Henry Irving Early career what was Henry's first job? Irving became a clerk to a firm of East India merchants in London, What was his first acting job? he made his first appearance at Sunderland as Gaston, Duke of Orleans, in Bulwer Lytton's play, Richelieu, was he good at it? Irving got stage fright and was hissed off the stage Did he look for another kind of work after that? For 10 years, he went through an arduous training in various stock companies in Scotland and the north of England, taking more than 500 parts.
when did he go back to acting?
When did Henry Irving go back to acting?
After a few years' schooling while living at Halsetown, near St Ives, Cornwall, Irving became a clerk to a firm of East India merchants in London, but he soon gave up a commercial career for acting. On 29 September 1856 he made his first appearance at Sunderland as Gaston, Duke of Orleans, in Bulwer Lytton's play, Richelieu, billed as Henry Irving. This name he eventually assumed by royal licence. When the inexperienced Irving got stage fright and was hissed off the stage the actor Samuel Johnson was among those who supported him with practical advice. Later in life Irving gave them all regular work when he formed his own Company at the Lyceum Theatre.  For 10 years, he went through an arduous training in various stock companies in Scotland and the north of England, taking more than 500 parts.  his delineations of the various characters (...) were admirably graphic, and met with repeated rounds of applause. Possesed of a fine voice, which he modulated with great taste and judgment, he was able to mark the depth or frivolity of the character he was representing with remarkable facility.  He gained recognition by degrees, and in 1866 Ruth Herbert engaged him as her leading man and sometime stage director at the St. James's Theatre, London, where she first played Doricourt in The Belle's Stratagem. One piece that he directed there was W. S. Gilbert's first successful solo play, Dulcamara, or the Little Duck and the Great Quack (1866) The next year he joined the company of the newly opened Queen's Theatre, where he acted with Charles Wyndham, J. L. Toole, Lionel Brough, John Clayton, Mr. and Mrs. Alfred Wigan, Ellen Terry and Nellie Farren. This was followed by short engagements at the Haymarket Theatre, Drury Lane, and the Gaiety Theatre. Finally he made his first conspicuous success as Digby Grant in James Albery's Two Roses, which was produced at the Vaudeville Theatre on 4 June 1870 and ran for a very successful 300 nights.  In 1871, Irving began his association with the Lyceum Theatre by an engagement under Bateman's management. The fortunes of the house were at a low ebb when the tide was turned by Irving's sudden success as Mathias in The Bells, a version of Erckmann-Chatrian's Le Juif polonais by Leopold Lewis, a property which Irving had found for himself. The play ran for 150 nights, established Irving at the forefront of the British drama, and would prove a popular vehicle for Irving for the rest of his professional life. With Bateman, Irving was seen in W. G. Wills' Charles I and Eugene Aram, in Richelieu, and in 1874 in Hamlet. The unconventionality of this last performance, during a run of 200 nights, aroused keen discussion and singled him out as the most interesting English actor of his day. In 1875, again with Bateman, he was seen as the title character in Macbeth; in 1876 as Othello, and as Philip in Alfred Lord Tennyson's Queen Mary; in 1877 in Richard III; and in The Lyons Mail. During this time he became lifelong friends with Bram Stoker, who praised him in his review of Hamlet and thereafter joined Irving as the manager for the company. CANNOTANSWER
in 1866 Ruth Herbert engaged him as her leading man and sometime stage director at the St. James's Theatre, London,
Sir Henry Irving (6 February 1838 – 13 October 1905), born John Henry Brodribb, sometimes known as J. H. Irving, was an English stage actor in the Victorian era, known as an actor-manager because he took complete responsibility (supervision of sets, lighting, direction, casting, as well as playing the leading roles) for season after season at the West End’s Lyceum Theatre, establishing himself and his company as representative of English classical theatre.  In 1895 he became the first actor to be awarded a knighthood, indicating full acceptance into the higher circles of British society.

Irving is widely acknowledged to be one of the inspirations for Count Dracula, the title character of the 1897 novel Dracula whose author, Bram Stoker, was business manager of the theatre.

Life and career
Irving was born to a working-class family in Keinton Mandeville in the county of Somerset. W.H. Davies, the celebrated poet, was a cousin. Irving spent his childhood living with his aunt, Mrs Penberthy, at Halsetown in Cornwall. He competed in a recitation contest at a local Methodist chapel where he was beaten by William Curnow, later the editor of The Sydney Morning Herald. He attended City Commercial School for two years before going to work in the office of a law firm at age 13. When he saw Samuel Phelps play Hamlet soon after this, he sought lessons, letters of introduction, and work in the Lyceum Theatre in Sunderland in 1856, labouring against great odds until his 1871 success in The Bells in London set him apart from all the rest.

