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641:, is characterized by Reynolds' inspiration, contextualisation of the Muse, and distinctive brush work and paint palette. This portrait, as Heather McPherson writes, became the known depiction of tragedy, infused with contemporary ideas about acting and representation of the passions in Siddons' melancholy expression and deportment. Mary Hamilton's correspondence with her fiancé illuminated its seamless transition from "the artist's studio to the theatrical stage", practical venues that interlocked in the eighteenth century and formed a large part in creating the very idea of celebrity. The interest in the portrait was so great that William Smith's house was transformed into a quasi-public gallery following his acquisition of the painting.
523:. Her celebrity status was called "mythical" and "monumental", and by the mid-1780s Siddons had established herself as a cultural icon. Yet her iconography and the fashioning of her celebrity differed greatly in comparison to her female counterparts. Siddons, according to Laura Engel, invented a new category of femininity for actresses: the "Female Star". By "cleverly blurring the distinction between the characters she played on stage with representations of herself offstage (as much portraiture of the period invokes)" Siddons was able to present a duality to her admirers. At once she would project both the "divine and the ordinary, domestic and authoritative, fantastic and real".
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445:, Leeds, in 1786 and consistently brought a thorough understanding to each of her roles. It was through her portrayals of Lady Macbeth and Isabella, particularly, that Siddons offered a new way of approaching character. Siddons has been credited for inventing and promoting textual accuracy above the theatrical traditions of her time: "Siddons was unique for making herself familiar with the entire script, sitting offstage in order to hear the full play, and paying careful attention to her scene partners and to textual clues that could aid performance."
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as
Laertes March 1777. At the Bristol theatre, she played Hamlet in 1781. She went on to repeat the role in Liverpool. In Dublin, she played Hamlet during the season of 1802-03 and once more in 1805. She proposed that last performance to her friend and fellow actor William Galindo as a revival of their successful 1802 performance, with herself as Hamlet and Galindo as Laertes. This 1805 revival production made enough of an impression to be caricatured in The Dublin Satirist five years later in 1810.
597:, whose respiration grew difficult. Robinson went into a fit of hysterics and was nearly ejected from the theatre. This 'Siddons Fever' was a common occurrence with Richards even suggesting it was part of the amusement: "The theatrical vogue for the audience to shriek whatever the heroine did originated with Sarah. The 'Siddons fever', which 'raised the price of salts and hartshorn', often included fits of fainting, hysterics and physical paroxysms as part of the enjoyment."
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673:. Eventually, after tumultuous applause from the pit, the curtain reopened and Siddons was discovered sitting in her own clothes and character – whereupon she made an emotional farewell speech to the audience. Some records stated that her farewell lasted eight minutes, others suggested ten, all indicating that she was visibly distraught.
681:"machinery of her voice is slow, there is too long a pause between each sentence sleeping scene was more laboured and less natural". As a result, according to Lisa Freeman, Siddons' "iconic status came into conflict with the aesthetic of authenticity that she cultivated". Her last appearance was on 9 June 1819 as Lady Randolph in
452:, which she first performed on 2 February 1785. She spellbound her audience through the grandeur of her emotions as she expressed Lady Macbeth's murderous passions. Rather than portraying Lady Macbeth as a murderous evil queen, Siddons depicted her with a strong sense of maternity and a delicate femininity.
