In "Twelfth Night" Kate Terry doubled the parts of Viola and Sebastian; and a notable hit was made in Tom Taylor's stage version of Miss Braddon's novel "Henry Dunbar." In Leicester Buckingham's "Love's Martyrdom" she again distinguished herself.
On June 20, 1866, she again took a benefit at the theatre she had served so well, and on this occasion appeared for the first time as Julia in "The Hunchback" of Sheridan Knowles, and once more delivered an address specially written for her by Tom Taylor. But the great event of the evening was the appearance (also for the first time) of Ellen Terry as the sprightly Helen. In order that she might serve her sister she made this brief departure from her retirement, and acted with great spirit and animation.
A little later on she appeared at the Prince's Theatre at Manchester in the first performance of a new play by Dion Boucicault originally called "The Two Lives of Mary Leigh" but subsequently renamed "Hunted Down." This proved to be a memorable evening. Not only did Kate Terry add to her laurels as the heroine, but Henry Irving, in the character of Rawdon Scudamore, made his first great impression. Hitherto he had only been known as a very earnest actor in the provincial stock companies—but in this play he found his chance, seized it, and made his mark.
Irving, who was then most anxious to get to London, made a stipulation with Boucicault before he accepted the part to the effect that if he succeeded he should have the opportunity of appearing in it in the production of the play in the metropolis. This was acceded to, and on the opening night the dramatist was so struck with his splendid performance that he induced his friend and brother playwright, Charles Reade, to travel to Manchester in order that he might see this remarkable impersonation. It was then that these two experts decided that in Henry Irving they saw the coming leading actor of his day.
On November 5, 1866, "Hunted Down" was produced at the St. James's Theatre, with Miss Herbert in the character created by Kate Terry; Rawdon Scudamore at once "took the town" and excited the admiration of the critics, and so the name and fame of Henry Irving were made out of material that has never faded. It is curious to remember that our famous actor's first great success was made with Kate Terry, and that most of his later triumphs have been shared with Ellen Terry.
Kate Terry's next London home was the Adelphi Theatre. There she created the character of Anne Carew in Tom Taylor's evergreen play "A Wolf in Sheep's Clothing" (a part that was in after years most beautifully played by Mrs. Kendal at the St. James's), and won great favour in "A Sister's Penance," by Tom Taylor and A. W. Dubourg. In the latter production she was associated with Miss Fanny Hughes, John Billington, and Hermann Vezin. "Good acting by Kate Terry" is the verdict pronounced upon the piece in the pages of Edward Leman Blanchard's happily preserved diary.
Probably Kate Terry's sojourn at the Adelphi will be best remembered by her exquisitely tender rendering of the sweet character of Dora in Charles Reade's happy stage version of Tennyson's poem bearing that name.
We all know the touching story telling that—
"With farmer Allan at the farm abode