Content deleted Content added
→Early roles: see PR |
→Early years: trim see PR |
||
| (39 intermediate revisions by 3 users not shown) | |||
Line 3:
{{Use dmy dates|date=June 2017}}
[[File:Irene-Vanbrugh-1900.png|Vanbrugh {{circa}} 1900|thumb|alt=Young white woman, seated, wearing elaborate white hat and flowing summer gown, and holding a yellow rose in her hand, in idealised outdoor scene]]
'''Dame Irene Boucicault''' [[Order of the British Empire|DBE]] (2 December 1872 – 30 November 1949), {{nee}} Barnes, known professionally as '''Irene Vanbrugh''' ({{IPAc-en|aɪ|ˈ|ɹ|i|n|i|_|ˈ|v|æ|n|b|ɹ|ə}}{{pronunciation|Irene-vanbrugh-pronunciation.ogg}}
After appearing in supporting roles with [[J. L. Toole]], [[Herbert Beerbohm Tree]], [[George Alexander (actor)|George Alexander]] and others, she graduated to leading roles in the 1890s
Best known as a stage performer, Vanbrugh appeared in
==Life and career==
===Early years===
Vanbrugh was born in [[Exeter]], Devon, on 2 December 1872, the youngest daughter and fifth child of six of the Rev Reginald Henry Barnes, [[Prebendary]] of [[Exeter Cathedral]] and Vicar of [[Heavitree]], and his wife, Frances Mary Emily, {{nee}} Nation, daughter of a [[barrister]].<ref name=odnb>Littlewood, S. R. [https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-36623 "Vanbrugh, Dame Irene (1872–1949)"], ''Oxford Dictionary of National Biography'', Oxford University Press, 2011. Retrieved 7 January 2011 {{ODNBsub}}</ref><ref>Vanbrugh, p. 5</ref> Irene's eldest sister [[Violet Vanbrugh|Violet]] and younger brother [[Kenneth Barnes (director)|Kenneth]]
[[File:Vanbrugh-White-Queen-1888.png|As [[Lewis Carroll]]'s White Queen, 1888|thumb|upright=0.7|alt=young white woman in white costume, made to look like a queen chess piece, with white hair and white crown]] ▼
It was also at Terry's suggestion that Violet, on starting a theatrical career,
{{blockindent|The Vanbrugh sisters were remarkably alike in appearance. Tall and imposing, beautifully spoken, they moved with grace. ... They were elegantly but never ostentatiously dressed, entering and leaving the stage with unerring authority. ... Violet never struck me as a natural comedienne, as Irene was.<ref>Gielgud, p. 115</ref>|}}
▲[[File:Vanbrugh-White-Queen-1888.png|As [[Lewis Carroll]]'s White Queen, 1888|thumb|upright=0.7|alt=young white woman in white costume with white hair and white crown]]
As her elder sister had done, Irene joined [[Sarah Thorne]]'s repertory company at the Theatre Royal, [[Margate]], as a student. For a
===Early roles===
[[Lewis Carroll]], a college friend of Vanbrugh's father, saw her performing in Margate and was impressed. On his recommendation she made her London début in December 1888, playing the White Queen and the [[Knave of Hearts (Alice's Adventures in Wonderland)|Knave of Hearts]] in a revival of ''[[Alice in Wonderland (musical)|Alice in Wonderland]]'' at the old [[Globe Theatre (Newcastle Street)|Globe Theatre]]. Her sister Edith joined her in this production.<ref>"Chips", ''The [[North-Eastern Daily Gazette]]'', 4 December 1888, unnumbered page</ref> Some of Violet's early theatrical work had been with [[J. L. Toole]]. Irene emulated her and joined his company in
When Toole toured Australia and New Zealand in 1890–91 Vanbrugh was a member of his company, acting in every play in its repertoire. She later commented:
{{blockindent|I think this was even better training than Miss Thorne's school; not only was I constantly playing a new part, but I was constantly playing to a different type of audience. We visited all sorts of Australian cities, large and small, and one was pretty certain before long to find out the weak points in one's method."<ref name=ludgate/>|}}
