AND LAST
“Hush! Come away!”—_The Wilderness._.sp 2
So I come to the end, so far as one can come to the end of recollections
and memories, for each one brings with it many others; they crowd in
upon me as I write, and I have to be very firm with myself and shut the
door in the face of many.
I have tried to tell you some of the incidents which have amused and
interested me; I have tried to make you see men and women as I have seen
them; and have tried to make you walk with me down “life’s busy street”.
I have tried to pay the tribute of affection and regard to the various
“Cæsars” I have known, and if in this book any names are missing—names
of men and women who have been, and are, my very dear and good friends—I
can only tell them that they are not missing in my heart.
I look back over the years that are past, look back to the time when I
first came to London, and looked on “leading ladies” and “leading men”
as giants who walked the earth, when I used to wonder if I could ever
hope to be one of them; and then, it seemed with wonderful swiftness,
the years flew past and, behold! I was a leading lady myself. That is
one of the wonderful tricks life plays for our mystification: the
far-off hope of “some day” becomes the realisation of “to-day”.
To-day, as I sit writing this, I can look out on the garden of “Apple
Porch”—the house that Harry and I almost built together; the garden
which we turned, and changed, and planted, to make it what it has
become, “our ideal garden”. And in that garden ghosts walk for me—not
“bogeys”, but kindly spirits of men and women who lived and laughed with
us as friends; not that in life all of them walked in this garden of
ours, but because now they come to join the procession which moves
there. With them are many who are still with me, and whose companionship
still helps to make life very happy. They join the others, and walk in
my garden, to remind me of the times we have laughed together, and to
assure me that life in the future still has good things for me.
For, make no mistake, youth is very wonderful, youth is very beautiful,
but it passes and leaves behind, if you will only try to cultivate it,
something which can never pass away: that is the youth that is not a
question of years, but of humanity and a young heart. If you can still
feel the delight of the first primrose, if you can still feel your heart
leap at the sight of the leaves throwing off their winter coats and
showing the first vivid green of the spring; if you can stand in the
glory of a sunny day in March and thank God for His annual proof of the
Resurrection, the re-birth of what all through the winter had seemed
dead and is “now alive again”—then you are one of those whom the gods
love; you will die young, for you can never grow old.
So, in my garden, the procession of ever-young people passes.
Over in that far corner is Herbert Lindon, sitting at an easel, painting
a picture of the house. “A plain man, my masters”, but the kindliest of
friends, with the most helpful nature in the world. Behind him stands
Forbes Robertson, with his beautiful face, his wonderful voice, and his
courtly manners. Had he lived five hundred years ago, he would have
ridden out, dressed in shining armour, to fight for the Right against
the Wrongs of the World; but, dressed in the clothes of 1923, he is
still a knight, the instinctive supporter of the weak against the
strong, the good against the evil.
Lawrence Kellie passes my window, a cigar in his mouth, and pauses a
moment to tell me that he is going in to play some of his own
compositions, to my great delight. On the golf links, outside the
garden, I can see Charles Frohman, looking like a kindly “brownie”; he
is flying a huge kite, so big that he might be in danger of flying after
the kite, were it not for two small boys, Jack and Bill, who are holding
fast to his legs.
Arthur Collins, very spruce and dapper, passes with E. S. Willard; they
tell me they are going to persuade Frohman to leave his kite-flying and
come in to play poker with them and Fred Terry.
Fred Terry stops outside the window for a talk with me, and reminds me
of the winter he came to stay with us here, when Harry would insist upon
his going out, in a biting east wind, to see “the beauty of the night”!
I ask him if he remembers the Bank Holiday when he was with us, when
Harry had to go back to a rehearsal of some approaching production? How
he (Fred) was taken ill with a bad heart attack, and that, rather than
let me see how he was suffering, for fear the sight should frighten me,
he shut himself up in a room and refused to let me enter. Fred Terry,
large and genial, wearing eye-glasses, moves away, and I see him stop to
speak to Lottie Venne, who on very high heels, looking like a very
alert, very “wide awake” bird, is coming towards us, her heels tapping
on the stones of the path.
That gentle-looking woman over there is Marion Terry, and with her Lena
Ashwell, talking, I am certain, of some plan or scheme which she is
preparing to “carry through” with her extraordinary capacity and
originality.
You see that squarely built man yonder, who looks—what he is—a sailor?
That is Ernest Shackleton. He comes over to me, bringing his book with
him. He shows me the title—one word, _South_—and asks if I think Harry
will consider making it into a film-play. I tell him that the day
England publicly mourned his loss in St. Paul’s Cathedral, during the
service a sudden ray of sunlight came through one of the painted windows
and struck the wall, just under the dome; how I followed it with my
eyes, and saw that it fell on the words “The glory of his works endureth
forever”. I think he smiles a little, and says, as Englishmen do when
praised for what they have done, “Oh, I didn’t do anything very great or
glorious.”
Here is a man who, too, has done great things. An explorer also, but he
has explored the depths of humanity; he has seen just how far his
fellow-men and women can fall, and yet he still retains his faith in
“the good that is in the worst of us”. It is W. T. Waddy, the
Metropolitan magistrate. Burns’s prayer that we should “deal gently with
your brother man, still gentler sister woman” has no application to Mr.
Waddy; he “keeps the faith” that believes that fundamentally humanity is
good, and each day in his work he testifies to it. I remind him that it
was his father, Judge Waddy, who first escorted me to the House of
Commons.
Over there is “Billy” Congreave, who gained the Victoria Cross and made
the Great Sacrifice in the war. With him, telling his battles over
again, is Dr. Leahy. He left his leg at the Marne, but that did not
prevent him enjoying, as he does still, a round or two with the gloves.
I should think he “enjoys” it more than his opponent, for “Micky” Leahy
is an enormous man. He appears to be the last man in the world likely to
possess, as he does, wonderful gifts of healing.
