The Adelphi

“ Therefore, 'tis the brother-authors, "hoi Adelphoi," who have blundered. Undoubtedly. An Adelphi audience is not to be satisfied with a one-scene piece, when that scene is without any incident in it worth a melodramatic father's cuss. ”

“ Evenings, he would lay aside his doll and tell me fables. He had learned many from his father, a Persian, and he was constantly visiting orientals to pick up their stories and jokes. I hear his smooth, somnolent voice...an effortless story- teller!
“I will certainly come and visit you,” he writes. “I am tired of Adelphi. The people make me uncomfortable. I want to roam over Lesbos, to be with you and Alcaeus. ”

“ Patrick Campbell, was acting in a drama by G. R. Sims. There were doubts whether the methods of an actress who had graduated at the Adelphi were suitable to the St. James's, but Pinero suggested to Alexander that they should see what impression she produced upon them in a talk with her in a room. The interview took place, and after it Pinero told Alexander that, if she would act on the stage as she talked in his office, he felt pretty sure that she was the woman for the part. But her engagement was dependent on her release by the management of the Adelphi. ”

“ The Adelphi was one of the newer theaters in that neighborhood. Its name has been changed now. At this time Whittall was reputed to be the owner, but I do not know if this was so. It was perfectly clear, though, that Max Krueger was Whittall's creature, “Wild Hyacinth,” I should say, was not showing at the Adelphi, but at the Yorktown, farther down Broadway, which was much larger and had a greater seating capacity.
A deceitful air of activity pervaded the offices. Apart from rehearsals, theatrical business seems to consist of lengthy conversations which end exactly where they begin. ”

“ Rudolph having married her in ignorance of that fact, and by a coincidence which, though intensely melo-dramatic, every body foresees who has ever been three times to the Adelphi theatre.
To describe the last scene would be the height of presumption in PUNCH. Nobody but “Satan” Montgomery, or the Adelphi play-bill, is equal to the task. We quote, as preferable, the latter authority:—“Grand inauguration of Wilhelm, the rightful heir. CORAL CAVES and CRYSTAL STREAMS: these are actually obtained by a HYDRO-SCENIC EFFECT! As the usual area devoted to illusion becomes a reality!” ”

“ Terriss lying in a state of delirium or unconsciousness on the stairs leading to the dressing-rooms in the Adelphi Theatre. He was surrounded by people engaged at the theatre, amongst whom were Miss Millward and one of the footmen who attend the curtain, both of whom I actually saw a few hours later at the death scene. His chest was bare and clothes torn aside. Everybody who was around him was trying to do something for his good. This dream was in the shape of a picture. ”

“ After he came into the management of the Adelphi he chose more eccentric parts. The chief feature in his acting was versatility. Oxberry, always grudging in recognition, called him a mere mimic, and in that capacity far inferior to Mathews. Unconsciously contradicting himself, he praised him in Cornet Carmine and in other parts; and, while denying him any claim to be a tragedian, said that in romantic and ‘undefined’ parts he stood nearly alone. ‘Give Mr. Yates an excrescence upon nature and he is at home. Nothing could be more vivid than his Berthold. ”

“ The severity of Demea, and easiness of Micio, throw mutual light; and we could not be so well acquainted with the misanthropy of Alceste, were it not for the fashionable complaisant character of Philinte311.” Accordingly, in the modern drama, we often find, that if one of the lovers be a gay companion, the other is grave and serious; like Frankly and Bellamy, in the Suspicious Husband, or Absolute and Faulkland in the Rivals. Yet in the Adelphi, the contrast, perhaps, is too direct, and too constantly obtruded on the attention of the audience. ”

“ Her first appearance in the west-end was at the Adelphi, where, as Mrs. Stirling from Birmingham, she succeeded Mrs. Nisbett, her manager, as Biddy Nutts in Buckstone's ‘Dream at Sea.’ A prominent position was thus at the outset assigned her. She was a brilliantly pretty woman, with much grace and propriety of style, carriage, and diction. ”

“ On 9 Oct. 1843 Miss Woolgar made her London debut at the Adelphi as Cleopatra in Selby's burletta 'Antony and Cleopatra.' With the Adelphi she was long associated. Her first original character there was in T. Egerton Wilks's romantic drama 'The Roll of the Drum' on 16 October. ”

