from Liverpool to the
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Sullivan, Arthur (1950). Herbert Sullivan; Newman Flower (eds.).
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732:, a comedy of manners, in succession to two others in the genre,
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Daines (1836–1905). Pinero's father and grandfather were London
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St James's Theatre, Its Strange and Complete History, 1835–1857
4044:, 15 May, p. 10; Cassel, Ernest. "Sir E Cassel's Declaration",
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436:(1885), Pinero's output between 1884 and 1893 consisted of six
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With the exception of two adaptations of serious French works,
387:(1884) as part of a starry cast that included Squire Bancroft,
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161:
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about the staging of his plays and the delivery of his lines.
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2588:, London, 1965; Chichester and then the Garrick, London, 1973
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cartoon showing Pinero's relief as the second Mrs Tanqueray (
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323:, a full-length comedy, first given at the Prince's Theatre,
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344:(1881). It caused controversy by its supposed similarity to
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performances – the worst run for any of Sullivan's operas.
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University of Chicago Special Collections Research Center
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After the days of silent films there were adaptions of
2766:(1921) with words by Greenbank and music by Talbot; and
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Pinero returned to successful form with a four-act play
3831:, Oxford University Press. Retrieved 16 February 2019
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There have been London revivals in 1902 and 1908, with
2754:(1919) with lyrics by Thompson and music by Talbot and
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Pinero's profile as a playwright was further raised by
168:: Pinero was a member of his company from 1876 to 1881.
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Holt, Edgar. "A Dramatist's Jubilee – Arthur Pinero",
3494:, Oxford University Press. Retrieved 10 February 2019
3371:, Oxford University Press. Retrieved 15 November 2019
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Four of Pinero's plays have been adapted as musicals:
2624:, London, 1922; Haymarket 1950; National Theatre, 1981
194:, and graduating to larger parts such as Crosstree in
4297:(fifth ed.). London: Sir Isaac Pitman and Sons.
3523:, 4 May 1884, p. 8; and "Our London Correspondence",
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Guide to the Arthur Wing Pinero Collection 1885–1892
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Modern Eloquence: Vol III, After-Dinner Speeches P-Z
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4192:"Pinero: forgotten funnyman of the Victorian theatre
3975:, 4 April 1923, p. 8; "Our London Correspondence",
583:(1893). While he was planning it, several plays of
4387:Sir Arthur Sullivan: His Life, Letters and Diaries
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3540:, 10 May 1884, p. 455; and "The London Theatres",
3365:"Pinero, Sir Arthur Wing (1855–1934), playwright"
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331:in London in January 1881. The theatre historian
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4451:Plays by Arthur Wing Pinero at Great War Theatre
4534:20th-century English dramatists and playwrights
4529:19th-century English dramatists and playwrights
4312:The Cambridge Companion to Gilbert and Sullivan
3203:and incidental music for Carr's medieval drama
884:, Surrey, close to their former country house.
3823:Dawick, p. 158; and Esposito, Anthony (2004).
712:, who had succeeded Shaw as theatre critic of
369:. For them he played the Marquis de Cevennes (
3750:, Measuring Worth. Retrieved 17 February 2019
3443:, 7 March 1875, p. 4; and 14 March 1875, p. 5
3021:The fact that students will continue to read
2929:(1946, 1953 and 1983, starring respectively
2794:The first of Pinero's works to be filmed was
103:John Daniel Pinero, sketched by his son, 1870
3971:, 3 May 3, 1908, p. 5; "The Gay Lord Quex",
3614:, 24 October 1885, p. 14; and Dawick, p. 130
381:, 1882) and finally Sir Anthony Absolute in
137:Birkbeck Literary and Scientific Institution
4509:English people of Portuguese-Jewish descent
407:Farces and drawing-room comedies: 1884–1893
3967:, 7 May 1902, p.10; "The Gay Lord Quex",
4409:Works by Arthur Wing Pinero in eBook form
4314:. Cambridge: Cambridge University Press.
4257:Arthur Wing Pinero and Henry Arthur Jones
631:(1895) managed a run of 88 performances,
4524:Alumni of Birkbeck, University of London
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4130:, BBC Genome. Retrieved 17 February 2019
4023:Pinero, Arthur. "Where Protest is Due",
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16:British playwright and actor (1855–1934)
4504:English male dramatists and playwrights
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4223:. Niwot: University of Colorado Press.
4079:"Memorial Service: Sir Arthur Pinero",
3829:Oxford Dictionary of National Biography
3787:"Remembering Tom Robertson (1829–1871)"
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3492:Oxford Dictionary of National Biography
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3369:Oxford Dictionary of National Biography
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722:Within a year of the disappointment of
218:, was reported by the theatrical paper
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4368:Rollins, Cyril; R. John Witts (1962).
4292:
4237:
4214:
3359:
3357:
3355:
3123:, as well as the Bancrofts themselves.
2636:, London, 1992; National Theatre, 1993
315:Myra Holme, who married Pinero in 1883
267:(1881). In a revival of the melodrama
157:Actor and rising playwright: 1874–1884
4328:
4309:
4172:"Arthur Wing Pinero by Walter Lazenby
3426:
3424:
3401:
3399:
3397:
3395:
3393:
3353:
3351:
3349:
3347:
3345:
3343:
3341:
3339:
3337:
3335:
4427:Works by or about Arthur Wing Pinero
4389:(second ed.). London: Cassell.
3711:
3630:
3477:
3416:The Playgoer and Society Illustrated
2531:Poster for provincial production of
300:(1880), written for the comic actor
208:, an adaptation of Wilkie Collins's
683:was in need of a new opera for his
296:– at the Lyceum. Another of these,
13:
3421:
3390:
3332:
3262:Adapted from Georges Ohnet's play
2675:at the National Theatre, starring
814:for 126 performances in 1912, and
304:, ran for 300 performances at the
89:
14:
4555:
4544:20th-century English male writers
4539:19th-century English male writers
4468:, contains a speech by Pinero on
4402:
373:, 1881), Sir Alexander Shendryn (
327:in November 1880 and then at the
4443:
4036:Meyer, Carl. "Barbaric Warfare"
3901:"The Beauty Stone" at the Savoy"
679:At the same time the impresario
646:
608:, the actor-manager running the
528:
4333:. Colchester: Chandos Records.
4242:. London: Barrie and Rockliff.
4184:
4164:
4155:
4146:
4133:
4121:
4112:
4099:
4086:
4073:
4060:
4051:
4030:
4017:
4008:
3999:
3986:
3957:
3948:
3935:
3932:Rollins and Witts, pp. 1 and 17
3926:
3917:
3893:"The Beauty Stone at the Savoy"
3877:
3868:
3859:
3850:
3841:
3817:
3808:
3799:
3779:
3762:
3753:
3741:
3732:
3723:
3702:
3689:
3676:
3617:
3604:
3591:
3578:
3569:
3560:
3547:
3530:
3513:
3504:
3468:
3299:
3282:
3269:
3256:
3239:
3210:
3193:
3184:
3151:
3126:
3059:
747:
699:he brought together Pinero and
3459:
3446:
3433:
3408:
3381:
3323:
3232:, in a production directed by
3220:in the title role; 1923, with
3048:Notes, references, and sources
2706:
2475:The Princess and the Butterfly
1747:The Princess and the Butterfly
738:The Princess and the Butterfly
486:Pinero's other Court farces –
94:
1:
4355:. New York: Harcourt, Brace.