Who is that woman laughing at some joke made by the man walking with
her? She is Dame May Whitty, and the man is Sir Alfred Fripp. You see
him at his very best when surrounded by his wife and ’a large family of
very healthy children. She, Dame Whitty, is a friend of thirty years,
and her affection and goodness to me have never altered.
The woman who has just joined them is Susanne Sheldon. I parody the
saying, “better twenty years of Europe than a cycle of Cathay” when
speaking of Suzanne, and say “better one day of Susanne than a month of
the people who lack her understanding and great heart.” Some day go to
the Children’s Hospital in Great Ormond Street, and hear of the work she
has done there; they will tell you more than I can, for she does not
talk of all she does.
The lame man, who looks so fierce, is Sydney Valentine. He looks fierce,
and rather as though he had more brain than heart. His looks belie his
nature. He leans on his stick by my window, and we talk of the early
days of the Actors’ Association. I remind him of the splendid fight he
made to gain the Standard Contract for the acting profession. I ask him,
“Do you remember the Lyric Theatre meeting?”, and I add some hard things
about the people who attacked him there. He smiles, and reminds me of
our own Suffrage motto (and how he used to hate the Suffrage Movement,
too!), “The aim is everything”, and adds “After all, we won our battle,
didn’t we?”
J. L. Toole, coming up, hears the last sentence, and asks, “Battle, what
battle?” Just as I am about to answer, he pops a “bullseye” into my
mouth, as he used to years ago when I was playing with him on the stage.
Toole laughs, and I laugh with him; but our laughter is checked by a
tall man, with a heavy moustache, who, with a melancholy face, is
filling a pipe from a tobacco-pouch like a sack—and not a very small
sack, either! He brings an air of tragedy with him, and I ask, “What is
the matter, Aubrey?”
It is Aubrey Smith, the “Round the Corner Smith” who took the first
English cricket eleven to South Africa, and still, when his work on the
stage allows him, will rush away to Lords or the Oval to watch a match.
“Haven’t you heard?” he asks; and adds, “Dreadful, dreadful; I don’t
know what England’s coming to.” “What _has_ happened?” I ask again. He
looks at me sadly and tells me—“England has lost the _Test Match_!” He
wanders away, and a few minutes later I hear him laughing—a laugh which
matches him for size. He is probably telling the woman he is talking to
(Elizabeth Fagan) of the new pig-styes he has built at West Drayton.
There is Marie Tempest, and how fascinating she is! She has the
cleverest tongue and the most sparkling humour of any woman I know. The
woman near her is Julia Neilson, a dream of loveliness, and with a
nature as lovely as her face. There, too, are Lady Martin Harvey and
Lady Tree—Lady Tree, whom I first understood when I met her under
circumstances which were very difficult for us both; and who showed me
then what “manner of woman” she is, so that ever since I have loved and
admired her. And Nell Harvey, who can face the rough patches of life
with equanimity, and who can “walk with kings” without losing that
“common touch” which gives her the breadth of vision, the tolerance, and
kindness which have made her ever ready to give help to those who need
it.
This man coming towards me, his hands clasped behind him, who looks as
if he were meditating deeply, is Sir Charles Wyndham. When he was
playing in London, and Harry was a very young actor in the provinces,
and had heard of but had never seen Charles Wyndham, one paper said it
was “a pity that Mr. Esmond has tried to give such a slavish imitation
of the great actor”. He stands for a moment to ask me if I remember the
evening he came to see _The Dangerous Age_, and repeats again his
admiration and praise of the play. I tell him that I remember, also, how
after the play he sat in Harry’s dressing-room for an hour and a half,
delighting both of us with his stories of the stage, “past and present”.
He passes on, and you see him stop to speak to Anthony Hope, that
delightful man who possesses a manner of joyous cynicism of which one
never tires. George Alexander has joined them, perhaps speaking of the
success of _The Prisoner of Zenda_. You notice his beautiful white hair.
Once, in _The Wilderness_, he had to darken it, and as in the play he
had to lay his head on my shoulder, my dress was gradually marked with
the stain he used for his hair.
I stand and reach out to shake the hand of Lewis Waller, and ask him if
he is still “putting square pegs into round holes”. He asks, in his
beautiful voice that was the salvation of so many really poor plays,
what I mean. I remind him of a play, many years ago, when Harry
remonstrated with him and said that some of the parts in the production
were played so badly, adding “Why _do_ you engage such people? they are
not, and never will be, actors”; and how Lewis Waller replied, “I know,
I know, Harry, but I would sooner have round pegs in square holes than
not have people round me who love me.” Dear Will! He moves away,
speaking to this person and that person, and giving to each one
something of his very gentle and infinitely lovable personality.
That beautiful woman, surely “God’s most wonderful handiwork”, to whom
Will is speaking now, is Maxine Elliott; she is Jill’s God-mother,
another of the lovely women whose faces are only the mirrors of the
natures which lie beneath.
The sound of the piano reaches me, and I look to see if Lawrence Kellie
is still playing, and have to look twice before I can believe that it is
not he who sits playing, but Raymond Rose, who is so wonderfully like
him. Perhaps he is at work composing, not this time for His Majesty’s
Theatre, but, like Henry Purcell, for “that blessed place where only his
music can be excelled”.
Then the gate at the end of the garden opens, and, carrying a bag of
golf clubs, and clad in an old coat and equally old trousers which seem
to be “draped” round his ankles, comes Harry. He comes up to the window,
full of the joy of life and never-ending youth; leaning his arms on the
window-sill, he looks at the men and women in the garden, and smiles.
“Our friends,” I tell him.
And he repeats after me, “Yes, our friends.” After a moment he goes on,
thoughtfully: “I used to tell you that ‘Friendship was a question of
streets’; I think I was wrong: it’s something more than that.” And, as
if to prove his words, we both see Malcolm Watson walking in the garden,
the kindly Scot, who never fails anyone, a real friend of countless
years.
[Illustration:
_Photograph by Miss Compton Collier, London, N.W.6._ To face p. 237
APPLE PORCH
]
“I think it is—something more than that,” I answer.
