Play List:

1. The Rath Boys

2. The Witchfinder

3. A Madcap Prince

4. Corinne

5. The Queen of Connaught

6. The Nine Days’ Queen

7. The Mormons

8. The Shadow of the Sword

9. Lucy Brandon

10. Storm-Beaten

11. Lady Clare

[Flowers of the Forest]

12. A Sailor and His Lass

13. Bachelors

14. Constance

15. Lottie

16. Agnes

17. Alone in London

18. Sophia

19. Fascination

20. The Blue Bells of Scotland

21. Partners

22. Joseph’s Sweetheart

23. That Doctor Cupid

24. Angelina!

25. The Old Home

26. A Man’s Shadow

27. Theodora

28. Man and the Woman

29. Clarissa

30. Miss Tomboy

31. The Bride of Love

32. Sweet Nancy

33. The English Rose

34. The Struggle for Life

35. The Sixth Commandment

36. Marmion

37. The Gifted Lady

38. The Trumpet Call

39. Squire Kate

40. The White Rose

41. The Lights of Home

42. The Black Domino

43. The Piper of Hamelin

44. The Charlatan

45. Dick Sheridan

46. A Society Butterfly

47. Lady Gladys

48. The Strange Adventures of Miss Brown

49. The Romance of the Shopwalker

50. The Wanderer from Venus

51. The Mariners of England

52. Two Little Maids from School

53. When Knights Were Bold


Short Plays

Other Plays

Buchanan’s Theatrical Ventures in America

Poetry Readings





The Fleshly School Controversy
Buchanan and the Press
Buchanan and the Law

The Critical Response
Harriett Jay

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22. Joseph’s Sweetheart (1888) - continued


The Graphic (12 May, 1888)


. . .

     Mr. Robert Buchanan’s second adaptation of Fielding, Joseph’s Sweetheart, was brought out at the Vaudeville Theatre on March 8th, and has proved a worthy pendant to Sophia. As his mainspring of action Mr. Buchanan has given prominence to the jealous vindictiveness of Lady Booby towards Joseph Andrews and his rustic sweetheart, Fanny Goodwill (Miss Kate Rorke), whose abduction by the libertine, Lord Fellamar, is carried out at her instigation. The famous character of Parson Adams is so admirably embodied by Mr. Thomas Thorne as to be the most prominent of all.


The Era (9 June, 1888 - p.7)

[Note: On 7th June, 1888, the annual benefit performance for the Royal General Theatrical Fund was held at Drury Lane. Among the items featured was the first act of Joseph’s Sweetheart. The review of the event is available below.]


The Referee (24 June, 1888 - p.3)

     This week I have again sampled Buchanan’s strong and varied play “Joseph’s Sweetheart,” which recorded its 100th performance at the vaudeville on Monday. I found the play going splendidly, and being followed with intense interest throughout. Thomas Thorne, as Parson Adams, has a fine fat part, in which he continues to be highly popular. Fred Thorne’s Llewellyn ap Griffith, the fiery Welsh chaplain, has become a finished bit of character-acting, and pretty Kitty, as Fanny, the persecuted village beauty, is as charming as ever—in fact, more so, if possible. Miss Vane’s Lady Booby, Mr. J. S. Blythe’s Gipsy Jim, and William Rignold’s Sir G. Wilson, and Mr. Cyril Maude’s Lord Fellamar remain strong and interesting. Mr. H. B. Conway as the excellent Joseph continues to fascinate kind female friends in front. Indeed, it is a good piece.



The Stage (28 September, 1888 - p.9)