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In performing these domestic moments with the result of public triumph, Siddons was able to reiterate the characteristics that made her such a popular celebrity and icon; "her devotion to her family and her humble, behind-the-scenes existence". Siddons' role off stage, then, appears to be that of the
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Actresses playing and acting like aristocrats decreased the difference in the public's eyes between actresses and aristocrats and many earned large amounts of money. Despite this giving actresses a larger amount of control, women were still viewed as "extreme representations of femininity - they were
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She avoided claims of sexual licentiousness, and the only damage to her career was faced toward its end, when caricatures and satirical prints emerged detailing the physical decline and stoutness of her body. Shearer West, in an analysis of the collapse of
Siddons' private and public personas, wrote
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Far from a one-off curiosity, "Siddons played Hamlet repeatedly, if sporadically, for three decades, always in the provinces and never in London, until she reached the age of fifty". Sarah
Siddons first played Hamlet in Worcester in 1775 and then in Manchester opposite her brother John Philip Kemble
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The presentation of her own motherhood was something she used throughout her career, notably when she performed her next Drury Lane appearance, on 10 October 1782, which could not have been more different from her debut performances. She was an immediate sensation playing the title role in
Garrick's
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The 18th-century marked the "emergence of a recognisably modern celebrity culture" and
Siddons was at the heart of it. Portraits depicted actresses in aristocratic dress, the recently industrialised newspapers spread actresses' names and images and gossip about their private lives spread through the
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Five thousand people attended her funeral. Newspapers mourned her death, publishing long obituaries. One wrote: "This lady, who, at no very distant period, was not less eminent for the splendour of her mental endowments, than for the towering majesty of her person and demeanour, paid the great debt
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Siddons regularly performed on stage while visibly pregnant, which often elicited sympathy for her character. As Lady
Macbeth, her pregnancy not only provided "a further reminder of the domestic life of both the actress and the character", adding a maternal aspect to her portrayal, but also created
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She would only choose roles which could aid her popularity and protect her image. By cleverly blurring the distinction between the characters she played on stage and her presentation offstage, Siddons combined her maternal persona with depictions of
British femininity. This allowed her to avoid the
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gained much traction due to the mutually beneficial relationship between painter and actress. Hamilton had sold his painting for £150 before it was exhibited at the Royal
Academy, though kept the painting there for over a week and placed advertisements in at least three leading newspapers inviting
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Siddons had a unique ability to control her own celebrity persona and "manipulate her public image through a variety of visual materials". Some scholars believe that although
Siddons' fame and success appeared effortless, it was in fact "a highly constructed process". This left her successful, yet
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As she noted in her own "Remarks to the character of Lady
Macbeth", Siddons found an unearthed fragility in this role. "She read, in the 'I have given suck' soliloquy, a 'tender allusion the maternal mother yearning for her babe'; it is therefore in Lady Macbeth that Siddons found the highest and
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To say farewell to Bristol and Bath, Siddons presented her famous 'three reasons' speech. In a speech of her own writing, Siddons literally presented her three children as her three reasons for leaving. She said 'These are the moles that bear me from your side; / Where I was rooted - where I could
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Sarah Siddons played the role of Hamlet multiple times over three decades. By the early nineteenth century, "Hamlet had become arguably Shakespeare's most iconic character". Her choice to tackle this role was fascinating as cross gendered roles were "generally more difficult and demanding than a
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to see Lady Macbeth brought Siddons out of retirement. Much older, Siddons was visibly weak, overweight, and was considered by some a "grotesque effigy of her former self." William Hazlitt, in his later accounts, stated that her performances lacked the grandeur they had shown in 1785: the
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ordinary wife and mother and this was crucial in a time when women were expected to stay at home, rather than provide for their family. Overall, her choice of roles and carefully constructed persona meant Siddons was able to live out the entirety of her career with little to no public scandal.
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the public to view it. A contemporary biographer recalled "carriages thronged to the artist's door; and, if every fine lady who stepped out of them did not actually weep before the painting, they had all of them, at least their white handkerchiefs ready for that demonstration of sensibility".
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good or bad, comic or tragic, prostitutes or virgins, mistresses or mothers". Their on-stage roles and personal biographies blurred - leading many actresses to use these extreme representations of femininity to create a persona that could be viewed both on and off stage.
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fatigued as she was "always aware of the ultimate power of her audiences to approve of her or destroy her". In being aware of her position in the public eye, Siddons "carefully selected the roles in which she appeared and assiduously cultivated her domestic image".
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breeches role". The performer would need to sustain the illusion for the whole duration of the play as opposed to a breeches role which is much more brief and gained comedic success from the character's poor delivery at representing the opposite sex.
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and in other parts were not well received and she received a note from the manager of Drury Lane stating that her services would not be required. She was, in her own words, "banished from Drury Lane as a worthless candidate for fame and fortune".
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262:, a Roman Catholic, and Sarah "Sally" Ward, a Protestant. Sarah and her sisters were raised in their mother's faith and her brothers were raised in their father's faith. Roger Kemble was the manager of a touring theatre company, the
565:, after seeing her lover strangled before her eyes, so terrible was her agony as she fell lifeless upon the stage, that the audience believed she was really dead, and only the assurance of the manager could pacify them. One night
832:. The churchyard was converted into a public park (St Mary's Gardens) in 1881, and most stones were cleared at that time. Siddons' gravestone was one of the few to be preserved, and it remains in good condition beneath a
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was released in 1950, the "Sarah Siddons Award for Distinguished Achievement" depicted in its opening scene was a purely fictitious award. However, in 1952, a small group of distinguished Chicago theatergoers formed the
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same reproach and scandal as other actresses of the time. For example, Siddons used her role of Isabella, a sacrificing mother, to frame her "rise to stardom in terms of her maternal roles on stage and off stage".
