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James Parton, Horace Greeley, T. W. Higginson, J. S. C. Abbott, E. M. Hoppin, William Winter, Theodore Tilton, Fanny Fern, Grace Greenwood, Mrs. E. C. Stanton, Women of the age; being natives of the lives and deeds of the most prominent women of the present gentlemen 6 0 Browse Search
The Daily Dispatch: December 31, 1864., [Electronic resource] 6 0 Browse Search
Harper's Encyclopedia of United States History (ed. Benson Lossing) 4 0 Browse Search
The Daily Dispatch: March 16, 1861., [Electronic resource] 4 0 Browse Search
Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.) 2 0 Browse Search
Edward L. Pierce, Memoir and letters of Charles Sumner: volume 1 2 0 Browse Search
George Ticknor, Life, letters and journals of George Ticknor (ed. George Hillard) 2 0 Browse Search
The Daily Dispatch: January 2, 1863., [Electronic resource] 2 0 Browse Search
The Daily Dispatch: June 23, 1863., [Electronic resource] 2 0 Browse Search
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Your search returned 30 results in 9 document sections:

Harper's Encyclopedia of United States History (ed. Benson Lossing), Payne, John Howard 1792-1852 (search)
a successful entrance upon the theatrical profession at the Park Theatre, New York, as Young Norval. In 1810 he played Hamlet and other leading parts with great success, and, at the age of twenty and twenty-one, he played with equal success at Drury Lane, London. While there he produced many dramas, chiefly adaptations from the French. In one of these occurs the song Home, sweet home, by which he is chiefly known. Payne John Howard Payne. became a correspondent of Coleridge and Lamb; and, from the French. In one of these occurs the song Home, sweet home, by which he is chiefly known. Payne John Howard Payne. became a correspondent of Coleridge and Lamb; and, in 1818, when he was twenty-six years of age, his tragedy of Brutus was successfully brought out at Drury Lane. He returned to the United States in 1832. He was appointed consul at Tunis, and died in office there, April 10, 1852. His remains were brought to Washington late in March, 1883, and interred at Georgetown.
Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Chapter 2: the early drama, 1756-1860 (search)
ed the Indian play of Metamora by John Augustus Stone, an actor who lived during his creative period in Philadelphia. The play was a bit bombastic and the speeches of Metamora show a curious mixture of Indian and Ossian, but they are at times very effective and some of the phrases of this play became bywords in the mouths of the people. Forrest also inspired Robert Montgomery Bird of Philadelphia to write The Gladiator in 1831. It was played by Forrest in all parts of the Union and at Drury Lane in 1836. In this play Dr. Bird combined the principal sources of dramatic interest-self-preservation, love of wife, child, and brother, desire See Durang, C., History of the Philadelphia stage, Second Series, Chap. III, and Wemyss, F. C., Twenty-Six Years of the Life of an Actor-Manager, vol. I, p. 74. Ireland, Records of the New York stage, vol. I, p. 483. for freedom, and personal loyalty — in one central character, expressed this combination of qualities and sentiments in a
James Parton, Horace Greeley, T. W. Higginson, J. S. C. Abbott, E. M. Hoppin, William Winter, Theodore Tilton, Fanny Fern, Grace Greenwood, Mrs. E. C. Stanton, Women of the age; being natives of the lives and deeds of the most prominent women of the present gentlemen, Eminent women of the drama. (search)
career. Two of her sisters were already in the profession,--one, Mrs. Maria Bradshaw, as a singer, at Covent Garden, and the other, Mrs. Quin, as a dancer, at Drury Lane. Their influence, of course, favored their young relative, and an affectionate mother protected, cheered, and encouraged her. In 1827 she was engaged as a membd to second him in a round of his chief performances. On the 26th of October, 1841, when Macready again assumed the reins of management, in taking the lease of Drury Lane, Helen Faucit was again engaged as leading lady: and certainly it is no slight testimony to the ability and culture of the actress, that she was thus thrice choso coldly intellectual, and so hard to please, as the famous tragedian is well known to have been. Many new pieces were tried, under the new administration of Drury Lane, and in most of them Helen Faucit had to study — and, as the stage-phrase is, create --new parts. Plighted Troth, The blot in the Scutcheon, Gysippus, and The
Edward L. Pierce, Memoir and letters of Charles Sumner: volume 1, Chapter 14: first weeks in London.—June and July, 1838.—Age, 27. (search)