     The Vaudeville Company, after a prosperous trip to several of the principal country centres, returned to their town house on Monday evening. Joseph’s Sweetheart, which had been true to them in the metropolis, did not fail them in the provinces; nor is it likely to do so now it is once more exquisitely placed on the Vaudeville stage, and there treated with all the skill and the resource of art that characterise Mr. Thomas Thorne’s productions. The play is surely the most literary one of the year, with dialogue pointed yet entirely natural, and with simple yet powerful interests that realise and therefore justify Mr. Robert Buchanan’s aspiration to preserve in Joseph’s Sweetheart the humanity of Fielding’s genius. With Mr. H. B. Conway as Joseph Andrews—frank, open-handed, open-hearted Joseph; with Miss Kate Rorke as rustic Fanny, fragrant with country life; with Mr. Thomas Thorne as the lovable old Parson Adams, and Mr. William Rignold as Sir George Wilson, a singularly noble study of manhood—with all these, not to mention such a dark spirit as Lady Booby—a character which Miss Vane plays with so much admirable tact and finesse—or Lord Fellamar—who, as he says, is not a man but a lord, and a lord a little lower than the animals into the bargain—with these and the rest what an evening of high delight and good influence can be spent. Playgoers should at once repair to the Vaudeville, and then again repair, and yet a third time.



The Era (29 September, 1888 - p.14)


     The run of Mr Robert Buchanan’s successful comedy Joseph’s Sweetheart was resumed on Monday evening at the Vaudeville Theatre, and the piece was received with, if anything, more favour than before. With the exception of Miss Bessie Harrison, who has replaced Miss Eliza Johnstone in the part of Mrs Slipslop, the cast remains the same as before the “break.” Mr Thomas Thorne again gives excellent expression to the humour of the part of Parson Adams; and Mr H. B. Conway as Joseph and Miss Kate Rorke as Fanny Goodwill repeat their successes in those parts. Miss Vane’s Lady Booby and Mr Frederick Thorne’s Chaplain are, as hitherto, admirable impersonations; and Mr J. S. Blythe as Gipsy Jim and Mr William Rignold as Sir George Wilson have bated no jot of their former earnestness and care. There can be little doubt that Joseph’s Sweetheart has entered on a new lease of prosperity at the Vaudeville.



The Stage (21 December, 1888 - p.9)

     Madame Soldene’s “Silver wedding matinée,” given at Terry’s on Thursday last week, was well attended by playgoers who had a fond remembrance of the past good work done by the once famous prima donna of comic opera. The proceedings opened with a pianoforte solo by Mdlle. Blanche, a recitation was then given by Miss Marie Lewes, and Miss Jeanette St. Henri sang “Dear Heart,” for which she received an encore. The first act of Joseph’s Sweetheart introduced the members of the Vaudeville company, who, as usual, played admirably together in Robert Buchanan’s capital play. Then Mdlle. Blanche gave another pianoforte solo, after which was presented the balcony scene from Genevieve de Brabant, in which Madame Soldene and Miss Clara Merivale sang charmingly the well-known duet. Miss Alice Barnett then renewed acquaintance with London playgoers, and sang with expression and feeling “Sweet September.” Mr. Herbert Campbell caused laughter with his song “Have you noticed it?” and the Comtesse de Brémont sang very prettily “Have you forgotten?” and “My Love and I.” Mr. Arthur Roberts, Miss Carlotta Natale, and Mr. E. J. Lonnen, also contributed to the entertainment, the last suffering from the want of proper attention from the orchestra. Scenes from Madame Angot followed, in which Madame Soldene appeared as Lange, and failed to please the audience, who, later on, when Madame Soldene sang “The song that reached my heart,” gave vent to their displeasure and left the theatre in anything but a pleasant frame of mind.



The Morning Post (31 December, 1888 - p.2)

     “Joseph’s Sweetheart,” Mr. Robert Buchanan’s comedy, which is still playing to crowded houses, will reach its two hundred and fiftieth performance on Friday at the Vaudeville Theatre. On the same evening will be produced at this house a new comedy in one act, by Fred W. Broughton, entitled “The Poet,” in which Mr. Fred Thorne, Mr. F. Gillmore, Mr. Cyril Maude, Miss Maunders, and Miss Annie Irish will appear.



The Boston Sunday Globe (24 March, 1889 - p.16)


“Joseph’s Sweetheart”—
“The Cavalier.”

. . .

