Ellen Terry and Her Sisters

by T. Edgar Pemberton

"Mr. Wills," said Dutton Cook, "has been fortunate not merely in his performers, but also in his manager. Mr. Hare demonstrated anew that he has elevated theatrical decoration to the rank of a fine art; indeed, his painstaking and outlay in placing the play upon the stage justify suspicion that it was produced almost as much for its pictorial as for its dramatic merits. In either case, advantage has been taken of the opportunity to present a special reflection of the artistic aspects of the last century with regard to furniture and costumes, china and glass, &c. A sort of devout care has been expended upon the veriest minutiæ of upholstery and ironmongery; a fond ingenuity is apparent in every direction of the scene; and the foibles and fancies of those who love, or imagine that they love, cuckoo clocks, brass fenders, carved oak, blue and white crockery, and such matters, have been very liberally considered and catered for. Prettier pictures have not, indeed, been seen upon the stage than are afforded by the Primrose family, their friends and neighbours, goods and chattels, and general surroundings in this play of 'Olivia.'

"But a higher claim to distinction arises from the method of its representation. In the hands of Miss Ellen Terry, Olivia becomes a character of rare dramatic value, more nearly allied, perhaps, to the Clarissa of Richardson than to the heroine of Goldsmith. The actress's singular command of pathetic expression obtains further manifestation. The scene of Olivia's farewell to her family, all unconscious of the impending blow her flight is to inflict upon them, is curiously affecting in its subtle and subdued tenderness; while her indignation and remorse upon discovering the perfidy of Thornhill are rendered with a vehemence of emotion and tragic passion, such as the modern theatre has seldom exhibited.

"Only an artist of distinct genius could have ventured upon the impulsive abrupt movement by means of which she thrusts from her the villain who has betrayed her, and denotes the intensity of her scorn of him, the completeness of her change from loving to loathing.

"Miss Terry is not less successful in the quieter passages of the drama, while her graces of aspect and manner enable her to appear as Olivia even to the full satisfaction of those most prepossessed concerning the personal charms of that heroine—so beloved of painters and illustrators—to whom have been dedicated so many acres of canvas, so many square feet of boxwood."

This criticism well sums up the general opinion. Joseph Knight was equally full of praise, and said: "Miss Terry was altogether life-like as Olivia, and much of her business was extremely natural and touching. It was full of suggestion, and, in one point at least, when she repelled the further advances of the man who had wronged her, it touched absolute greatness."

Clement Scott pays his tribute as follows:—"'Olivia,' as I first saw it at the Court Theatre, is a memory that will never die while life lasts. It is one of the most precious souvenirs in my collection.... Words fail to convey an adequate impression of the original Olivia—the spoiled child and darling of the English home as portrayed by Ellen Terry. I see the idol of her old father's heart. Vividly and clearly is presented to my memory the scene where Olivia, under the hypnotic influence of love, bids farewell to her loved ones, scattering around her little treasures, and that 'white face at the window,' when 'Livy' is on the high road to destruction. All that was pathetic enough; but the dramatic effect was bound to follow, and it came with vivid truth in the great scene between Ellen Terry and William Terriss. At that time, both actor and actress were perfect specimens of manly beauty and feminine grace. Terriss was just the dare-devil, defiant creature, handsome to a fault, that women like Olivia love. He looked superb in his fine clothes, and his very insolence was fascinating and attractive.

"When Olivia struck Squire Thornhill in her distraction and impotent rage, an audible shudder went through the audience. It was all so unexpected. But the truth of it was shown by the prolonged and audible 'Oh!' that accompanied it. When we talk of the Ellen Terry manner, and her indescribable charm, may I ask, were they ever better shown than in the scene where Olivia kisses the holly from the hedge at home, and then hangs it on a chair and dances round it with childish delight? And so it went on from perfection to perfection. For me there will only be one Olivia—Ellen Terry."

No wonder that this fascinating Olivia became the rage of the day. Her photographs went like wildfire; the milliners' windows were full of Olivia hats, caps, 'kerchiefs, and other items of feminine adornment; everywhere such dainty trifles were in evidence; and how many little "Olivias" were christened in 1878 it would be hard to say.

Among the pretty schoolgirls who figured in the play a young aspirant for dramatic honours made her first appearance on the stage. This was Kate Rorke. How highly Ellen Terry thought of her sister artist's talents will be seen in the course of these pages. She has ever been ready to recognise merit in her fellow-workers—ever willing to render them a helping hand.