As we talk, the sun suddenly blazes out, filling all the garden with
light; Harry stretches out his hand, smiling, and says: “Sunshine! Let’s
go out!”
* * * * *
So the dream ends, but the garden and the sunshine remain; and not only
the garden and the sunshine, but the knowledge that “these are my
friends”; that these men and women have known and, I think, loved me, as
I have known and loved them; and the fact that they have been and are,
many of them, still in my life, making the world a finer and cleaner
place in which to live.
That is how I should wish to look back on life: not always easy, or
smooth, or always happy, but with so much that has been worth while, so
much that has been gay and splendid.
Gradually everything falls into its right perspective; things which
seemed so important, so tragic, so difficult “at the time”—why, now one
can almost look back and laugh. Not everything: the things which were
rooted in beliefs and convictions do not shrink with the years; and I am
glad, and even a little proud, that I lived through the time which held
the Boer War, the Suffrage Campaign, and the Greatest World Struggle
that the world has ever seen—please God, the Last Great War of All!
My work, my own work, it has been hard—there have been difficult times,
when lack of understanding made work less of a joy than it should have
been—but, looking at it all as a whole, and not as a series of detached
memories, it has been very good to do, and I have been very happy in
doing it. It has kept my brain working, and, I think, kept my heart
young; and never once since the front door of my father’s house closed
behind me, and I left home in that storm of parental wrath, have I
regretted that I chose the Stage as a profession.
I have tried to tell you something of what the years have brought, with
no real thought except that it was a joy to me to remember it all. I
have not tried to “point a moral or adorn a tale”, but simply to tell my
story as it happened. Yet there is surely a moral—or, at least, some
lesson—which has been learnt in all the years of work and play. I think
it is this: Let God’s sunlight into your lives, live in the sunlight,
and let it keep you young. For youth is the thing which makes life
really worth living, youth which means the enjoyment of small things,
youth which means warm affections, and which means also the absence of
doubting and distrusting which, if you allow it, will take so much of
the glorious colour out of life’s pictures.
So, in Harry’s words, I would end all I have tried to tell you by
saying:
“Sunshine! Let’s go out!”
FINIS
APPENDICES
APPENDIX I
PARTS PLAYED BY EVA MOORE
1887
“Varney” _Proposals_
“Spirit of Home” (Dot) _The Cricket on the Hearth_
1888
“Alice” _A Red Rag_
“Alice Marshall” _The Butler_
“Dora” _The Don_
—— _The Spittalfields Weaver_
—— _Toole in the Pig Skin_
—— _Ici on Parle Française_
—— _Birthplace of Podgers_
—— _Artful Cards_
—— _Paul Pry_
1889
“Kitty” _A Broken Sixpence_
“Felicia Umfraville” _The Middleman_
“Alice Jolliffe” _The Home Feud_
“Nancy” _The Middleman_
“Diana” _Pedigree_
1890
“Countess of Drumdurris” _The Cabinet Minister_
1891
“Gwendoline Fanlight” _Culprits_
“Mrs. Richard Webb” _The Late Lamented_
“Nita” _The Mountebanks_
1892
“Matilde” _A Scrap of Paper_
“Violet Melrose” _Our Boys_
1893
“Miss Violet” _A Pantomime Rehearsal_
“Amanda P. Warren” _Allendale_
“Mrs. Delafield” _Man and Woman_
“Lettice” _Time will Tell_
“Winifred Chester” _The Younger Son_
“Pepita” _Little Christopher Columbus_
1894
“Nellie Dudley” _The Gay Widow_
“Lead” _The Shop Girl_
*†“Fairy Buttonshaw” _Bogey_
1895
“Angela Brightwell” _The Strange Adventures of Miss
Brown_
“Nelly Jedbury” _Jedbury, Jun._
“Dora” _The Wanderer from Venus_
1896
“Molly Dyson” _Major Raymond_
*†“Margaret” _In and Out of a Punt_
†“Miss Savile” _A Blind Marriage_
“Madam de Cocheforet” _Under the Red Robe_
1897
“Mistress Golding” _The Alchemist_
“Elladeen Dunrayne” _An Irish Gentleman_
*††“Maysie” _One Summer’s Day_
1898
“April” _The Sea Flower_
“Angela Goodwin” _Tommy Dodd_
†“Gabrielle de Chalius” _The Three Musketeers_
1899
“Sybil Crake” _The Dancing Girl_
“Ellice Ford” _Carnac Sahib_
“Lucie Manette” _The Only Way_
“Christina” _Ibb and Christina_
“Louise” _Marsac of Gascony_
1901
“Kate Duewent” _A Fools’ Paradise_
*“Mabel Vaughan” _The Wilderness_
—— _The Importance of Being Earnest_
1902
“Lady Hetty Wrey” _Pilkerton’s Peerage_
*“Lady Ernstone” _My Lady Virtue_
1903
“Kathie” _Old Heidelberg_
*“Miss Wilhelmina Marr” _Billy’s Little Love Affair_
“Lady Henrietta Addison” _The Duke of Killiecrankie_
1904
“Lady Mary Carlyle” _Monsieur Beaucaire_
1905
†“Klara Volkhardt” _Lights Out_
1906
“Judy” _Punch_
“Miss Blarney” _Josephine_
1907
“Muriel Glayde” _John Glayde’s Honour_
“Sweet Kitty Bellaires” _Sweet Kitty Bellaires_
1908
“Mrs. Crowley” _The Explorer_
“Dorothy Gore” _The Marriages of Mayfair_
“Mrs. Errol” (Dearest) _Little Lord Fauntleroy_
“Lady Joan Meredith” _The House of Bondage_
1909
“Kathie” (revival) _Old Heidelberg_
“Hon. Mrs. Bayle” _The Best People_
“Hon. Mrs. Rivers” _The House Opposite_
1910
“Gay Birch” _Company for George_
1911
“Christine” _A Woman’s Wit_
1912
“Kate Bellingham” _Looking for Trouble_
*†“Eliza” _Eliza Comes to Stay_
*†“Betty” _The Dangerous Age_
1913
*†“Eliza” _Eliza Comes to Stay_
*†“Betty” _The Dangerous Age_
1914
*†“Eliza” _Eliza Comes to Stay_
*†“Betty” _The Dangerous Age_
1915
*†“Phyllis” _When We Were Twenty-One_
1918
“Mrs. Culver” _The Title_
“Mrs. Etheridge” _Cæsar’s Wife_
1920
“Mumsie” _Mumsie_
1921
“Lady Marlow” _A Matter of Fact_
*†“Edie La Bas” _The Law Divine_
1922
“Miss Van Gorder” _The Bat_
1923
“Mary Westlake” _Mary, Mary Quite Contrary_
All those marked * were plays written by my husband.
