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549:, about a hero who renounces the priesthood to save his family by marrying to produce an heir, but finally reverts to his religious calling. The play had been turned down by one London management, but Alexander took it on and opened it at the St James's on 5 January 1895. It was received politely by those in the more expensive parts of the house and impolitely by those in the cheaper seats. The reviews were unenthusiastic; Alexander kept the play on the bill for a month before turning to Wilde as a more theatrically adept writer.
793:
stood for
Parliament. He was an astute and capable committee man, giving substantial amounts of time to the Actors' Benevolent Fund, the Royal General Theatrical Fund, the Actors' Association and the Actresses' Franchise League. He was a key organiser of the Coronation Gala Performance in 1911 and the Shakespeare tercentenary celebration at Drury Lane in 1916. When the First World War broke out in 1914 Alexander's health was in decline, but as well as continuing to appear at the St James's he worked for charities including the
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keep the production of the play going by removing the author's name from the playbills the day after the arrest, he had to withdraw the play after 83 performances. He further disappointed Wilde by declining to stand bail for him, and later, after Wilde's release from prison, failing to stop to talk to him when they passed in the street. Nevertheless he voluntarily paid Wilde a monthly sum for the rest of the latter's life, and bequeathed the rights in
392:. It was well reviewed but was a box-office failure, and he later commented that if he had been free to open in it at the start of his managerial career, that career would have been in jeopardy. As it was, he was able to carry on even when his manager absconded with the theatre's cash box. At the end of his lease of the Avenue, Alexander obtained that of the St James's, to which he moved in November 1890, and remained there for the rest of his life.
532:, who made her name in the part. His acting style contrasted sharply with hers: she was extrovert and bold, whereas Alexander was understated and subtle. A contemporary profile commented that his range did not extend to parts requiring great dramatic power or tragic passion: "He is graceful in all that he does, but with an everyday humanity, the graceful, charming, well-bred, nicely-toned humanity proper to the drawing-rooms of Culture".
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474:, Alexander was in favour of the naturalistic style of writing and acting propounded by Robertson. Other features of his management noted by Wearing were his continual support of British playwrights; his concern for his employees; and his care to avoid alienating his key clientele, the fashionable society audience. The writer
527:
it featured "a woman with a past", but unlike Wilde's play it ended in tragedy. It was thought daring at the time, but
Alexander knew his audiences and kept to what Pearson called his "safe path of correct riskiness". It ran for 227 performances in its first production and was later much revived. The
583:
The success of the play with audiences and critics was immediate and considerable, but it was short-lived. Within weeks of the premiere Wilde was arrested on a charge of committing homosexual acts and was tried, convicted and imprisoned. The public turned against him, and although
Alexander tried to
575:
In a biographical essay published in 1922, Pearson expressed the view that
Alexander would be remembered in the profession for being an ideal actor-manager, and by the public for taking the risk of introducing Wilde's plays and producing "the greatest farcical comedy in the English language". Unlike
513:
he presented in
February 1892. As with many other of his playwrights, Alexander offered practical advice for making the play more stageable. His most important contribution to this play was to convince the reluctant Wilde that the most effective way of revealing the key plot point – that Mrs Erlynne
430:
both note that he had already reached a firm and enduring managerial policy. He sought to engage the best actors for his company: unlike some star actor-managers he did not wish to be supported by actors whose inferior talent would make the star look better. He did not, in fact, wish to be seen as
897:
The original four-act text survived, and is occasionally performed. The cut scene has a solicitor called
Gribsby who comes to serve a writ on Ernest Worthing (the alias adopted by both John Worthing and Algernon Moncrieff) for unpaid bills at the Savoy Hotel restaurant. Alexander did not like the
887:
James wrote to his brother, "All the forces of civilization in the house waged a battle of the most gallant, prolonged & sustained applause with the hoots & jeers & catcalls of the roughs, whose roars (like those of a cage of beasts at some infernal 'Zoo') were only exacerbated (as it
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and served conscientiously on several of its committees. He told an interviewer: "I have no political ax to grind. ... I go on the council, if elected, to serve London municipally, not politically." He did not seek re-election in 1913: if his health had permitted he would, in
Wearing's view, have
580:"heartless ... hateful" and inferior to Wilde's other plays, Alexander recognised its merits from the outset. He once again advised Wilde about the text; his most important contribution was to convince the author that the second and third acts should be merged, with a substantial cut in the text.
