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Never could the motto "A host in themselves" be more appropriately applied to any party than to this one. Not a hundred
Christy minstrels, not the funniest comic singers, not the most comical clowns at Christmas pantomimes could raise such hearty and spontaneous laughter as was evoked last evening by
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agreed, commenting that "had she adhered to the lyric stage instead of being an erratic artist associated with Mr Howard Paul in 'musical and dramatic entertainments,' would have taken the highest position as a contralto." Another contemporary critic considered that she had in fact achieved a high
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a week "to sing and act as principal contralto during the period of the run"). Gilbert made an effort to write an amusing part for her despite
Sullivan's reluctance to use her, but her declining abilities were apparent, and cuts were made to her part. By mid-May 1878, both Gilbert and Sullivan
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22:
286:, described as "a clatter of fun, frolic, song, and impersonation carried on by performers of unfailing dash"; they performed this popular piece in London and elsewhere for some years. In July of the same year she was Sir Launcelot de Lake (sic) in the
350:
on alternate nights. "Anticipating subsequent actresses, she softened Lady
Macbeth, subjugating to conjugal love the sterner traits ordinarily assigned the character." On the same evenings, she doubled in the role of
71:, in whose comic entertainments the two performed for much of the next two decades, often on tour, both in Britain and America. She was popular for her musical impersonations of singers of the day. She also played in
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said: "She was gifted with a wonderful voice ... nearly all her efforts were made in the lighter branches of dramatic and musical art ... her acting was at once droll and vivacious". Henry Barton Baker, in his
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wrote, "We have rarely seen better acting … Mrs Howard Paul as Mrs Denham alone repays a visit". By the time the notice appeared she had been taken gravely ill. She was brought to her home in London near
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commented, "We take the opportunity of predicting for her much future success. She has an excellent voice and is by no means devoid of acting capabilities." After this, she played Lucy Lockit in
321:
Early in 1867 she returned with her husband for engagements in the United States. In
September of that year, she was back in London at the Strand Theatre playing Mrs Dove in her husband's
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in London. Shortly after the wedding the couple went to
Switzerland, in August 1854, and performed with success in Geneva. They went on to Paris, where she played for a month at the
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Mrs Howard Paul and Mr Walter Pelham. The lady, who ranks in one of the highest branches in her profession, is wonderfully clever, both in dramatic versatility and vocal ability."
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In musical entertainments given by herself and her husband in 1860 and over the next 17 years in London and the provinces, Mrs Paul became a favourite for her impersonations of
871:"Mrs. Paul Howard in her impersonation of Miss Grym, 'one of the grimmest specimens of that class of womankind which bore ... with the everlasting subject of woman's rights'",
359:. She then toured the provinces with a company of her own, playing a series of drawing-room entertainments. Among the characters that she portrayed through song were the
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wanted her out of the cast; unhappy with the cuts, Mrs Paul left the production. With only a week to go before opening night, Carte engaged the concert singer
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222:, in which she played Juana. At the Haymarket, she again played Macheath from April 1854. In July of that year she married the American writer and actor
468:
proved to be her last London engagement; by this stage in her career her voice was deteriorating. She was engaged to play Cousin Hebe in the next
130:, the daughter of George Thomas Hill, a leather merchant. She was educated in France and Italy, and studied singing under the composer and teacher
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274:
in New York City. Over the ensuing years, at the
Haymarket and elsewhere, she became known not only for her Macheath, but also as Apollo in the
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494:, by whom he fathered two illegitimate children. His wife continued performing under her married name. Her last performance was in May 1879 in
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552:: "Mrs Howard Paul was a woman of ability, whose talents were often frittered away in parts and occupations unworthy of them." A writer in
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later reported, "Her dashing style and rich, powerful voice at once attracted attention and more important engagements rapidly followed at
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542:, called her "A charming actress and a beautiful singer". Opinions differed on whether she had made the best use of her talents.
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347:
367:, and Jemimer Cobb ("cruelly deceived by the Footman who wore false whiskers"). In February 1870, she was playing Drogan in
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Meanwhile, Mrs Howard Paul had left her husband in around 1877, as he was having an affair with the actress-dancer
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270:, which proved to be very popular and toured extensively in the provinces. In September 1855 she was engaged at
298:
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when not on tour; both their occupations were listed as "Musical
Artiste" in the census. She was Mistigris in
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335:; this production also went on tour in Britain. She repeated the role in a French version of this in Paris.
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by Kane O'Hara, among other roles. In 1858 she took part with her husband in an entertainment called
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313:. Mrs Howard Paul's voice was admired by various composers, who wrote songs for her to premiere.
