Ellen Terry and Her Sisters

by T. Edgar Pemberton

But however critics might differ with regard to individual performances in this unappreciated production, concerning Ellen Terry's Viola there was but one opinion. It was simply charming, being at once full of fun and vivacity, and clothed with modesty. The performance ranked with her best Shakespearean impersonations, and it is a thousand pities that it was not seen oftener. It is interesting to note that the part of Viola's brother and counterpart, Sebastian, was played by Ellen Terry's brother, Fred Terry, who was then in the early days of his successful career. The likeness, both in face, expression, and manner between the two was remarkable, and the episode of their thus acting together was very pleasing.

In 1885, after another prosperous tour in America, W. G. Wills' stage version of "The Vicar of Wakefield" was revived, Ellen Terry now playing her famous character of Olivia to the Dr. Primrose of Henry Irving. She repeated her former triumph, and, as the dear old country parson, he was most happily placed. Since then, the delightful play has taken a permanent and honoured place in the Lyceum repertory.

In the December of this year, W. G. Wills' adaptation of "Faust" was staged. Of course I cannot dwell on the splendours of this production. At the time some of the professed students of Goethe were prone to run it down, declaring (generally without seeing a representation of it) that the poem had been turned into a pantomime. These quidnuncs did not know the necessities of the three hours' traffic of the stage. In spite of them the striking and artistic acting version of a Titanic work drew the public, and, as a matter of fact, Henry Irving's enterprise induced more people to read Goethe than had ever been known. To thousands a closed book had been opened.

"Faust" had a prolonged run, and how much this was due to the captivating Margaret of Ellen Terry, Henry Irving (who seemed to revel in the part of Mephistopheles) would be the first to admit. It was indeed a performance replete with pathos and poetry, and she alone gave the indispensable feminine interest to a great work destined to hold its place upon the stage, and in the minds of all earnest playgoers and students of the drama.

It was in 1885 that Charles Kelly died, leaving his widow with her two children, who, under the names of Ailsa Craig and Gordon Craig, have already done excellent work upon the stage and in other branches of art.

With such a lasting success as this on hand, with a rich repertory to fall back upon, and American tours to interfere with London work, new productions at the Lyceum now become few and far between.

In 1886, Irving revived one of his favourite old farces, "Raising the Wind." It was a treat to see him once more enjoying his ingeniously and comically conceived interpretation of Jeremy Diddler, but the character of Peggy offered no real opportunity to Ellen Terry. She made a sweet picture, and it was good-natured of her to act in such a piece, and that is all that can be said. But it gives an opportunity of noting how truly great artists are always willing to play small parts. It is only the self-sufficient semi-amateur who must be Hamlet or nothing. "I love to be a useful actress," is Ellen Terry's constant cry.

On July I, 1887, at a benefit performance generously given on behalf of Dr. Westland Marston, Byron's "Werner" was performed, Henry Irving playing the gloomy hero to the Josephine of Ellen Terry. It was an interesting experiment, but, although immense pains were taken over the production, it was not repeated.