3316:
2988:
2920:
2699:. The paper commented, "Like
676:Pinero's most revived plays.
591:, blunt and shocking. Seeing
284:, was staged in a theatre in
4178:, October 1974, pp. 415–416
3835:UK public library membership
3793:, October 1972, pp. 284–288
3519:"Last Night's Theatricals",
3498:UK public library membership
3375:UK public library membership
3305:Wordless play with music by
3132:The former was adapted from
1078:Prince's Theatre, Manchester
7:
4442:(public domain audiobooks)
4436:Works by Arthur Wing Pinero
4418:Works by Arthur Wing Pinero
4176:Educational Theatre Journal
3791:Educational Theatre Journal
3720:Dawick, pp. 169 and 173–175
3275:Adapted from Sardou's play
2711:
2538:
878:St Marylebone Parish Church
834:on 7 May 1915, he wrote to
533:Plays in a similar vein to
461:, required a summer break,
10:
4560:
4372:. London: Michael Joseph.
4293:Parker, John, ed. (1925).
4259:. Basingstoke: Macmillan.
4208:
4096:, 25 September 2012, p. 11
3963:"Duke of York's Theatre",
3439:"Provincial Theatricals",
2465:The Notorious Mrs Ebbsmith
1695:The Notorious Mrs Ebbsmith
1257:Prince of Wales, Liverpool
628:The Notorious Mrs Ebbsmith
351:Far from the Madding Crowd
4219:Pinero: A Theatrical Life
4083:, 30 November 1934, p. 21
3627:, March 1928, pp. 323–331
3553:"The Bancroft Farewell",
3077:Johnston Forbes-Robertson
2789:
2517:The "Mind the Paint" Girl
2053:The Widow of Wasdale Head
2028:The "Mind the Paint" Girl
1518:Theatre Royal, Manchester
974:Two Can Play at That Game
917:
914:
911:
908:
905:
902:
899:
807:The "Mind the Paint" Girl
389:Johnston Forbes-Robertson
40:'s company, based at the
4295:Who's Who in the Theatre
4272:Lazenby, Walter (1972).
4070:, 26 November 1934, p. 1
3996:, 2 February 1906, p. 4
3610:"The Drama in America",
3456:, 12 December 1875, p. 4
3414:"Sir Arthur W. Pinero",
3052:
3023:The Second Mrs Tanqueray
2979:The Second Mrs Tanqueray
2914:The Second Mrs Tanqueray
2801:The Second Mrs Tanqueray
2796:The Second Mrs Tanqueray
2681:Trelawney of the "Wells"
2664:The Second Mrs Tanqueray
2641:The Gay Lord Quex (play)
2617:The Second Mrs Tanqueray
2608:: Royal Exchange, 1987;
2487:The Gay Lord Quex (play)
2470:The Benefit of the Doubt
2455:The Second Mrs Tanqueray
1720:The Benefit of the Doubt
1669:The Second Mrs Tanqueray
892:
887:
643:(1909) both ran for 58.
633:The Benefit of the Doubt
602:The Second Mrs Tanqueray
580:The Second Mrs Tanqueray
261:(1879), and Roderigo in
251:(1878), Guildenstern in
141:Theatre Royal, Edinburgh
61:The Second Mrs Tanqueray
4329:Parry, William (2013).
4255:Griffin, Penny (1991).
4200:(subscription required)
4180:(subscription required)
4143:, 2 February 1906, p. 4
3992:"St. James's Theatre",
3977:The Manchester Guardian
3973:The Manchester Guardian
3795:(subscription required)
3770:"Trelawny of the Wells"
3686:, 27 January 1890, p. 2
3418:, February 1911, p. 191
2959:Trelawny of the "Wells"
2881:Trelawny of the "Wells"
2807:Trelawny of the "Wells"
2768:Trelawny of the "Wells"
2629:Trelawny of the 'Wells'
1773:Trelawny of the "Wells"
954:Theatre Royal, Croydon
665:Trelawny of the "Wells"
654:Trelawny of the "Wells"
245:(1877), Rosencrantz in
67:Trelawny of the "Wells"
4352:Modern Men and Mummers
4238:Duncan, Barry (1964).
4105:"Plays of the Month",
3699:, 24 March 1888, p. 14
3625:The Fortnightly Review
3363:Wearing, J. P. (2004)
3140:, and the latter from
2961:(1949, 1971 and 1985,
2945:(1946, 1951 and 1972,
2576:Royal Exchange Theatre
2535:
2512:Preserving Mr. Panmure
2500:A Wife without a Smile
1904:A Wife without a Smile
812:Duke of York's Theatre
801:
768:
574:
425:
316:
258:The Merchant of Venice
169:
104:
30:Sir Arthur Wing Pinero
26:
4215:Dawick, John (1993).
4139:"St James's Theatre,
3983:, 17 June 1975, p. 10
3941:"The Gay Lord Quex",
3588:, 22 March 1886, p. 3
3525:The Liverpool Mercury
3245:Alternative titles:
3172:The Lady from the Sea
3034:In 2012 the director
2908:The Enchanted Cottage
2867:The Enchanted Cottage
2726:(1917) with words by
2530:
2522:The Enchanted Cottage
2481:Trelawny of the Wells
2427:The Magistrate (play)
2247:The Enchanted Cottage
2003:Preserving Mr Panmure
1343:and 24 December 1884
1267:and 10 December 1883
799:
755:
619:Lady Windermere's Fan
559:
414:
314:
192:A Game of Speculation
164:
102:
24:
4280:. New York: Twayne.
4109:, August 1921, p. 63
3557:, 25 July 1885, p. 9
3521:Reynolds's Newspaper
3222:George Grossmith Jr.
