Bright as my dream,
Rainbow, stay!
But it passes away,
Gloom upon gleam,
Dark as my doom—
O rainbow, stay."
It is a delightful thing to read Tennyson. To hear his words interpreted by Ellen Terry is a revelation.
In connection with "Becket," I have another little story to tell indicative of my heroine's never-ending unselfishness. Geneviève Ward, who, it will be remembered, played most magnificently as Queen Eleanor, has told me how, in that strong and stormy scene between the jealous Queen and the luckless Rosamund, the stage moon was wont to show a little undue favouritism towards the fair denizen of the bower, flooding her with radiance and leaving her vindictive visitor in comparative obscurity. "This," to quote my friend's own words, "hurt Ellen Terry's sense of justice, and more than once she has turned her back upon the audience, and gently rebuked the too partial moon by a tragic line thrown into the wings—'Take it off me and turn it on Miss Ward.'" Such anecdotes could be told by all the artists who have appeared with her, but this one will suffice.
Against this I may tell a counter story. Amongst Ellen Terry's treasures there is a ring that was given to her by Geneviève Ward. When she shows it to her friends, she says, "Queen Eleanor, you see, is not at all vindictive to Rosamund off the stage."
When "Becket" had run its course, and pending another great production, some revivals were given. Amongst them was Charles Reade's one-act play—"Nance Oldfield." Most of us know the pretty, imaginative story as related by Ellen Terry's early friend and mentor, Charles Reade. Mistress Nance Oldfield, it will be remembered, was one of the earliest and most popular of English actresses. She made her first appearance in 1699, and was the darling of the stage until she died in 1730, and, with nobles supporting her pall, was laid to rest in Westminster Abbey. History records of her that she was not only an admirable actress, but a good and charitable woman, and it is from this pleasant point of view that Charles Reade has limned her in his dainty little cabinet picture. In his play her mission is to cure the love that a romantic young man has conceived for her through seeing her on the stage. How, in order to do this, she converts herself from the most charming of women into a veritable "tom-boyish" hoyden, is known to all who delight in the graceful and consummate art of Ellen Terry. When she is playing this part, her vivacity and high spirits seem to know no bounds, but her winsomeness always fascinates her audiences. The little piece is ever followed with intense interest mingled with much laughter, and the only regret is that it comes to an all too early end. It lives and will live as long as Ellen Terry chooses to play it. By the way, it is on record that a descendant of the original Mistress Oldfield has said, "Anne Oldfield herself could not have played the character better." The part has also been admirably handled by Geneviève Ward.