Augustus Harris

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British actor and impresario (1852–1896)

title: "Augustus Harris" type: doc version: 1 created: 2026-02-28 author: "Wikipedia contributors" status: active scope: public tags: ["1852-births", "1896-deaths", "19th-century-british-dramatists-and-playwrights", "19th-century-british-male-actors", "19th-century-british-male-writers", "british-dramatists-and-playwrights", "british-male-dramatists-and-playwrights", "british-male-stage-actors", "burials-at-brompton-cemetery", "english-theatre-managers-and-producers", "british-impresarios", "knights-bachelor", "members-of-london-county-council", "british-opera-managers", "19th-century-english-businesspeople", "british-expatriates-in-france"] description: "British actor and impresario (1852–1896)" topic_path: "arts" source: "https://en.wikipedia.org/wiki/Augustus_Harris" license: "CC BY-SA 4.0" wikipedia_page_id: 0 wikipedia_revision_id: 0

::summary British actor and impresario (1852–1896) ::

::data[format=table title="Infobox person"]

FieldValue
honorific_prefixSir
nameAugustus Harris
imageAugustus-Harris-by-Walery.png
birth_nameAugustus Henry Glossop Harris
birth_date
birth_placeParis, France
death_date
death_placeFolkestone, England
occupationActor, impresario, dramatist
years_active1873–1896
::

::callout[type=note] the English actor and stage manager (1852–1896) ::

| honorific_prefix = Sir | name = Augustus Harris | image = Augustus-Harris-by-Walery.png | birth_name = Augustus Henry Glossop Harris | birth_date = | birth_place = Paris, France | death_date = | death_place = Folkestone, England | othername = | occupation = Actor, impresario, dramatist | years_active = 1873–1896

Sir Augustus Henry Glossop Harris (18 March 1852 – 22 June 1896) was a British actor, impresario, and dramatist, a dominant figure in the West End theatre of the 1880s and 1890s.

Born into a theatrical family, Harris briefly pursued a commercial career before becoming an actor and subsequently a stage-manager. At the age of 27 he became the lessee of the large Theatre Royal, Drury Lane, where he mounted popular melodramas and annual pantomimes on a grand and spectacular scale. The pantomimes featured leading music hall stars such as Dan Leno, Marie Lloyd, Little Tich and Vesta Tilley. The profits from these productions subsidised his opera seasons, equally lavish, starrily cast and with an innovative repertoire. He presented the first British production of Die Meistersinger and the first production anywhere outside Germany of Tristan und Isolde, and revitalised the staging of established classics.

Harris remained in charge at Drury Lane for the rest of his life, and in 1888 took on the additional responsibility of running the Royal Italian Opera House, Covent Garden, modernising its productions and repertory and abandoning the old convention that all operas, whatever their nationality, were sung in Italian. He changed the name of the theatre to The Royal Opera House in 1892. Both at Drury Lane and Covent Garden he engaged the most admired artists, including Hans Richter and Gustav Mahler as conductors, and Emma Albani, Nellie Melba, Adelina Patti, Jean and Édouard de Reszke and Victor Maurel among the singers.

In 1892 Harris took over the failed Royal English Opera House and turned it into a successful music hall with the new name The Palace Theatre of Varieties. He was active in civic affairs, a member of the new London County Council, a sheriff of the City of London and a prominent Freemason. His health gave way under the pressure of his multifarious activities, and after a short illness he died at the age of 44.

Life and career

Early years

Harris came from a musical and theatrical family. His paternal grandfather, Joseph Glossop (1793–1850), was at various times manager of the Royal Coburg Theatre in London (later known as the Old Vic), La Scala, Milan, and the Teatro di San Carlo, Naples; his paternal grandmother, Elizabeth Feron (1797–1853), was a popular soprano, dubbed "The English Catalani"; his father, Augustus Glossop Harris (1825–1873), was a leading stage-manager, and his mother, Maria Ann, née Bone (1825–1892), was a theatrical costumier known under the name of "Madame Auguste". Augustus senior and his wife had five children all of whom became connected with the theatre. Harris was born on 18 March 1852 in the Rue Taitbout, Paris, near the Salle Ventadour, where his father was stage-manager of the Comédie-Italienne opera company.