107:
Alexander followed
Robertson and the Kendals in preferring a naturalistic style of writing and acting to the extravagantly theatrical manner favoured by some earlier actor-managers. He built around him a company of fine actors, many of whom were or later became leading figures in the profession,
251:
In August 1882 Alexander married
Florence Jane Théleur (1857/8–1946), daughter of a French ballet master. They had no children. Florence shared with her husband not only his theatrical concerns but also his wider interest in public affairs. Later, after he became an actor-manager, she was a key
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With Irving, Alexander visited the US twice, during the decade, in
American tours (1884–1885 and 1887–1888). In Irving's company he progressed in a series of important supporting roles, such as Shakespeare's Orsino, Laertes, Bassanio and Macduff. In January 1886, having originally been cast as
596:. Wearing observes that, later in 1895, Alexander himself was touched by sexual scandal, when he was arrested for soliciting a prostitute. Alexander maintained that the young woman was a beggar to whom he had charitably given a coin, and the case was dismissed.
316:
Alexander found Irving's methods with his company extremely arduous and verging on the tyrannical: five or six hours of rehearsing with Irving often left him on the brink of tears. He vowed he would be much kinder to his own company when he ventured into
697:, which was an artistic and box-office success, running for 427 performances. Wearing comments that Alexander was a leader of fashion, starting a trend in men's attire by appearing in this play wearing a soft-collared shirt with a lounge suit.
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the star, and regarded himself as a team player. In addition to maintaining a London company, Alexander frequently assembled touring companies to play his successes in the provinces. Among those he engaged for his companies were
132:. As an actor, Alexander's range was limited, and he did not attempt the great heroic roles or play much tragedy. His genre was naturalistic, and rarely very profound, comedy and drama, in which he was a recognised leader.
376:, and so was unable to appear in his own first production as a manager. This turned out to be a stroke of good fortune, because the play he mounted as a fill-in until he was able to act in his own productions was a farce,
517:
Alexander's diplomatic skills enabled him to get on well with even the most temperamental authors and actors, but he was more comfortable with less volatile colleagues. One such was Pinero, whose play
169:, which he left when he was fifteen. His father was strongly opposed to the theatre and intended a commercial career for his eldest son. Alexander was apprenticed as a clerk to a drapery firm in the
74:
During this time, Alexander became interested in theatre management. In 1890 he took a lease on a London theatre and began producing on his own account. The following year, he moved to the
180:, with which he was later to be professionally associated. In September 1879, aged 21, he abandoned commerce and became a professional actor, joining a repertory company at the
1826:
615:(1894) with some success, but the new play, a satire of small-town narrow-mindedness, received mixed reviews and quickly closed; Alexander fell back on revivals, including
619:(without Mrs Patrick Campbell). In two productions during 1896 Alexander and his company moved temporarily away from drawing-room comedy and society drama, first with the
380:, which was immensely successful, running for seven months and making Alexander financially secure. During the run his Aldephi contract expired and he joined the cast of
411:, a serious drama. It had already been a success in America and ran at the St James's through most of the remainder of the season, which concluded with a costume drama,
685:, produced at the St James's in March 1902. Alexander played the fierce and sombre Giovanni Malatesta, a part far removed from his more usual urbane roles; the young
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Twentieth Century Local Election Results. Volume 1: Election Results for the London County Council 1889–1961 and for the London Metropolitan Boroughs 1900–1928
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820:, Hertfordshire on 16 March 1918, at the age of 59. He was buried at Christ Church Cemetery in Chorleywood four days later. A memorial service was held at
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were well received as the eponymous lovers, and the play ran for 134 performances. In February 1906 Alexander presented and appeared in Pinero's new drama
217:, which he had already played in the provinces, winning excellent notices; in an early indication of his flair for publicity, he took advertising space in
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When Alexander took over the St James's he had only eleven years' professional experience in the theatre, but Wearing and the chronicler of the theatre
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writes that Alexander received "invaluable training from the acknowledged master of the profession", although Irving was not an easy man to work for:
51:. After acting on stage as an amateur he turned professional in 1879 and, over the next eleven years, he gained experience with leading producers and
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184:. Feeling the name "Samson" too redolent of scripture for an actor he adopted the stage name of George Alexander. After several roles in
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In his spare time Alexander began acting in amateur theatricals. On at least two occasions he appeared in amateur performances at the
78:, where he remained, acting and producing, for the rest of his career. Among the most successful of the new plays he presented were
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Alexander had the distinction of giving command performances for three successive British monarchs. Having appeared in Carton's
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Wearing notes that of the eighty-one productions presented by Alexander at the St James's, only eight were by foreign writers.
