642:
292:
492:, the owner of the freehold of the theatre, Hare and the Kendals jointly took over the management of the house in 1879. For the first time, the theatre's reputation was steadily defied. The new lessees aimed both to amuse and to improve public taste, and in Wearing's view they achieved their aim. Under their management the St James's staged twenty-one plays: seven were new British pieces, eight adaptations of French plays, and the rest were revivals.
832:
391:. The author was a close friend and wished to make use both of Hare's naturally boyish appearance and of his talent for impersonating elderly men, contrasting the character in youth in the first act and old age in the second. In rehearsal, Hare struggled with playing the young romantic lead, and eventually, despite Gilbert's advice, he negotiated terms for leaving the company, and Coghlan took over his role.
123:
29:
553:'s plays staged there by Hare and the Kendals. It was regarded as daringly unconventional and a risky venture, but it caught on with the public, partly for Hare's character, the "disreputable but delightful old reprobate and card-shark" Baron Croodle. Other plays by Pinero given by the Hare-Kendal management at the St James's were
158:, and he was studying for the civil service examination when he was invited to take part in some amateur theatricals. Propelled at the last minute from a small role to the leading part he found his passion for the theatre rekindled. After playing in two further amateur productions – as Beauseant in a burlesque on
496:
1089:
The theatre had attracted this label as early as 1839: "this very beautiful but most unlucky theatre", and it continued throughout most of the 19th century: "an establishment long reputed the most unfortunate in London (1859); "this seemingly ill-fated place of amusement" (1875); "an unlucky one; its
946:
A few years after Hare's death, a biographer wrote that his art "was in the modern
English tradition, which he helped to a considerable extent to mould and to develop". His naturalistic style avoided the formality of the older English stage and suggested character by "tricks of deportment and facial
220:
On 12 August 1865 Hare (still known by his original surname, Fairs) married his childhood sweetheart, Mary Adela
Elizabeth Holmes (1845–1931), daughter of John Hare Holmes, whose middle name Hare borrowed for his stage name. The marriage lasted more than fifty years; the couple had one son, Gilbert,
966:
Wearing writes, "The roles he tackled were memorable because of his mastery of impersonation, and he was particularly adept at expressing gentle emotions with perfect simplicity. He strived for natural deportment and facial expression, and never degenerated into caricature." Wearing adds that as a
439:
As a manager Hare was known for his insistence on having plays attractively staged, well cast and performed exactly as he wanted. Occasionally he could be, in
Wearing's phrase, "strict and peppery, and even sarcastic" at rehearsals, and Madge Kendal recounted a comically ferocious battle of wills
282:
was produced, with Hare cast for the small part of Lord
Ptarmigant. All the reforms in English acting which the Prince of Wales's Theatre was to achieve could be seen in little in Hare's Lord Ptarmigant: the close attention to detail, the propriety and verisimilitude, the minute finish which the
844:
For the rest of his career Hare revived old successes, touring in
America and in the provinces, and appearing in various West End theatres for occasional short seasons. In 1907 he began what was billed as a farewell British tour; he also appeared in that year in royal command performances for
283:
small size of the theatre and stage permitted and which brought the best of
English acting for a time on to the same level as the French – Lord Ptarmigant had little to do but to go to sleep, but he did it so well that the small part was one of the hits of the production. The theatre writer
221:
who became a successful actor and manager, and two daughters, one of whom, Effie, married
Bancroft's son George. As a newly married man Hare seriously considered leaving the stage in favour of more secure employment in the civil service; nevertheless he wrote to the actress and manager
1044:, pursued a stage career between 1890 and 1904. Until he was established as an actor he did not use his father's surname, but was billed as "Gilbert Dangars". In 1904 he switched to medicine, as a pathologist, bacteriologist and university lecturer. He resumed his stage career in 1919.