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best scope for her acting abilities. She was tall and had a striking figure, brilliant beauty, powerfully expressive eyes, and solemn dignity of demeanour which enabled her to claim the character as her own."
665:. It was there, on 29 June 1812, after 57 performances that season, that she gave what was credited as perhaps the most extraordinary farewell performance in theatre history. The audience refused to allow
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In 1961, the Sarah Siddons Comprehensive School (later the Sarah Siddons Girls' School) opened in North Wharf Road, Paddington. It was officially opened the following year by the actress Dame
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was in autumn 1778 at a salary of £3 per week (equivalent to £483 in 2023, or approximately $ 662). This amount grew as her performances became better known, and as she began to appear in
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would see Siddons perform. He was immediately struck with her excellence, and pronounced that she would never be surpassed. He did more than this; he wrote directly to Palmer, manager of the
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recorded her thoughts of several performances given in 1813. Despite her reservations about Siddon's "frequent bursts of voice beyond what natural passion warranted," Baillie wrote to Sir
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Asleson, R., Bennett, S., Leonard, M. and West, S. (1999). A Passion for Performance: Sarah Siddons and her portraitists. Los Angeles: Christopher Hudson, The J. Paul Getty Museum, pg53
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public. Though few people had actually seen Siddons perform, her name had been circulated to such an extent that when it was announced "the crowd behaved as if they knew her already".
1247:, then in 2006 it was closed before the site was sold for residential development. In 2019, a 'Remembering Sarah Siddons Comprehensive School' Facebook group had more than 540 members.
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In 1773, at the age of 18, she married William Siddons, an actor. After 30 years, the marriage became strained and informally ended with their separation in 1804. William died in 1808.
370:, to advise an engagement of her without delay. Due to there being no available roles for Siddons at the time of Henderson's letter, Palmer could not immediately attend to his advice.
531:, "substantially rewrote passages in some of the plays in order to temper any indelicacy transcend sexual indiscretions" that could harm her reputation of feminine propriety.
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for the film, along with its award, a statuette modelled upon the Reynolds painting. The film opens with a close-up of the statuette, and ends with a character holding it.
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1774:"The following address was written and spoke by Mrs Siddons on Tuesday May 21st when she produced to the audience the three reasons for quitting the Bath Theatre".
1025:, in 1784. He told her that he had signed it on the hem of her dress because he had "resolved to go down to posterity on the hem of your garment." It now hangs at
421:. So good was she that "Her pathetic embodiment of domestic woe created a sensation, flooding the audience with tears and exciting critics to hyperbolic praise."
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273:, Siddons' parents initially disapproved of her choice of profession. At that time, acting was only beginning to become a respectable profession for a woman.
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have died. / Stand forth, ye elves, and plead your mother's cause' The full speech was published in the Bath Chronicle and Weekly Gazette, 4th July 1782.
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of nature on Wednesday morning, at nine o'clock." She was described as a goddess, a royal, majestic. The extent of her celebrity reaches forward to today.
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883:'s apartment, appearing throughout a party scene, and emphasized by a close-up with which the scene ends. Mankiewicz also invented the (then) fictitious
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1243:. Women's achievement was celebrated in the girls-only secondary school, with houses named after famous English women. In 1980, it became part of the
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1874:. Asleson, Robyn, 1961-, Bennett, Shelley M., 1947-, Leonard, Mark, 1954-, West, Shearer. Los Angeles: J. Paul Getty Museum. 1999. pp. 5–121.
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in 1782, and produced at least fourteen portraits of her over the next 22 years. The last of these, an 1804 full-length portrait, is on display at
575:, and in the great scene was so overwhelmed by her pathos that he could not speak. Unto the last she received the homage of the great; even the
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Theatrical Sculpture: Skulptierte Bildnisse berühmter englischer Schauspieler (1750–1850), insbesondere David Garrick und Sarah Siddons
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A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660–1800, Volume 14
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until 1961. Painted a maroon colour, she is now the only one of the original twenty locomotives to remain preserved in working order.
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2131:"Fashioning Celebrity: Eighteenth-Century British Actresses and Strategies For Image Making, by Laura Engel | The Online Books Page"
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1073:. The statue holds a scroll, and the inscription reads: "Sarah Siddons. Born at Brecon July 5, 1755. Died in London June 8, 1831."