The young Harris was educated in London, and then, from age 12, in Paris at the Lycée Chaptal and the music academy L'École Niedermeyer. Friends he made then included the composer Gabriel Fauré, the music publisher Louis Brandus, the opera manager Léon Carvalho, his future brother-in-law Horace Sedger, and the soprano Adelina Patti. He completed his education in Hanover to learn German, after which he joined the financial firm Emile Erlanger & Co. and then the Paris house of Tiffany's. After his father died in 1873, Harris abandoned commerce ("I saw no prospect in 'quill driving'") According to his biographer J. P. Wearing he followed this with juvenile and light comedy roles in Barry Sullivan's company at the Amphitheatre, Liverpool.

The opera impresario J. H. Mapleson engaged Harris as an assistant stage-manager and was soon sufficiently impressed to put him in sole charge of his Italian Opera Company. In 1876 Harris was appointed resident stage-manager at the Prince's Theatre, Manchester, and by the end of that year, when he staged the pantomime Sindbad [sic] the Sailor for Charles Wyndham at the Crystal Palace, he had established a high reputation: one reviewer wrote that the management could not possibly have a better stage-manager than Harris.

Moving into management

::figure[src="https://upload.wikimedia.org/wikipedia/commons/c/cc/Augustus-Harris-as-Frank-Darlington-in-Youth.png" caption="Harris as Frank Darlington in his 1881 play ''Youth'', co-written with Paul Merritt" alt="drawing of a young white man, with neat moustache, in British military uniform including pith helmet"] ::

Harris continued to appear as an actor. In 1877 Wyndham cast him as the juvenile lead in The Pink Dominos at the Criterion Theatre in the West End. It ran for 555 performances, of which Harris did not miss one. He was a competent actor, but his talents and inclination drew him towards management. In 1879, seeing that the huge Theatre Royal, Drury Lane was closed and empty, he determined to reopen it. He had little money but raised enough funds from friends including his future father-in-law to acquire the lease. He was not immediately able to mount a production of his own, and at first he sub-let the theatre to George Rignold, who presented and starred in a spectacular production of Henry V, which lost money, adding to Drury Lane's reputation as an unprofitable house.

Harris followed Rignold's production with the first of his Drury Lane pantomimes, Bluebeard, written by "the Brothers Grinn" (E. L. Blanchard and T. L. Greenwood), lavishly mounted, well-reviewed and financially successful.

In 1881 Harris married Florence Edgcumbe Rendle (1859–1914). They had one child, Florence Nellie (1884–1931), who married the actor Frank Cellier in 1910.

Harris's ambitious seasons of high culture included the Meiningen Court Theatre company in 1881, with a repertoire of German plays and Shakespeare in German translations, and the following year Adelaide Ristori and Rignold in Macbeth. In 1882 Harris engaged leading German singers and the conductor Hans Richter for a season of German operas that included the first British performances of Die Meistersinger and the first production anywhere outside Germany of Tristan und Isolde. Over the next four years he hosted the Carl Rosa Opera Company's seasons of opera in English, and he also presented operatic seasons sung in the original languages by celebrated international singers. His productions did much to revitalise the presentation of Italian opera in London, which had for some years chiefly consisted of vocal display and little dramatic coherence.

::figure[src="https://upload.wikimedia.org/wikipedia/commons/9/99/Augustus-harris-by-Spy.jpg" caption="Spy]]"" alt="caricature of rotund white man, middle-aged in appearance, in formal evening wear. He is balding and neatly bearded and moustached"] ::

The 1887 opera season at Drury Lane celebrated Queen Victoria's golden jubilee by featuring a particularly starry international cast, including Jean de Reszke, Édouard de Reszke, Victor Maurel, Minnie Hauk and Lilian Nordica. The repertoire was Italian (Il barbiere di Siviglia, La traviata and Rigoletto), French (Les Huguenots, Faust and Carmen) and German or Austrian (Don Giovanni and Lohengrin). Wearing comments that the season was an artistic and social success, but lost £10,000.

As well as the opera, Harris presented serious non-musical drama, including seasons by the Comédie-Française (1893), Eleonora Duse (1895), and the ducal court company of Saxe-Coburg and Gotha (1895).