914:
commented on the enjoyment given by "a still beautiful, amusing, touching performance; a performance which offers the not too common experience of an actor enjoying his part, playing it beautifully because he believes in it, and making us, too, believe in it and enjoy it".
819:
wrote of Hare's performance, "One watches him with the same pleasure one has in sipping a glass of very good dry sherry". Not for the first time, Hare received better notices than the play, but he thought well enough of it to take it on tour in 1904, with
529:
praised Hare's "masterly" performance as the old colonel, giving "extraordinary zest and brilliancy" and "bring down the house in shouts of laughter and applause". The partnership had another early success at the beginning of 1880 with a revival of
420:, other papers thought little of it. Hare hoped to continue the tradition of Robertson by fostering new English comedies, but he found that original works by Coghlan and Gilbert were less successful than Coghlan's English version of a French play,
947:
expression that complete or illuminate the phrases of the author". The same writer commented that behind Hare's art was "a personality of rare modesty and charm, that instinctively avoided exaggeration and had a genuine dislike of publicity". In
661:, built for and owned by W. S. Gilbert. The cost of building the theatre had been unexpectedly high, with the result that Hare had to pay a substantial annual rent of about £4,000 for his tenancy. He opened on 24 April 1889 with Pinero's
765:
reported his
American visit as "immensely successful ... contrary to some expectations, his very quiet, delicate art found many admirers". He returned to the US in 1897 and 1900–1901 and became almost as well known there as in Britain.
1172:
1180:
1188:
1164:
89:
from 1888 to 1895 Hare had a solo managerial career, after which he concentrated on acting – in the US, on tour in the
British provinces, and in the West End. Among the playwrights with whom Hare was closely associated were
309:
For the next nine years Hare remained a member of the Prince of Wales's company, appearing in a succession of
Robertson's comedies and in other plays produced at the theatre. Among his parts were Prince Perovsky
170:– he determined to go on the stage. His tutor at Giggleswick recognised that Hare was not cut out for the civil service, and at his urging Hare's uncle agreed to let the young man pursue a stage career.
1080:(1875), a sentimental "fairy play", was Gilbert's only work written for Hare's management, although the two were close, if occasionally quarrelsome, friends. It had a moderate run of 78 performances.
977:
It may be doubted if the stage of any period has been able to boast a comedian so delicate in touch, so admirably finished in detail, or so consummate in artistic appreciation as John Hare.
962:
himself could tell you more about a character from the way he stood or coughed or held his hands than could Hare. Such perfection of finish has not been equalled on the stage of our times.
278:
bounded into fame more quickly, perhaps, than any actor of our time. On the eventful evening of November 1, 1865 – momentous to the English stage no less than to Hare – Tom Robertson's
488:, in an unfashionable part of the West End, had acquired a reputation as an unlucky theatre, and more money had been lost than made by successive managements. At the invitation of
66:'s company. Wilton was a pioneer of naturalistic theatre, with which Hare was greatly in sympathy, and he quickly gained a reputation in character roles, particularly in comedies.
579:(1883) was a substantial success and was revived by public demand two months after the end of its first run. There was a mixed reception of a rare excursion into Shakespeare,
1510:
1066:
Coghlan received generally good notices, though one critic commented that he "could not fail to suggest to playgoers what a star the management has lost in Mr. Hare".
2349:
665:, in which he played the part of Lord Dangars. The play received mixed reviews but ran for seven months. Two other Pinero plays followed during Hare's tenure:
287:
comments, "Even though Ptarmigant was a small role, Hare's thorough attention to detail reformed the way in which old male characters were recreated on stage".
1879:
414:, on 18 March 1875, with her husband and Hare in the other leading roles. The production and acting were well received, but though the play was praised by
2359:
951:
s view, Hare was greatly loved for his personal charm both onstage and off ("in spite of a somewhat peppery temper") and for his precise observation:
2329:
1007:
538:. The Kendals took the main roles but the laurels went to Hare in the comparatively small part of Potter, a performance described by the writer
356:, in which, having played Box in his amateur days, he now played Cox. His last part at the Prince of Wales's was in 1874: Sir Peter Teazle in
2237:
2181:
2135:
2095:
775:. The play divided opinion among the reviewers, although more were in favour than not, but the notices for Hare were uniformly enthusiastic.