“ Spearman did not appear to notice them, though Paul's smile must have told him of their presence. Elis broke the silence: "Mijok and the others of my people do not create gods. We live by our own light so far as it reaches, without fear of the mysteries beyond it." His voice, so seldom loud in anything but laughter, boomed and echoed back from the thatched walls. "At Adelphi, orders derive from the laws, which are made by all of us and understood by all of us." ”

“ Neville's impassioned and romantic style of acting, which gave a character to the Olympic productions, contrasted with the over-charged, highly coloured style then current at the Adelphi. But early in 1867 he migrated to the Adelphi, where, on 16 March, he was the original Job Armroyd in Watts Phillips's 'Lost in London,' and on 1 June the original Farmer Allen in Charles Reade's version of Tennyson's 'Dora.' On 31 Aug., on Miss Kate Terry's farewell, he played Romeo to her Juliet, and on 26 Dec. ”

“ Unfortunately, however, the murdered man, with that superhuman strength which on the stage and in novels always accompanies the agony of death, had managed in falling from the dog-cart to throw the marriage certificate up a fir tree! There it is found by a worthy farmer who talks that conventional rustic dialect which, though unknown in the provinces, is such a popular element in every Adelphi melodrama; and it ultimately falls into the hands of an unscrupulous young man who succeeds in blackmailing Mr. Bourchier and in marrying his daughter. ”

“ In November 1859 Madame Celeste began her management of the Lyceum with ‘Paris and Pleasure,’ an adaptation of ‘Les Enfers de Paris.’ With the loss of her youth her attractions diminished, and the disadvantage of a singularly foreign pronunciation became more evident. In October 1874, at the Adelphi, in her favourite character of Miami, which she played for twelve nights, Madame Celeste took her farewell of the stage, to which no inducement could persuade her to return. ”

“ That seems a small thing to you?" Hanaud asked at a movement from Ricardo. "Well, it is no doubt a trifle, but it's a significant trifle in the case of a young rich man. It is generally a sign that there is something strange, perhaps even something sinister, in his life. Mr. Calladine, some months ago, turned out of St. James's into the Adelphi. Can you tell me why?"
"No," replied Mr. Ricardo. "Can you?"
Hanaud stretched out a hand. In his open palm lay a small round hairy bulb about the size of a big button and of a colour between green and brown. ”

“ Ricardo she had merely a bow, a bow which recognised that he distrusted her and that she had no right to be offended. Then she went, and Hanaud smiled across the table at Ricardo.
"Yes," he said, "all that you are thinking is true enough. A man who slips out of society to indulge a passion for a drug in greater peace, a girl who, on her own confession, tried to steal, and, to crown all, this fantastic story. It is natural to disbelieve every word of it. But we disbelieved before, when we left Calladine's lodging in the Adelphi, and we were wrong. ”

“ Alec D'Urbeville, who would be thoroughly in his element in an Adelphi Drama of the most approved type, ancient or modern. He is just the sort of stage-scoundrel who from time to time seeks to take some mean advantage of a heroine in distress, on which occasions said heroine (of Adelphi Drama) will request him to "unhand her," or to "stand aside and let her pass;" whereupon the dastardly ruffian retaliates with a diabolical sneer of fiendish malice, his eyes ablaze with passion, as, making his melodramatic exit at the O.P. wing, he growls, "Aha! a day will come!" ”

“ On Easter Monday 1853 he began a new management of the Adelphi with Lemon's farce, ‘Mr. Webster at Home.’ He gave on 8 June Boucicault's ‘Geneviève,’ in which he played Lorin; produced on 10 Oct. his own ‘Discarded Son,’ and was Falstaff in a revival of the ‘Merry Wives of Windsor.’ On 20 March 1854 he was the first Father Radcliffe in Taylor and Reade's ‘Two Loves and a Life;’ played two parts, Diogenes and Ferdinand Volage, in the ‘Marble Heart,’ Selby's adaptation of ‘Les Filles de Marbre,’ 31 May; was Richard Pride in Boucicault's ‘Janet Pride,’ 5 Feb. ”

“ A memorable session during the reign of James I., which, though it lasted from 5th April 1614 to 7th June 1615, passed no new measure whatever.
Adelaide. The capital of South Australia, an island, and also a noted hostelry on Haverstock Hill, named in honour of the consort of William IV.
Adelphi. The collective name for several streets and a noble terrace on the south side of the Strand, built by the Brothers Adam. Adelphi is Greek for “brothers.” ”