     A first production in America is the event which will call together a notable audience at the Boston Museum tomorrow evening. The play has enjoyed much vogue in England; and, like its predecessor, “Sophia,” is characterized as an admirable setting forth of a famous old novel. “Joseph’s Sweetheart” finds its origin in the story of “Joseph Andrews” and Robert Buchanan, the dramatist, has introduced in the cast of the play no less than 32 personages of the novel. A pretty prologue, to be spoken by Miss Clarke, will precede the play, promptly at 8 o’clock, which hour should find the audience all comfortably seated. The lady mentioned is to appear as Lady Booby, with Miss Allen as Fanny goodwill, Mr. Mason as Joseph, Mr. Davenport as the bad nephew, Mr. Wilson as the good old Parson Adams, and Miss Addison as Slipslop—that prototype of Mrs. Malaprop. “Joseph’s Sweetheart” will have a careful cast and appropriate stage settings.



The Boston Daily Globe (26 March, 1889 - p.8)


. . .

     It was a “happy thought”—to borrow a Burnandism—that induced Robert Buchanan to present on the stage versions of famous English novels of by-gone days. “Sophia” gave ample evidence of his skill in preserving the spirit of Fielding without the coarseness of the time. In his dramatization of “Joseph Andrews,” which was seen at the Boston Museum, last evening, for the first time in America, still further proof of Mr. Buchanan’s deftness and good judgment is afforded. “Joseph’s Sweetheart” has the prestige of a year’s run in London, where it was recognized as a wholesome, vigorous play, and found a cordial welcome to the stage. There are faults in the drama, of course, in the first two acts something too much of dialogue is noticeable, and now and then the action lags. But from the moment when the identity of the supposed Joseph Andrews is made known there is no lack of interest. The scenes in Lord Fellamar’s house, where the unfortunate Fanny is detained as prisoner, are admirably managed; and it would be difficult to find anything more effective, in its line, than the way in which the Welshman’s resentment at his treatment by the unworthy lord is made to work out a plan of escape for the imperilled beauty. Mr. Buchanan has made excellent use of the scene at Ranelagh Gardens, where the plans of Fellamar and his colleagues are overthrown; and although the happy ending of the story is foreseen, the dramatist has contrived to sustain interest through the last act, which witnesses Joseph’s triumph and his sweetheart’s vindication from the mouth of the man who had done her such wrong.
     “Joseph’s Sweetheart” is very well acted indeed by the Boston Museum company. The part of Fanny’s lover is exceedingly difficult in the opening scenes, but J. B. Mason was successful in avoiding anything like priggishness in the assumption of the virtuous lackey, and, as the play went on, the character of Joseph gained more and more the sympathetic interest of the audience. Mr. Mason has given the stage no more sincere or earnest impersonation. Miss Allen, made an interesting heroine, though a trifle too “emotional,” perhaps, in one or two scenes. Miss Annie M. Clarke gained a success akin to that won by this accomplished actress in “Sophia.” She spoke the prologue, written for this play by Mr. Buchanan, with charming grace and spirit, and acted the selfish, amorous, revengeful-minded Lady Booby to the life from first to last.
     Good old Parson Adams, delightful in his little vanity no less than in his goodness of heart, was set forth most skilfully by George W. Wilson, who has added in this portrayal another to a long list of successes in character acting. That forerunner of Mrs. Malaprop, the Mistress Slipslop, found excellent interpretation at the hands of Miss Fanny Addison; and her “derangement of English” aroused much merriment. In a line quite different from that in which he has usually appeared E. L. Davenport deserves cordial praise for his work as Lord Fellamar, and one of the best things certainly that T. L. Coleman has ever done is his personation of Llewellyn. It added greatly to the effect of the scenes at Fellamar’s house and at Ranelagh. Miss Ryan as the curate’s wife, and little Olive Homans as the pet of the flock of Parson Adams merit praise, as well as Leslie Allen’s Sir George Wilson.
     The play is prettily staged at the Museum, the view of Ranelagh Gardens at night winning particular approval. Last evening’s audience was very large and uncommonly appreciative. After all the acts the curtain was raised on the  tableaux, and the players were frequently summoned to bow their acknowledgements. H. M. Pitt, almost the only member of the company not in the cast, was honored with a special “call,” which gave pleasant proof that the work he has done in the stage management of the play was by no means unrecognized. “Joseph’s Sweetheart” closed its course at 11.20 last evening. Tonight the final lines will be said at a much earlier hour, so that suburbans and city folks alike can enjoy the new Museum offering.