All those marked † we played together.
APPENDIX II
SOME PARTS PLAYED BY H. V. ESMOND
“Lord John” _The Scorpion_
“Harold Lee” _Rachel_
—— _Frou Frou_
“Gibson” _Ticket of Leave_
“Horace Holmcroft” _New Magdalen_
“Eglantine Roseleaf” _Turn Him Out_
“Feversham” _Take Back the Heart_
“Theodore Lamb” _Glimpse of Paradise_
“Capt. Damerel” _The Lord Harry_
“Jack” _Ruth’s Romance_
“The Marquis de Presles” _The Two Orphans_
“Megor” _Nana_
“George Talboys” _Lady Audrey’s Secret_
“Philip” _Eve’s Temptation_
“Bill Sykes” _Oliver Twist_
“Uriah Heep” _Little Emily_
“Ishmael, the Wolf” _Flower of the Forest_
“Tulkinghorn” _Poor Joe_
“Charles Torrens” _Serious Family_
“Mr. Lynx” _Happy Pair_
“Mr. Debbles” _Good for Nothing_
“Rafael de Mayal” _The Marquesa_
“Capt. Kirby” _Dick Venables_
“Fillipo” _Fennel_
“Paddington Grun” _If I Had a Thousand a Year_
“Harold Wingard” _Daughters_
“Fred Fanshaw” _Weak Woman_
“Harry Stanley” _Paul Pry_
“John” _In Chancery_
*“Pierre” _Rest_
“Frank Bilton” _Churchwarden_
“Weston Carr” _Flight_
“Plantagent Watts” _Great Unpaid_
“Phil Summers” _Dregs_
“Eric” _Too Happy by Half_
“Reggie” _The Rise of Dick Halward_
* †“Hugh” _In and Out of a Punt_
“Dolly” _A Blind Marriage_
“Le Barrier” _The Storm_
“Cayley Drummle” _The Second Mrs. Tanqueray_
“Touchstone” _As You Like It_
“Major-General Sir R. Chichele” _The Princess and the Butterfly_
“Verges” _Much Ado About Nothing_
“Capt. Theobald Kerger” _The Conquerors_
“Vivian Seauvefere” _The Ambassador_
“Fritz von Tarbenhelm” _Rupert of Hentzau_
“D’Artagnan” _The Three Musketeers_
“Major Blencoe” _The Tree of Knowledge_
—— _The Debt of Honour_
“Charles II.” _His Majesty’s Servant_
“Mercutio” _Romeo and Juliet_
“Augustus III.” _Hawthorne, U.S.A._
“Corporal Helbig” _Lights Out_
“Louis IV.” _Bond of Ninon_
“Widgery Blake” _Palace of Puck_
“Mr. Whitly” _The Education of Elizabeth_
“Sir Benjamin Backbite” _The School for Scandal_
“Little Billee” _Trilby_
“Viscount Bolingbroke” _Mr. Jarvis_
*“Philip Kean” _Grierson’s Way_
“Sir Francis Leverson” _East Lynne_
“Alfred Meynard” _The Corsican Brothers_
“Chaucer” _Vice Versa_
“Robert de Belfort” _The Grip of Iron_
“Adrian Fiore” _The Panel Picture_
“Capt. Julian Chandler” _The Middleman_
“Algernon Grey” _Sweet Nancy_
“Graham Maxwell” _The Pharisee_
“Edward Pendlecoop” _Culprits_
“Lord Leadenhall” _The Rocket_
“Howard Bombas” _The Times_
“Cis Farrington” _The Magistrate_
“Eddie Remon” _The Masqueraders_
“George Round” _Guy Domville_
“Willie Hasselwood” _The Triumph of the Philistines_
[1]“Uncle Archie Buttonshaw” _Bogey_
“Earl of Addisworth” _Pilkerton’s Peerage_
“Cyril Ryves” _Chance, The Idol_
“Hon. Sandy Verrall” _Eliza Comes to Stay_
“Jack Le Bas” _The Law Divine_
“Adam Haggarth” _In Days of Old_
—— _Barton Mystery_
“Sir Egbert Ingelfield” _The Dangerous Age_
“Jacob Ussher” _Birds of a Feather_
Footnote 1:
Parts in his own plays.
APPENDIX III
PLAYS WRITTEN BY H. V. ESMOND
*_When We Were Twenty-One_
*_Under the Greenwood Tree_
*_Billy’s Little Love Affair_
*_One Summer’s Day_
*_Grierson’s Way_
*_My Lady Virtue_
*_The Divided Way_
*_The Wilderness_
*_Bogey_
*_The Sentimentalist_
*_Eliza Comes to Stay_
*_The Dangerous Age_
*_The O’Grindles_
*_A Kiss or Two_
_Clorinda’s Career_
*_My Lady’s Lord_
*_A Young Man’s Fancy_
_The Tug of War_
*_The Forelock of Time_
*_Love and the Man_
*_The Law Divine_
*_Birds of a Feather_
*_Leoni_
*_Cupboard Love_
SHORT PLAYS
*_In and Out of a Punt_
*_Her Vote_
*_Rest_
_A Woman in Chains_
*_Island of Dreams_
Those marked * have been produced either in England or America.