489:
472:. His management of the Court ended when his lease expired in 1879. His last presentation there was on 19 July of that year with Robertson's
542:
as "a masterpiece of character-acting, faultless in get-up and, indeed, in all respects. … keen instance of unexaggerated eccentricity".
1167:, England & Wales, Civil Registration Birth Index, 1837–1915, St George's, Hanover Square, Ancestry.com. Retrieved 15 November 2019.
2324:
58:, Hare had a passion for the theatre from his childhood. After acting as an amateur as a young man he joined a professional company in
2364:
2334:
1606:
888:
811:
633:. Hare and the Kendals concluded their management partnership in 1888 with a farewell season of revivals of their greatest successes.
877:
at the Garrick. He said at the time that he would return only if someone were to offer him a new play so good as to be irresistible.
1739:
1258:
718:(1894), both of which were taken off after short runs. Hare concluded his career as a manager on 15 June 1895 with a double bill of
1684:
793:
called his Lord Quex "a masterpiece of comic acting" and said that no other actor in England could have played the part as he did.
377:
as a social club for actors; he was voted its first Shepherd (in London) and, "with much truth and humour, was labelled 'The Despot
2033:
2354:
2029:
2025:
1001:
1213:
105:
Hare was admired for his carefully observed characterisations, his comedic flair and his handsomely-mounted productions. He was
781:
said: "Mr John Hare has done few things better: dignified, courteous, urbane, he suggests with infinite tact the presence of a
622:
1740:"Kendal, Dame Madge [real name Margaret Shafto Robertson; married name Margaret Shafto Grimston] (1848–1935), actress"
1281:
424:, which opened on 8 January 1876, giving Hare one of his greatest successes. In the same year he also did good business with
85:. They presented, mostly successfully, a succession of new British plays, adaptations of French works, and revivals. At the
1112:, was quickly taken off, but the other plays were popular and critical successes. After New York, Hare's company played in
2369:
931:
381:". He left the Prince of Wales's company in October 1874, when he was unable to master a leading role written for him in
1926:
641:
626:
594:
291:
134:
Armstrong (1801–1858) and Thomas Fairs (1796–1848), a London architect. As a teenager he used to play truant to go to
956:
769:
In the West End in 1899 Hare had one of his greatest box-office and critical successes in the title role of Pinero's
2268:
370:
treatment it had long suffered, but some thought his portrayal erred in the opposite direction and was too serious.
2257:
671:
242:
20:
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694:
586:
2262:
450:, although one part was evidently written with him in mind; in one of the greatest successes of his management,
1191:, 1891 England Census, London, St Marylebone, All Souls, District 14, Ancestry.com. Retrieved 15 November 2019
1091:
771:
610:
590:
261:
91:
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capacity was so small that even with full houses" (1888); and even after the Hare and Kendal years and into
69:
Within a decade Hare was well enough established to go into management. He was in partnership with the actor
2339:
1920:
701:
and Hare's son Gilbert, as well as Hare himself. Less successful productions included an English version of
520:
495:
363:
2208:
2037:
738:
597:
was considered by some to be the worst ever seen. Among the company in these years the actresses included
559:
549:(1881) as of particular importance to this period of the theatre's history, being the first of several of
539:
460:
358:
301:
205:, with all of whom Hare was quickly on friendly terms. After Toole the company had another visiting star,
151:
2288:
2279:
1457:
777:
500:
429:
399:
70:
508:
485:
78:
1175:, 1851 England Census, Middlesex, St George, Hanover Square, Ancestry.com. Retrieved 15 November 2019
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2314:
2127:
907:
894:
676:
344:
339:
33:
1423:
969:
416:
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254:
166:
74:
523:. Madge Kendal had the star part, but her husband's dashing army officer was also well liked, and
109:
in 1907, and died in London in 1921 at the age of 77, four years after his last stage appearance.