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is presented annually in Chicago, with a trophy modelled on the statuette of Siddons awarded in the film. Past honorees include
894:, who played Margo Channing in the film, posed as Siddons in a 1957 re-creation of the Reynolds portrait staged as part of the
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In 1777, she went on "the circuit" in the provinces. For the next six years she worked in provincial companies, in particular
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From 1770 until her marriage in 1773, Siddons served as a lady's maid and later as companion to Lady Mary Bertie Greatheed at
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Siddons sat for numerous artists, and her portraits include many that depict her in costume portraying a theatrical role.
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Robinson, Terry F. (2012). "Sarah Siddons". In Burwick, Frederick; Goslee, Nancy Moore; Hoeveler, Diane Long (eds.).
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suggested murder with "an expression in her face that made the flesh of the spectator creep." In the audience was
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Her descendants include John Siddons Corby, who invented the Corby gentleman's trouser press, and his children,
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that she discovered a part almost as well adapted to her acting powers as that of Lady Macbeth. She once told
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Lawrence was in love with Sarah Siddons's daughter Sally. Painting by Thomas Lawrence, eighteenth century.
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As noted in Campbell's biography, Siddons returned to the role some six years later, and in 1802 she left
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Siddons formally retired from the stage in 1812, but reappeared on special occasions. An 1816 request by
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After she was released from Drury Lane, Siddons was immediately engaged by Richard Yates, manager of the
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Woo, Celestine (December 2007). "Sarah Siddons's Performances as Hamlet: Breaching the Breeches Part".
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In 2020, a memorial plaque was unveiled at the site of her first professional appearance, in Worcester.
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Woo, Celestine (2007). "Sarah Siddons's Performances as Hamlet: Breaching the Breeches Part".
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McPherson, Heather (2000). "Picturing Tragedy: Mrs. Siddons as the Tragic Muse Revisited".
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2343:"English Historical Fiction Authors: "Tragedy personified": Sarah Siddons as Lady Macbeth"
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Fashioning Celebrity: Eighteenth-century British Actresses and Strategies for Image Making
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attended her receptions, and carriages were drawn up before her door nearly all day long.
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766:"a new level of tension in the play not present if the couple is perceived as barren."
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2660:. The Huntington Library, Art Collections, and Botanical Gardens. 1999. Archived from
2031:. Oxford Dictionary of National Biography. Oxford University Press. 28 November 2017.
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Siddons occasionally gave public readings of plays, and the Scottish poet/playwright
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It was the beginning of twenty years in which she became the undisputed Queen of
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Vallerand, Robert J. (1 May 2015), "Passion and Performance and Creativity",
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2157:"Masculinity, Femininity, and the Tragic Sublime: Reinventing Lady Macbeth"
2094:"H Beard Print Collection | J. Sidebotham | V&A Search the Collections"
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1314:. Vol. 25 (11th ed.). Cambridge University Press. pp. 37–38.
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canopy, despite some erosion and the modern addition of a protective cage.
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Boatner-Doane, Charlotte (2017). "Sarah Siddons and the Romantic Hamlet".
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1826:"'I Have Given Suck': The Maternal Body in Sarah Siddons's Lady Macbeth"
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and contemporary adverts described it as the only bust "taken from life"
3030:"Sarah Siddons: Worcester plaque for England's 'finest tragic actress'"
1828:. In Moncrief, Kathryn M.; McPherson, Kathryn R.; Enloe, Sarah (eds.).
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Asleson, Robin; Bennett, Shelley; Leonard, Mark; West, Shearer (1999).
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Siddons's portrayal of the prostitute Millwood in a 1796 production of
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Sarah Siddons gave birth to seven children, five of whom she outlived:
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1634:. Carbondale, IL: Southern Illinois University Press. pp. 32–33.
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near the site of a house in which she once lived, was named after her.
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The Sarah Siddons Society, founded in 1952, continues to present the
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Highfill, Philip H.; Burnim, Kalman A.; Langhans, Edward A. (1991).
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A passion for performance : Sarah Siddons and her portraitists
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that Catherine was her favourite role, as it was the most natural.
2523:"London, England, Church of England Deaths and Burials, 1813-2003"
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This article incorporates text from a publication now in the
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On the night of 2 May 1797, Sarah Siddons's character of Agnes in
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McKenzie, Louisa (2015). Riddaway, Mark; Upsall, Carl (eds.).
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History of the London Stage and Its Famous Players (1576–1903)
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McManaway, James G. (1949). "The Two Earliest Prompt Books of
879:. The portrait is seen at the top of an entrance staircase in
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Wonderful stories are told of her powers over the spectators.