After nearly a year the company returned to London.<ref>"Toole's Theatre", ''The Globe'', 18 April 1891, p. 4</ref> Vanbrugh remained a member and played her first original roles as Thea Tesman in [[James Barrie]]'s
====West End companies====▼
[[File:Millard-importance-earnest.jpg|thumb|left|As Gwendolen in ''[[The Importance of Being Earnest]]'', 1895: l. to r. [[Allan Aynesworth]], [[Evelyn Millard]], Vanbrugh and [[George Alexander (actor)|George Alexander]]|alt=group of four young white actors, two men and two women, in late Victorian dress. The two young women are in the middle and are cautiously embracing while the men look on.]]▼
Although she was happy in Toole's company, by 1893 Vanbrugh felt the need to widen her experience.<ref name=m395>Morley, p. 395</ref> She joined [[Herbert Beerbohm Tree]] at the [[Haymarket Theatre]] as the serving-maid Lettice in ''The Tempter'' (1893) by [[Henry Arthur Jones]]. The play was not popular and was soon taken off, and in 1894, after three more productions in Tree's company, she was engaged by [[George Alexander (actor)|George Alexander]] at the [[St James's Theatre]]. There she had more success in Jones's next play, ''The Masqueraders'' in a supporting role to Alexander and [[Mrs Patrick Campbell]] in the leads.<ref name=odnb/><ref>"Mr H. A. Jones's New Play", ''The Birmingham Daily Post'', 30 April 1894, p. 4</ref> In Alexander's company she played Fanny in [[Henry James]]'s drama ''[[Guy Domville]]'', which closed after 32 performances,<ref>Wearing, p. 453</ref> and in 1895 created the role of the Honourable Gwendolen Fairfax in ''[[The Importance of Being Earnest]]''.<ref name=ww>Parker, pp. 1470–1473</ref>▼
When [[Arthur Bourchier]], who had married Violet Vanbrugh, launched himself as an actor-manager in 1895, Irene joined them at the [[Royalty Theatre]] and on tour, winning good notices as Dulcie in ''The Chili Widow'' and in the title role of the comedy ''Kitty Clive.''<ref name=ludgate/> She went with the Bourchier company to America,<ref name=times/> making her [[Broadway theatre|Broadway]] début in November 1896 in ''The Chili Widow''.<ref name=ww/> After her return to London in 1898 she appeared at the [[Criterion Theatre]] with [[Charles Wyndham (actor)|Charles Wyndham]] in October 1897, as Lady Rosamund Tatton in Jones's comedy ''The Liars''.<ref name=ww/>▼
▲[[File:Millard-importance-earnest.jpg|thumb|left|As Gwendolen in ''[[The Importance of Being Earnest]]'', 1895: l. to r. [[Allan Aynesworth]], [[Evelyn Millard]], Vanbrugh and [[George Alexander (actor)|George Alexander]]|alt=group of four young white
▲Although she was happy in Toole's company, by 1893 Vanbrugh felt the need to widen her experience.<ref name=m395>Morley, p. 395</ref> She joined [[Herbert Beerbohm Tree]] at the [[Haymarket Theatre]] as the serving-maid Lettice in ''The Tempter'' (1893) by [[Henry Arthur Jones]]. The play was not popular and was soon taken off, and in 1894, after three more productions in Tree's company, she was engaged by [[George Alexander (actor)|George Alexander]] at the [[St James's Theatre]].
▲When [[Arthur Bourchier]], who had married Violet Vanbrugh, launched himself as an [[actor-manager]] in 1895, Irene joined them at the [[Royalty Theatre]] and on tour, winning good notices as Dulcie in ''The Chili Widow'' and in the title role of the comedy ''Kitty Clive