1845:
1108:
935:
550:
383:
177:. In September 1864 Murray arranged for Hare to join the company at the Prince of Wales Theatre,
174:
155:
99:
2274:
730:
209:, who encouraged the young actor and insisted that he should be cast in a leading comic role in
2233:
2216:
2196:
2177:
2153:
2131:
2110:
2091:
1873:
1377:
1021:
854:
160:
1259:"Hare, Sir John [real name John Joseph Fairs] (1844–1921), actor and theatre manager"
1451:
955:
was a master of the art of impersonation. His every movement and look was eloquent, and not
702:
689:
618:
614:
572:
525:
403:
202:
143:
135:
55:
2165:
967:
manager Hare encouraged English dramatists and actors "and generally improved the stage".
903:
866:
825:
821:
658:
602:
260:. Two months later Hare came to wide public and critical attention for his performance in
194:
147:
106:
86:
927:
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862:
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349:
266:
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210:
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2308:
1685:"Hare, Sir John (real name John Joseph Fairs) (1844–1921), actor and theatre manager"
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226:
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48:
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28:
2145:
1529:
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837:
816:
802:
698:
630:
598:
446:
in 1875. Hare did not appear in all his own productions; he was not in the cast of
407:
334:
316:
296:
222:
139:
82:
63:
1749:
1694:
1268:
1223:
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between Hare and the equally intransigent Gilbert at a rehearsal of the latter's
394:
For some time Hare had planned to go into theatre management, and he secured the
1539:
1012:
469:
455:
250:
190:
1094:'s highly successful tenure between 1891 and 1918 the label was still familiar.
1483:
1025:
entry, published during his lifetime, gives London as his birthplace, as does
906:
charities, and in September of that year when he appeared in the same play at
898:(both 1916). His last appearances on stage were in July 1917, when he revived
846:
742:
606:
531:
367:
237:
Hare made his London debut in September 1865, playing Short, the landlord, in
2220:
2200:
2114:
229:
in London. He was accepted, and his theatrical career in the West End began.
1487:
1335:
1027:
1016:
923:
919:
706:
432:'s adaptation of a French comedy, and a revival of an older English comedy,
374:
178:
154:. After his parents died Hare was sent by his uncle, his legal guardian, to
59:
2157:
1121:
1057:, and Mrs Bouncer was played by Mrs Leigh Murray, widow of Hare's mentor.
710:
519:, one of their Court successes, an adaptation of an old French comedy by
1282:"Hare, Sir John, (16 May 1844–28 Dec. 1921), actor and theatre manager"
789:
commented that Hare had "added one more to a long series of triumphs".
687:(1890), which became Hare's greatest popular success, and a revival of
366:
as the Surface brothers. He was praised for rescuing his role from the
1183:, London, Hampstead St John, Ancestry.com. Retrieved 15 November 2019
1872:
1133:
Among the plays Hare took to the US on these visits were Robertson's
1117:
657:
In 1889 Hare resumed a managerial career, taking charge of the new
225:, seeking to join a new company that she was setting up at the old
830:
640:
494:
290:
121:
27:
679:
in the latter. Two other notable productions at the Garrick were
2107:
St James's Theatre, Its Strange and Complete History, 1835–1857
869:. In 1908 he gave what were billed as farewell performances of
62:, before making his London debut in 1865 at the age of 21 with
410:, played the title role in Hare's first production, Coghlan's
130:
Hare was born and raised in London, the son of Jane Postumous
1220:
archive, Oxford University Press. Retrieved 13 November 2019
1746:, Oxford University Press, 2013. Retrieved 13 November 2019
515:
Their first production, on 4 October 1879, was a revival of
181:. Hare's first professional appearance was as Smallpiece in
173:
Returning to London, Hare studied under the prominent actor
1265:, Oxford University Press, 2010. Retrieved 13 November 2019
729:
Hare made his American debut in January 1896, appearing at
217:, which Sothern premiered at the theatre in December 1864.