824:, in London on 22 March, attended by a large congregation, mainly comprising the theatrical profession and British society. A
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were!) by the conflict. It was a charming scene, as you may imagine, for a nervous, sensitive, exhausted author to face.
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330:, he was promoted to the title role opposite Irving's Mephistopheles. Alexander played the part for 384 performances.
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Alexander had the theatre newly decorated and electric lighting installed. He opened with a double bill of comedies,
192:'s touring company for the 1879–1880 season, playing juvenile leads. He quickly began to attract favourable notices.
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is Lady Windermere's mother – would be to do so by degrees rather than in one melodramatic stroke in the final act.
281:. He played Shakespearian roles (Orlando, Romeo, Guiderius and Benedick) with Ellen Wallis's company. He joined the
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Within a year of taking over the St James's, Alexander began a mutually beneficial professional association with
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During the 1880s Alexander broadened his theatrical experiences, mostly, but not exclusively, in London. At the
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commented that Alexander catered to the tastes and foibles of London Society in its theatre-going just as the
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907:£20 a month, the equivalent in 2017 values of about £8,000 using the "labour earnings" comparator of the
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called "one of the handsomest temples of the drama in London", while retaining its charm and cosiness.
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Alexander had been nurturing managerial ambitions for some time, and in 1890 he secured a lease of the
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655:. At the end of 1899 Alexander closed the theatre to have it largely reconstructed, producing what
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saw a performance and engaged him to play Caleb Deecie, the blind man, in a revival of the comedy
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1021:"Alexander, Sir George, (19 June 1858–16 March 1918), actor and manager, St James's Theatre"
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635:, with Alexander as Orlando, Julia Neilson as Rosalind and a supporting cast that included
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Between this and the play with which Alexander's name has become most closely associated –
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figure in maintaining the company spirit and retaining the loyalty of actors and authors.
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found his performances "all that could be desired" and "entitled to warm praise".
1405:"Five Ways to Compute the Relative Value of a U.K. Pound Amount, 1270 to Present"
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considered that "Mr Alexander was not only good, but at certain moments great".
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384:. When it closed he appeared in the play with which he had planned to open,
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Alexander, Sir George (real name George Alexander Gibb Samson) (1858–1918)"
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on 4 December 1908. And on 17 May 1911 in a royal command performance for
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In July 1884 Alexander rejoined Irving's company. The theatre historian
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to 1913, Alexander represented the South St Pancras division for the
539:– came Alexander's most conspicuous failure. The celebrated novelist
162:
149:, the eldest son of William Murray Samson (c. 1827–1892), a Scottish
1711:'Resting Places: The Burial Sites of More Than 14000 Famous Persons
805:, organising fund-raising performances, fêtes and garden parties.
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724:, the final command performance of her reign, he appeared before
285:' company at the St James's, where his parts included de Riel in
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idea of an extra character who appeared only in one short scene.
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unveiled in 1951 commemorates Alexander at his London house, 57
221:
to reprint the most laudatory. While he was playing the role in
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in London. In the next production, Irving cast him as Paris in
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In April 1881 Alexander made his London, though not yet his
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The play chosen to fill the gap left by the withdrawal of
1140:, 22 September 1883, p. 380; and "St. James's Theatre",
1395:, Victoria and Albert Museum. Retrieved 7 February 2019
1182:, National Portrait Gallery. Retrieved 5 February 2019
1157:, 29 November 1884, p. 17, and 13 December 1885, p. 15
1633:(fifth ed.). London: Sir Isaac Pitman and Sons.