[Part of the programme for Joseph’s Sweetheart at the Boston Museum.]


[From The Era (14 September, 1889 - p.3).]


The Era (12 October, 1889 - p.14)

On Monday, Oct. 7th, 1889, the Comedy-Drama, in Five Acts,
dramatised by Robert Buchanan from
Fielding’s celebrated Novel “Joseph Andrews,” entitled

Joseph Andrews       ... ... ...     Mr ALGERNOON SYMS
Sir George Wilson    ... ... ...     Mr JAMES MUNRO
Llewellyn ap Griffith      ... ...     Mr WILLIAM GARDINER
Gipsy Jim                  ... ... ...     Mr EDWARD LEIGH
Squire Booby           ... ... ...    Mr WILLIAM GLENNY
Lord Fellamar          ... ... ...    Mr WALTER STEADMAN
Sir Harry Dapper     ... ... ...    Mr HEINRICH W. VARNA
Parson Adams         ... ... ...    Mr J. B. HOWE
Lord Supple              ... ... ...   Mr FRANK BEAUMONT
Gamekeeper             ... ... ...    Mr BARRETT
Constable                  ... ... ...   Mr ELSEY
Lord Fellamar’s Servant ... ...    Mr GREGORY
Fanny Goodwill       ... ... ...    Miss MAUDE MARSHALL
Mrs Slipslop             ... ... ...     Mrs S. LANE
Mrs Adams              ... ... ...     Miss MARY GRIFFITHS
Abe                          ... ... ...     Miss KELSEY
Mrs Green                ... ... ...     Miss M. PETTIFER
Lady Spangle           ... ... ...    Miss ADA MORGAN
Lady Flutter             ... ... ...    Miss LIZZIE HOWE
Lady Booby             ... ... ...    Miss OLIPH WEBB

     A new departure was taken on Monday evening last at the Hoxton home of drama, which was then devoted to the exposition of comedy-drama, the piece chosen being Mr Buchanan’s generally appreciated and laudable adaptation of Fielding’s novel “Joseph Andrews,” which under the title of Joseph’s Sweetheart secured considerable favour at the Vaudeville. The production, we may as well say at once, was highly creditable to Mrs Lane, who delighted her admirers by appearing herself in the rôle of Mrs Slipslop, the ancestress of Mrs Malaprop, a part to which ripe and extensive experience enabled her to do full justice. The “nice derangement of epitaphs” was perhaps scarcely so well understood at the Britannia as at the smaller West-end house; but the Hoxton Britons loyally cheered their popular proprietress, and were evidently much rejoiced to see her on the stage where her chief triumphs have been gained. Mr J. B. Howe, an excellent character actor, in the lighter phases of the part of Parson Adams, was a little too heavy, but he made ample amends by his rendering of the pathetic scenes shared by the benevolent old clergyman. It is necessary to remember that the Britannia is a large house, that conversational tones would scarcely reach the back seats of the gallery, and that, therefore, declamation of a determined kind is necessary if an actor wishes to impress the vast audience that is always present on Monday evening at Mrs Lane’s house. That Mr Howe did impress his hearers was evident enough, and by this time, no doubt, he has got into the skin of his rôle, as our lively Gallic neighbours say, and is all that could be wished in a part that is full of opportunities. Mr Algernon Syms will also be better after a night or two’s acquaintance with Joseph Andrews. He was duly light and playful in his love scenes with Fanny Goodwill, but was a little hard in the interview with Sir George Wilson. Miss Maude Marshall had the distinct advantage of looking the part of Fanny Goodwill to perfection, and her graceful style and clear elocution are also in her favour. Her distress at the conduct of Lord Fellamar might, perhaps, have been more heart-searching and convincing, but she is a winsome young actress, who should rapidly grow in popular favour. Miss Oliph Webb, the Lady Booby, caught the true tone of high comedy in her acting. Her ladyship had quite the necessary distinction of style. Her cutting sarcasms were uttered with an air of good breeding and of familiarity with the etiquette of the society of the period, and the whole rendering proved what a clever and versatile actress Miss Webb is. Mr William Glenny was gay and gallant as Squire Booby, and made good use of his chances in the scene in the third act with Sir George Wilson, carefully played by Mr James Munro. Llewellyn ap Griffith found a melodramatic representative in Mr William Gardiner. Mr Edward Leigh, whose acting is always capable, was sufficiently truculent as Gipsy Jim, and Mr Heinrich W. Varna, whose steady progress in his profession is conspicuous, brought the part of Sir Harry Dapper into agreeable prominence. The surprise of the cast was Mr Walter Steadman’s Lord Fellamar. It was difficult to imagine that this heartless young fop, with an air of gay nonchalance, was played by the same actor who had many a time and oft roused the ire of the gods by dark deeds of stage villainy, committed with frowning brow and vengeful mien. But so it was. Lord Fellamar is about the best thing we have seen Mr Steadman do, and no praise that we could pen would be too high for such a clever grasp of the character. Miss Mary Griffiths did well as the parson’s wife; and Miss Lizzie Howe, Miss Ada Morgan, Miss Kelsey, Miss Pettifer, and Miss Neuman were safe in minor parts. Mr Frank Beaumont, Mr Barrett, Mr Kelsey, and Mr Gregory completed the cast. Those who look upon the Britannia as a theatre famous only for stock melodrama should assuredly visit it during the short run of Joseph’s Sweetheart. To conclude the programme The Phantom Breakfast is played. Selby’s farce is preceded by Sam Redfern’s philosophy and by the leg-mania act of the Ollives and Merry Martell.