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610:, Oxford Dictionary of National Biography, Oxford University Press, accessed 17 April 2015
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the following month, returning to the Strand in March to play
Captain Macheath
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Barrington, p. 21; Cruickshank, Graeme. "The Life and Loves of Letty Lind" in
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406:
211:
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Annals of the
Liverpool Stage, from the Earliest Period to the Present Time
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A history of the New York stage from the first performance in 1732 to 1901
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Rutland
Barrington: A Record of 35 Years' Experience on the English Stage
123:
884:
461:, was given a part, and he was cast in the role of Dr Daly, the vicar.
352:
608:"Flowers, George French (1811–1872), composer and musical theorist"
290:, a burlesque included as part of an entertainment that opened the
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approached Mrs Paul to play the part of Lady Sangazure in the new
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306:
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and other theatrical roles, among the best known of which was her
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company in London. There, in January 1853, she played Tom Tug in
44:, best remembered for creating the role of Lady Sangazure in the
127:
1078:
History of the London Stage and Its Famous Players (1576–1903)
83:
in 1869. Various composers wrote songs for her to premiere.
862:, Reprinted by Benjamin Blom, Inc., New York (1969), p. 173
457:. She accepted on condition that her 24-year-old protégé,
92:, Gilbert and Sullivan cast Mrs Paul in their next opera,
255:
Mr and Mrs Howard Paul on another sheet music cover from
952:, the Gilbert and Sullivan Archive, accessed 1 May 2014
815:, the Gilbert and Sullivan Archive, accessed 1 May 2014
519:, and on 6 June 1879 she died there. She was buried at
305:, and other popular singers of the day, particularly
1147:
W. S. Gilbert, A Classic Victorian & His Theatre
262:
Later the same year she acted in her husband's play
162:, she made a great hit. She appeared briefly at the
540:History of the London Stage and Its Famous Players
487:to play the now much smaller role of Cousin Hebe.
901:Illustrated sheet music cover for "Jemimer Cobb"
288:Lancashire Witches, or the Knight and the Giants
973:Ainger, pp. 134 and 156–57; and Stedman, p. 160
561:
982:Stedman, Jane W. "Cousin Hebe: Who Was She?",
338:At the Drury Lane Theatre in 1869, she played
141:she began her stage career as a member of the
36:, was an English actress, operatic singer and
32:(1 April 1833 – 6 June 1879), better known as
950:Who Was Who in the D'Oyly Carte Opera Company
813:Who Was Who in the D'Oyly Carte Opera Company
8:
309:. Another piece that they toured was called
214:in December 1853, and, the following month,
110:Mrs Howard Paul on a sheet music cover from
57:Her stage career began in 1853 in London in
1133:Our actors and actresses: The dramatic list
680:, 1885–1900, Volume 44, accessed 1 May 2014
405:In 1871 she and her husband were living in
373:in New York. She played the title role in
329:in 1868 she appeared in the title role of
67:. In 1854 she married the American writer
887:, sung by Mrs Howard Paul as Miss Grym,
825:
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210:." They included Drury Lane's Christmas
156:. According to the theatrical newspaper
1058:Gilbert and Sullivan – A Dual Biography
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885:Sheet music cover for "Bother the Men"
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178:. In April she was cast as Margery in
1136:. Oxford: Oxford University. p.
929:1871 England Census for Isabella Paul
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873:Frank Leslie's Illustrated Newspaper
1149:. Oxford: Oxford University Press.
1125:. New York: Dodd, Mead and company.
1060:. Oxford: Oxford University Press.
453:, which Carte was producing at the
16:British actress, singer and manager
1221:19th-century British women singers
1030:, No. 2340, 31 August 1872, p. 284
986:, Vol. 10, Spring 1978, pp. 295–96
875:, vol. 29, 4 December 1869, p. 189
14:
831:"Little Theatre in the Haymarket"
478:(for which she was to be paid 10
1081:. London: G. Routledge and sons.
984:The Gilbert and Sullivan Journal
677:Dictionary of National Biography
549:Dictionary of National Biography
1039:"Mrs Howard Paul and company",
332:The Grand Duchess of Gerolstein
234:in a specially-written sketch,
1246:19th-century English actresses
1171:Photographs of Mrs Howard Paul
1119:Brown, Thomas Allston (1903).
1114:. London: Netherton and Worth.
238:, which was highly praised by
1:
1241:19th-century theatre managers
1130:Pascoe, Charles Eyre (1880).
1111:Modern English Biography: I–Q
1211:Burials at Brompton Cemetery
1086:Barrington, Rutland (1908).
1075:Baker, Henry Barton (1904).
809:"Mrs. Howard Paul (1877–78)"
757:"The Drama, Music, &c",
740:"Obituary: Mrs. Howard Paul"
702:"Death of Mrs Howard Paul",
614:UK public library membership
118:Mrs Howard Paul was born as
25:Mrs Howard Paul in the 1870s
1231:British operatic contraltos
363:Miss Grym, the advocate of
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1092:. London: Grant Richards.