54:
Born and brought up in London, with frequent visits to the
1461:, 14 April 1874, pp. 11–12; and "The School for Scandal",
1040:
John Gilbert Hare (1869–1951), named after his godfather,
2126:(softcover) (2nd ed.). Jefferson, North Carolina:
1455:, 6 April 1874, p. 6; "The Prince of Wales's Theatre",
2195:(fourth ed.). London: Sir Isaac Pitman and Sons.
1691:, Oxford University Press. Retrieved 10 February 2019
362:
to the Lady Teazle of Mrs Bancroft, with Bancroft and
1918:, 10 April 1899, p. 3; "Our London Correspondence",
352:, 1873). He also appeared in curtain raisers such as
1645:"The Hare and Kendal Management at the St James's",
499:
Hare aged 35 in one of his many elderly parts, with
801:Hare's last role in a new play was Lord Carlton in
2230:W. S. Gilbert, A Classic Victorian and His Theatre
2169:
1883:. Vol. 12 (11th ed.). 1911. p. 948.
2012:"Theatre Royal: Mr. John Hare in 'Little Mary'",
1766:, 31 January 1885, p. 144; and "As You Like It",
1511:The Penny Illustrated Paper and Illustrated Times
1449:, 6 April 1874, p. 2; "Prince of Wales Theatre",
1924:, 10 April 1899, p. 5; "Mr. Pinero's New Play",
1106:, "smart, ingenious but disliked", according to
77:from 1875 to 1879, and from 1879 to 1888 at the
342:, 1872), and Sir Patrick Lundie (adaptation of
2053:: Last Night's Revival at Wyndham's Theatre",
1999:, 25 September 1903, p. 5; and "At the Play",
1897:, 3 January 1879, p. 11; and "Sir John Hare",
930:, London, aged 77. After a funeral service at
233:The Prince of Wales's and The Court: 1865–1879
138:theatres to see the stars of the day, such as
1569:
1567:
1421:Pemberton, p. 29; and "The London Theatres",
926:. He died on 28 December 1921 at his home in
51:of the later 19th– and early 20th centuries.
43:(16 May 1844 – 28 December 1921), born
8:
1333:"Sir John Hare – A master of light comedy",
1208:
1206:
1204:
1202:
1200:
693:, with a cast that included the Bancrofts,
464:, he chose not to play the vicar but cast
865:. At the Sandringham presentation he was
328:, Robertson, 1869), Dunscombe Dunscombe (
1533:, 14 March 1875, p. 2; "Court Theatre",
1527:, 14 March 1875, p. 4; "Court Theatre",
1329:
1327:
1325:
1323:
1321:
373:During this time, in 1869, Hare founded
232:
2088:Gilbert and Sullivan – A Dual Biography
1914:, 9 April 1899, p. 5; "Globe Theatre",
1839:
1837:
1744:Oxford Dictionary of National Biography
1689:Oxford Dictionary of National Biography
1679:
1677:
1537:, 15 March 1875. p. 3; and "Theatres",
1319:
1317:
1315:
1313:
1311:
1309:
1307:
1305:
1303:
1301:
1263:Oxford Dictionary of National Biography
1218:Oxford Dictionary of National Biography
1157:
1145:and plays by Grundy and Stuart Ogilvie.