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The Sarah Siddons Audio Files: Romanticism and the Lost Voice
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A Passion for Performance: Sarah Siddons and her Portraitists
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Tone, Theobald Wolfe; Radcliff, John; Jebb, Richard (1998).
1365:"William Hazlitt, "Mrs Siddons," The Examiner, 16 June 1816"
2255:. Madison, NJ: Fairleigh Dickinson Univ Press. p. 54.
1465:. Columbus, Ohio: Ohio State University Press. p. 10.
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used the 1784 portrait by Reynolds extensively in his film
475:, all with great success; but it was as Queen Catherine in
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Dictionary of British Sculptors 1660-1859 by Rupert Gunnis
1575:(online ed.). Oxford University Press. 24 May 2008 .
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Sarah Siddons died in 1831 in London. She was interred in
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of this generation can never look to see the like again."
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Although the theatre company included most members of the
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A portrait of Siddons is displayed in the church hall of
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Engraving, artist unknown, from National Library of Wales
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1832:. Fairleigh Dickinson University Press. pp. 24–26.
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Siddons continued to act in the provinces, appearing at
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in Bath, until her final performance there in May 1782.
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at the Theatre Royal, King Street (which now houses the
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about the long relationship between Siddons and artist
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In 1774, Siddons won her first success as Belvidera in
2960:. Forest of Dean Local History Society. Archived from
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The Papers of the Bibliographical Society of America
1431:. Cambridge: Cambridge University Press. p. 2.
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Elizabeth Ann Siddons (1782–1788), died in childhood
3086:. Malden, MA: Wiley-Blackwell. pp. 1252–1261.
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Mrs Siddons and Her Son, in The Tragedy of Isabella
397:. Siddons lived with her husband and children in a
2608:(3, Restoration and Eighteenth Century): 621–644.
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1196:, Gloucestershire is reputedly her childhood home.
2511:. 20 August 2021 – via www.telegraph.co.uk.
744:Frances Emilia Siddons (b. 1781), died in infancy
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220:annually in Chicago to a distinguished actress.
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2238:. New York: St. Martin's Press. pp. 78–79.
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336:, who sent his deputy to see her as Calista in
205:. She was most famous for her portrayal of the
3014:Remembering Sarah Siddons Comprehensive School
2372:"Mourning the "Dignity of the Siddonian Form""
2200:. New York: E.P. Dutton & Co. p. 131.
1429:Romanticism and Celebrity Culture, 1750 - 1850
615:
2648:
2646:
2249:Baillie, Joanna (2010). Thomas McLean (ed.).
1957:
1793:, Oxford University Press, pp. 244–276,
732:(1774–1815), an actor and theatre manager in
551:Theatre biographer Henry Barton Baker wrote:
2976:
2746:
2744:
2540:
1681:
1353:(11th ed.). Cambridge University Press.
1160:in Ireland, was named in Siddons' honour by
653:Late career and retirement: Physical decline
436:
174:of the 18th century. Contemporaneous critic
3065:. Ann Arbor: University of Michigan Press.
2863:The Follies and Garden Buildings of Ireland
2771:
2480:
2478:
2440:
2242:
1819:
1817:
1714:
1454:
1452:
1450:
1448:
569:was playing Beverly to her Mrs. Beverly in
3107:(in German). München: Herbert Utz Verlag.
2853:
2643:
2365:
2363:
1623:
1621:
1619:
1617:
38:
2933:
2927:
2866:. Yale University Press. pp. 63–64.
2836:Belmont Castle, Or, Suffering Sensibility
2741:
2327:Campbell, T. (1834). Life of Mrs. Siddons
2275:
2215:. London: Effingham Wilson. p. 212.
2187:
2154:
1799:10.1093/acprof:oso/9780199777600.003.0010
1788:
1760:Campbell, T. (1834). Life of Mrs. Siddons
1691:inflation figures are based on data from
1659:. Cambridge: Cambridge University Press.
1580:
1493:
757:Cecilia Siddons (1794–1868), who married
527:that Siddons' brother, the actor-manager
284:. Lady Greatheed was the daughter of the
178:dubbed Siddons as "tragedy personified".
3079:
2886:
2880:
2826:
2719:
2695:
2693:
2602:Studies in English Literature, 1500-1900
2549:
2484:
2475:
2233:
2210:
1921:. London: Effingham Wilson. p. 11.
