The wonderful Adelaide Neilson and the great looking Harry Conway showed up in the piece with satisfying outcomes at the Haymarket in March, 1878, and again in 1879 at a similar house. Mr. Clifford Harrison attempted Romeo with Miss Bateman at Sadler's Wells in 1880, yet he made more notoriety as a reciter thereafter than as a performer. We have just alluded to Mr. Henry Irving's generation of Romeo and Juliet at the Lyceum Theater in 1882, when the Prince of Wales (now the King) was available. Miss Ellen Terry was, obviously, the Juliet, William Terrlss the Mercutio, and James Fernandez Friar Laurence. Going to the year 1884, we recall the lovely Juliet of Miss Mary Anderson to the enthusiastic Romeo of Mr. William Terriss. Miss Anderson's Juliet, long as she has left the stage, waits affectionately in the memory. In 1881 Mr. Forbes Robertson acted with Madame Modjeska in Romeo and Juliet at the Court Theater, and again a similar performer played with Mrs. Patrick Campbell at the Lyceum in 1895.
The Theater, July first 1881.
JULIET
BY GERTRUDE CARR DAVISON, AUTHOR OF "ROSALIND."
After the satire of "As You Like It," with the splendid and interesting character of Rosalind, the catastrophe - the world-celebrated around the world disaster - of "Romeo and Juliet," with the reasonable, sweet girl of the Capulets for the courageous woman, positions next, maybe, among the magnum opuses of our extraordinary playwright, William Shakespeare, in the support and estimation of English playgoers. Verona, the origination of Pliny and Catullus, has been no less celebrated during a time not all that remote for the fatal enmities of the Houses of Montagu and the Capulet, made fascinating to us by the episode of Romeo and Juliet. Giralamo della Corte, in his "History of Verona," relates the story as an authentic occasion and Bandello, who got it from Luigi da Porto, puts the event in the season of Bartolommeo Scagligeri. Scarcely any stories have ever discovered such a significant number of various forms as that of Romeo and Juliet - a proof of the intrigue it was computed to energize.
It has been followed to a Greek sentiment, and I find that there are two forms by old French journalists, by whom the scene has been set in France. What's more, in Italy it was first found in Massuccio, from whom, as assumed by a few people, Shakespeare determined it. Furthermore, I think there is nobody who has overlooked, or is probably going to overlook, the main examination of Romeo and Juliet, when the heart resounded the enthusiastic pledges of the sweethearts, and profoundly felt for their distress.
I might now continue to give quickly a couple of the renowned Juliets of the English stage; and I figure I can't improve the situation than start with the well known opponent of Peg Wolfington and Mrs. Cibber - George Anne Bellamy, conceived in the year 1731, and instructed in a community in Boulogne. Showing up on the phase at fourteen years old, as Monimia in "The Orphan," at the Covent Garden Theater, that one night made her popular, and she turned into the design, figuring among her supporters the celebrated and unusual Duchess of Queensberry. She a short time later played, in a series of characters, Juliet from "Romeo and Juliet," among the number questioning the realm of the stage with Wolfington, as well as with Mrs. Cibber herself, for in the depiction of all-retaining, energetic love Miss Bellamy was said to have no equivalent, and her Juliet was flawlessness. Of her Belvidera, a fine judge stated: "I came to respect Garrick; I leave captivated with Bellamy." In 1785 an advantage was composed for her at Covent Garden and Reynolds, the producer, hence depicts the tragic scene: "I harp for a minute on the last appearance of Mrs. Bellamy, who withdrew of the stage May 24th, 1785. On this event an address was talked by Miss Farren, the present Countess of Derby, closing with the accompanying couplet:
Be that as it may, see! abused with appreciation and tears,
To pay her duteous tribute, she shows up.
The drapery at that point rose, and Mrs. Bellamy was diseovered situated in a rocker, from which she futile endeavored to rise. She, notwithstanding, just suceeded in mumbling a couple of words expressive of her appreciation, and after that, sinking jnto her seat, the window ornament dropped before her for ever!" She kicked the bucket in 1788.
The second Juliet on my rundown is the best on-screen character England and the English stage have ever known - Sarah Kemble, Mrs. Siddons, who played Juliet at Drury Lane to the Romeo of her sibling, the similarly well known John Philip Kemble. There are yet few remaining, I assume, who can infer or review the times of those excellent old players, of the stuck mass which after quite a while filled to suffocation the colossal theater; and we have it on record, and on late record as well, that on a specific night, in one column of the ensemble, there sat to see Mrs. Siddons play Juliet men whose names will neyer be overlooked - never while England endures - Reynolds, Burke, Gibbon, Sheridan, Windham, and Fox. These men were not youngsters; but rather the tears were seen running down their appearances at the distresses and unfortunate end of Juliet and her boy�husband. Numerous a heart was mixed, mixed to its profundities, by the terrific acting of those amazing old players. Mrs. Siddons formally resigned from the phase in 1812.