1313:, Oxford University Press. Retrieved 5 February 2019
1027:, Oxford University Press. Retrieved 5 February 2019
1001:, Oxford University Press. Retrieved 5 February 2019
43:(19 June 1858 – 15 March 1918), born
47:, was an English stage actor, theatre producer and
1670:George Alexander and the work of the actor-manager
1209:"George Alexander and the St. James's Theatre",
314:
157:Longman. He was educated at private schools in
1592:Sir George Alexander and the St James' Theatre
567:as Algy (left) in the original production of
8:
1573:, English Heritage. Retrieved 17 August 2012
1407:, Measuring Worth. Retrieved 7 February 2018
1059:, 21 March 1880, p. 9 and 9 May 1880, p. 8
762:were held to have carried off the honours.
1827:Deaths from diabetes in the United Kingdom
1700:: CS1 maint: location missing publisher (
1231:Parker, pp. 97, 103, 187, 225, 887 and 898
611:. Alexander had earlier presented Jones's
1301:
1299:
999:Oxford Dictionary of National Biography
671:furnished Alexander with a verse drama,
354:Alexander (right) as Lord Windermere in
1311:Oxford Dictionary of National Biography
1242:"Remembering Tom Robertson (1829-1871)"
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36:George Alexander by Louis Langfier 1903
1787:English theatre managers and producers
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853:Also in the group are, left to right,
523:Alexander presented in May 1893. Like
1817:20th-century deaths from tuberculosis
1728:Woollard, John; Willis, Alan (2000).
1290:Bright, Addison. "George Alexander",
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482:catered to them in restaurant-going.
153:, and his first wife, Mary Ann Hine,
7:
1832:19th-century English businesspeople
1807:Male actors from Reading, Berkshire
1614:. London: Weidenfeld and Nicolson.
1571:"Alexander, Sir George (1858–1918)"
1393:: The first stage production, 1895"
1180:"Group from "Lady Windermere's Fan"
920:The cast also included Fred Terry,
816:at his country home, Little Court,
277:the role of the hero in the comedy
1802:Municipal Reform Party politicians
1307:"James, Henry (1843–1916), writer"
1084:"A Chat with Mr. Geo. Alexander",
25:
1349:"The Importance of Being Earnest"
1042:"Death of Sir George Alexander",
769:in 1911 and received an honorary
754:in an all-star production at the
205:, debut at the Standard Theatre,
1797:Members of London County Council
1762:20th-century English male actors
1068:"Advertisements & Notices",
1391:The Importance of Being Earnest
1368:The Importance of Being Earnest
590:The Importance of Being Earnest
578:The Importance of Being Earnest
569:The Importance of Being Earnest
554:The Importance of Being Earnest
537:The Importance of Being Earnest
528:title role was first played by
273:in late 1882 he took over from
101:The Importance of Being Earnest
1822:Tuberculosis deaths in England
1292:The Theatre", May 1892, p. 240
605:The Triumph of the Philistines
1:
1812:19th-century theatre managers
1655:. New York: Harcourt, Brace.
1521:Alexander, pp. 14, 16 and 138
1248:, October 1972), pp. 284–288
836:Notes, references and sources
803:Order of St John of Jerusalem
744:, he played Alfred Evelyn in
571:(1895) with Alexander as Jack
1317:UK public library membership
1005:UK public library membership
209:, as Freddy Butterscotch in
45:George Alexander Gibb Samson
1713:(3rd ed.). Mcfarland.
1508:"A Memorable Performance",
1416:Morley, pp. 119 and 146–147
1246:Educational Theatre Journal
1025:Who's Who & Who Was Who
822:Holy Trinity, Sloane Street
704:Caricature of Alexander by
1848:
1772:Actors awarded knighthoods
1668:Sutherland, Lucie (2020).
1629:Parker, John, ed. (1925).
1055:"Provincial Theatricals",
728:, as Edward Thursfield in
675:, based on an episode in
1782:English male stage actors
1777:British actor-politicians
1376:, Fall 1968, pp. 263–266
1366:"The Four-Act Version of
1123:"Miss Wallis's Matinee",
1088:, 26 September 1891, p. 7
758:, in which Alexander and
275:Johnston Forbes-Robertson
182:Theatre Royal, Nottingham
27:English actor (1858–1918)
1631:Who's Who in the Theatre
1557:"Sir George Alexander",
1468:, 5 December 1896, p. 13
1438:"The Theatres in 1895",
1429:, 5 November 1895, p. 13
1170:, 14 November 1885, p. 8
1153:"The Drama In America",
617:The Second Mrs Tanqueray
520:The Second Mrs Tanqueray
496:The Second Mrs Tanqueray
403:. He followed this with
95:The Second Mrs Tanqueray
1709:Wilson, George (2016).