f here, I seemed at home again. Paris is great, vast, magnificent; but London is powerful, mighty, tremendous. The one has the manifestations of taste and art all about it; the other those of wealth and business. Public buildings here seem baby-houses compared with what Paris affords. Go to Paris, you will see art in its most various forms; you will see taste in the dress of everybody, in the arrangement of the shop-windows, and particularly in the glories of the opera. I have been to Drury Lane to-night. I went late; and yet I could not stay through the evening, so dull and tasteless did it seem. The last night I was in Paris I attended the French Opera, and the wonders of that scenic display are yet thrilling my mind. But I have not come abroad to see theatres, though these, as one phase of society, I see with interest always. I was much absorbed while in Paris with observing the administration of justice, and endeavoring to master the system of the French law,—a subject to
George Ticknor, Life, letters and journals of George Ticknor (ed. George Hillard), Chapter 3: (search)
thoughts to the stage, though it would be impossible, in a mind constituted like his, to predict the future from the present. After all, it is difficult for me to leave him, thinking either of his early follies or his present eccentricities; for his manners are so gentle, and his whole character so natural and unaffected, that I have come from him with nothing but an indistinct, though lively impression of the goodness and vivacity of his disposition. June 27.—This evening I went to Drury Lane, to see Kean in the part of Leon. Lord Byron, who is interested in this theatre, and one of its managing committee, had offered me a seat in his private box. . . . . There was nobody there, this evening, but Lord and Lady Byron, and her father and mother. It was indeed only a very pleasant party, who thought much more of conversation than of the performance; though Kean certainly played the part well, much better than Cooper does. In the next box to us sat M. G. Lewis; a very decent loo
The Daily Dispatch: March 16, 1861., [Electronic resource], Length of days. (search)
the theatrical profession, in which he succeeded, being, indeed, a formidable rival to Garrick at one time. Then he became theatrical manager, with ill success. Next, he flourished as a lecturer on elocution. After that, he became manager of Drury Lane Theatre, under his son's lessee ship. Finally, he returned to his lectures on elocution, and wrote an "Orthoepically Dictionary of the English Language," which is still held in estimation. He died in 1788. Frances Sheridan, wife of the a'Of all monsters of iniquity, the most enormous is Warren Hastings' To crown all, it is said that on this same night of Sheridan's glory in the House of Commons, his 'School for Scandal' was acted with 'rapturous applause' at Convent Garden, and his 'Duenna' no less successfully at Drury Lane." Macaulay's wonderful pen-picture of Warren Hastings, tried in Westminster Hall, by the Lords, under impeachment by the Commons, is too well known to be more than referred to here,-- Exchange paper.
The Daily Dispatch: January 2, 1863., [Electronic resource], Death of Sheridan Knowles. (search)
Death of Sheridan Knowles. --Sheridan Knowles, the dramatist, has just died in England, at the age of seventy-eight years. He was born in Cork, when Kemble and Siddons were in the first day of their triumphs at Drury Lane. At the age of twenty-four he made the acquaintance of Edmund Kean, for whom he wrote his first play, a melodrama, called "Leo, the Gipsey." In 1815 his tragedy of "Calus Gracehus" was produced at Belfast, and afterwards he wrote "William Tell" for Macready. His "Blind Beggar of Bethnal Green," produced in 1828, was a failure despite such an attractive Bass as Ellen Tree, and despite, too, the elaborate pains bestowed on the play by the disappointed author. He found ample future compensation for that and one or two other less complete failures in "Love," "The Hunchback," "The Love Chase," and "The Wife." The London Athenaeum, in a notice of the death of Knowles, thus describes his later years: If in some respects he was treated here as prophets are
The Daily Dispatch: June 23, 1863., [Electronic resource], article 25 (search)
The Germans at Frankfort on the Maine have sent 13,000 pounds of lint to the United States for the wounded Federal soldiers. Piccolomini is singing at Drury Lane, London.
The Daily Dispatch: December 31, 1864., [Electronic resource], Death of an old actor. (search)
re, where English and German children appeared on alternate nights.--Here he attracted the attention of Richard Brinsley Sheridan, who gave him an engagement at Drury Lane. That theatre being subsequently burned down, he went to Ireland; but in 1839 returned to England, and on the opening night at the New Drury Lane appeared as "ing offers from New York, and having, by the intervention of Lord Byron, who was his personal friend, obtained two years leave of absence from the management of Drury Lane, he made his first appearance in America at the Park Theatre, of this city, September 7, 1818, in the character of 'Macbeth.' --After two years of remarkable suly afterwards by the upsetting of a coach, he went home to recruit, but returned for another season to the United States, and after that became stage manager of Drury Lane, under Elliston, performing also the leading characters. In 1836, he opened the National Theatre, at the corner of Church and Leonard streets, in this city. I