He married Florence O'Callaghan on 15 July 1869 at St. Marylebone, London, but his personal life took second place to his professional life. On opening night of The Bells, 25 November 1871, Florence, who was pregnant with their second child, criticised his profession: "Are you going on making a fool of yourself like this all your life?" Irving exited their carriage at Hyde Park Corner, walked off into the night, and chose never to see her again.  He maintained a discreet distance from his children as well, but became closer to them as they grew older. Florence Irving never divorced Irving, and once he had been knighted she styled herself "Lady Irving"; Irving never remarried.

His elder son, Harry Brodribb Irving (1870–1919), usually known as "H B Irving", became a famous actor and later a theatre manager. His younger son, Laurence Irving (1871–1914), became a dramatist and later drowned, with his wife Mabel Hackney, in the sinking of the Empress of Ireland. H B married Dorothea Baird and they had a son, Laurence Irving (1897–1988), who became a well-known Hollywood art director and his grandfather's biographer.

In November 1882 Irving became a Freemason, being initiated into the prestigious Jerusalem Lodge No 197 in London. In 1887 he became a founder member and first Treasurer of the Savage Club Lodge No 2190, a Lodge associated with London's Savage Club.

He eventually took over the management of the Lyceum Theatre and brought actress Ellen Terry into partnership with him as Ophelia to his Hamlet, Lady Macbeth to his Macbeth, Portia to his Shylock, Beatrice to his Benedick, etc. Before joining the Lyceum, Terry had fled her first marriage and conceived two out-of-wedlock children with architect-designer Edward William Godwin, but regardless of how much and how often her behavior defied the strict morality expected by her Victorian audiences, she somehow remained popular.  It could be said that Irving found his family in his professional company, which included his ardent supporter and manager Bram Stoker and Terry's two illegitimate children, Teddy and Edy.

Whether Irving's long, spectacularly successful relationship with leading lady Ellen Terry was romantic as well as professional has been the subject of much historical speculation.  Most of their correspondence was lost or burned by her descendants.  According to Michael Holroyd's book about Irving and Terry, A Strange Eventful History:

Terry's son Teddy, later known as Edward Gordon Craig, spent much of his childhood (from 1879, when he was 8, until 1897) indulged by Irving backstage at the Lyceum. Craig, who came to be regarded as something of a visionary for the theatre of the future, wrote an especially vivid, book-length tribute to Irving.  ("Let me state at once, in clearest unmistakable terms, that I have never known of, or seen, or heard, a greater actor than was Irving.") George Bernard Shaw, at the time a theatre critic who was jealous of Irving's connection to Ellen Terry (whom Shaw himself wanted in his own plays), conceded Irving's genius after Irving died.

Early career

After a few years' schooling while living at Halsetown, near St Ives, Cornwall, Irving became a clerk to a firm of East India merchants in London, but he soon gave up a commercial career for acting. On 29 September 1856 he made his first appearance at Sunderland as Gaston, Duke of Orleans, in Bulwer Lytton's play, Richelieu, billed as Henry Irving. This name he eventually assumed by royal licence. When the inexperienced Irving got stage fright and was hissed off the stage the actor Samuel Johnson was among those who supported him with practical advice. Later in life Irving gave them all regular work when he formed his own Company at the Lyceum Theatre.

For 10 years, he went through an arduous training in various stock companies in Scotland and the north of England, taking more than 500 parts.

He gained recognition by degrees, and in 1866 Ruth Herbert engaged him as her leading man and sometime stage director at the St. James's Theatre, London, where she first played Doricourt in The Belle's Stratagem.  One piece that he directed there was W. S. Gilbert's first successful solo play, Dulcamara, or the Little Duck and the Great Quack (1866) The next year he joined the company of the newly opened Queen's Theatre, where he acted with Charles Wyndham, J. L. Toole, Lionel Brough, John Clayton|, Mr. and Mrs. Alfred Wigan, Ellen Terry and Nellie Farren. This was followed by short engagements at the Haymarket Theatre, Drury Lane, and the Gaiety Theatre. In the spring of 1869, Irving was one of the original twelve members of The Lambs of London—assembled by John Hare as a social club for actors—and would be made an Honorary Lifetime member in 1883. He finally made his first conspicuous success as Digby Grant in James Albery's Two Roses, which was produced at the Vaudeville Theatre on 4 June 1870 and ran for a very successful 300 nights.