2969:, Michael Hordern);
2947:Desmond Walter-Ellis
2605:The Cabinet Minister
2449:The Cabinet Minister
2400:Broadway productions
2298:Dr Harmer's Holidays
2125:Mr Livermore's Dream
1569:The Cabinet Minister
800:Pinero aged about 55
689:Gilbert and Sullivan
681:Richard D'Oyly Carte
567:Mrs Patrick Campbell
501:The Cabinet Minister
255:(1879), Salarino in
4519:Writers from London
4118:Dawick, pp. 345–346
4057:Dawick, pp. 342–343
4027:, 11 May 1915, p. 9
4014:Dawick, pp. 303–307
3945:, 4 April 1923, p.8
3923:Parry (2013), p. 25
3906:, 29 May 1898; and
3889:The Saturday Review
3865:Parry (2009), p. 31
3814:Parry (2013), p. 20
3682:"Terry's Theatre",
3673:Dawick, pp. 404–409
3575:Dawick, pp. 129–130
3544:, 10 May 1884, p. 6
3510:Duncan, pp. 193–195
3405:Barker, pp. 741–743
3264:Le Maître de forges
3138:Le Maître de forges
3013:The Daily Telegraph
2973:(1948, directed by
2896:Those Were the Days
2774:(1972), adapted by
2697:Nicholas Le Prevost
2679:in the title role,
2598:Ambassadors Theatre
2556:Chichester Festival
2372:Late of Monckford's
1088:and 8 January 1881
851:Sir George Henschel
715:The Saturday Review
635:(1895) ran for 74,
179:Our American Cousin
127:in Exmouth Street,
4276:Arthur Wing Pinero
4198:18 September 2012
4107:The Play Pictorial
3908:"The Beauty Stone"
3885:"The Beauty Stone"
3776:, 22 February 2013
3768:Spencer, Charles.
3601:, May 1892, p. 257
3597:"The Magistrate",
3527:, 5 May 1884, p. 5
2876:His House in Order
2861:His House in Order
2760:The Schoolmistress
2578:, Manchester, 1979
2571:The Schoolmistress
2536:
2533:The Schoolmistress
2504:His House in Order
2432:The Schoolmistress
2408:(New York, 1882);
2222:A Seat in the Park
1931:His House in Order
1861:21 September 1901
1525:and 16 March 1889
1411:The Schoolmistress
1057:18 September 1880
1007:20 September 1878
863:Henry Arthur Jones
859:Sir Felix Schuster
802:
777:His House in Order
769:
765:His House in Order
610:St James's Theatre
575:
489:The Schoolmistress
426:
377:, 1882), Hanway (
317:
170:
150:The Woman in White
105:
27:
4465:Project Gutenberg
4422:Project Gutenberg
4321:978-0-521-88849-3
4230:978-0-87081-302-3
4170:Ronning, Robert.
4048:20 May 1915, p. 9
3874:Parry 2013, p. 24
3833:(subscription or
3584:"Court Theatre",
3496:(subscription or
3474:Dawick, pp. 57–58
3373:(subscription or
3228:; and 1975, with
2983:Elizabeth Sellars
2927:The Gay Lord Quex
2842:The Gay Lord Quex
2833:A Slave of Vanity
2632:: Old Vic, 1965;
2622:Playhouse Theatre
2560:Cambridge Theatre
2418:Lords and Commons
2406:The Money Spinner
2392:
2391:
2229:21 February 1922
2206:17 November 1919
2203:Springfield Mass
2175:Monica's Blue Boy
2158:14 February 1918
2108:1 September 1915
2036:17 February 1912
1986:2 September 1909
1827:The Gay Lord Quex
1523:28 September 1888
1341:19 September 1884
1336:Lyceum, Edinburgh
1236:24 November 1883
1227:Lords and Commons
1158:29 December 1881
1074:The Money Spinner
847:Sir Ernest Cassel
742:The Gay Lord Quex
729:The Gay Lord Quex
687:after the end of
367:Haymarket Theatre
321:The Money Spinner
117:Church of England
73:The Gay Lord Quex
4551:
4514:Knights Bachelor
4467:
4447:
4446:
4431:Internet Archive
4398:
4381:
4364:
4347:Pearson, Hesketh
4342:
4331:The Beauty Stone
4325:
4306:
4289:
4279:
4268:
4251:
4234:
4222:
4202:
4201:
4190:Unwin, Stephen.
4188:
4182:
4181:
4168:
4162:
4159:
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4125:
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3955:
3952:
3946:
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3933:
3930:
3924:
3921:
3915:
3899:, 4 June 1898;
3881:
3875:
3872:
3866:
3863:
3857:
3856:Sullivan, p, 246
3854:
3848:
3847:Sullivan, p. 245
3845:
3839:
3838:
3821:
3815:
3812:
3806:
3803:
3797:
3796:
3785:Durbach, Errol.
3783:
3777:
3766:
3760:
3757:
3751:
3745:
3739:
3736:
3730:
3727:
3721:
3718:
3709:
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3700:
3693:
3687:
3684:The Morning Post
3680:
3674:
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3628:
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3615:
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3361:
3330:
3329:Dawick, pp. 6–12
3327:
3310:
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3297:
3286:
3280:
3273:
3267:
3260:
3254:
3247:The Breadwinners
3243:
3237:
3234:Sir John Gielgud
3214:
3208:
3197:
3191:
3188:
3182:
3155:
3149:
3142:Victorien Sardou
3130:
3124:
3068:London Assurance
3063:
2963:Bransby Williams
2701:Terence Rattigan
2564:National Theatre
2562:, London, 1969;
2305:, Washington DC
2134:15 January 1917
2060:14 October 1912
2010:19 January 1911
1938:1 February 1906
1914:12 October 1904
1799:The Beauty Stone
1781:20 January 1898
1729:16 October 1895
1625:24 October 1891
1601:7 February 1891
1469:27 January 1887
1443:25 October 1886
1393:31 October 1885
1291:12 January 1884
1184:31 October 1882
1024:Hester's Mystery
897:
896:
757:George Alexander
724:The Beauty Stone
697:The Beauty Stone
660:The Beauty Stone
606:George Alexander
571:George Alexander
418:as Mr Posket in
371:Plot and Passion
298:Hester's Mystery
197:Black-Eyed Susan
79:The Beauty Stone
4559:
4558:
4554:
4553:
4552:
4550:
4549:
4548:
4484:
4483:
4457:
4444:
4413:Standard Ebooks
4405:
4322:
4231:
4211:
4206:
4205:
4199:
4196:The Independent
4189:
4185:
4179:
4169:
4165:
4161:Lazenby, p. 155
4160:
4156:
4151:
4147:
4138:
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4117:
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4013:
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4004:
4000:
3991:
3987:
3962:
3958:
3954:Parker, p. 1204
3953:
3949:
3940:
3936:
3931:
3927:
3922:
3918:
3891:, 4 June 1898;
3882:
3878:
3873:
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3864:
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3596:
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3565:
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3535:
3531:
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3509:
3505:
3495:
3486:Wearing, J. P.
3485:
3478:
3473:
3469:
3464:
3460:
3451:
3447:
3438:
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3422:
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3409:
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3391:
3386:
3382:
3372:
3362:
3333:
3328:
3324:
3319:
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3304:
3300:
3294:Arthur Sullivan
3287:
3283:
3274:
3270:
3261:
3257:
3244:
3240:
3215:
3211:
3198:
3194:
3189:
3185:
3156:
3152:
3131:
3127:
3121:Charles Wyndham
3105:William Terriss
3064:
3060:
3055:
3050:
2991:
2955:Michael Hordern
2951:Richard Goolden
2923:
2792:
2740:Lionel Monckton
2732:Percy Greenbank
2714:
2709:
2651:Source: Dawick.
2586:Mermaid Theatre
2541:
2402:
2395:Source: Dawick.