In January 1898 she joined [[John Hare (actor)|John Hare's]] company at the [[Royal Court Theatre|Court Theatre]], where she created the roles of Rose Trelawny in ''[[Trelawny of the Wells]]'' by [[Arthur Wing Pinero|Arthur Pinero]], and Stella de Gex in [[Robert Marshall (dramatist)|Robert Marshall's]] ''His Excellency the Governor''.<ref name=ww/> A fellow member of Hare's company was [[Dion Boucicault Jr.]] (known as "Dot" to family and friends),<ref>Vanbrugh, p. 39</ref> son of his more famous [[Dion Boucicault|namesake]]. They had met while Vanbrugh was in Australia with Toole's touring company, and for six months they were together in Hare's highly successful American tour, playing in Boston, Philadelphia, Washington and Chicago.<ref name=m396>Morley, p. 396</ref> Boucicault proposed to her while ''Trelawny of the Wells'' was playing in London, but she did not accept him straight away and they were not married until three years later.<ref>Vanbrugh, pp. 49 and 61</ref>
[[File:Vanbrugh-Quex-1899.png|As Sophy in ''[[The Gay Lord Quex (play)|The Gay Lord Quex]]'', 1899|thumb|upright|alt=young, dark-haired white woman,
In 1899 Vanbrugh played the role that made her name – Sophy Fullgarney in Pinero's [[The Gay Lord Quex (play)|''The Gay Lord Quex'']].<ref name=ludgate/> This part, a
By the turn of the century Vanbrugh's reputation was established. In Boyle Lawrence's 1900 survey of leading stage performers the chapter on Vanbrugh begins:
Line 40 ⟶ 43:
===Early 20th century===
In July 1901 Vanbrugh and Boucicault married, at a
[[File:Irene-vanbrugh-Admirable-crichton-1902-mary.jpg|thumb|upright|left|As Lady Mary in ''[[The Admirable Crichton]]'', 1902|alt=young white woman, as above, but in boy's clothing]]▼
Between the turn of the century and the [[First World War]] Vanbrugh had leading roles in new plays by [[J. M. Barrie]], Pinero and [[W. Somerset Maugham|Somerset Maugham]]. The Barrie plays were ''[[The Admirable Crichton]]'', 1902,<ref>"Duke of York's Theatre", ''The Times'', 5 November 1902, p. 10</ref> ''Alice-Sit-by-the Fire'' (1905),<ref name=m396/> and ''Rosalind'', 1912).<ref>"Duke of York's Theatre – The Triple Bill", ''The Times'', 15 October 1912, p. 8)</ref> In the second of these she had one of her fairly rare adverse reviews. In ''[[Saturday Review (London newspaper)|The Saturday Review]]'' [[Max Beerbohm]] contrasted Vanbrugh with her co-star, Ellen Terry, whom Beerbohm, thought more attuned to Barrie's childlike innocence, whereas with Vanbrugh, "Her personality is in no way Barrieish. She looks, indeed, quite young enough for her part; but her soul is not childish enough."<ref>Beerbohm, Max. "Mr Barrie Again", ''Saturday Review'', 15 April 1903, pp. 483–484</ref> ▼
▲[[File:Irene-vanbrugh-Admirable-crichton-1902-mary.jpg|thumb|upright|left|As Lady Mary in ''[[The Admirable Crichton]]'', 1902|alt=young, white
The three Pinero plays starring Vanbrugh in this period had mixed fortunes. Her own notices for ''Letty'' (1903) were excellent,<ref>"Duke of York's Theatre", ''The Times'', 9 October 1903, p. 4; "Letty", ''The Echo'', 9 October 1903, p. 1</ref> but the play closed after 64 performances.<ref name=d404>Dawick, pp. 404–406</ref> ''His House in Order'' (1906) was a considerable success for Vanbrugh, Alexander and Pinero, running for 430 performances.<ref name=d404/><ref>"St. James's Theatre – 'His House in Order'", ''The Times'', 2 February 1906, p. 4</ref> Her performance in ''Mid-Channel'' (1909) was highly praised, but the play was not,<ref>"St. James's Theatre – "Mid-Channel'", ''The Times'', 3 September 1909, p. 8; and "New Plays in London", ''The Birmingham Post'', 3 September 1909, p. 4</ref> and closed after 58 performances.<ref name=d404/> Vanbrugh's Maugham roles were in the drama ''Grace'' (1910) and the romance ''The Land of Promise'' (1914). The critics were more complimentary about the acting than the plays,<ref>"Duke of York's Theatre – 'Grace'", ''The Times'', 17 October 1910, p. 7</ref> <ref>"'The Land of Promise' – Mr. Maugham's Play at The Duke of York's", ''The Times'', 27 February 1914, p. 10)</ref> which ran for 72 and 76 performances respectively.<ref>Mander and Mitchenson, pp. 94 and 114</ref> She also starred in new plays by [[Charles Haddon Chambers]] (''Passers-By'', 1911)<ref>"Wyndham's Theatre – "Passers-By'", ''The Times'', 30 March 1911, p. 10</ref> and [[A. E. W. Mason]] (''Open Windows'', 1913).<ref>"St. James's Theatre – 'Open Windows'", ''The Times'', 12 March 1913, p. 10</ref>▼