1008:Oxford Dictionary of National Biography
992:
1641:
1639:
1637:
1635:
1633:
1631:
1629:
1253:
320:, Robertson, 1867), Bruce Fanquehere (
19:For other people named John Hare, see
2350:People educated at Giggleswick School
1251:
1249:
1247:
1245:
1243:
1241:
1239:
1237:
1235:
1233:
1053:Hare's old role of Box was played by
733:, New York, with a company including
593:had a lukewarm reception, and Hare's
7:
1214:"Hare, Sir John (Fairs) (1844–1921)"
918:In December 1921 Hare fell ill with
809:(1903). Reviewing the production in
332:, Robertson, 1870), Sir John Vesey (
324:, Robertson, 1868), Beau Farintosh (
2232:. Oxford: Oxford University Press.
2090:. Oxford: Oxford University Press.
1124:before returning to Britain in May.
609:; among their male colleagues were
81:with Kendal and the latter's wife,
2215:. London and New York: Routledge.
2148:(1933). Rudolph De Cordova (ed.).
1910:"The Gay Lord Quex at the Globe",
479:
476:, an adaptation of a French play.
314:, Robertson, 1866), Sam Gerridge (
299:(Mrs Bancroft) as Lady Teazle, in
14:
2176:. London: Angus & Robertson.
2360:20th-century English male actors
1995:"New Play by Mr. J. M. Barrie",
1019:as his probable birthplace; his
1002:Dictionary of National Biography
484:Since its inception in 1835 the
2330:English male silent film actors
2122:Hardee, Jr., Lewis J. (2010) .
2109:. London: Barrie and Rockliff.
2030:"The Vicar of Wakefield (1916)"
16:19th/20th-century English actor
2213:John Hare, Comedian, 1865–1895
1982:Beerbohm, Max. "Little Mary",
1893:"Theatre Programs this Week",
1189:John Hare (Theatrical Manager)
880:Hare appeared in three films:
1:
2034:"A Pair of Spectacles (1916)"
1649:, September 1888, pp. 134–145
1445:"Prince of Wales's Theatre",
1292:. Retrieved 13 November 2019
982:Notes, references and sources
480:St James's Theatre: 1879–1888
295:Hare as Sir Peter Teazle and
2150:Dame Madge Kendal by Herself
2040:. Retrieved 13 November 2019
1750:UK public library membership
1695:UK public library membership
1269:UK public library membership
1224:UK public library membership
1927:The Illustrated London News
1490:, accessed 20 December 2021
1375:"Prince of Wales Theatre",
1286:Who's Who & Who Was Who
714:(1889) and Grundy's comedy
47:, was an English actor and
2386:
2325:Actors awarded knighthoods
2258:Internet Broadway Database
2191:Parker, John, ed. (1922).
1843:"Good Plays, Well Acted",
1662:, 21 November 1891, p. 584
1610:, 10 December 1859, p. 709
1514:, 14 November 1874, p. 315
1104:The Notorious Mrs Ebbsmith
932:St Margaret's, Westminster
747:The Notorious Mrs Ebbsmith
672:The Notorious Mrs Ebbsmith
21:John Hare (disambiguation)
18:
2365:Members of The Lambs Club
2335:English male stage actors
2269:Photo and profile of Hare
2263:Photo and profile of Hare
2003:, 27 September 1903, p. 6
1901:, 29 December 1921, p. 13
1818:, 25 February 1893, p. 11
1770:, March 1885, pp. 137–139
1508:"The Prince of Wales's",
902:, making a large sum for
835:Hare in the 1915 film of
695:Johnston Forbes-Robertson
645:As Benjamin Goldfinch in
589:was much liked, Kendal's
227:Prince of Wales's Theatre
189:. Among the company were
2193:Who's Who in the Theatre
2086:Ainger, Michael (2002).
2073:, 29 December 1921, p. 9
2057:, 2 September 1917, p. 8
1986:, 3 October 1903, p. 423
1930:, 15 April 1899, p. 528
1858:"John Hare on America",
1801:, 21 November 1889, p. 8
1381:, 19 December 1864, p. 1
1339:, 29 December 1921, p. 6
1165:John Joseph Fairs (1844)
1011:(2004) incorrectly give
2355:Male actors from London
2275:Photo of Hare from 1911
2152:. London: John Murray.