1451:"St. James's Theatre",
1378:(subscription required)
1250:(subscription required)
1114:, 4 November 1882, p. 8
1101:, 21 October 1946, p. 7
1029:(subscription required)
1652:Modern Men and Mummers
1477:"St James's Theatre",
1442:, 3 January 1896, p.12
1329:Pearson, pp. 75 and 77
869:(Lord Augustus Lorton)
786:Municipal Reform Party
734:The Builder of Bridges
709:
572:
500:
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347:
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262:The Merchant of Venice
165:, London, and then at
145:Alexander was born in
37:
1672:. Cham, Switzerland.
1594:. London: Macmillan.
1213:, 24 June 1899, p. 13
1166:"Theatrical Gossip",
1144:, 18 April 1884, p. 3
1127:, 31 March 1883, p. 4
1110:"Theatrical Gossip",
1072:, 5 March 1881, p. 15
1046:, 16 March 1918, p. 8
863:Adolphus Vane-Tempest
790:London County Council
775:University of Bristol
703:
626:The Prisoner of Zenda
586:Lady Windermere's Fan
563:
525:Lady Windermere's Fan
510:Lady Windermere's Fan
488:
357:Lady Windermere's Fan
353:
341:
297:(1883) and Octave in
258:
85:Lady Windermere's Fan
35:
1561:, 3 March 1918, p. 3
1481:, 7 March 1902, p. 3
1455:, 21 June 1895, p. 3
865:(Charles Dumby) and
830:Pont Street, Chelsea
777:the following year.
746:Edward Bulwer-Lytton
543:had written a play,
530:Mrs Patrick Campbell
491:Mrs Patrick Campbell
167:Stirling High School
151:commercial traveller
41:Sir George Alexander
18:Sir George Alexander
1737:. Elections Centre.
1512:, 18 May 1911, p. 8
922:Sir Charles Wyndham
861:(Lord Darlington),
673:Paolo and Francesca
397:Sunlight and Shadow
346:in Alexander's time
98:(1893) and Wilde's
1539:Pearson, pp. 79–81
1464:"As You Like It",
1097:"Lady Alexander",
808:Alexander died of
710:
695:His House in Order
609:Henry Arthur Jones
576:Shaw, who thought
573:
501:
470:, the Kendals and
437:Lilian Braithwaite
362:
348:
344:St James's Theatre
299:Arthur Wing Pinero
267:
178:St James's Theatre
147:Reading, Berkshire
76:St James's Theatre
38:
1720:978-0-786-47992-4
1679:978-3-030-40935-7
1621:978-0-297-77160-9
1530:Sutherland, p. 39
1355:, 1 November 2010
1315:(subscription or
1003:(subscription or
682:The Divine Comedy
441:Constance Collier
390:Struggle for Life
370:London Day by Day
118:Constance Collier
16:(Redirected from
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1792:Knights Bachelor
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857:(Cecil Graham),
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760:Sir Herbert Tree
669:Stephen Phillips
613:The Masqueraders
592:to Wilde's son,
565:Allan Aynesworth
433:Arthur Bourchier
401:The Gay Lothario
290:
240:Romeo and Juliet
159:Clifton, Bristol
114:Arthur Bourchier
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1054:
1050:
1041:
1034:
1028:
1019:
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1002:
990:
959:
954:
949:
948:
934:Dion Boucicault
926:Charles Hawtrey
919:
915:
909:Measuring Worth
906:
902:
896:
892:
886:
882:
877:
873:
852:
848:
843:
838:
799:League of Mercy
667:The young poet
665:
637:C. Aubrey Smith
558:
476:Hesketh Pearson
409:Haddon Chambers
386:Alphonse Daudet
374:Adelphi Theatre
336:
288:
259:As Bassanio in
249:
247:West End, 1880s
143:
138:
136:Life and career
49:theatre manager
28:
23:
22:
15:
12:
11:
5:
1845:
1843:
1835:
1834:
1829:
1824:
1819:
1814:
1809:
1804:
1799:
1794:
1789:
1784:
1779:
1774:
1769:
1767:Actor-managers
1764:
1759:
1754:
1744:
1743:
1740:
1739:
1725:
1719:
1706:
1678:
1665:
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1492:
1483:
1470:
1457:
1444:
1431:
1418:
1409:
1397:
1381:
1357:
1347:Fisher, Mark.