▲Between the turn of the century and the [[First World War]] Vanbrugh had leading roles in new plays by [[J. M. Barrie]], Pinero and [[W. Somerset Maugham|Somerset Maugham]]. The Barrie plays were ''[[The Admirable Crichton]]''
▲The three Pinero plays starring Vanbrugh in this period had mixed fortunes. Her own notices for ''Letty'' (1903) were excellent,<ref>"Duke of York's Theatre", ''The Times'', 9 October 1903, p. 4; "Letty", ''The Echo'', 9 October 1903, p. 1</ref> but the play closed after 64 performances.<ref name=d404>Dawick, pp. 404–406</ref> ''His House in Order'' (1906) was a considerable success for Vanbrugh, Alexander and Pinero, running for 430 performances.<ref name=d404/><ref>"St. James's Theatre – 'His House in Order'", ''The Times'', 2 February 1906, p. 4</ref> Her performance in ''Mid-Channel'' (1909) was highly praised, but the play was not,<ref>"St. James's Theatre – "Mid-Channel'", ''The Times'', 3 September 1909, p. 8; and "New Plays in London", ''The Birmingham Post'', 3 September 1909, p. 4</ref> and closed after 58 performances.<ref name=d404/> Vanbrugh's Maugham roles were in the drama ''Grace'' (1910) and the romance ''The Land of Promise'' (1914). The critics were more complimentary about the acting than the plays,<ref>"Duke of York's Theatre – ''Grace''", ''The Times'', 17 October 1910, p. 7; "London Theatres", ''The Stage'', 20 October 1910, p. 19</ref>
Away from the [[West End theatre]], Vanbrugh went on the [[music-hall]] stage with Barrie's one-act play ''The Twelve-Pound Look'' in 1911, co-starring with [[Edmund Gwenn]] in a [[variety show|variety bill]] in which [[W. C. Fields]] also appeared.<ref>"Coliseum", ''Pall Mall Gazette'', 23 December 1911, p. 6</ref> Over the next four years she appeared in other Barrie pieces – ''Half an Hour'' and ''Rosalind'' – and Maugham's ''The Land of Promise'',<ref name=m396/> written with her in mind.<ref>Maugham, p. xiii</ref> In 1913 Vanbrugh played Lady Gay Spanker in a revival of Boucicault senior's ''[[London Assurance]]'' in an all-star cast including Tree, [[Charles Hawtrey (actor, born 1858)|Charles Hawtrey]], Bourchier, [[Weedon Grossmith]] and [[Marie Tempest]]. This was one of the many charity fund-raising productions in which Vanbrugh appeared throughout her career,<ref>"''London Assurance'' – Royal Visit to St James's Theatre", ''The Times'', 28 June 1913, p. 10</ref> such as a starrily cast ''[[The School for Scandal]]'' in 1915 in which she played Lady Teazle to Tree's Sir Peter.<ref>"The Royal Matinee", ''The Stage'', 28 January 1915, p. 19</ref>
[[File:Sevening-Vanbrugh-McCarthy-in-Caroline.jpg|thumb|upright|[[Nina Sevening]] (l),
===First World War===
During the war Vanbrugh played a succession of leading roles in the
In 1916 Vanbrugh appeared in her first film, ''[[The Real Thing at Last]]'' (1916);<ref>"A Tragic 'Movie' – Sir J. M. Barrie's Cinema Burlesque", ''The Times'', 8 March 1916, p. 11</ref> the following year she
From its early days, Vanbrugh was closely connected with the [[Royal Academy of Dramatic Art]] (RADA).{{refn|Until it received its royal charter in 1920 it was known as the Academy of Dramatic Art.<ref>"Academy of Dramatic Art: Grant of a Royal Charter", ''The Times'', 23 July 1920, p.12</ref>|group= n}} Her younger brother, [[Kenneth Barnes (director)|Kenneth Barnes]], had been its principal since 1909.