1916:
1823:
1814:
1445:
1337:
1300:
1199:
979:
973:
738:Sarah Martha (Sally) Siddons (1775–1803)
716:
701:
694:
631:Commissioned and completed in 1784, Sir
622:
559:relates that when she played Aphasia in
510:
423:
299:
3100:
3083:The Encyclopedia of Romantic Literature
2946:from the original on 28 September 2018.
2777:
2703:. Sarah Siddons Society. Archived from
2595:
2582:, vol. I, no. 10, 12 June 1831, p. 78.
2416:
2369:
2360:
2248:
1939:
1933:
1720:
1614:
1572:Oxford Dictionary of National Biography
812:Wrought iron canopy over Siddons' grave
507:Celebrity persona and the "Female Star"
332:. This brought her to the attention of
3145:
3058:
2859:
2778:Parsons, Florence Mary Wilson (1909).
2676:"Sarah Siddons: Life in Five Sittings"
2457:
2340:
1654:
1557:
1555:
1382:
1333:
1331:
1329:
1327:
1325:
1323:
932:
296:Early career: Before success in London
2757:. Yale University Press. p. 42.
2750:
2690:
2556:. Bloomsbury Publishing. p. 37.
2193:
2161:Studies in Eighteenth Century Culture
1692:
1458:
1069:stands in the chapel of St Andrew in
843:
488:
2727:"The Sarah Siddons Society Awardees"
2668:
2598:"George Barnwell's Long, Brief Life"
2580:The Satirist; or Censor of the Times
2331:London: E. Wilson, Vol. 1, pg191-92.
2037:10.1093/odnb/9780192683120.013.25516
1426:
1422:
1420:
1190:Sarah Siddons' House (the Old House)
1080:, created in 1813 was placed in the
1058:, a statue of Siddons overlooks the
913:Sarah Siddons: Life in Five Sittings
2686:from the original on 17 April 2010.
2596:Fosbury, Timothy L. (Summer 2017).
2434:
2049:
1992:
1960:Nineteenth Century Theatre and Film
1552:
1395:. Los Angeles: Getty Publications.
1320:
929:, a 2024 play by April De Angelis.
819:
750:George John Siddons (1785–1848), a
501:
13:
3052:
2893:. Spiramus Press Ltd. p. 54.
2839:. Lilliput Press. p. 66 n.1.
2465:"Divorce Trial Figure Beadon Dies"
2347:English Historical Fiction Authors
2341:Curzon, Catherine (30 July 2014).
1245:North Westminster Community School
1094:
966:, who were previously the cast of
428:Sarah Siddons as Lady Macbeth, by
14:
3209:
3122:
2682:. BBC Radio 4. 12–16 April 2010.
2584:Nineteenth Century UK Periodicals
2485:Thornton, Michael (9 July 1999).
2441:Knight, John Joseph (1885–1900).
2370:Freeman, Lisa A. (20 June 2015).
2252:Further Letters of Joanna Baillie
1776:Bath Chronicle and Weekly Gazette
1764:London: E. Wilson, Vol. 1 pg108/9
1417:
669:to continue after the end of the
448:Her most famous role was that of
381:. Her first appearance at Bath's
264:Warwickshire Company of Comedians
2453:. London: Smith, Elder & Co.
2450:Dictionary of National Biography
2429:hazlitt siddons as lady macbeth.
1945:The Life of Samuel Johnson, LL.D
1288:
1261:
1167:Siddons Lane, a small street in
1162:Murrough O'Brien, Lord Inchiquin
1122:
1103:
1065:A statue of Siddons by sculptor
805:
793:
638:Sarah Siddons as The Tragic Muse
419:Isabella, or, The Fatal Marriage
213:, a character she made her own.
3153:British Shakespearean actresses
3022:
3007:
2998:
2950:
2936:"Sarah Siddons, tragic actress"
2934:Carradice, Phil (4 July 2011).
2817:
2792:
2589:
2570:
2515:
2497:
2410:
2334:
2321:
2312:
2269:
2236:The Rise Of The English Actress
2227:
2148:
2086:
2043:
2021:
1986:
1951:
1782:
1767:
1648:
1567:Kemble], Sarah (1755–1831)"
1022:Mrs. Siddons as the Tragic Muse
986:Mrs. Siddons as the Tragic Muse
546:
3173:19th-century British actresses
3158:18th-century English actresses
2658:and the Sarah Siddons Society"
2654:"The Legend of Sarah Siddons:
1589:
1487:
1357:
1186:called The Shoulder of Mutton.