1340:
1338:Morley, p. 104
1331:
1322:
1295:
1283:
1274:
1265:
1263:Pearson, p. 74
1253:
1233:
1224:
1215:
1193:
1184:
1172:
1159:
1146:
1129:
1116:
1103:
1090:
1074:
1061:
1048:
1032:
1010:
992:Wearing, J. P.
956:
955:
953:
950:
947:
946:
942:Irene Vanbrugh
913:
900:
890:
880:
871:
859:Nutcombe Gould
845:
844:
842:
839:
837:
834:
765:Alexander was
722:Queen Victoria
691:Evelyn Millard
664:
661:
649:Robert Loraine
641:Bertram Wallis
632:As You Like It
623:swashbuckler,
601:The Importance
594:Vyvyan Holland
557:
551:
453:Godfrey Tearle
428:A. E. W. Mason
366:Avenue Theatre
335:
332:
303:The Ironmaster
248:
245:
235:Lyceum Theatre
171:City of London
142:
139:
137:
134:
53:actor-managers
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1844:
1833:
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1828:
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1572:
1567:
1564:
1560:
1554:
1551:
1548:Wilson, p. 14
1545:
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1511:
1505:
1502:
1496:
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1228:
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1206:
1204:
1202:
1200:
1198:
1194:
1191:Mason, p. 210
1188:
1185:
1181:
1176:
1173:
1169:
1163:
1160:
1156:
1150:
1147:
1143:
1139:
1138:The Athenaeum
1133:
1130:
1126:
1120:
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1094:
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986:
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982:
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978:
976:
974:
972:
970:
968:
966:
964:
962:
958:
951:
943:
939:
938:Sir John Hare
935:
931:
927:
923:
917:
914:
910:
904:
901:
894:
891:
884:
881:
875:
872:
868:
867:H. H. Vincent
864:
860:
856:
850:
847:
840:
835:
833:
831:
827:
823:
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815:
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581:
579:
570:
566:
562:
556:and aftermath
555:
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538:
533:
531:
526:
522:
521:
515:
512:
511:
506:
498:
497:
492:
487:
483:
481:
477:
473:
469:
468:W. S. Gilbert
464:
462:
458:
454:
450:
449:Julia Neilson
446:
442:
438:
434:
429:
424:
422:
418:
414:
410:
406:
402:
398:
393:
391:
387:
383:
379:
375:
371:
367:
359:
358:
352:
345:
340:
334:Actor-manager
333:
331:
329:
325:
318:
313:
311:
310:J. P. Wearing
306:
304:
300:
296:
292:
291:C. Stephenson
284:
280:
276:
272:
271:Court Theatre
264:
263:
257:
253:
246:
244:
242:
241:
236:
232:
231:The Two Roses
228:
224:
220:
216:
212:
208:
204:
199:
197:
196:
191:
190:Tom Robertson
187:
183:
179:
174:
172:
168:
164:
160:
156:
152:
148:
140:
135:
133:
131:
127:
123:
122:Julia Neilson
119:
115:
111:
105:
103:
102:
97:
96:
91:
87:
86:
81:
77:
72:
70:
66:
62:
58:
57:Tom Robertson
54:
50:
46:
42:
34:
30:
19:
1730:
1710:
1669:
1651:
1630:
1611:
1591:
1566:
1558:
1553:
1544:
1535:
1526:
1517:
1509:
1504:
1495:
1486:
1478:
1473:
1465:
1460:
1452:
1447:
1439:
1434:
1426:
1421:
1412:
1400:
1390:
1384:
1374:Modern Drama
1373:
1367:
1360:
1353:The Guardian
1352:
1343:
1334:
1325:
1310:
1291:
1286:
1281:Mason, p. 63
1277:
1272:Raby, p. 144
1268:
1245:
1236:
1227:
1218:
1210:
1187:
1175:
1167:
1162:
1154:
1149:
1142:The Standard
1141:
1137:
1132:
1124:
1119:
1111:
1106:
1098:
1093:
1085:
1069:
1064:
1056:
1051:
1043:
1024:
998:
916:
908:
903:
893:
883:
874:
849:
810:tuberculosis
807:
779:
764:
749:
733:
730:Alfred Sutro
714:Liberty Hall
713:
711:
706:Max Beerbohm
694:
687:Henry Ainley
680:
672:
666:
663:20th century
656:
653:H. V. Esmond
645:H. B. Irving
630:
624:
616:
612:
604:
600:
598:
589:
585:
582:
577:
574:
568:
553:
546:Guy Domville
544:
536:
534:
524:
518:
516:
508:
502:
494:
472:Bernard Shaw
465:
461:Marion Terry
425:
420:
419:, in which
417:Walter Frith
412:
404:
400:
396:
394:
389:
381:
377:
369:
363:
355:
327:
322:Valentin in
320:
315:
307:
302:
294:
278:
268:
260:
250:
238:
230:
227:Henry Irving
218:
214:
211:Robert Reece
200:
193:
175:
154:
144:
130:Marion Terry
110:Henry Ainley
106:
99:
93:
90:A. W. Pinero
83:
73:
69:W. H. Kendal
61:Henry Irving
55:, including
44:
40:
39:
29:
1757:1918 deaths
1752:1858 births
1612:Oscar Wilde
1222:Mason, p. 2
855:Ben Webster
826:blue plaque
818:Chorleywood
738:Sandringham
541:Henry James
505:Oscar Wilde
480:Savoy Hotel
445:Kate Cutler
324:W. G. Wills
317:management.
279:The Parvenu
215:The Guv'nor
141:Early years
80:Oscar Wilde
1746:Categories
1688:1164582654
1425:"Police",
952:References
756:Drury Lane
726:Edward VII
621:Ruritanian
457:Fred Terry
223:Birmingham
207:Shoreditch
188:he joined
186:Nottingham
126:Fred Terry
108:including
1696:cite book
1661:474214741
1600:869837482
1559:The Times
1510:The Times
1479:The Times
1440:The Times
1427:The Times
1319:required)
1136:"Drama",
1099:The Times
1044:The Times
1007:required)
795:Red Cross
773:from the
405:The Idler
161:, and at
1649:(1922).
1639:10013159
1610:(1976).
1590:(1935).
911:website.
814:diabetes
801:and the
767:knighted
742:George V
718:Balmoral
507:, whose
305:(1884).
203:West End
104:(1895).
88:(1892),
1581:Sources
1466:The Era
1211:The Era
1168:The Era
1155:The Era
1125:The Era
1112:The Era
1086:The Era
1070:The Era
1057:The Era
788:on the
720:before
657:The Era
421:The Era
413:Moliere
382:Dr Bill
378:Dr Bill
372:at the
295:Impulse
283:Kendals
233:at the
219:The Era
195:The Era
1717:
1686:
1676:
1659:
1637:
1618:
1598:
797:, the
708:, 1909
499:, 1893
360:, 1892
289:
265:, 1885
163:Ealing
1735:(PDF)
841:Notes
780:From
751:Money
677:Dante
489:With
466:Like
415:, by
407:, by
328:Faust
65:Madge
1715:ISBN
1702:link
1684:OCLC
1674:ISBN
1657:OCLC
1635:OCLC
1616:ISBN
1596:OCLC
940:and
812:and
782:1907
689:and
651:and
603:was
588:and
459:and
399:and
342:The
128:and
67:and
63:and
771:LLD
748:'s
736:at
732:'s
716:at
679:'s
607:by
493:in
388:'s
326:'s
301:'s
293:'s
213:'s
155:née
92:'s
82:'s
1748::
1698:}}
1694:{{
1682:.
1372:,
1351:,
1309:,
1298:^
1256:^
1244:,
1196:^
1077:^
1035:^
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1013:^
997:,
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924:,
832:.
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643:,
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447:,
443:,
439:,
435:,
287:B.
243:.
225:,
173:.
124:,
120:,
116:,
112:,
71:.
59:,
1723:.
1704:)
1690:.
1663:.
1641:.
1624:.
1602:.
1389:"
1370:"
944:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