“ In course of a dispute with the 'Edinburgh Dramatic Review' it came out that Murray's salary had been 46l. a week, with 100l. annually for his expenses as manager.
Refusing an offer to act at Covent Garden, Murray remained at Edinburgh, and secured the lease not only of the Theatre Royal, but also, in conjunction with Yates, of the playhouse in Leith Walk which had been known during the previous ten years as the Pantheon and latterly as the Caledonian, but was now renamed the Adelphi. The partnership with Yates lasted only one year. ”

“ PLANCHÉ, JAMES ROBINSON (1796–1880) , English dramatist and antiquary, was born in London on the 27th of February 1796, the son of a watchmaker of Huguenot descent. In 1810 he was articled to a bookseller. In 1818 his first dramatic piece, a burlesque entitled Amoroso, King of Little Britain, was produced at Drury Lane theatre. From this time onwards he made play-writing his principal work. In 1820–1821 he wrote ten pieces for the Adelphi theatre. In 1823 he designed the dresses for Charles Kemble's revival of King John at Covent Garden, and superintended its production. ”

“ TEARLE, OSMOND (1852–1901) , actor, whose full name was George Osmond Tearle, born at Plymouth on 8 March 1862, was son of George Tearle, colour-sergeant in the royal marines. After serving in the Crimean and China wars his father retired on pension to Liverpool. Educated there at St. Francis Xavier's College, Tearle took part in amateur theatricals, and in 1868 in 'penny readings' with Mr. T. Hail Caine. Inspired by Barry Sullivan's acting, he took to the stage, making his debut at the Adelphi Theatre, Liverpool, on 26 March 1869, as Guildenstern to Miss Adelaide Ross's Hamlet. ”

“ It is impossible to count upon renewing such effects as those in Formosa, The Flying Scud, and in the Prodigal Daughter at Drury Lane, wherein the wrong horse was poisoned (in a really dramatic scene) , and Leonard Boyne, riding the winner, cleared the brook, thus causing part-author Druriolanus to clear—any amount of money. There are no two exciting scenes like these in this Adelphi drama. Its comic relief is "poor relief," and would go for nothing at all, were it not in the hands of Mr. Dale, who played and sang so well in Miss Decima at the Criterion, and of the vivacious Miss Clara Jecks. ”

“ A young man of worthy upbringing but wholly ignorant of art, who perpetrated the daubs which you see upon the walls here, was struck with my success. Only last Thursday an elderly gentleman, such a one as might have been selected by my own employés, was stopped in Hampstead and asked whether he had seen the sketches of Sidney Wentworth, displayed in Manchester Street, Adelphi. ”

“ I came back to Adelphi Terrace in the hot, reeking August dusk, reflecting that the mystery in which I was involved was, after a fashion, standing still. In front of our house I noticed a taxi waiting. I thought nothing of it as I entered the murky hallway and climbed the familiar stairs.
My door stood open. It was dark in my study, save for the reflection of the lights of London outside. As I crossed the threshold there came to my nostrils the faint sweet perfume of lilacs. There are no lilacs in our garden, and if there were it is not the season. ”

“ Jimmy and Sally are pretty rugged. They'll be wild to join us. Sally will be at the intercom right now, tearing her pretty hair out in handfuls. They might as well chance it with us.... Where do you people live? We saw a—settlement? Over there south of the lake."
Wright glanced at Paul with vague entreaty. It was Miniaan who spoke, the small silver of her voice a music [201] in the sun-streaked shadow: "The settlement below the lake is a thing of the past, an empire that died. We live on a warm island over yonder, the other side of those mountains, the island Adelphi. ”

“ The hour of repose had long since sounded, when, passing along the gallery to go to my bed, I met a white figure, that carried a night lamp.
It was Adelheid:—"Good evening," said she, laughing; "beautiful wolf-hunter! why do you run thus without a light, all alone, like a real spectre?"
At this word spectre, I trembled from head to foot, and I recalled the two first nights of my stay at the castle. Adelheid perceived the sudden emotion that agitated me.
"Well!" exclaimed she, taking my hand, "what is the matter with you? you are cold as marble; come, let me give you life and health. ”