[Poster for Joseph’s Sweetheart at the Britannia Theatre, Hoxton, 7-12 October, 1889.]


The Edinburgh Evening News (22 October, 1889 - p.2)


     There is a charming eighteenth-century flavour about “Joseph’s Sweetheart,” presented last night to Theatre-Royal play-goers. The old-fashioned dresses, including periwigs, low obeisances, quaint oaths, and such incidents as the forcible abduction of a humble beauty by a man of fashion, recall the “good old days when George the III. was King,” which one likes to read about, but would not care to see back again. The London of last century had its Ranelagh and Vauxhall; the London of our time insists on having its Aquarium and Trocadero. As presented last night at the Royal, the comedy-drama which Mr Robert Buchanan has founded on Fielding’s novel formed a very enjoyable evening’s entertainment. The plot evolves gradually and naturally, there are several very strong situations, and the piece as a whole has human nature in it, and contrasts very favourably with the inanities and puerilitites to which playgoers are often treated. The Parson Adams of Mr Thomas Thorne is a very clever, capable, and consistent piece of acting. The amiability, eccentricity, and humour of the worthy old curate received full justice from Mr Thorne, even if he has at times a tendency to pander to the “gods” in the direction of farce. As Joseph Andrews, Mr Frank Gillmore showed considerable promise, and acted carefully, and Mr Fred. Thorne made a good deal out of the character of the fiery little Welshman, Llewellyn-ap-Griffiths. The Lady Booby of Miss Gladys Ffolliott was excellent. She portrayed the airs, passion, and hate of the heartless woman of the world with great ability, quietly adding a touch here and a trait there till the character stood out clear and distinct in all its unloveliness. Miss Ella Banister’s Fanny Goodwill while at times fairly good, lacked light and shade. She seemed to be always at high pressure, and this distracted from the effect of her acting when the delineation of strong emotion was needed. A word of praise is due to Miss Sylvia Hodson’s Mrs Slipslop, whose fondness of words she does not understand and cannot pronounce, is worthy of Mrs Malaprop. The other characters were fairly filled. The piece was well-staged, and got a hearty reception from a house, which, considering the disagreeable nature of the evening, was good.