INDEX
Actors’ Association, 40, 233.
Actresses’ Franchise League, 77, 94, 95.
Adams, Maude, 149.
Adelphi Theatre, The, 13.
Ainley, Henry, 61, 109.
Albani, Madame, 47.
Aldwych Theatre, The, 70.
Alexander, Sir George, 43, 44, 54–57, 59, 61, 66, 103, 134, 192, 202,
216, 235.
Alexander, Lady, 111.
Alhambra, The, 129.
Allen, Lady, 83, 84.
Ambulance Corps, The, 75.
America, 55, 57, 62, 83, 138, 143, 145–147, 149, 150, 181.
Andresson, Herr, 111.
Apple Porch, 74, 112, 163, 201, 229.
Archer, William, 179.
Army of Occupation, The, 34, 86.
Asche, Oscar, 103.
Ashwell, Lena, 85, 94, 95, 231.
Asquith, Mrs. H. H., 161.
Astor, M.P., The Rt. Hon. Viscountess, 163.
_As You Like It_, 219.
Austin, Alfred, 160.
Australia, 23, 35, 36, 84.
Authors’ Society, The, 148, 149.
Aynesworth, Allen, 25, 62.
_Bad Hats_, 212.
Bailey, Rt. Hon. W. H., 57.
Barker, Granville, 48, 73, 109.
Barrie, Bart., Sir James, 63, 140.
_Bat, The_, 72.
Beardsley, Aubrey, 120.
Beerbohm, Max, 179.
Belgium, 75.
_Belle Marseille, La_, 69.
Bennett, Arnold, 70.
Bennett, Marguerite Arnold, 182.
Berhens, Herr, 111, 112.
Berlin, 164, 165.
Berry, W. H., 133.
_Biff Bang_, 156.
Billington, Theresa, 98.
_Billy’s Little Love Affair_, 62, 63.
_Birds of a Feather_, 212, 219.
_Blind Marriage, The_, 46.
_Bogey_, 43–46, 202, 207.
Bourchier, Arthur, 60, 110, 111, 206.
Brandram, Rosina, 32.
_Breed of the Treshams, The_, 136.
Brighton, 2, 3, 9–12, 15, 17, 47, 55, 67.
British Army, The, 34.
_Broken Sixpence, The_, 21.
Brooke, Rupert, 86, 193.
Brookfield, Charles, 83, 34.
Brough, Fanny, 30, 31.
Brough, Lal, 31.
Brough, Mary, 21.
Brough, Sydney, 31, 32.
Browne, Graham, 63.
Bruce, Nigel, 160.
Buest, Scot, 14.
Burge, Dick, 137.
Burnett, Mrs. Hodgson, 68.
_Butler, The_, 22.
_Cabinet Minister, The_, 24–26.
_Cæsar’s Wife_, 70.
Calthrop, Dion Clayton, 197.
Calvert, Mrs., 50.
Campbell, Mrs. Patrick, 128, 129.
Canada, 150, 151.
_Carnac Sahib_, 53, 117.
Carr, Professor, 152.
Carson, Mrs., 31.
Carte D’Oyley, 26.
Carter, Mrs., 86.
Castle, Egerton, 66.
Cecil, Arthur, 25.
Chamberlain, Austen, 90.
_Chance_, 219.
_Channings, The_, 193.
Chaplin, Charlie, 222.
Chelsea Palace, The, 121.
Chevalier, Albert, 68.
Chirgwin, George, 123, 124.
Chisholm, Miss Marie, 75, 76, 79.
_Chu Chin Chow_, 72.
Churchill, M.P., The Right Hon. Winston Spencer, 10.
_Cinderella_, 13
Clark, Holman, 48.
Clarkson, Willie, 51.
_Clothes and the Woman_, 148, 149.
Cochrane, Sir Ernest, 72.
Collier, Constance, 50.
Collier, Dr. Mayer, 27.
Collins, Sir Arthur, 230.
Comedy Theatre, The, 51, 72.
Cooper, Gladys, 177.
Copperfield, David, 20.
_Coriolanus_, 140.
Cornwallis, Miss, 86, 87.
_Corsican Brothers, The_, 120, 216.
Courtneidge, Robert, 181, 182.
Court Theatre, The, 24, 101, 109.
Craig, Edith, 36.
Craigie, Pearl Mary-Teresa, 179.
_Cricket on the Hearth, The_, 14, 16, 17.
Criterion Theatre, The, 46, 148.
_Culprits_, The, 26, 34.
Cunningham, Philip, 113, 195.
Curzon, Frank, 33, 131.
Dacre, Arthur, 35.
Dale, Alan, 145.
Dana, Henry, 192.
_Dancing Girl, The_, 52.
Dane, Clemence, 114, 115.
_Dangerous Age, The_, 69, 149, 206, 208, 209, 224, 235.
Dare, Phyllis, 54.
Dare, Zena, 54.
Daughters of the Empire, The, 151
_David Garrick_, 34.
Davidson, Emily, 98.
Davis, Ben, 18, 47.
_Dear Brutus_, 219.
_Dear Fool, The_, 143, 144, 149.
_Defence of Lucknow, The_, 152.
d’Erlanger, Baron Emile, 71.
de Freece, Sir Laurie, 129.
Despard, Mrs., 93.
Dick, Cotsford, 26.
Dickens, Miss Ethel, 148.
Dockers’ Theatre, The, 56.
_Dr. Chavasse’s Advice to a Mother_, 30.
_Dr. Chavasse’s Advice to a Wife_, 30, 149.
_Dr. Dee_, 26.
_Dorothy_, 18.
Drummond, Mrs., 151.
Drummond, Flora, 92.
Drury Lane Theatre, The, 32, 36, 53, 68.
Dublin, 19, 57, 82, 84, 93.
_Duke of Killiecrankie, The_, 63.