2303:Shubert Belasco
2252:Duke of York's
2130:London Coliseum
2057:Duke of York's
2033:Duke of York's
1955:The Thunderbolt
1887:8 October 1903
1524:
1519:
1436:The Hobby Horse
1342:
1337:
1266:
1258:
1180:Toole's Theatre
1087:
1086:5 November 1880
1079:
933:6 October 1877
895:
890:
820:First World War
750:
693:Arthur Sullivan
649:
637:The Thunderbolt
551:Garrick Theatre
531:
518:Terry's Theatre
516:, which ran at
481:John Galsworthy
409:
359:Squire Bancroft
184:Charles Mathews
159:
97:
92:
90:Life and career
17:
12:
11:
5:
4557:
4547:
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4541:
4536:
4531:
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4496:
4482:
4481:
4472:
4455:
4453:
4448:
4433:
4424:
4415:
4404:
4403:External links
4401:
4400:
4399:
4382:
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4343:
4326:
4320:
4307:
4290:
4269:
4252:
4235:
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4207:
4204:
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4183:
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4154:
4152:Dawick, p. 374
4145:
4132:
4120:
4111:
4098:
4085:
4072:
4059:
4050:
4029:
4016:
4007:
4005:Griffin, p. 14
3998:
3985:
3956:
3947:
3934:
3925:
3916:
3883:Beerbohm, Max.
3876:
3867:
3858:
3849:
3840:
3816:
3807:
3805:Dawick, p. 240
3798:
3778:
3761:
3759:Dawick, p. 200
3752:
3740:
3738:Pearson, p. 74
3731:
3729:Dawick, p. 181
3722:
3710:
3708:Dawick, p. 159
3701:
3688:
3675:
3629:
3616:
3603:
3590:
3577:
3568:
3566:Parker, p. 742
3559:
3546:
3529:
3512:
3503:
3476:
3467:
3458:
3452:"Miss Gwilt",
3445:
3432:
3420:
3407:
3389:
3380:
3331:
3321:
3320:
3318:
3315:
3312:
3311:
3307:Frederic Cowen
3298:
3290:J. Comyns Carr
3281:
3268:
3255:
3238:
3224:; 1943, with
3209:
3201:The Profligate
3192:
3183:
3150:
3125:
3101:Lillie Langtry
3057:
3056:
3054:
3051:
3049:
3046:
3045:
3044:
3032:
3031:
3027:The Magistrate
3004:
3003:
2990:
2987:
2943:The Magistrate
2922:
2919:
2891:The Magistrate
2838:The Profligate
2812:Sweet Lavender
2791:
2788:
2718:The Magistrate
2713:
2710:
2708:
2705:
2693:Patricia Hodge
2673:The Magistrate
2655:
2654:
2653:
2652:
2646:
2645:
2644:: Albery, 1975
2637:
2634:Comedy Theatre
2625:
2613:
2612:, London, 1991
2610:Albery Theatre
2601:
2600:, London, 1922
2593:Sweet Lavender
2589:
2579:
2567:
2548:The Magistrate
2540:
2537:
2444:Lady Bountiful
2440:Sweet Lavender
2414:Girls and Boys
2401:
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2308:16 March 1931
2306:
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2282:
2279:
2274:
2272:A Private Room
2268:
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2226:Winter Garden
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2201:
2195:
2194:
2192:
2189:
2186:
2183:
2180:
2177:
2171:
2170:
2168:
2165:
2162:
2159:
2156:
2153:
2147:
2146:
2144:
2141:
2138:
2135:
2132:
2127:
2121:
2120:
2118:
2115:
2112:
2109:
2106:
2103:
2097:
2096:
2094:
2091:
2088:
2085:
2084:31 March 1913
2082:
2079:
2073:
2072:
2070:
2067:
2064:
2061:
2058:
2055:
2049:
2048:
2046:
2043:
2040:
2037:
2034:
2031:
2023:
2022:
2020:
2017:
2014:
2011:
2008:
2005:
1999:
1998:
1996:
1993:
1990:
1987:
1984:
1981:
1975:
1974:
1972:
1969:
1966:
1963:
1960:
1957:
1951:
1950:
1948:
1945:
1942:
1939:
1936:
1933:
1927:
1926:
1924:
1921:
1918:
1915:
1912:
1906:
1900:
1899:
1897:
1894:
1891:
1888:
1885:
1883:Duke of York's
1880:
1874:
1873:
1871:
1868:
1865:
1862:
1859:
1856:
1848:
1847:
1845:
1842:
1839:
1836:
1833:
1830:
1822:
1821:
1819:
1816:
1813:
1810:
1809:28 March 1898
1807:
1802:
1794:
1793:
1791:
1788:
1785:
1782:
1779:
1776:
1768:
1767:
1765:
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1759:
1756:
1755:29 March 1897
1753:
1750:
1742:
1741:
1739:
1736:
1733:
1730:
1727:
1722:
1716:
1715:
1713:
1710:
1707:
1704:
1703:13 March 1895
1701:
1698:
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1687:
1684:
1681:
1678:
1675:
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1664:
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1638:
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1635:
1632:
1629:
1626:
1623:
1620:
1614:
1613:
1611:
1608:
1605:
1602:
1599:
1596:
1594:Lady Bountiful
1590:
1589:
1587:
1584:
1581:
1578:
1577:23 April 1890
1575:
1572:
1564:
1563:
1561:
1558:
1555:
1552:
1551:24 April 1889
1549:
1544:
1542:The Profligate
1538:
1537:
1535:
1532:
1529:
1526:
1521:
1516:
1514:The Weaker Sex
1510:
1509:
1507:
1504:
1501:
1498:
1497:21 March 1888
1495:
1490:
1487:Sweet Lavender
1482:
1481:
1479:
1476:
1473:
1470:
1467:
1464:
1456:
1455:
1453:
1450:
1447:
1444:
1441:
1438:
1432:
1431:
1429:
1426:
1423:
1420:
1419:27 March 1886
1417:
1414:
1406:
1405:
1403:
1400:
1397:
1394:
1391:
1388:
1382:
1381:
1379:
1376:
1373:
1370:
1369:21 March 1885
1367:
1364:
1361:The Magistrate
1356:
1355:
1353:
1350:
1347:
1344:
1339:
1334:
1328:
1327:
1325:
1322:
1319:
1316:
1315:17 April 1884
1313:
1310:
1308:The Ironmaster
1304:
1303:
1301:
1298:
1295:
1292:
1289:
1286:
1280:
1279:
1277:
1274:
1271:
1268:
1263:
1255:
1249:
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1246:
1243:
1240:
1237:
1234:
1229:
1223:
1222:
1220:
1217:
1214:
1211:
1210:24 March 1883
1208:
1203:
1197:
1196:
1194:
1191:
1188:
1185:
1182:
1177:
1175:Girls and Boys
1171:
1170:
1168:
1165:
1162:
1159:
1156:
1153:
1147:
1146:
1144:
1142:
1139:
1136:
1134:
1131:
1129:Bound to Marry
1125:
1124:
1122:
1119:
1116:
1113:
1110:
1107:
1101:
1100:
1098:
1095:
1092:
1089:
1084:
1076:
1070:
1069:
1067:
1064:
1061:
1058:
1055:
1052:
1046:
1045:
1043:
1040:
1037:
1034:
1031:
1026:
1020:
1019:
1017:
1014:
1011:
1008:
1005:
1002:
1000:Daisy's Escape
996:
995:
993:
990:
987:
984:
981:
976:
970:
969:
967:
964:
961:
958:
957:22 April 1878
955:
952:
946:
945:
943:
940:
937:
934:
931:
926:
920:
919:
916:
913:
910:
907:
904:
901:
894:
891:
889:
886:
855:Sir Carl Meyer
781:Irene Vanbrugh
761:Irene Vanbrugh
749:
746:
701:J. Comyns Carr
657:, the second,
648:
645:
547:The Profligate
543:Lady Bountiful
539:The Weaker Sex
535:Sweet Lavender
530:
527:
513:Sweet Lavender
468:Daly's Theatre
455:The Magistrate
447:The Magistrate
430:The Ironmaster
421:The Magistrate
408:
405:
365:, who ran the
290:Daisy's Escape
158:
155:
145:Wilkie Collins
125:charity school
96:
93:
91:
88:
55:The Magistrate
42:Lyceum Theatre
25:Pinero in 1895
15:
9:
6:
4:
3:
2:
4556:
4545:
4542:
4540:
4537:
4535:
4532:
4530:
4527:
4525:
4522:
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4507:
4505:
4502:
4500:
4497:
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4476:
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4456:
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4449:
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4437:
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4428:
4425:
4423:
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4414:
4410:
4407:
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4396:
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4388:
4383:
4379:
4375:
4371:
4366:
4362:
4358:
4354:
4353:
4348:
4344:
4340:
4336:
4332:
4327:
4323:
4317:
4313:
4308:
4304:
4300:
4296:
4291:
4287:
4283:
4278:
4277:
4270:
4266:
4262:
4258:
4253:
4249:
4245:
4241:
4236:
4232:
4226:
4221:
4220:
4213:
4212:
4197:
4193:
4187:
4177:
4173:
4167:
4158:
4149:
4142:
4136:
4129:
4124:
4115:
4108:
4102:
4095:
4089:
4082:
4076:
4069:
4063:
4054:
4047:
4043:
4039:
4033:
4026:
4020:
4011:
4002:
3995:
3989:
3982:
3978:
3974:
3970:
3966:
3960:
3951:
3944:
3938:
3929:
3920:
3914:, 4 June 1898
3913:
3909:
3905:
3902:
3898:
3894:
3890:
3886:
3880:
3871:
3862:
3853:
3844:
3836:
3830:
3826:
3820:
3811:
3802:
3792:
3788:
3782:
3775:
3774:The Telegraph
3771:
3765:
3756:
3749:
3744:
3735:
3726:
3717:
3715:
3705:
3698:
3692:
3685:
3679:
3670:
3668:
3666:
3664:
3662:
3660:
3658:
3656:
3654:
3652:
3650:
3648:
3646:
3644:
3642:
3640:
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3634:
3626:
3620:
3613:
3607:
3600:
3594:
3587:
3581:
3572:
3563:
3556:
3550:
3543:
3539:
3533:
3526:
3522:
3516:
3507:
3499:
3493:
3489:
3483:
3481:
3471:
3462:
3455:
3449:
3442:
3436:
3430:Dawick, p. 29
3427:
3425:
3417:
3411:
3402:
3400:
3398:
3396:
3394:
3387:Dawick, p. 12
3384:
3376:
3370:
3366:
3360:
3358:
3356:
3354:
3352:
3350:
3348:
3346:
3344:
3342:
3340:
3338:
3336:
3326:
3322:
3308:
3302:
3295:
3291:
3288:Written with
3285:
3278:
3272:
3265:
3259:
3252:
3248:
3242:
3235:
3231:
3230:Daniel Massey
3227:
3226:Frith Banbury
3223:
3219:
3218:Sir John Hare
3213:
3206:
3202:
3196:
3187:
3180:
3179:
3174:
3173:
3168:
3167:
3162:
3161:
3154:
3147:
3143:
3139:
3135:
3134:Georges Ohnet
3129:
3122:
3118:
3117:Mrs John Wood
3114:
3110:
3106:
3102:
3098:
3094:
3090:
3086:
3082:
3078:
3074:
3070:
3069:
3062:
3058:
3041:
3040:
3039:
3037:
3036:Stephen Unwin
3028:
3024:
3020:
3019:
3018:
3015:
3014:
3009:
3000:
2999:
2998:
2996:
2986:
2984:
2980:
2976:
2975:Athene Seyler
2972:
2968:
2967:Roland Culver
2964:
2960:
2956:
2952:
2948:
2944:
2940:
2936:
2932:
2928:
2918:
2916:
2915:
2910:
2909:
2904:
2903:
2898:
2897:
2892:
2888:
2887:
2882:
2878:
2877:
2871:
2870:
2868:
2863:
2862:
2857:
2856:
2851:
2847:
2843:
2839:
2835:
2834:
2829:
2825:
2821:
2817:
2813:
2809:
2808:
2803:
2802:
2797:
2787:
2785:
2781:
2780:George Rowell
2777:
2773:
2769:
2765:
2761:
2757:
2753:
2752:Who's Hooper?