In 1871, Irving began his association with the Lyceum Theatre by an engagement under Bateman's management. The fortunes of the house were at a low ebb when the tide was turned by Irving's sudden success as Mathias in The Bells, a version of Erckmann-Chatrian's Le Juif polonais by Leopold Lewis, a property which Irving had found for himself. The play ran for 150 nights, established Irving at the forefront of the British drama, and would prove a popular vehicle for Irving for the rest of his professional life. With Bateman, Irving was seen in W. G. Wills' Charles I and Eugene Aram, in Richelieu, and in 1874 in Hamlet. The unconventionality of this last performance, during a run of 200 nights, aroused keen discussion and singled him out as the most interesting English actor of his day. In 1875, again with Bateman, he was seen as the title character in Macbeth; in 1876 as Othello, and as Philip in Alfred Lord Tennyson's Queen Mary; in 1877 in Richard III; and in The Lyons Mail. During this time he became lifelong friends with Bram Stoker, who praised him in his review of Hamlet and thereafter joined Irving as the manager for the company.

Peak years

In 1878, Irving entered into a partnership with actress Ellen Terry and re-opened the Lyceum under his own management. With Terry as Ophelia and Portia, he revived Hamlet and produced The Merchant of Venice (1879). His Shylock was as much discussed as his Hamlet had been, the dignity with which he invested the vengeful Jewish merchant marking a departure from the traditional interpretation of the role.

After the production of Tennyson's The Cup and revivals of Othello (in which Irving played Iago to Edwin Booth's title character) and Romeo and Juliet, there began a period at the Lyceum which had a potent effect on the English stage.

Much Ado about Nothing (1882) was followed by Twelfth Night (1884); an adaptation of Goldsmith's Vicar of Wakefield by W. G. Wills (1885); Faust (1885); Macbeth (1888, with incidental music by Arthur Sullivan); The Dead Heart, by Watts Phillips (1889); Ravenswood by Herman, and Merivales' dramatic version of Scott's Bride of Lammermoor (1890). Portrayals in 1892 of the characters of Wolsey in Henry VIII and of the title character in King Lear were followed in 1893 by a performance of Becket in Tennyson's play of the same name. During these years, too, Irving, with the whole Lyceum company, paid several successful visits to the United States and Canada, which were repeated in succeeding years.  As Terry aged, there seemed to be fewer opportunities for her in his company; that was one reason she eventually left, moving on into less steady but nonetheless beloved stage work, including solo performances of Shakespeare's women.

Influence on Bram Stoker's Dracula

From 1878, Bram Stoker worked for Irving as a business manager at the Lyceum. Stoker idolised Irving to the point that "As one contemporary remarked, 'To Bram, Irving is as a god, and can do no wrong.' In the considered judgment of one biographer, Stoker's friendship with Irving was 'the most important love relationship of his adult life.'" Irving, however, "… was a self-absorbed and profoundly manipulative man. He enjoyed cultivating rivalries between his followers, and to remain in his circle required constant, careful courting of his notoriously fickle affections." When Stoker began writing Dracula, Irving was the chief inspiration for the title character. In his 2002 paper for The American Historical Review, "Buffalo Bill Meets Dracula: William F. Cody, Bram Stoker, and the Frontiers of Racial Decay", historian Louis S. Warren writes:

Later years

The chief remaining novelties at the Lyceum during Irving's term as sole manager (at the beginning of 1899 the theatre passed into the hands of a limited-liability company) were Arthur Conan Doyle's Waterloo (1894); J. Comyns Carr's King Arthur in 1895; Cymbeline, in which Irving played Iachimo, in 1896; Sardou's Madame Sans-Gene in 1897; and Peter the Great, a play by Laurence Irving, the actor's second son, in 1898.

Irving received a death threat in 1899 from fellow actor (and murderer of William Terriss) Richard Archer Prince. Terriss had been stabbed at the stage door of the Adelphi Theatre in December 1897 and in the wake of his death, Prince was committed to Broadmoor Criminal Lunatic Asylum. Irving was critical of the unusually lenient sentence, remarking 'Terriss was an actor, so his murderer will not be executed.' Two years later, Prince had found Irving's home address and threatened to murder him 'when he gets out'. Irving was advised to submit the letter to the Home Office to ensure Prince's continued incarceration, which Irving declined to do.

In 1898 Irving was Rede Lecturer at the University of Cambridge. The new regime at the Lyceum was signalled by the production of Sardou's Robespierre in 1899, in which Irving reappeared after a serious illness, and in 1901 by an elaborate revival of Coriolanus. Irving's only subsequent production in London was as Sardou's Dante (1903) at the Drury Lane.