2016:, 8 November 1904, p. 6
2014:The Manchester Guardian
1997:The Manchester Guardian
1921:The Manchester Guardian
1880:Encyclopædia Britannica
1671:Duncan, pp. 176 and 184
1595:, 6 November 1839, p. 2
1593:The Theatrical Observer
1543:, 20 March 1875, p. 279
1427:, 8 October 1865, p. 11
1294:(subscription required)
1290:Oxford University Press
1193:(subscription required)
1185:(subscription required)
1177:(subscription required)
1169:(subscription required)
585:(1885): Madge Kendal's
2228:Stedman, Jane (1996).
2124:The Lambs Theatre Club
2105:Duncan, Barry (1964).
2038:British Film Institute
1973:, 15 April 1899, p. 13
1874:"Hare, Sir John"
1849:, 7 January 1896, p. 4
1720:, 6 October 1879, p. 6
1716:"St James's Theatre",
1619:"St James's Theatre",
1591:"St James's Theatre",
889:The Vicar of Wakefield
841:
654:
512:
461:The Vicar of Wakefield
359:The School for Scandal
306:
302:The School for Scandal
127:
118:Early years: 1844–1865
37:
2172:The Great Stage Stars
1969:"The Gay Lord Quex",
1960:, 10 April 1899, p. 6
1947:, 10 April 1899, p. 2
1945:The Pall Mall Gazette
1623:, 29 March 1875, p. 6
1465:, 26 July 1874, p. 11
1458:The Pall Mall Gazette
1181:John Fairs (Comedian)
834:
778:The Pall Mall Gazette
720:A Pair of Spectacles'
644:
536:Still Waters Run Deep
498:
434:New Men and Old Acres
294:
125:
31:
2370:The Lambs presidents
2128:McFarland Publishing
2051:A Pair of Spectacles
1831:, 22 June 1895, p. 8
1582:Pemberton, pp. 53–54
1499:Stedman, pp. 125–126
1366:Pemberton, pp. 20–21
1348:Pemberton, pp. 16–17
900:A Pair of Spectacles
895:A Pair of Spectacles
875:A Pair of Spectacles
859:A Pair of Spectacles
751:A Pair of Spectacles
685:A Pair of Spectacles
677:Mrs Patrick Campbell
651:A Pair of Spectacles
521:Jean-François Bayard
517:The Queen's Shilling
505:The Queen's Shilling
340:Edward Bulwer-Lytton
2209:Pemberton, T. Edgar
2071:The Daily Telegraph
1984:The Saturday Review
1862:, 3 May 1896, p. 11
1707:Morley, pp. 203–205
1660:The Saturday Review
1607:The Saturday Review
1412:Parker, pp. 370–371
1403:, 26 May 1951, p. 6
970:The Daily Telegraph
934:, he was buried in
828:in the title role.
812:The Saturday Review
375:The Lambs of London
258:Lucia di Lammermoor
241:, an old comedy by
187:A Woman of Business
126:Hare as a young man
1899:The New York Times
1895:The New York Times
1860:The New York Times
1846:The New York Times
1762:"As You Like It",
1738:Foulkes, Richard.