2749:
2745:
2744:Howard Talbot
2741:
2738:and music by
2737:
2733:
2729:
2728:Fred Thompson
2725:
2724:
2719:
2704:
2702:
2698:
2694:
2690:
2686:
2682:
2678:
2674:
2670:
2666:
2665:
2660:
2650:
2649:
2648:
2647:
2643:
2642:
2638:
2635:
2631:
2630:
2626:
2623:
2619:
2618:
2614:
2611:
2607:
2606:
2602:
2599:
2595:
2594:
2590:
2587:
2583:
2580:
2577:
2573:
2572:
2568:
2565:
2561:
2557:
2553:
2549:
2546:
2545:
2544:
2534:
2529:
2525:
2523:
2519:
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2513:
2509:
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2497:
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2477:
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2471:
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2423:
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2415:
2411:
2407:
2394:
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2386:
2383:
2380:
2378:
2375:
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2360:
2357:
2354:
2352:
2349:
2347:
2344:
2343:
2340:
2338:
2335:
2332:
2330:
2327:
2325:
2322:
2321:
2318:
2316:
2313:
2310:
2307:
2304:
2301:
2299:
2296:
2295:
2292:
2289:
2286:
2283:
2280:
2278:
2275:
2273:
2270:
2269:
2266:
2263:
2260:
2257:
2255:1 March 1922
2254:
2251:
2249:
2248:
2244:
2243:
2240:
2237:
2234:
2231:
2228:
2225:
2223:
2220:
2219:
2216:
2214:
2211:
2208:
2205:
2202:
2200:
2197:
2196:
2193:
2190:
2187:
2184:
2182:8 April 1918
2181:
2178:
2176:
2173:
2172:
2169:
2166:
2163:
2160:
2157:
2154:
2152:
2149:
2148:
2145:
2142:
2139:
2136:
2133:
2131:
2128:
2126:
2123:
2122:
2119:
2116:
2113:
2110:
2107:
2104:
2102:
2099:
2098:
2095:
2092:
2089:
2086:
2083:
2080:
2078:
2075:
2074:
2071:
2068:
2065:
2062:
2059:
2056:
2054:
2051:
2050:
2047:
2044:
2041:
2038:
2035:
2032:
2030:
2029:
2025:
2024:
2021:
2018:
2015:
2012:
2009:
2006:
2004:
2001:
2000:
1997:
1994:
1991:
1988:
1985:
1982:
1980:
1977:
1976:
1973:
1970:
1967:
1964:
1961:
1958:
1956:
1953:
1952:
1949:
1946:
1943:
1940:
1937:
1934:
1932:
1929:
1928:
1925:
1922:
1919:
1916:
1913:
1910:
1907:
1905:
1902:
1901:
1898:
1895:
1892:
1889:
1886:
1884:
1881:
1879:
1876:
1875:
1872:
1869:
1866:
1863:
1860:
1857:
1855:
1854:
1850:
1849:
1846:
1843:
1840:
1837:
1835:8 April 1899
1834:
1831:
1829:
1828:
1824:
1823:
1820:
1817:
1814:
1811:
1808:
1806:
1803:
1801:
1800:
1796:
1795:
1792:
1789:
1786:
1783:
1780:
1777:
1775:
1774:
1770:
1769:
1766:
1763:
1760:
1757:
1754:
1751:
1749:
1748:
1744:
1743:
1740:
1737:
1734:
1731:
1728:
1726:
1723:
1721:
1718:
1717:
1714:
1711:
1708:
1705:
1702:
1699:
1697:
1696:
1692:
1691:
1688:
1685:
1682:
1679:
1676:
1673:
1671:
1670:
1666:
1665:
1662:
1659:
1656:
1653:
1651:7 March 1893
1650:
1647:
1645:
1644:
1640:
1639:
1636:
1633:
1630:
1627:
1624:
1621:
1619:
1616:
1615:
1612:
1609:
1606:
1603:
1600:
1597:
1595:
1592:
1591:
1588:
1585:
1582:
1579:
1576:
1573:
1571:
1570:
1566:
1565:
1562:
1559:
1556:
1553:
1550:
1548:
1545:
1543:
1540:
1539:
1536:
1533:
1530:
1527:
1522:
1517:
1515:
1512:
1511:
1508:
1505:
1502:
1499:
1496:
1494:
1491:
1489:
1488:
1484:
1483:
1480:
1477:
1474:
1471:
1468:
1465:
1463:
1462:
1458:
1457:
1454:
1451:
1448:
1445:
1442:
1439:
1437:
1434:
1433:
1430:
1427:
1424:
1421:
1418:
1415:
1413:
1412:
1408:
1407:
1404:
1401:
1398:
1395:
1392:
1389:
1387:
1384:
1383:
1380:
1377:
1374:
1371:
1368:
1365:
1363:
1362:
1358:
1357:
1354:
1351:
1348:
1345:
1340:
1335:
1333:
1330:
1329:
1326:
1323:
1320:
1317:
1314:
1311:
1309:
1306:
1305:
1302:
1299:
1296:
1293:
1290:
1287:
1285:
1282:
1281:
1278:
1275:
1272:
1269:
1264:
1262:
1256:
1254:
1251:
1250:
1247:
1244:
1241:
1238:
1235:
1233:
1230:
1228:
1225:
1224:
1221:
1218:
1215:
1212:
1209:
1207:
1204:
1202:
1199:
1198:
1195:
1192:
1189:
1186:
1183:
1181:
1178:
1176:
1173:
1172:
1169:
1166:
1163:
1160:
1157:
1154:
1152:
1149:
1148:
1145:
1143:
1140:
1137:
1135:
1132:
1130:
1127:
1126:
1123:
1120:
1117:
1114:
1112:27 July 1881
1111:
1108:
1106:
1103:
1102:
1099:
1096:
1093:
1090:
1085:
1083:
1077:
1075:
1072:
1071:
1068:
1065:
1062:
1059:
1056:
1053:
1051:
1048:
1047:
1044:
1041:
1038:
1035:
1032:
1030:
1027:
1025:
1022:
1021:
1018:
1015:
1012:
1009:
1006:
1003:
1001:
998:
997:
994:
991:
988:
985:
982:
980:
977:
975:
972:
971:
968:
965:
962:
959:
956:
953:
951:
948:
947:
944:
941:
938:
935:
932:
930:
927:
925:
922:
921:
898:
885:
883:
879:
875:
870:
866:
864:
860:
856:
852:
848:
843:
839:
838:
833:
829:
828:
821:
817:
813:
809:
808:
798:
794:
791:
785:
782:
778:
774:
766:
762:
758:
754:
745:
743:
739:
735:
731:
730:
725:
720:
717:
716:
711:
706:
702:
698:
694:
690:
686:
685:Savoy Theatre
682:
677:
674:
673:W. S. Gilbert
670:
669:Tom Robertson
666:
662:
661:
656:
655:
647:Fin de siècle
644:
642:
638:
634:
630:
629:
623:
621:
620:
615:
611:
607:
603:
599:
596:
595:
590:
586:
582:
581:
572:
568:
564:
563:
558:
554:
552:
548:
544:
540:
536:
529:Serious plays
526:
524:
519:
515:
514:
509:
508:
503:
502:
497:
496:
491:
490:
484:
482:
478:
474:
469:
464:
463:Beerbohm Tree
460:
456:
451:
449:
448:
443:
442:Court Theatre
439:
435:
431:
423:
422:
417:
413:
404:
400:
398:
394:
393:Lionel Brough
390:
386:
385:
380:
376:
372:
368:
364:
361:and his wife
360:
355:
353:
352:
347:
343:
339:
334:
333:J. P. Wearing
330:
326:
322:
313:
309:
307:
306:Folly Theatre
303:
299:
295:
291:
287:
283:
279:
274:
272:
271:
266:
265:
260:
259:
254:
250:
249:
244:
243:
238:
233:
231:
227:
223:
222:
217:
216:Ada Cavendish
213:
212:
207:
203:
199:
198:
193:
189:
185:
181:
180:
175:
174:E. A. Sothern
167:
163:
154:
152:
151:
146:
142:
138:
132:
130:
126:
122:
118:
114:
110:
101:
87:
83:
81:
80:
75:
74:
69:
68:
63:
62:
57:
56:
51:
45:
43:
39:
33:
31:
23:
19:
4469:
4458:
4386:
4369:
4351:
4330:
4311:
4294:
4275:
4256:
4239:
4218:
4195:
4186:
4175:
4166:
4157:
4148:
4140:
4135:
4123:
4114:
4106:
4101:
4093:
4088:
4080:
4075:
4067:
4062:
4053:
4045:
4041:
4037:
4032:
4024:
4019:
4010:
4001:
3993:
3988:
3981:The Guardian
3980:
3976:
3972:
3969:The Observer
3968:
3964:
3959:
3950:
3942:
3937:
3928:
3919:
3911:
3904:The Observer
3903:
3896:
3888:
3879:
3870:
3861:
3852:
3843:
3828:
3819:
3810:
3801:
3790:
3781:
3773:
3764:
3755:
3743:
3734:
3725:
3704:
3696:
3691:
3683:
3678:
3624:
3619:
3611:
3606:
3598:
3593:
3586:The Standard
3585:
3580:
3571:
3562:
3554:
3549:
3541:
3537:
3536:"Theatres",
3532:
3524:
3520:
3515:
3506:
3491:
3470:
3461:
3453:
3448:
3440:
3435:
3415:
3410:
3383:
3368:
3325:
3301:
3284:
3277:Maison neuve
3276:
3271:
3263:
3258:
3250:
3246:
3241:
3212:
3204:
3200:
3195:
3186:
3178:Hedda Gabler
3176:
3170:
3164:
3158:
3153:
3146:Maison neuve
3145:
3137:
3128:
3097:W. H. Kendal
3093:Madge Kendal
3085:Henry Irving
3073:Arthur Cecil
3066:
3061:
3033:
3026:
3022:
3011:
3007:
3005:
2994:
2992:
2978:
2970:
2958:
2942:
2939:Anton Rogers
2935:André Morell
2926:
2924:
2912:
2911:(1945), and
2906:
2900:
2894:
2890:
2884:
2880:
2874:
2872:
2865:
2859:
2853:
2841:
2837:
2831:
2823:
2811:
2805:
2799:
2795:
2793:
2784:Julian Slade
2776:Aubrey Woods
2771:
2767:
2763:
2759:
2756:Ivor Novello
2751:
2747:
2721:
2717:
2715:
2688:
2680:
2677:John Lithgow
2672:
2669:Rose Theatre
2662:
2658:
2656:
2639:
2627:
2615:
2603:
2591:
2581:
2569:
2547:
2542:
2532:
2521:
2520:(1912); and
2515:
2511:
2507:
2503:
2499:
2495:
2491:
2485:
2479:
2473:
2469:
2463:
2459:
2453:
2447:
2443:
2439:
2435:
2431:
2425:
2421:
2417:
2413:
2409:
2405:
2403:
2376:unperformed
2371:
2355:29 May 1932
2345:
2328:unperformed
2323:
2297:
2281:14 May 1928
2271:
2245:
2221:
2198:
2174:
2150:
2124:
2101:The Big Drum
2100:
2076:
2052:
2026:
2002:
1978:
1954:
1930:
1903:
1877:
1851:
1825:
1797:
1771:
1745:
1719:
1693:
1677:27 May 1893
1667:
1641:
1617:
1593:
1567:
1541:
1513:
1485:
1459:
1435:
1409:
1385:
1359:
1331:
1307:
1283:
1265:30 July 1883
1252:
1226:
1200:
1174:
1150:
1133:unperformed
1128:
1104:
1073:
1049:
1033:5 June 1880
1023:
999:
983:20 May 1878
973:
949:
923:
882:Chiddingfold
871:
867:
835:
830:by a German
826:
816:The Big Drum
815:
805:
803:
786:
776:
772:
770:
764:
748:20th century
741:
737:
733:
727:
723:
721:
713:
710:Max Beerbohm
704:
696:
678:
664:
658:
652:
650:
640:
636:
632:
626:
624:
617:
601:
600:
592:
588:
585:Henrik Ibsen
578:
576:
573:as Tanqueray
560:
546:
542:
538:
534:
532:
522:
511:
505:
499:
493:
487:
485:
477:J. M. Barrie
473:Bernard Shaw
459:Arthur Cecil
454:
452:
445:
433:
429:
427:
419:
416:Arthur Cecil
401:
397:Julia Gwynne
382:
378:
374:
370:
356:
349:
346:Thomas Hardy
341:
320:
318:
297:
293:
289:
281:
277:
275:
268:
262:
256:
252:
246:
240:
234:
230:Henry Irving
219:
209:
205:
195:
191:
177:
171:
166:Henry Irving
148:
133:
108:
106:
84:
77:
71:
65:
59:
53:
46:
38:Henry Irving
34:
29:
28:
18:
4499:1934 deaths
4494:1855 births
3897:The Academy
3695:"Terry's",
3599:The Theatre
3538:The Graphic
3292:; music by
3251:The Captain
3205:King Arthur
3166:Rosmersholm
3113:J. L. Toole
3109:Ellen Terry
3089:David James
3025:instead of
2997:commented:
2931:Ronald Ward
2886:The Actress
2864:(1920) and
2855:Mid-Channel
2814:(twice: in
2748:In Chancery
2736:Adrian Ross
2707:Adaptations
2508:Mid-Channel
2460:The Amazons
2422:In Chancery
2346:A Cold June
2105:St James's
2081:St James's
1983:St James's
1979:Mid-Channel
1962:9 May 1908
1959:St James's
1935:St James's
1752:St James's
1674:St James's
1643:The Amazons
1440:St James's
1390:St James's
1338:and Gaiety
1332:In Chancery
1312:St James's
1155:St James's
924:£200 a Year
842:naturalised
840:calling on
810:ran at the
736:(1891) and
641:Mid-Channel
639:(1908) and
614:Oscar Wilde
589:avant garde
541:(1888) and
507:The Amazons
504:(1890) and
432:(1884) and
302:J. L. Toole
278:£200 a Year
242:Richard III
214:, starring
190:adaptation
129:Clerkenwell
95:Early years
52:, of which
4488:Categories
4286:1014871178
4066:"Deaths",
3465:Dawick, p.
3317:References
2989:Reputation
2971:Dandy Dick
2921:Television
2902:Dandy Dick
2689:Dandy Dick
2582:Dandy Dick
2436:Dandy Dick
2410:The Squire
2199:Quick Work
2151:The Freaks
1520:and Court
1461:Dandy Dick
1253:The Rocket
1201:The Rector
1151:The Squire
1105:Imprudence
1082:St James's
790:knighthood
495:Dandy Dick
384:The Rivals
342:The Squire
329:St James's
325:Manchester
206:Miss Gwilt
121:Spa Fields
113:solicitors
44:, London.
4470:The Drama
4378:504581419
4361:474214741
4339:887469787
4265:551340352
4248:979694996
4141:The Times
4094:The Times
4081:The Times
4068:The Times
4046:The Times
4042:The Times
4038:The Times
4025:The Times
3994:The Times
3965:The Times
3943:The Times
3837:required)
3500:required)
3377:required)
3081:John Hare
3008:The Times
2995:The Times
2993:In 1906,
2981:starring
2899:, 1934),
2889:, 1928),
2836:, 1920);
2659:The Times
2558:and then
2324:Child Man
2077:Playgoers
1618:The Times
1284:Low Water
1232:Haymarket
950:La Comète
837:The Times
827:Lusitania
825:RMS
734:The Times
338:John Hare
282:La Comète
270:The Bells
202:Liverpool
4440:LibriVox
4349:(1922).