On 13 October 1905, at 67 years old, Irving was taking part in a performance while on tour in Bradford, when he suffered a stroke. He was taken to the lobby of the Midland Hotel, Bradford, where he died shortly afterwards. His death was described by Thomas Anstey Guthrie in his 'Long Retrospect':

The chair that he was sitting in when he died is now at the Garrick Club. He was cremated and his ashes buried in Westminster Abbey, thereby becoming the first person ever to be cremated prior to interment at Westminster.

There is a statue of him near the National Portrait Gallery in London. That statue, as well as the influence of Irving himself, plays an important part in the Robertson Davies novel World of Wonders. The Irving Memorial Garden was opened on 19 July 1951 by Laurence Olivier.

Legacy
Both on and off the stage, Irving always maintained a high ideal of his profession, and in 1895 he received a knighthood (first offered in 1883), the first ever accorded an actor. He was also the recipient of honorary degrees from the universities of Dublin (LL.D 1892), Cambridge (Litt.D 1898), and Glasgow (LL.D 1899).  He also received the Komthur Cross, 2nd class, of the Saxe-Ernestine House Order of Saxe-Coburg-Gotha and Saxe-Meiningen.

His acting divided critics; opinions differed as to the extent to which his mannerisms of voice and deportment interfered with or assisted the expression of his ideas.

Irving's idiosyncratic style of acting and its effect on amateur players was mildly satirised in The Diary of a Nobody. Mr Pooter's son brings Mr Burwin-Fosselton of the Holloway Comedians to supper, a young man who entirely monopolised the conversation, and:
"...who not only looked rather like Mr Irving but seemed to imagine he was the celebrated actor... he began doing the Irving business all through supper. He sank so low down in his chair that his chin was almost on a level with the table, and twice he kicked Carrie under the table, upset his wine, and flashed a knife uncomfortably near Gowing's face."

In the 1963 West End musical comedy Half a Sixpence the actor Chitterlow does an impression of Irving in The Bells. Percy French's burlesque heroic poem "Abdul Abulbul Amir" lists among the mock-heroic attributes of Abdul's adversary, the Russian Count Ivan Skavinsky Skavar, that "he could imitate Irving". In the 1995 film A Midwinter's Tale by Kenneth Branagh, two actors discuss Irving, and one of them, Richard Briers does an imitation of his speech. In the play The Woman in Black, set in the Victorian era, the actor playing Kipps tells Kipps 'We'll make an Irving of you yet,' in Act 1, as Kipps is not a very good actor due to his inexperience.

In the political sitcom Yes, Prime Minister (sequel to Yes, Minister), in the episode "The Patron of the Arts", first aired on 14 January 1988, the Prime Minister is asked what was the last play he'd seen, and replies "Hamlet." When asked "Whose?"—specifically, who played Hamlet, not who wrote it—he is unable to remember and is prompted with the suggestion "Henry Irving?" to audience laughter.

Biography
In 1906, Bram Stoker published a two-volume biography about Irving called Personal Reminiscences of Henry Irving.

See also
Irving Family

Notes

References

Further reading

Stoker, Bram. Personal Reminiscences of Henry Irving: Volume 1 and Volume 2. London : W. Heinemann, 1906. Scanned books via Internet Archive.
Archer, William 1885. Henry Irving, Actor and Manager: A Critical Study, London:Field & Tuer.
Beerbohm, Max. 1928. 'Henry Irving' in A Variety of Things. New York, Knopf.
Holroyd, Michael. 2008. A Strange Eventful History, Farrar Straus Giroux, 
Irving, Laurence. 1989. Henry Irving: The Actor and His World. Lively Arts.

External links

The Irving Society
The Henry Irving Foundation
Information about Irving at the PeoplePlay UK website
NY Times article that includes information about Irving's American tour and the lease of the Lyceum to the American company at the same time
My First "Reading" by Henry Irving, an article written by Irving about a personal experience
Henry Irving North American Theatre Online with bio and pics
 Henry Irving-Ellen Terry tour correspondence, 1884-1896, held by the Billy Rose Theatre Division, New York Public Library for the Performing Arts
 
 

1838 births
1905 deaths
English male stage actors
English male Shakespearean actors
19th-century English male actors
20th-century English male actors
19th-century theatre
Actor-managers
Knights Bachelor
Actors awarded knighthoods
English people of Cornish descent
People from South Somerset (district)
Burials at Westminster Abbey
Freemasons of the United Grand Lodge of England
19th-century theatre managers
20th-century theatre managers
Members of The Lambs Club
George Walpole Leake (3 December 1825 – 3 October 1895) was a Western Australian barrister and magistrate and nephew of George Leake (1786–1849). For short periods of time he was also Attorney-General of Western Australia.