Covent Garden

By 1888 Harris was so closely identified with his theatre that he was popularly known as "Druriolanus". He assembled a syndicate of influential backers including Lord Charles Beresford, Earl de Grey and Henry Chaplin and took over the lease of the house in early 1888. The repertoire consisted of 19 operas, beginning with Lucrezia Borgia and ending with Les Huguenots.

::figure[src="https://upload.wikimedia.org/wikipedia/commons/0/08/Druriolanus-the-chef.png" caption="Melba]] and other stars on the menu" alt="man in chef's clothing, with large carving knife opening a pie full of little birds with human heads – the heads being those of leading operatic singers of the day. The pie dish is marked "Royal Italian Opera", and a menu on the table includes the names of Emma Albani, Nellie Melba and other operatic stars"] ::

There was no rival opera season in 1888, but Mapleson mounted an Italian season at Her Majesty's the following year. His mediocre casts, conventional repertoire and old-fashioned productions did not draw the public. By contrast Harris attracted capacity audiences with top-flight stars and works such as Die Meistersinger never before seen at Covent Garden.{{refn|Harris became known for seeking to outshine any rival opera season: the musicologist Paul Rodmell cites 1891, when Lago presented a programme at the Olympic Theatre that included Lohengrin starring Albani, Harris countered with the same opera starring Melba; he put on a rival production of The Magic Flute in the same season. Although 21 of the 22 operas in Harris's 1889 season were sung in Italian, including Die Meistersinger and Les Huguenots, Gounod's Roméo et Juliette was sung in French, an innovation much remarked upon in the press. Harris's decision was widely praised; The Times said:

Harris continued with his policy of starry casts, impressive staging and texts sung in their original language – a practice that became known as "the cosmopolitan system". By 1892, when he engaged Gustav Mahler to conduct the British premiere of The Ring, it had become the norm at Covent Garden, To reflect the new reality the "Italian" was dropped from the name of the opera house in the same year. When there was no room in Covent Garden's schedules for a new work that he favoured, he leased another theatre for the purpose.{{refn|Harris took the Opera Comique to premiere Charles Villiers Stanford's Shamus O'Brien (1896). He made the auditorium of the Royal Opera House both brighter and darker: he introduced electric lighting in 1892, and instituted the practice of lowering the house lights completely during performances, to the chagrin of those in the expensive seats who were used to directing their attention to their fellow operagoers as much as to the opera.

Palace Theatre of Varieties

Harris played a part in the brief story of Richard D'Oyly Carte's abortive project The Royal English Opera House. Carte commissioned the theatre and opened it in 1891 with Arthur Sullivan's romantic opera Ivanhoe, which ran exceptionally well (161 performances); he followed it with André Messager's The Basoche, for which Harris adapted the original French dialogue into English. Despite enthusiastic reviews The Basoche ran for only 61 performances. Having failed to commission an opera to replace it, Carte eventually sold the theatre, at a loss, to a company formed by Harris to run it as a music hall. It re-opened in December 1892, after some remodelling, as The Palace Theatre of Varieties. After running it for a year, Harris appointed the veteran Charles Morton – "the father of the halls" – as manager. Morton, though more than thirty years his senior, continued to run the Palace successfully for eight years after Harris's death.

Last years

::figure[src="https://upload.wikimedia.org/wikipedia/commons/b/b0/Harris-Excelsior-Punch.jpg" caption="group=n}}" alt="caricature of Harris toiling uphill towards the vision of a golden carriage. Two well known musical hall performers imperfectly disguised as guardian angels urge him on his way"] ::

In the 1890s Harris maintained his various activities at an unflagging pace. At Covent Garden he presented the debuts of Emma Eames (1891) and Emma Calvé (1892), and visits by Leoncavallo, Mascagni (1893), and Puccini (1894). He took his company to Windsor Castle in 1892, 1893 and 1894 to give Command Performances for Queen Victoria and her family and court.{{refn|The Command Performances were:

At Drury Lane, Harris continued to devise elaborate spectacle and effects for his melodramas: in A Life of Pleasure (1893) there was a representation of the promenade at the Empire music hall, and in Cheer Boys, Cheer (1895) the sinking of HMS Birkenhead was spectacularly portrayed. He continued to stage the annual pantomimes, which he wrote in collaboration with Harry Nicholls and others. They ran from Christmas to Easter. An example from the 1890s is Little Bo-Peep, Little Red Riding Hood and Hop o' my Thumb (1892) with Marie Loftus, Marie Lloyd and Little Tich in the title roles, Dan Leno and Herbert Campbell as Mr and Mrs Thumb, and Arthur Williams as the Dame, heading a cast of more than 40. The reviewer in the theatrical paper The Era remarked that every year people felt that Harris had "reached the limit of splendour and ingenuity", and were proved wrong the following year.