4303:10013159
4128:"Pinero"
3912:The Lute
3157:Ibsen's
2985:(1962).
2917:(1952).
2905:(1935),
2858:(1920);
2844:(twice:
2840:(1917);
2826:(twice:
2810:(1916);
2772:Trelawny
2764:My Niece
2712:Musicals
2657:In 2012
2554:, 1959;
2539:Revivals
2524:(1923).
2514:(1912);
2510:(1910);
2506:(1906);
2502:(1904);
2498:(1904);
2494:(1902);
2490:(1900);
2484:(1898);
2478:(1897);
2472:(1896);
2468:(1895);
2462:(1894);
2458:(1893);
2452:(1892);
2446:(1891);
2442:(1888);
2438:(1887);
2434:(1886);
2430:(1885);
2424:(1885);
2420:(1884);
2416:(1883);
2412:(1882);
1858:Garrick
1700:Garrick
1622:Terry's
1598:Garrick
903:Theatre
740:(1897).
498:(1887),
492:(1886),
226:West End
211:Armadale
4477:at the
4429:at the
4395:1269235
4209:Sources
3697:The Era
3612:The Era
3555:The Era
3542:The Era
3454:The Era
3441:The Era
3207:(1895).
3038:wrote:
2879:(1928)
2869:(1924).
2830:and as
2723:The Boy
2691:, with
2683:at the
2667:at the
2552:Old Vic
2358:comedy
2351:Duchess
2258:comedy
2232:comedy
2209:comedy
2161:comedy
2137:sketch
2087:comedy
2063:comedy
2039:comedy
2007:Comedy
1909:Wyndham
1838:comedy
1784:comedy
1758:comedy
1732:comedy
1628:comedy
1547:Garrick
1528:comedy
1500:comedy
1493:Terry's
1446:comedy
1386:Mayfair
1294:comedy
1239:comedy
1187:comedy
1138:comedy
1091:comedy
1060:comedy
1054:Lyceum
1050:Bygones
1036:comedy
1010:comedy
1004:Lyceum
986:comedy
936:comedy
523:The Era
434:Mayfair
294:Bygones
286:Croydon
264:Othello
221:The Era
186:in the
123:Chapel
4393:
4376:
4359:
4337:
4318:
4301:
4284:
4263:
4246:
4227:
3160:Ghosts
2977:) and
2790:Cinema
2687:, and
2685:Donmar
2566:, 1986
2333:farce
2277:Little
2013:farce
1917:farce
1832:Globe
1812:opera
1778:Court
1725:Comedy
1654:farce
1648:Court
1580:farce
1574:Court
1472:farce
1466:Court
1422:farce
1416:Court
1372:farce
1366:Court
1346:farce
1288:Globe
1270:farce
1261:Gaiety
1115:farce
1109:Folly
979:Lyceum
960:drama
918:Notes
915:Perfs
909:Genre
900:Title
874:hernia
832:U-boat
767:, 1906
594:Ghosts
438:farces
424:, 1885
379:Odette
253:Hamlet
248:Hamlet
237:Lyceum
188:Balzac
182:, and
50:farces
3053:Notes
2496:Letty
2381:play
2311:play
2284:play
2185:play
2111:play
1989:play
1965:play
1941:play
1890:play
1878:Letty
1864:play
1805:Savoy
1706:play
1680:play
1604:play
1554:play
1396:play
1318:play
1213:play
1206:Court
1161:play
1029:Folly
929:Globe
912:Acts
906:Date
893:Plays
888:Works
663:. In
562:Punch
363:Effie
4391:OCLC
4374:OCLC
4357:OCLC
4335:OCLC
4316:ISBN
4299:OCLC
4282:OCLC
4261:OCLC
4244:OCLC
4225:ISBN
3175:and
3119:and
3010:and
2953:and
2937:and
2893:(as
2883:(as
2850:1919
2848:and
2846:1917
2828:1916
2824:Iris
2820:1920
2818:and
2816:1915
2782:and
2742:and
2734:and
2695:and
2492:Iris
2179:New
2155:New
2117:111
2045:126
1947:430
1870:115
1853:Iris
1844:300
1790:135
1686:225
1660:114
1634:155
1586:199
1560:129
1506:684
1478:262
1452:109
1428:291
1378:363
1324:200
1259:and
1167:170
1080:and
1042:308
966:n/k
857:and
773:Iris
759:and
479:and
395:and
375:Ours
292:and
4463:at
4438:at
4420:at
4411:at
4194:",
3144:'s
3136:'s
3030:on.
2965:,
2957:);
2941:);
2852:);
2822:);
2770:as
2762:as
2750:as
2720:as
2364:19
2290:23
2264:64
2191:38
2167:51
2143:12
2093:70
2069:26
2019:99
1995:58
1971:58
1923:77
1911:'s
1896:64
1818:50
1764:97
1738:74
1712:88
1610:65
1534:61
1402:53
1352:36
1276:51
1245:70
1219:16
1193:52
1121:54
1097:98
1066:89
1016:31
992:40
942:36
763:in
695:'s
616:'s
348:'s
176:in
147:'s
109:née
4490::
4174:,
3910:,
3895:,
3887:,
3827:.
3789:,
3772:,
3713:^
3632:^
3490:,
3479:^
3423:^
3392:^
3367:,
3334:^
3249:,
3169:,
3163:,
3115:,
3111:,
3107:,
3103:,
3099:,
3095:,
3091:,
3087:,
3083:,
3079:,
3075:,
2949:,
2933:,
2786:.
2778:,
2758:;
2746:;
2730:,
2671:,
2620::
2596::
2584::
2574::
2550::
2384:3
2361:3
2336:3
2314:9
2287:1
2261:3
2238:1
2235:1
2212:3
2188:1
2164:3
2140:1
2114:4
2090:1
2066:1
2042:4
2016:4
1992:4
1968:4
1944:4
1920:3
1893:4
1867:5
1841:4
1815:3
1787:4
1761:4
1735:3
1709:4
1683:4
1657:3
1631:4
1607:4
1583:4
1557:4
1531:3
1503:3
1475:3
1449:3
1425:3
1399:5
1375:3
1349:3
1321:4
1300:7
1297:3
1273:3
1242:4
1216:4
1190:3
1164:3
1141:3
1118:3
1094:2
1063:1
1039:1
1013:1
989:1
963:3
939:1
865:.
853:,
849:,
705:no
537:–
475:,
391:,
354:.
308:.
153:.
4397:.
4380:.
4363:.
4341:.
4324:.
4305:.
4288:.
4267:.
4250:.
4233:.
3309:.
3296:.
3279:.
3266:.
3253:.
3236:.
3148:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