877:Academy Award for Best Picture
761:in 1833 and lived in Edinburgh
459:After Lady Macbeth she played
304:Sarah Siddons as Euphrasia in
21:Sarah Siddons (disambiguation)
16:Welsh-born actress (1755–1831)
1:
2213:Life of Mrs. Siddons, Vol. II
2135:onlinebooks.library.upenn.edu
1919:Life of Mrs. Siddons, Vol. II
1282:
1146:
1019:painted his famous portrait,
661:for its rival establishment,
515:Sarah Siddons by J. Dickinson
362:. During the summer of 1776,
241:
223:
3163:18th-century Welsh actresses
2553:Who's Buried Where in London
2194:Baker, Henry Barton (1904).
710:'s miniature of Siddons and
236:
181:She was the elder sister of
7:
2995:. Retrieved 22 August 2008.
2155:McPherson, Heather (2000).
1254:
1049:St Mary on Paddington Green
800:Gravestone of Sarah Siddons
678:Princess Charlotte of Wales
10:
3214:
3004:The Tattler, 1 August 1962
2890:The Ghost of Sarah Siddons
2376:Eighteenth-Century Fiction
2278:Eighteenth-Century Studies
2029:Siddons, Sarah (1755–1831)
1824:Phillips, Chelsea (2013).
1514:10.1086/pbsa.43.3.24298457
936:
383:Old Orchard Street Theatre
18:
2586:. Accessed 25 March 2020.
2417:Hazlitt, William (1818).
2211:Campbell, Thomas (1834).
2064:10.1080/10509580701757219
2007:10.1080/10509580701757219
1917:Campbell, Thomas (1834).
1791:The Psychology of Passion
1778:. 4 July 1782. p. 4.
1725:The Theatre Royal at Bath
1721:Lowndes, William (1982).
1040:is displayed in London's
1004:first painted Siddons at
784:
781:(socialite and actress).
741:Maria Siddons (1779–1798)
437:Mid-career: Notable roles
348:Theatre Royal, Drury Lane
316:Theatre Royal, Drury Lane
258:, the eldest daughter of
148:
136:
125:
117:
109:
94:
78:
52:
37:
30:
2781:The Incomparable Siddons
2577:"DEATH OF MRS. SIDDONS."
2550:Matthews, Peter (2017).
2052:European Romantic Review
1995:European Romantic Review
1972:10.1177/1748372718763621
1665:10.1017/cbo9781139814447
1369:sites.broadviewpress.com
1221:brought into service an
1174:Siddons' birthplace, an
773:(inventor of the modern
413:adaptation of a play by
360:Theatre Royal Birmingham
103:Paddington Green, London
3178:British stage actresses
3168:English stage actresses
3059:Pascoe, Judith (2011).
2751:Levey, Michael (2005).
2729:. Sarah Siddons Society
1693:Clark, Gregory (2017).
1350:Encyclopædia Britannica
1311:Encyclopædia Britannica
1152:on the water's edge at
1112:Leon-Joseph Chavalliaud
3129:Works by Sarah Siddons
2958:"Sarah Siddon's House"
2860:Howley, James (2004).
2444:"Siddons, Sarah"
1902:: CS1 maint: others (
1729:. Redcliffe. pp.
1657:Memoirs of Mrs Siddons
1655:Boaden, James (2009).
1582:10.1093/ref:odnb/25516
1344:"Siddons, Sarah"
1213:
1031:San Marino, California
993:
896:Pageant of the Masters
722:
714:
628:
581:
516:
433:
319:
3138:Sarah Siddons Society
3101:Seewald, Jan (2007).
2614:10.1353/sel.2017.0027
2423:. W. Scott. pp.
2290:10.1353/ecs.2000.0029
2173:10.1353/sec.2010.0209
1459:Engel, Laura (2011).
1203:
983:
974:Portraits and statues
952:Sarah Siddons Society
885:Sarah Siddons Society
875:, winner of the 1950
720:
705:
695:Marriage and children
626:
553:
514:
427:
303:
99:Saint Mary's Cemetery
2388:10.3138/ecf.27.3.597
2234:Richards, S (1993).
1219:Metropolitan Railway
1207:electric locomotive
1205:Metropolitan Railway
867:Joseph L. Mankiewicz
706:1785 engraving from
595:Henry Crabb Robinson
311:The Grecian Daughter
19:For other uses, see
2784:. Methuen. p.