In his late thirties Harris began participating in civic affairs, becoming a member of the London County Council in 1890, representing the Strand division.|group=n}} and was knighted in 1891 in recognition of his contribution to the state visit to Britain of the German Emperor. and becoming Grand Treasurer of the Grand Lodge of England, under the Prince of Wales as Grand Master.

The reviewer in The Era who praised the 1892 pantomime commented on the astonishing pressures on Harris:Sir Henry Wood recalled Harris in action: Harris's health gave way under his enormous workload. His funeral, on 27 June at Brompton Cemetery, was attended by several thousand people of all classes ("a final grand procession he would have surely enjoyed", in Wearing's words). Among the mourners were musicians, comedians, managers, authors, singers, critics and politicians, as well as the general public.

Harris's widow married Edward O'Connor Terry in 1904.

Reputation and memorials

On Harris's death, the critic Clement Scott wrote: The Illustrated London News said:

In addition to the funerary monument in Brompton Cemetery, Harris is commemorated by a fountain on the Catherine Street side of the Theatre Royal, Drury Lane. It was designed by Sidney R. J. Smith and erected by public subscription through the Metropolitan Drinking Fountain and Cattle Trough Association. Above the fountain is a bronze bust of Harris by Sir Thomas Brock. | title = | align =center | captionstyle = text-align:center; | File: AugustusHarrisBrompton01.jpg | alt1=memorial in cemetery | Monument in Brompton Cemetery | File: Brompton Cemetery, London 35.JPG | alt2=detail of memorial in cemetery, giving dates of birth and death for Harris and his wife. |Detail of Brompton monument | File: Fountain Theatre Royal Drury Lane.jpg | alt3=elaborate drinking fountain on the side of a large urban building | Memorial fountain at Drury Lane

Plays

Melodramas

Staged at Drury Lane. Co-authors shown in brackets.

  • The World (Paul Merritt and Henry Pettitt) 1880
  • Youth (Merritt) 1881
  • Pluck: A Story of £50,000 (Pettitt) 1882
  • A Sailor and His Lass (Robert Williams Buchanan) 1883
  • Freedom (George Fawcett Rowe) 1883
  • Human Nature (Pettitt) 1885
  • A Run of Luck (Pettitt) 1886
  • Pleasure (Merritt) 1887
  • The Spanish Armada (Henry Hamilton) 1888
  • The Royal Oak (Hamilton) 1889
  • A Million of Money (Pettitt) 1890
  • The Prodigal Daughter (Pettitt) 1892
  • A Life of Pleasure (Pettitt) 1893
  • The Derby Winner: A new and original sporting and spectacular drama, (Cecil Raleigh and Hamilton) 1894
  • Cheer, Boys, Cheer (Raleigh and Hamilton) 1895 ::Source: Dictionary of National Biography.

Pantomimes

After Bluebeard in 1879, Harris's next nine pantomimes at Drury Lane were written by E. L. Blanchard. From 1888 Harris co-wrote them: his collaborators are shown in brackets:

  • Babes in the Wood (Blanchard and Harry Nicholls) 1888
  • Jack and the Beanstalk or, Harlequin and the Midwinter Night's Dream (Nicholls) 1889
  • Beauty and the Beast (William Yardley) 1890
  • Humpty Dumpty (Nicholls) 1891
  • Little Bo-Peep, Little Red Riding Hood and Hop o' My Thumb (Wilton Jones) 1892
  • Robinson Crusoe) (Nicholls) 1893
  • Dick Whittington (Raleigh and Hamilton) 1894
  • Cinderella (Raleigh and Arthur Sturgess) 1895