Dumas, Alexandre, 220, 221.
du Maurier, Sir Gerald, 173, 174, 17, 218.
“Dumbells, The,” 156, 157.
Edinburgh, 19, 20, 181.
Edward VII., 169, 170.
Edwardes, George, 39, 132, 133.
_Eliza Comes to Stay_, 1, 14, 30, 102, 108, 113–115, 143, 147–150, 159,
190, 203–205, 207, 224.
Elliott, G. W., 43.
Elliott, Maxine, 180, 181, 236.
Elmore, Belle (Mrs. Crippen), 31.
Emerson, Ralph Waldo, 98.
Emery, Winifred, 16, 48, 103, 138, 139.
Empire League, The, 162.
Empire Theatre, The, 35, 42.
Esmond, H. V. _Passim_.
Esmond, Jack, 1, 142, 146, 194, 201, 230.
Esmond, Jill, 1, 17, 66, 109, 114, 125, 146, 180, 183, 195, 236.
Evans of Edmonton, Mr., 152.
Everard, Walter, 34.
_Explorer, The_, 67.
Fagan, Elizabeth, 234.
Farren, William, 32.
_Faust_, 13.
Feversham, William, 149.
Fisher, Miss, 86.
_Flames of Passion_, 72, 141.
Frederick the Great, 168.
_French for Tommies_, 75.
Fripp, Sir Alfred, 232.
Frohman, Charles, 82, 83, 146, 174, 175, 230.
Fulton, Charles, 85, 64, 65.
Gaiety Theatre, The, 38, 50, 132, 133.
Gainsborough, Thomas, 189.
Gallery First Night Club, The, 45.
Garrick Club, The, 34, 122, 139.
Garrick Theatre, The, 146.
_Gay Widow, The_, 43.
George, A. E., 67.
George, M.P., The Rt. Hon. David Lloyd, 99.
_Geraldine, or Victor Cupid_, 190, 200.
Germany 34.
Gibbs, Sir Philip, 166.
Gilbert, W. S., 29, 125, 133, 134, 223.
Gilbert and Sullivan Operas, 32.
Globe Theatre, The, 220.
Gneiseuan, General, 168.
_Gondoliers, The_, 27.
Goodwin, Maxine Elliott, 180, 181, 236.
Goodwin, N. C., 180.
Gordon, Major A., 77.
Graham, Cissie (Mrs. Allen), 192.
Green Room Club, The, 65, 138.
Grierson’s Way, 179, 201, 206, 213, 219.
Grossmith, George, 138.
Grossmith, Weedon, 25, 63.
Grove, Fred, 25, 30, 113, 114, 159, 160, 198.
Groves, Charles, 62.
Guerini, Madame, 11.
Guggisberg, Lady, 78.
Hackney, Mabel, 148.
Hallard, Charles Maitland, 65, 164, 173, 187, 217.
Hamilton, Harry, 51.
_Harbour Lights_, 13.
Harcourt, Cyril, 197.
Harding, Lyn, 17, 68.
Harding, Rudge, 112.
Hare, Sir John, 69.
Harvey, Sir John Martin, 103, 136, 137, 159.
Harvey, Lady Martin, 103, 234.
Hatfield, Lady, 80.
Haverfield, Mrs., 76, 77.
Hawkins, Sir Anthony Hope, 60, 126, 127, 235.
Hawtrey, Sir Charles, 43, 49, 126, 185, 213.
Haymarket Theatre, The, 109, 126, 128.
_Hearts is Hearts_, 13.
Hendrie, Ernest, 50.
Henley, W. E., 199.
_Her Vote_, 95.
Hicks, Seymour, 39.
_Highwayman, The_, 192.
Hindenburg, Field Marshal Von, 166, 168.
His Majesty’s Theatre, 34, 72, 236.
Hobbes, John Oliver, 179.
Hobhouse, M.P., Rt. Hon. Henry, 90.
Hood, Dr. Walton, 125.
Horder, Morley, 112, 113.
House of Commons, The, 92.
Hughes, Annie, 24.
Huntly, G. P., 132.
_Idylls of the King_, 188.
Illington, Marie, 63, 181.
_Importance of Being Earnest, The_, 64.
_Imprudence_, 63.
India, 53.
Interlude Players, The, 12.
Ireland, 20, 55, 56, 82.
_Irish Gentleman, An_, 48.
Irving, Sir Henry, 32, 120, 122, 140, 213.
Irving, H. B., 65, 103, 123, 124, 134.
Irving, Lawrence, 124, 125.
Isaacs, Sir Rufus, 97.
Isle of Man, The, 56.
James, David, 32.
Jay, Isabel, 33.
_John Glayde’s Honour_, 66.
Johnson, Eliza, 20, 21.
Jones, Henry Arthur, 53, 105, 217.
Joseph, Mrs. Henry, 151.
_Josephine_, 63.
Jowett, Professor Benjamin, 161.
_Just So Stories_, 114.
Karno, Edie, 31, 69.
Karno, Fred, 31.
Kellie, Lawrence, 230, 236.
Kemble, Henry, 50.
Kendal, Mrs., 11, 106, 109, 110 176.
Kennington Theatre, The, 81.
Kenny, Annie, 92.
Keppel, Sir David, 78.
Kerr, Fred, 46.
Kingston, Gertrude, 74.
Kipling, Rudyard, 114, 128.
_Kiss or Two, A_, 209, 225.
Knight, Joe, 122.
Knoblauch, Edward, 71, 182.
Knocker, Mrs. (Baroness T’Scerelles), 75, 78, 79.
Lang, Matheson, 67.
Lashwood, George, 104.
_Late Lamented, The_, 27, 30.
Law, M.P., the Rt. Hon. Bonar, 48.
_Law, Divine, The_, 85, 150, 151, 160, 177, 181, 209, 212, 224.
Lawrence, Mr. and Mrs. Pethick, 97.
Leahy, Dr. M., 232.
Leave Club, The, 85.