Vanbrugh was a governor of the [[Elizabeth Garrett Anderson and Obstetric Hospital|Elizabeth Garrett Anderson Hospital]] in the [[Euston Road]], London, and in June 1918 she organised a matinee concert at the [[London Palladium]] to raise funds for the endowment of a bed for the use of any woman connected to the theatrical profession.<ref>Burrow, p. 69</ref>▼
▲Vanbrugh was a governor of the [[Elizabeth Garrett Anderson and Obstetric Hospital|Elizabeth Garrett Anderson Hospital]] in the [[Euston Road]], London, and in June 1918 she organised a matinee concert at the [[London Palladium]] to raise funds for the endowment of a bed at the hospital for the use of any woman connected to the theatrical profession.<ref>Burrow, p. 69</ref>
===Inter-war years===
[[File:Vanbrugh-Boucicault-Blayds.jpg|With her husband, [[Dion Boucicault, Jr.]], in ''[[The Truth About Blayds]]'', 1922|thumb|left|alt=
▲From its early days, Vanbrugh was closely connected with the [[Royal Academy of Dramatic Art]] (RADA).{{refn|Until it received its royal charter in 1920 it was known as the Academy of Dramatic Art|group= n}} Her younger brother, [[Kenneth Barnes (director)|Kenneth Barnes]], had been its principal since 1909. In 1919, to raise funds for the academy's theatre, then under construction, she had the play ''[[Masks and Faces (play)|Masks and Faces]]'' [[Masks and Faces|filmed]] with a star cast, including not only leading actors but the playwrights [[George Bernard Shaw|Bernard Shaw]], Pinero and Barrie in cameo appearances.<ref name=odnb/>
Vanbrugh's first big stage success of the post-war years was in Milne's ''[[Mr Pim Passes By]]'' in 1920.<ref name=odnb/> She and her husband opened it in Manchester, and such was its reception that they brought it into the West End.<ref name=times/> In early 1923 they sailed to South Africa and then Australia and New Zealand for a tour which included a repertory of twelve plays,<ref name=m397>Morley, p. 397</ref> among which were ''Belinda'', ''Miss Nell o' New Orleans'', ''[[The Truth About Blayds]]'', ''[[The Second Mrs Tanqueray]]'', ''His House in Order'', ''[[The Notorious Mrs Ebbsmith]]'', ''Trelawney of the Wells'', and ''Mr Pim Passes By''.<ref>[http://nla.gov.au/nla.news-article146464948 "Theatre & its People"], ''Table Talk'', 16 Aug 1924, p. 17</ref>
The couple returned to Britain in January 1926. After a pre-London tour in the comedy ''All the King’s Horses'', Vanbrugh and [[Allan Aynesworth]] starred in the piece at the [[Novello Theatre|Globe Theatre]]. At the [[Playhouse Theatre|Playhouse]] in June she resumed the title part in a revival of ''Caroline'' and at the [[Harold Pinter Theatre|Comedy Theatre]] the following January she played the Baroness della Rocca in [[Alfred Sutro]]'s comedy ''The Desperate Lovers''. Returning to [[music hall]] in April 1927 she played Clarissa Marlow in a short comedy by Milne, at the [[London Coliseum]], ''Miss Marlow at Play''. She and Boucicault then returned to Australia for another tour, but he became ill and the couple returned to England, where he died at their house in [[Hurley, Berkshire]], on 25 June 1929.<ref name=m397/>
Vanbrugh's other appearances in the inter-war years included Gertrude to [[Henry Ainley]]'s [[Hamlet]] in 1931, Millicent Jordan in [[Dinner at Eight (play)#1933 London production|''Dinner at Eight'']] (1933) and Mistress Page in ''[[The Merry Wives of Windsor]]'' with Violet as Mistress Ford (1934). This was the first time the sisters had acted together since 1895.<ref name=m397/> The following year she played the role of the [[Sarah Churchill, Duchess of Marlborough|Duchess of Marlborough]] in [[Norman Ginsbury]]'s historical drama ''[[Viceroy Sarah]]''
Vanbrugh returned to films in 1933, as Mrs Powis-Porter in ''[[Head of the Family (1933 film)|Head of the Family]]''; between then and 1945 she appeared in ''[[The Rise of Catherine the Great|Catherine the Great]]'', ''Girls Will Be Boys'', ''[[The Way of Youth]]'', ''Youthful Folly'', ''[[Escape Me Never (1935 film)|Escape Me Never]]'', ''[[Jack Cardiff|Wings of the Morning]]'', ''[[Knight Without Armour]]'', ''[[It Happened One Sunday]]'', and ''[[I Live in Grosvenor Square]]''.<ref name=bfi/>