Libretti

Notes, references and sources

Notes

References

Sources

References

  1. Knight, Joseph and Nilanjana Banerji. [https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-12381 "Harris, Augustus Frederick Glossop (Augustus Glossop Harris) (1825–1873), actor and theatre manager"], ''Oxford Dictionary of National Biography'', Oxford University Press, 2020. Retrieved 10 May 2020 {{ODNBsub
  2. Cheke, D.J. [https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-5000006011 "Feron, Elizabeth"], ''Grove Music Online'', Oxford University Press 2002. Retrieved 10 May 2020. {{subscription required
  3. [[J. P. Wearing. Wearing, J. P.]] [https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-12382 "Harris, Sir Augustus Henry Glossop (1852–1896), actor and theatre manager"], ''Oxford Dictionary of National Biography'', Oxford University Press, 2004. Retrieved 10 May 2020 {{ODNBsub
  4. [https://www.oed.com/view/Entry/188662 "stage-manager"], ''Oxford English Dictionary'', Oxford University Press, 2020. Retrieved 10 May 2020 {{subscription required
  5. "Death of Mrs Harris", ''[[Liverpool Echo]]'', 2 August 1892, p. 3; [[Jimmy Glover. Glover, Jimmy ]], ''His Book'' (1911), p. 105
  6. "Theatrical Gossip", ''[[The Era (newspaper). The Era]]'', 4 September 1897, p. 12
  7. Richards, p. 60
  8. "Death of Mr Charles Harris", ''[[The Morning Post]]'', 4 February 1897, p. 5
  9. "Mr Augustus Harris", ''Bow Bells'', 28 September 1887, p. 348
  10. [https://timesmachine.nytimes.com/timesmachine/1896/06/23/104158267.pdf "Manager Harris Dead"], ''[[The New York Times]]'', 23 June 1896
  11. "Interview with Augustus Harris", ''The Musical World'', 27 September 1884, p. 603
  12. and followed the family's theatrical calling. He made his debut as an actor in the role of Malcolm in ''[[Macbeth]]'' in September 1873 at the [[Theatre Royal, Manchester]], in a company headed by [[William Henry Pennington
  13. "Obituary: Sir Augustus Harris", ''[[The Times]]'', 23 June 1896, p. 12
  14. Harris went on tour with Mapleson's company as stage-manager, together with his younger brother Charles, later best-known as [[Richard D'Oyly Carte]]'s stage director.Rosenthal, Harold, and George Biddlecombe. [https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000012434 "Harris, Sir Augustus"], ''Grove Music Online'', Oxford University Press, 2001. Retrieved 10 May 2020 {{subscription required}}; and Rollins and Witts, pp. 5, 14 and 98
  15. Wood, p. 85
  16. "Provincial Theatricals", ''The Era'', 8 October 1876, p. 8
  17. "Sindbad the Sailor", ''[[The Penny Illustrated Paper]]'', 30 December 1876, p. 435
  18. "Criterion Theatre", ''The Era'', 8 April 1877, p. 5
  19. "Madame Ristori at Drury Lane", ''The Times'', 5 July 1882, p. 5
  20. "Opera Under Sir Augustus Harris", ''[[The Musical Times]]'', August 1896, p. 521
  21. "Royal Italian Opera, Drury Lane", ''The Times'', 9 July 1887, p. 13
  22. From May to July he presented a ten-week season with [[Luigi Mancinelli]] and [[Alberto Randegger]] as conductors and 21 leading singers including [[Emma Albani]], the de Reszkes, Hauk, Nordica, and [[Nellie Melba]] in her London debut.Parker, pp. 23 and 27
  23. "Royal Italian Opera", ''The Era'', 28 July 1888, p. 11
  24. Parker, p. 32
  25. Parker, pp. 29 and 31
  26. |group=n}} He also began a fundamental, and lasting, reform of the house's linguistic policy. In keeping with its title "Royal Italian Opera House", operas of whatever nationality were sung in Italian, including ''Carmen'' and ''Die Zauberflöte'' ("Il flauto magico")."Royal Italian Opera: ''Il flauto magico''", ''The Era'', 30 June 1888, p. 7