Le Barge, Simone, 103.
Leno, Dan, 103–105, 222.
Lenton, Lilian, 98.
Lester, Alfred, 153.
Lewis, Eric, 113.
_Lights Out_, 64, 66, 219.
Lindon, Herbert, 230.
Lindsay, James, 123.
Little, Dr., 57.
_Little Christopher Columbus_, 36, 37.
_Little Golden Hope_, 11.
Little Theatre, The, 74.
Liverpool, 8, 10, 56, 146.
Lloyd, Marie, 69, 120, 123, 124, 129, 130, 139.
Loftus, Cissy, 94.
Loftus, Marie, 120, 121.
London, 12, 14, 18, 22, 74, 151, 180.
London County Council, The, 34.
Lonnen, Teddie, 37.
_Looking for Trouble_, 70.
_Love and the Man_, 84, 205.
Lowne, Charles M., 21.
Lucy, Arnold, 46.
Lumley, Florrie, 154, 162.
Lyceum Theatre, The, 48, 140.
Lynch, Dr. and Mrs., 163.
Lyric Theatre, The, 233.
Lytton, Lady Constance, 93.
Macarthy, Justin Huntly, 17, 183, 192.
McKinnel, Norman, 72.
Mackintosh, William, 24.
_Man and Woman_, 34, 35.
_Marriages of Mayfair, The_, 68.
_Marsac of Gascony_, 53.
Marsh, “Charlie,” 98.
Martin, Mrs. Howe, 92.
_Masqueraders, The_, 217.
Massey, Deane, 151.
_Matter of Fact, A_, 72.
Maude, Cyril, 48, 103, 138, 139, 155.
Maugham, Somerset, 67.
Maurice, Newman, 108.
May, Ackerman, 27.
May, Edna, 33.
Melville Brothers, The, 48.
Menken, Adah Isaacs, 114.
_Merchant of Venice, The_, 32.
_Merry Wines of Windsor, The_, 107.
Michau, Madame, 8, 9.
_Middleman, The_, 23, 24, 27.
Millet, Maude, 14, 24.
Monckton, Lionel, 138.
_Monsieur Beaucaire_, 66.
Moore, Ada, 6, 7, 28, 77, 114, 164.
Moore, Bertha, 11, 77.
Moore, Decima, 4–8, 13, 17, 26, 27, 32, 74–78, 85, 90, 104, 125, 141,
153.
Moore, Edward Henry, 3, 4:, 6–8, 11–13, 15, 67.
Moore, Mrs. E. H., 3, 7, 14, 15, 67.
Moore, Emily (Mrs. Pertwee), 11, 77.
Moore, Eva, _Passim_.
Moore, Henry, 7, 18, 22.
Moore, Jessie, 3, 18, 26.
Morris, William, 188.
_Mountebanks, The_, 29.
_Mrs. Punch_, 63.
_Much Ado About Nothing_, 36, 118, 217.
_Mumming Birds_, 31.
_Mumsie_, 71, 182.
Munro, Dr., 75.
Music, The Royal College of, 26.
Music Hall Ladies’ Guild, The, 31.
_Musical World, The_, 23.
_My Lady Virtue_, 206.
Needlework Guild, The, 76.
Neilson, Julia, 56, 234.
Neilson-Terry, Phyllis, 56, 139, 219.
_Nero_, 119.
Neville, Henry, 35, 36.
Nevinson, Mrs., 93.
New York, 143, 144, 147, 149, 174, 179, 180.
Novelty Theatre, The, 111.
Old Bailey, The, 97.
_Old Heidelberg_, 61, 111.
Old Oxford, The, 109.
_Oliver Twist_, 216.
_One Summer’s Day_, 32.
Oxford Theatre, The, 189.
_Pair of Spectacles, A_, 69.
Palladium, The, 129.
_Panel Picture, The_, 216.
Pankhurst, Mrs., 92, 97, 100.
Pankhurst, Christabel, 90–92, 99.
_Pantomime Rehearsal, A_, 83.
_Partners_, 12, 14.
Pavilion, The, 209.
Paxton, Sydney, 114.
_Peg o’ My Heart_, 147.
_People, The_, 18.
Pertwee, Ernest, 11.
_Peter Pan_, 17.
Philippi, Rosina, 25, 26.
Phillips, Kate, 16.
Pidgeon, Mr. and Mrs., 142.
Pinero, Sir Arthur W., 24, 63.
_Pilkerton’s Peerage_, 60, 110.
Play Actors, The, 12.
Press, The, 18, 33, 48, 96.
Pringle, Miss, 8.
_Prisoner of Zenda, The_, 235.
_Punch_, 18.
Purcell, Henry, 236.
Queenstown, 82.
_Red Rag, The_, 17, 19.
Reeve, Ada, 38.
Repertory Players, The, 12.
_Rest_, 192, 202.
Rex, Frederick, 168.
Richards, Cicely, 32.
Roberts, Arthur, 134.
Robertson, Sir Johnston Forbes, 85, 94, 184, 205, 230.
Robey, George, 40, 137.
Robson, Frederick, 213.
Rock, Charles, 13.
Roe, Bassett, 40.
Rogers, The Hon. “Bob”, 153.
_Romeo and Juliet_, 149, 221.
Rorke, Kate, 205.
Roscoe’s Performing Pigs, 139.
Rose, Patrick, 28.
Rose, Raymond, 236.
Roselle, Amy, 35.
_Rotten Brigade, The_, 212.
Royalty Theatre, The, 26, 70.
Rubens, Paul, 33.
_Ruined Lady, The_, 71.
St. James’s Theatre, 1, 43, 54, 56, 58, 61, 72, 204.
St. John, Florence, 13, 62.
Saker, Annie, 48.
Savoy Theatre, The, 27, 125, 134.
_School for Scandal, The_, 219, 224.
Scott, Clement, 44, 45, 179, 207, 217.
Scottish National Gallery, 93.
_Scrap of Paper, A_, 31.