In 1938 Vanbrugh played Lady Messiter in [[Noël Coward]]'s ''[[Operette (musical)|Operette]]'' at [[His Majesty's Theatre, London]]. It was a short but pivotal role with a single scene described by the critic [[Sheridan Morley]] as "a very difficult ten-minute scene",<ref name=m397/> and by Coward himself as a boring scene that Vanbrugh played "with impeccable dignity".<ref>Coward, p. xiii</ref> During the run of ''Operette'' Vanbrugh celebrated her golden jubilee as an actress
===Later years===
During the [[Battle of Britain]]
Vanbrugh was working to the end of her life. In early November 1949 she appeared in ''Mary Bonaventure'' in its pre-London run but was taken ill before the West End opening and died on 30 November 1949, shortly before her 77th birthday.<ref name=times/>
===Honours and commemorations===
Vanbrugh was created a [[Order of the British Empire|Dame Commander of the Order of the British Empire]] (DBE) in 1941.{{refn|The official announcement in ''[[The London Gazette]]'' reads "Irene, Mrs Dion Boucicault (Miss Irene Vanbrugh). For services to the Stage".<ref>[https://www.thegazette.co.uk/London/issue/35029/supplement/12/data.pdf "Central Chancery of the Orders of Knighthood"], ''Supplement to the London Gazette'', 1 January 1941</ref>|group=n}} After her death, the new theatre for the [[Royal Academy of Dramatic Art]] was named the Vanbrugh Theatre in honour of Vanbrugh and her sister.<ref>"A Modern Stage
At a matinee marking RADA's golden jubilee in 1954, in the presence of Irene Vanbrugh's brother, [[Kenneth Barnes (director)|Sir Kenneth Barnes]], who was still the principal of the academy, Edith Evans read a poem by [[A. P. Herbert]] in which Vanbrugh was celebrated among the leading names of British theatre. Herbert wrote:
<poem>
All the great names that give our past a glow,
Line 97 ⟶ 98:
*{{cite book | last =Burrow | first = John|series=Burrow's Guides to the London Boroughs|title =St Pancras Past and Present: Official Guide|edition=seventh| date =1936| location =Cheltenham | publisher = J. D. Burrow | oclc=940379415}}
*{{cite book | last = Coward | first = Noël |authorlink=Noël Coward| title = The Collected Plays of Noël Coward, Volume 2| date =1950 | location =London | publisher =Heinemann |url=https://archive.org/details/isbn_208135421_2/page/n15/mode/2up | url-access=registration | oclc = 223059271}}
* {{cite book | last= Dawick | first= John | title= Pinero: A Theatrical Life | year= 1993 | location= Niwot | publisher= University of Colorado Press | isbn=
* {{cite book|last=Gielgud |first=John|authorlink=John Gielgud |year=1979 |title=An Actor and His Time |location=London |publisher=Sidgwick and Jackson |isbn=
* {{cite book | last= Johns | first= Eric | title= Dames of the Theatre| year= 1974| location= London| publisher= W. H. Allen| isbn=
*{{cite book | last =Lawrence | first =Boyle | title =Celebrities of the Stage | date =1900 | location = London| publisher =George Newnes | url=https://archive.org/details/celebritiesofsta00lawruoft/page/n5/mode/2up|oclc = 587026}}
* {{cite book | last1 = Mander | first1 = Raymond |authorlink=Mander and Mitchenson | author2 = [[Mander and Mitchenson|Joe Mitchenson]] | title = Theatrical Companion to Maugham | date = 1955 | location = London | publisher = Rockliffe | oclc = 1336174067 }}
*{{cite book | last =Maugham | first =W. Somerset | authorlink=W. Somerset Maugham| title = Collected Plays| date =1931 | location = London| publisher =Heinemann |url=https://archive.org/details/dli.ministry.18679/page/n17/mode/2up | url-access=registration | oclc =1101215909 }}
*{{cite book |last=Morley |first=Sheridan |author-link=Sheridan Morley |title=The Great Stage Actors |publisher=Angus and Robertson |date=1986 |location=London |isbn=
* {{cite book |editor-last= Parker |editor-first= John| year=1939 | title= Who's Who in the Theatre | location=London |edition=ninth| publisher=Sir Isaac Pitman and Sons | oclc=238830877}}
* {{cite book | last= Vanbrugh | first= Irene | title= To Tell My Story| year= 1948| location= London| publisher= Hutchinson|url=https://archive.org/details/totellmystory0000iren/page/n7/mode/2up |url-access = registration| oclc= 1841262}}
* {{cite book | last= Wearing| first= J. P.|authorlink=J. P. Wearing| title= The London Stage, 1890–1899: A Calendar of Plays and Players| year= 1976| location= Metuchen| publisher= Scarecrow Press|url=https://archive.org/details/londonstage189010001wear/page/n3/mode/2up |url-access = registration| isbn=
{{Authority control}}
| |||