Leake held the following positions in Western Australia: Acting Crown Solicitor, 1857–8, confirmed February 1860; Acting Police Magistrate, Perth, from 1863 to 1866; Public Prosecutor, 1873 to 1874; Q.C. and Crown Solicitor, 1875; Acting Attorney-General and a member of the Executive and Legislative Councils, 1879 to 1880, and for a short time in 1883; Acting Chief Justice, 1879–80 and 1888; Police Magistrate, Perth, 1881; Acting Government Resident, Geraldton, 1886; Acting Puisne Judge, 1887 and 1889–90. In December 1890 Leake was nominated to the new Western Australian Legislative Council, having resigned his position as police magistrate.

Personal life

Leake arrived in the Swan River Colony aged 7 on 27 January 1833, on board . He travelled with his mother; his father having arrived in the colony some years previously. He did not stay long in Australia, being sent back to England after a few years to be schooled at King's College in London. Returning to the colony briefly after this, he then moved to Adelaide to study law.

He married Rose Ellen Gliddon in September 1850. Among their children were George Leake (1856–1902), who became Premier of Western Australia. Rose died in 1888, and Leake remarried shortly after to a woman 40 years his junior.

He retired in 1891, and died four years later. His estate went to his second wife. His childless brother's estate was inherited by Luke's widow, Lady Leake, when Sir Luke died in 1886. Lady Leake later married a Dr Whaler and returned to England.

See also
 Leake family tree

References

Further reading
 

1825 births
1895 deaths
Attorneys-General of Western Australia
Settlers of Western Australia
Members of the Western Australian Legislative Council
Australian people of English descent
19th-century Australian politicians The Dragon and the Prince or The Prince and the Dragon is a Serbian fairy tale collected by A. H. Wratislaw in his Sixty Folk-Tales from Exclusively Slavonic Sources, tale number 43.  Andrew Lang included it in The Crimson Fairy Book.

Ruth Manning-Sanders included it, as "The Prince and the Dragons", in A Book of Princes and Princesses.

Synopsis

An emperor had three sons.  The oldest went hunting and chased a hare; when it fled into a water-mill and he followed, it turned into a dragon and ate him.  The same thing happened to the second.

When the youngest set out, he chased the hare but did not go into the water-mill.  Instead, he searched for other game.  When he got back to the mill, only an old woman sat there.  She told him of the dragon.  He asked her to ask the dragon the secret of its strength, and whenever it told her, to kiss the place that it mentioned.  He left.  When the dragon returned, the old woman did ask it; when it told her the fireplace, she began to kiss it, and it laughed and said it was the tree in front of the house; when she began to kiss that, it told her that a distant empire had a lake, which held a dragon, which held a boar, which held a pigeon, which held its strength.

The prince set out and found the empire.  He took service as a shepherd with the emperor, who warned him not to go near the lake, though the sheep would go there if allowed.  He set out with the sheep, two hounds, a falcon, and a pair of bagpipes, and let the sheep go to the lake at once.  He challenged the dragon and it came out of the lake.  They fought together, and the dragon asked him to let it face its face in the lake.  He refused, and said if the emperor's daughter were there to kiss him, he would toss it into the air.  The dragon broke off from the fight.  The next day, the same happened, but the emperor had sent two groom to follow him, and they reported what had happened.  The third day, the emperor sent his daughter to the lake, with directions to kiss him when he said that.  They fought as before, but the emperor's daughter did kiss him, he threw the dragon into the air, and it burst when it hit the ground.  A boar burst out of it, but he caught it with the dogs; a pigeon burst out of it, but he caught it with the falcon.  The pigeon told him that behind the water mill, three wands grew, and if he cut them and struck their root, he would find a prison filled with people.  He wrung the pigeon's neck.  

The emperor married him to his daughter.  After the wedding feast, they went back and freed all the dragon's prisoners. So then he went back to the windmill, found the roots, and struck them so hard his hands turned red. So when he went back to the kingdom, he found no one. He looked every where and then went to the prison. He found everyone there. He cried and went back home and told his father what happened. Then the next day he and his brother and father dug graves for every body found in the prison.

See also
The Giant Who Had No Heart in His Body
The Sea-Maiden
The Three Daughters of King O'Hara
The Young King Of Easaidh Ruadh
What Came of Picking Flowers

References

Serbian fairy tales
Fictional princes
Fiction about shapeshifting
Fictional Serbian people