_Sea Flower, The_, 51.
_Second Mrs. Tanqueray, The_, 217.
_Sentimentalist, The_, 213.
Serbia, 75.
Sevier, Robert, 36.
Sevier, Lady Violet, 36.
Shackleton, Sir Ernest, 71, 231.
Shaftesbury Theatre, The, 23.
Shakespeare, William, 32, 222.
Shaughnessy, Lord and Lady, 151.
Shaw, George Bernard, 109.
Sheldon, Susanne, 233.
Shelton, George, 17.
Shields, Ella, 110.
Shine, J. L., 48.
_Shop Girl, The_, 38.
Shortt, The Rt. Hon. Edward and Mrs., 191.
Simmons, Miss, 148, 149.
Sims, George R., 47.
_Sisters_, 128, 129.
Smith, Aubrey, 54, 70, 71, 234.
_South_, 71, 231.
_Sporting Times, The_, 45.
“Spy”, 25.
_Stage, The_, 31.
_Standard, The_, 202.
Standing, Herbert, 27, 46–48.
Stanley, Sir Hubert, 182.
Stevenson, Robert Louis, 199.
Steward, Miss M., 156.
_Strange Adventures of Miss Brown, The_, 46.
_Stranglers of Paris, The_, 216.
Stuart, Cosmo, 51.
Suffrage Movement, The, 90, 93, 233.
Sutro, Alfred, 66.
_Sweet Kitty Bellaires_, 66.
_Sweet Nancy_, 26, 217.
_Sweet Nell of Old Drury_, 56.
Swinburne, Algernon Charles, 114.
Tariff Reform League, The, 90.
Tate, Harry, 137, 138.
_Tatler, The_, 38.
Taylor, Sir Frederick and Lady, 151.
Tempest, Marie, 18, 234.
Tennyson, Alfred, Lord, 188.
Terriss, Ellaline, 33.
Terriss, William, 120.
Terry, Edward, 28, 29, 30.
Terry, Ellen, 36, 38, 106, 107, 138, 176.
Terry, Florence, 18.
Terry, Fred, 36, 56, 103, 139, 230, 231.
Terry, Marion, 231.
Terry’s Theatre, 26, 28–30.
Theatrical Girls’ Club, 17.
Theatrical Ladies’ Guild, 30.
Thesiger, Ernest, 40.
Thomas, Brandon, 33.
Thompson, Mrs., 22.
Thorndike, Sybil, 185.
Thorne, Fred, 12.
Thorne, Tom, 11, 12.
Three Arts Club, 17.
_Three Musketeers, The_, 51, 219, 220.
Tiapolo, 93.
_Times, The_, 21, 28.
_Times, The_ (Play), 219.
_Title, The_, 70.
Tivoli Theatre, The, 121, 129, 189.
Toft, Albert, 197.
Tolstoi, Count Leo, 124.
Toole, Florrie, 11, 12, 14, 20, 121.
Toole, J. L., 13, 14, 16, 18, 19, 21, 23, 121–123, 233.
Trans-Canadian Company, The, 150.
Tree, Sir Herbert Beerbohm, 34, 51–53, 72, 73, 103, 117–120, 132, 139,
192, 224.
Tree, Lady, 119, 234.
_Trilby_, 219.
_Twelve Pound Look_, 140.
_Typhoon_, 124.
Ulmar, Geraldine, 27.
_Under the Greenwood Tree_, 180.
_Under the Red Robe_, 48.
_Uriah Heep_, 216.
Valentine, Sydney, 39, 233.
Vancouver, 109, 155.
Vanbrugh, Irene, 23.
Vanbrugh, Violet, 19, 207.
_Vanity Fair_, 25.
Vaudeville Theatre, The, 11–13, 16, 150.
Vedrenne, J. E., 70, 71.
Venne, Lottie, 43, 231.
Verity, Agnes, 24.
Vernon, Harriet, 189.
Vernon, H. H., 222.
Vincent, H. H., 59.
Waddy, Judge, 232.
Waddy, W. T., 232.
Walker, Dr., 163.
Waller, Lewis, 51, 52, 66, 220, 221, 235, 236.
Ward, Rowland, 54.
Waring, Herbert, 46.
War Office, 74.
_Waterloo_, 123.
Watson, Malcolm, 237.
Watts, Dr., 12.
Webster, Ben, 36, 58, 127.
Webster, Dame May (May Whitty), 32, 58, 94, 127, 232.
Weiglin, Thomas, 138.
Weyman, Stanley, 48.
_When We Were Twenty-One_, 180, 207, 225.
White, Claude Grahame, 142.
Wilberforce, Canon, 11.
Wilberforce, Miss, 11.
Wilcox, Herbert, 170, 171.
Wilde, Sir Ernest and Lady, 109.
_Wilderness, The_, 54, 55, 57, 58, 201, 204, 207, 209, 235.
Willard, E. S., 23, 24, 230.
William Hohenzollern of Germany, 169, 170.
Winter, Miss Jessie, 212.
Women’s Air Force, 76.
Women’s Army Auxiliary Corps., 76.
Women’s Emergency Corps, 74–77.
Women’s Freedom League, 94.
Women’s Social and Political Union, 94.
Women’s Volunteer Reserve, 76.
Wood, Mrs. John, 25, 101, 102.
Wright, Fred, 177.
Wyndham, Sir Charles, 34, 235.
Wyndham, Lady (Miss Mary Moore), 78.
Wyndham’s Theatre, 85, 212.
Yohe, May, 37.
Young, Miss Harriet, 11.
_Younger Son, The_, 36.
------------------------------------------------------------------------
_From CHAPMAN & HALL’S AUTUMN LIST_
GENERAL LITERATURE
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------------------------------------------------------------------------
TRANSCRIBER’S NOTES
1. Silently corrected typographical errors and variations in spelling.
2. Archaic, non-standard, and uncertain spellings retained as printed.
3. Enclosed italics font in _underscores_.