1008:"Provincial Theatricals",
889:Victoria and Albert Museum
719:, 31 December 1853, p. 397
642:"Provincial Theatricals",
383:Princess's Theatre, London
1175:National Portrait Gallery
1145:Stedman, Jane W. (1996).
1043:, 16 January 1875, p. 179
905:National Portrait Gallery
774:, 26 September 1857, p. 1
646:, 13 February 1853, p. 10
606:Middleton, Louisa (rev).
506:. On 1 June, a critic in
425:(1872–73), with music by
81:Theatre Royal, Drury Lane
1056:Ainger, Michael (2002).
761:, 3 September 1854, p. 9
395:with Mrs Howard Paul in
228:St Paul's, Covent Garden
999:, Issue 22, Summer 2007
935:(registration required)
797:(subscription required)
672:"Paul, Isabella Howard"
630:, 16 January 1853, p. 8
531:Mrs Paul's obituary in
232:Théâtre du Palais-Royal
917:"The Theatre Francais"
842:Pascoe, Charles Eyre.
715:"Drury Lane Theatre",
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402:
266:and a comic duologue,
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706:, 15 June 1879, p. 12
693:, 3 April 1853, p. 10
689:"Easter Amusements",
670:Knight, John Joseph.
391:
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139:Isabella Featherstone
132:George French Flowers
109:
102:Early life and career
24:
1236:Actors from Dartford
946:"Rutland Barrington"
759:Reynolds's Newspaper
717:The Lady's Newspaper
628:Reynolds's Newspaper
470:Gilbert and Sullivan
445:Gilbert and Sullivan
441:Richard D'Oyly Carte
385:from December 1870.
370:Genevieve de Brabant
264:My Neighbor Opposite
46:Gilbert and Sullivan
1251:Actresses from Kent
1226:Musicians from Kent
1012:, 1 June 1879, p. 9
844:"Paul, Mrs. Howard"
323:Ripples on the Lake
164:Theatre Royal, Cork
73:Victorian burlesque
1216:English contraltos
1041:The Sporting Times
792:The London Journal
787:"Mrs. Howard Paul"
772:Caledonian Mercury
770:"Waterloo Rooms",
745:The New York Times
626:"Strand Theatre",
534:The New York Times
464:Her appearance in
459:Rutland Barrington
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260:
245:Journal des débats
194:The Beggar's Opera
175:The Beggar's Opera
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64:The Beggar's Opera
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612:(subscription or
521:Brompton Cemetery
498:as Mrs Denham in
419:Royal Opera House
272:Wallack's Theatre
224:Henry Howard Paul
185:Love in a Village
69:Henry Howard Paul
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379:Little Gil Blas
327:Olympic Theatre
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236:La fille adroit
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137:Under the name
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1196:1833 births
485:Jessie Bond
317:Later years
303:Sims Reeves
240:Jules Janin
180:Thomas Arne
169:en travesti
1190:Categories
1050:References
997:The Gaiety
891:Collection
795:, c. 1855
559:position:
527:Reputation
504:The Crisis
502:'s comedy
492:Letty Lind
438:impresario
268:Locked Out
216:Mark Lemon
204:Drury Lane
61:, such as
616:required)
496:Sheffield
407:Liverpool
342:opposite
325:. At the
284:Patchwork
276:burlesque
257:Patchwork
212:pantomime
208:Haymarket
112:Patchwork
1108:(1897).
961:Ainger,
919:, p. 457
903:(1865),
846:, p. 414
833:, p. 233
206:and the
124:Dartford
54:(1877).
1177:website
1173:on the
1098:7745426
1010:The Era
915:Brown,
829:Baker,
704:The Era
691:The Era
644:The Era
508:The Era
480:guineas
417:at the
381:at the
357:Macbeth
242:in the
200:The Era
190:The Era
159:The Era
79:at the
40:of the
1153:
1096:
1064:
963:p. 156
860:(1908)
447:opera
401:(1877)
353:Hecate
307:tenors
114:(1858)
86:After
569:Notes
427:Hervé
280:Midas
1151:ISBN
1094:OCLC
1062:ISBN
429:and
346:and
149:'s
128:Kent
1138:414
421:in
413:by
355:in
278:of
226:at
218:'s
182:'s
172:in
126:in
122:at
1192::
1024:,
948:,
931:,
820:^
811:,
789:,
779:^
742:,
724:^
674:,
651:^
635:^
576:^
515:,
433:.
301:,
294:.
248:.
196:.
1159:.
1140:.
1100:.
1070:.
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