Be that as it may, we continue with our pantomimes of Juliet. Two years after the retirement of Mrs. Siddons from the stage, Miss O'Neill showed up as Juliet at Covent Garden, October sixth, 1814, and as Juliet her prosperity was extremely extraordinary. Macready talked euphorically of her execution, saying that all through his entire experience hers was the main portrayal of Juliet he had ever observed. She kicked the bucket in 1872, at the propelled age of eighty-one.
We now go to the year 1829, when Juliet was yet again to be imitated by one of the remarkable Kembles, to be specific, Frances Ann Kemble. Mrs. Frances Kemble, senior little girl of the late Charles Kemble, and niece of Mrs. Siddons, at the Theater Royal, Covent Garden, at that point under the administration of her dad, October fifth, 1829, played Juliet, her first appearance on any stage, with her mom, Mrs. C. Kemble, as Lady Capulet on this event, following quite a while nonattendance from the stage thus extraordinary was her prosperity that, we are told, "Romeo and Juliet" was played to swarmed houses, with Miss Fanny Kemble in the main part, three times week after week until December 29th, when Otway's "Venice Preserved" was created.
We should pass on now to 1833, when another observed Juliet showed up - Miss Helen Faucit (Lady Martin) - first at the Theater Royal, Richmond, November, 1833, and a short time later at Covent Garden Theater amid the year 1836, as Juliet to the late Mr. Charles Kemble's Mercutio; even later, in 1845, she showed up with Macready in Paris and at the Salle Ventadour (the venue around then generally committed to Italian musical drama), in a progression of English exhibitions, including "Romeo and Juhet;" and by and by, numerous years after the fact, on Wednesday, January 28th, 1852, Miss Faucit yet again remained on the London sheets in the character of Juliet - and it has been said by the late G. H. Lewes that since the times of Siddons and O'Neill, Miss Faucit was the most commendable type of the elevated poetical show, the Rachel of the English stage.
We have now achieved our 6th Juliet, in the individual of Miss Swanborough, who played Juliet to the Romeo of the observed Miss Cushman, at the Theater Royal, Haymarket, January 29th, 1855, the cast including Mr. W. Farren as Tybalt, and Mr. Compton as Peter.
This last Juliet was trailed by another, Mrs. Herman Vezin, who showed up as Juliet at Sadler's Wells Theater, February 24th, 1859.
What's more, amid that same year of 1859, on September 16, and on the sheets of a similar theater (Sadler's Wells), Miss Caroline Heath (Mrs. Wilson Barrett), showed up as Juliet; and of this last it was stated: "The Juliet of the night was Miss Heath, understood at the Princess's, for amid her association with that theater she a few times played in the arrangement of emotional exhibitions orchestrated by Mr. C. Kean, and given by the Queen's order at Windsor and Osborne."
The following Juliet of note is Miss Kate Bateman (Mrs. Crowe), who picked the character of Juliet for her last appearance in England, at Her Majesty's Theater, December 22nd, 1865, and we are informed that when the window ornament fell on the type of Juliet, prostrate over the body of her sweetheart, the group of onlookers would not be pacified until the point that both were revived, and the Juliet was brought grinning by Romeo before the drapery to get the standard compliment in more than conventional insistent frame.
We have now landed at 1866, when Juliet was yet again mimicked by a relative of the skilled Kembles - Mary Frances Scott�Siddons - who showed up on the phase at Edinburgh, as Juliet, in the early piece of 1866, and we rehash now information disclosed at that point. A woman who can brag of an immediate drop from the most celebrated of our performers, comes licensed with the most grounded proposal to all who hold in veneration the names which enhance our Thespian records; however Mrs. Scott-Siddons has a reasonable claim to showy refinement separated from innate respects, and I think each one of the individuals who have seen her execution of Juliet will recognize that amid that execution they had clearly brought before them the sweet little girl of the Capulets.
Following upon Mrs. Scott-Siddons' Juliet is Miss Kate Terry (Mrs. Arthur Lewis), who took her goodbye of the phase in the character of Juliet, at the Adelphi Theater, August 31st, 1867. Miss Terry's Juliet was one of her best pantomimes.