1399:"Mr. J. G. Hare",
1109:The New York Times
936:Hampstead Cemetery
842:
759:Comedy and Tragedy
655:
625:, William Terris,
540:T. Edgar Pemberton
513:
509:St James's Theatre
474:The Ladies' Battle
307:
215:The Woman in Mauve
156:Giggleswick School
128:
100:Arthur Wing Pinero
79:St James's Theatre
38:
2271:at CollectorsPost
2239:978-0-19-816174-5
2183:978-0-8160-1401-9
2137:978-0-7864-6095-3
2097:978-0-19-514769-8
1956:"Globe Theatre",
1941:The Gay Lord Quex
1814:at The Garrick",
1748:(subscription or
1693:(subscription or
1523:"Court Theatre",
1390:Pemberton, p. 131
1378:Liverpool Mercury
1267:(subscription or
1222:(subscription or
1173:John Joseph Fairs
908:Wyndham's Theatre
871:The Gay Lord Quex
783:jeunesse orageuse
772:The Gay Lord Quex
547:The Money Spinner
534:'s popular play,
458:'s adaptation of
406:. Kendal's wife,
274:later commented:
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45:John Joseph Fairs
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567:(1885) and
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191:J. L. Toole
167:Box and Cox
2309:Categories
2265:at Cyranos
1153:References
949:The Times'
942:Reputation
847:Edward VII
824:replacing
743:Fred Terry
716:An Old Jew
607:May Whitty
595:Touchstone
575:'s comedy
555:The Squire
532:Tom Taylor
490:Lord Newry
486:St James's
412:Lady Flora
368:low comedy
264:'s comedy
2298:from 1900
2285:from 1897
2254:John Hare
2221:297335709
2201:473894893
2115:979694996
1916:The Times
1812:Diplomacy
1799:The Times
1752:required)
1697:required)
1488:The Lambs
1401:The Times
1336:The Times
1271:required)
1226:required)
1028:The Times
1022:Who's Who
1017:Yorkshire
957:Coquelin
924:pneumonia
922:and then
920:influenza
763:The Times
707:melodrama
690:Diplomacy
637:1889–1899
272:The Times
185:'s play,
179:Liverpool
60:Liverpool
2211:(1895).
2168:(1986).
2067:Obituary
1122:Brooklyn
886:(1915),
867:knighted
711:La Tosca
587:Rosalind
571:(1886).
563:(1884),
557:(1881),
454:(1878),
136:West End
107:knighted
56:West End
2256:at the
2158:2325826
2080:Sources
1971:The Era
1829:The Era
1816:The Era
1525:The Era
1463:The Era
1424:The Era
904:wartime
791:The Era
591:Orlando
577:Impulse
565:Mayfair
507:at the
417:The Era
402:as his
305:in 1874
280:Society
267:Society
73:at the
34:Millais
2236:
2219:
2199:
2180:
2156:
2134:
2113:
2094:
2032:; and
1187:; and
1139:School
1118:Boston
973:said:
703:Sardou
681:Grundy
653:(1890)
647:Grundy
511:, 1879
452:Olivia
326:School
36:, 1893
1135:Caste
987:Notes
883:Caste
849:, in
838:Caste
745:, in
408:Madge
398:with
335:Money
330:M. P.
317:Caste
83:Madge
2294:and
2234:ISBN
2217:OCLC
2197:OCLC
2178:ISBN
2154:OCLC
2132:ISBN
2111:OCLC
2092:ISBN
1137:and
1120:and
999:The
959:aîné
892:and
873:and
857:and
741:and
722:and
629:and
322:Play
312:Ours
201:and
150:and
98:and
1288:,
1015:in
861:at
853:at
805:'s
785:."
705:'s
683:'s
649:'s
503:in
387:by
253:'s
249:to
132:née
2311::
2130:.
2069:,
2036:,
2028:;
1877:.
1836:^
1742:,
1687:,
1676:^
1628:^
1566:^
1486:,
1300:^
1284:,
1261:,
1232:^
1216:,
1199:^
1179:;
1171:;
1116:,
910:.
815:,
761:.
753:,
749:,
737:,
726:.
697:,
621:,
617:,
613:,
601:,
436:.
428:,
348:,
338:,
270:.
197:,
146:,
142:,
102:.
94:,
2242:.
2223:.
2203:.
2186:.
2160:.
2140:.
2117:.
2100:.
2049:"
1939:"
1810:"
379:'
310:(
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