2754:Sir Thomas Lawrence
2707:on 21 November 2014
2098:V and A Collections
1223:electric locomotive
1038:Thomas Gainsborough
1036:A 1785 portrait by
956:Sarah Siddons Award
939:Sarah Siddons Award
933:Sarah Siddons Award
915:, a radio drama by
860:Thomas Skinner Surr
854:inspired the novel
851:The London Merchant
644:William Hamilton's
218:Sarah Siddons Award
46:Thomas Gainsborough
3193:People from Brecon
2680:Woman's Hour Drama
2100:. 12 December 2018
1689:Retail Price Index
1427:Mole, Tom (2012).
1231:London Underground
1217:In 1923, London's
1214:
1086:Drury Lane Theatre
994:
908:Woman's Hour Drama
865:American director
844:In popular culture
723:
715:
712:John Philip Kemble
671:sleepwalking scene
629:
577:Duke of Wellington
529:John Philip Kemble
517:
489:The role of Hamlet
434:
368:Theatre Royal Bath
320:
254:, Brecknockshire,
201:, and the aunt of
199:Elizabeth Whitlock
183:John Philip Kemble
3114:978-3-8316-0671-9
3093:978-1-4051-8810-4
3072:978-0-472-02795-8
2909:cite encyclopedia
2873:978-0-300-10225-3
2846:978-1-901866-06-3
2804:Westminster Abbey
2764:978-0-300-10998-6
2563:978-1-78442-202-8
2262:978-0-8386-4149-1
1839:978-1-61147-561-6
1808:978-0-19-977760-0
1674:978-1-139-81444-7
1641:978-0-8093-1526-0
1472:978-0-8142-1148-9
1402:978-0-89236-557-9
1234:Metropolitan line
1141:Siddons Tower, a
1129:Siddons Tower in
1071:Westminster Abbey
926:The Divine Mrs S.
754:official in India
246:Siddons was born
158:
157:
44:1785 portrait by
3205:
3118:
3097:
3076:
3046:
3045:
3043:
3041:
3036:. 12 August 2020
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2666:
2665:
2664:on 25 July 2008.
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1269:Biography portal
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1116:Paddington Green
1107:
1056:Paddington Green
1042:National Gallery
830:Paddington Green
820:Death and burial
809:
797:
708:Charles Shirreff
502:Celebrity status
415:Thomas Southerne
329:Venice Preserv'd
290:Bertie Greatheed
286:Duke of Ancaster
85:
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2800:"Sarah Siddons"
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1095:Other memorials
1067:Thomas Campbell
1017:Joshua Reynolds
1002:Thomas Lawrence
991:Joshua Reynolds
976:
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935:
921:Thomas Lawrence
901:In April 2010,
856:George Barnwell
846:
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633:Joshua Reynolds
621:
618:The Tragic Muse
590:Fatal Curiosity
549:
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504:
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439:
393:), also run by
391:Bristol Old Vic
298:
244:
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176:William Hazlitt
143:
121:William Siddons
90:
89:London, England
87:
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3123:External links
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3092:
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2964:on 10 May 2019
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1966:(2): 212–235.
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1941:Boswell, James
1932:
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1881:978-0892365562
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1588:
1563:"Siddons [
1551:
1508:(3): 288–320.
1486:
1471:
1444:
1438:978-1107407855
1437:
1416:
1401:
1381:
1356:
1341:, ed. (1911).
1339:Chisholm, Hugh
1318:
1317:
1306:Siddons, Sarah
1302:Chisholm, Hugh
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937:Main article:
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3133:Open Library
3103:
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3183:1755 births
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2733:27 February
2711:27 February
2635:9 September
2104:12 December
1374:12 December
1150: 1777
1143:folly tower
1131:County Cork
1078:James Smith
1060:Harrow Road
960:Bette Davis
903:BBC Radio 4
892:Bette Davis
779:Jane Beadon
771:Peter Corby
562:Tamburlaine
443:The Theatre
403:The Paragon
395:John Palmer
288:; her son,
172:tragedienne
82:8 June 1831
67:5 July 1755
3147:Categories
2701:"About Us"
2532:26 January
2352:4 December
2140:14 January
1845:4 December
1606:26 January
1283:References
1169:Marylebone
1110:Statue by
1082:Green Room
1076:A bust by
911:presented
659:Drury Lane
521:Drury Lane
478:Henry VIII
242:Early life
224:Background
209:character
195:Ann Hatton
144:Sarah Ward
110:Occupation
63:1755-07-05
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734:Edinburgh
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461:Desdemona
318:, in 1782
314:, at the
237:Biography
149:Relatives
137:Parent(s)
105:, England
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3034:BBC News
3018:Facebook
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2684:Archived
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2298:30053950
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