  27. "Royal Italian Opera", ''The Morning Post'', 17 June 1889, p. 2; "Roméo et Juliette", ''[[Saturday Review (London newspaper). The Saturday Review]]'', 22 June 1889, p. 760; "Current Notes", ''The Lute: A Monthly Journal of Musical News'', July 1889, pp. 65–68; and "Royal Italian Opera", ''The Era'', 22 June 1889, p. 7
  28. "Royal Italian Opera", ''The Times'', 19 June 1889, p. 13
  29. Parker, p. 39
  30. Shaw, pp. 115–116
  31. and has remained so (with the exception of the late 1940s and 1950s, when opera in English was the general house policy).Haltrecht, pp. 54–56, 104, 133 and 243; "Covent Garden Reinforced", ''The Times'', 2 July 1960, p. 9; and Heyworth, Peter. "The State of Covent Garden", ''[[The Observer]]'', 24 July 1960, p. 25
  32. Rodmell, p. 55
  33. Snelson, unnumbered page, "Timeline"
  34. Massenet]]'s ''[[La Navarraise]]'' and the British premieres of Massenet's ''[[Werther]]'', [[Giacomo Puccini. Puccini]]'s ''[[Manon Lescaut (Puccini). Manon Lescaut]]'' and [[Giuseppe Verdi. Verdi]]'s ''[[Falstaff (opera). Falstaff]]''.Rodmell, p. 56
  35. Rodmell, p. 59
  36. Jacobs, Arthur. [http://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-32311 "Carte, Richard D'Oyly (1844–1901), theatre impresario"], ''Oxford Dictionary of National Biography'', Oxford University Press. Retrieved 12 May 2020 {{ODNBsub
  37. Goodman, p. 64
  38. Trussler, p. 229
  39. Mander and Mitchenson, p. 124
  40. "Excelsior! Or, the Day-Dream of Druriolanus", ''Punch'', 5 July 1890, p. 4
  41. "Court Circular", ''The Times'', 5 December 1892, p. 6
  42. "Windsor Castle", ''The Morning Post'', 17 July 1893, p. 5
  43. "Faust at Windsor Castle", ''The Illustrated London News'', 2 June 1894, p. 675
  44. Mander and Mitchenson, p. 69
  45. "Drury Lane", ''The Era'', 29 December 1892, p. 8
  46. He was appointed a sheriff of the [[City of London]] in 1890,{{refn
  47. "Mr Sheriff Augustus Harris", ''The Era'', 27 September 1890, p. 15
  48. Wood, p. 86
  49. "Funeral of Sir Augustus Harris", ''The Times'', 29 June 1896, p. 6
  50. Taylor, C. M. P. [https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-38356 "Terry, Edward O'Connor (1844–1912), actor and theatre proprietor"], ''Oxford Dictionary of National Biography'', Oxford University Press, 2004. Retrieved 12 May 2020 {{ODNBsub
  51. Scott, Clement. "The Playhouses", ''The Illustrated London News'', 27 June 1896, p. 803
  52. "Sir Augustus Harris", ''The Illustrated London News'', 27 June 1896, p. 805
  53. [https://historicengland.org.uk/listing/the-list/list-entry/1357276 "Theatre Royal Drury Lane and attached Sir Augustus Harris memorial drinking fountain"], Historic England. Retrieved 13 May 2020
  54. Knight, Joseph. [https://www.oxforddnb.com/view/10.1093/odnb/9780192683120.001.0001/odnb-9780192683120-e-1238 "Harris, Sir Augustus Henry Glossop (1852–1896)"]) ''Dictionary of National Biography'' Macmillan 1901 and Oxford University Press 2004. Retrieved 12 May 2020 {{ODNBsub
  55. WorldCat {{oclc. 43253049
  56. WorldCat {{oclc. 41379890
  57. WorldCat {{oclc. 1124714553
  58. WorldCat {{oclc. 1124703439
  59. WorldCat {{oclc. 560610138
  60. WorldCat {{oclc. 1124707792
  61. WorldCat {{oclc. 101331912
  62. WorldCat {{oclc. 1124690124
  63. WorldCat {{oclc. 222839719
  64. WorldCat {{oclc. 751679620
  65. WorldCat {{oclc. 751678256
  66. WorldCat {{oclc. 21860947

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1852-births1896-deaths19th-century-british-dramatists-and-playwrights19th-century-british-male-actors19th-century-british-male-writersbritish-dramatists-and-playwrightsbritish-male-dramatists-and-playwrightsbritish-male-stage-actorsburials-at-brompton-cemeteryenglish-theatre-managers-and-producersbritish-impresariosknights-bachelormembers-of-london-county-councilbritish-opera-managers19th-century-english-businesspeoplebritish-expatriates-in-france