The Western Daily Press, Bristol (5 November, 1889 - p.6)



     Mr Thomas Thorne, supported by the members of his London Vaudeville Company, made his first appearance in Bristol at the Prince’s Theatre last evening in Mr Robert Buchanan’s comedy-drama “Joseph’s Sweetheart,” which has a very successful run of 300 nights at Mr Thorne’s London house, and has been attracting large audiences wherever it has been produced in the provinces. This is the second novel of Fielding’s that has been dramatised by Mr Buchanan. “Sophia” was founded on “Tom Jones,” and “Joseph’s Sweetheart” tells the story of Joseph Andrews, but an author’s note on the play bill when the latter piece was produced at the Vaudeville stated that it was rather a play utilising some of Fielding’s characters than a dramatisation of Fielding’s story. Parson Adams, thanks to Mr Thorne’s admirable impersonation of the good-hearted, self-denying country curate, who, while preaching peace, is nevertheless a member of the church militant, is the central figure of the play; but prominence has been given to the jealous vindictiveness of Lady Booby towards Joseph Andrews and his rustic sweetheart, Fanny Goodwill, whose pure and unselfish love stands out in pleasing contrast to the licentious conduct of the high-born personages who plot to bring about her ruin. The play, which is divided into five acts, has been most skilfully constructed, with the result that the action is brisk throughout, and many of the situations are wonderfully strong. It is mounted with scrupulous care, and eighteenth century dresses are charming examples of the costumier’s art. Readers of Fielding’s novel will not be surprised ton learn that there are features in the play which do not accord with modern tastes and ideas, but the task which Mr Buchanan set himself was a difficult one, and the wonder is that he accomplished it with so much success. Of the manner in which the play was presented by Mr Thorne and the members of his company there could not have been two opinions. Every character was in good hands, and, although Mr Thorne’s own share in the performance stood out with great prominence, the acting all round reached a very high standard of excellence, and called forth frequent outbursts of applause. It is a pity, however, that the language put into the mouth of the titled libertine Lord Fellamar is not shorn of certain coarse expressions, the frequent use of which was certainly not calculated to enhance the enjoyment of the audience. Mr Thorne has studied the character of parson Adams in every detail, and his sketch of the struggling but contented country parson, willing to make any sacrifice to befriend the needy, and having sufficient of the man about him to appreciate what is meant by muscular Christianity, was remarkably clever. Mr Frank Gillmore’s Joseph Andrews was a highly praiseworthy performance; and as the aristocratic villain, Lord Fellamar, Mr Cyril Maude acted with much skill, as did Mr C. Harbury as Sir George Wilson and Mr Stanley Hope as Squire Booby, while Mr Frederick Thorne created considerable amusement out of the role of Llewellyn ap Griffiths, a cruel caricature of a Welsh chaplain. Miss Ella Bannister played Fanny Goodwill with charming naturalness and freshness of style, and Miss Gladys Ffolliott was very effective in the difficult and unenviable part of Lady Booby, whose jealous hatred knows no bounds, and who, after finding that her scheming has failed, and that the happiness of the lovers is assured, declines to accept the inevitable, but continues to give vent to her displeasure down to the fall of the curtain. Miss Sylvia Hodson had an amusing part in Miss Slipslop, whose “connubial declivities” and other Malapropisms created roars of laughter. Miss Coralie Owen was excellent as Mrs Adams, and all the minor parts were, as we have already stated, ably filled. The principal artistes were re-called and heartily applauded at the close of each act, and “Joseph’s Sweetheart” is to be repeated each evening during the week.



The Stage (22 November, 1889 - p.9)

     The Vaudeville re-opens on Thursday next with Joseph’s Sweetheart. On Tuesday next the Vaudeville company will give a performance of Buchanan’s play at the Crystal Palace.



The Morning Post (30 November, 1889 - p.5)


     In reopening the theatre for the season on Thursday evening, Mr. Thomas Thorne was unfortunate in having the rivalry of an important first night at the Garrick Theatre to lure from the Strand many who would gladly have been present to witness once more the admirable acting of the popular lessee in the character of Parson Adams; for Mr. Thorne had not commenced the season with a new piece, “Joseph’s Sweetheart,” which has already enjoyed such a successful run at this theatre, being the attraction. Meanwhile, advantage has been taken of the interval during which the theatre has been closed to redecorate it, and to enliven the stage with a new act drop painted by Mr. Hann, and representing Windsor Castle. It will be remembered that in originally producing his excellent adaptation of the novel “Joseph Andrews,” Mr. Robert Buchanan rationally suggested that it was not necessary in treating these works of a past age in dramatic form to adhere to the custom of the period so closely as to reproduce on the modern stage the coarse language which made the works so objectionable. Adopting this policy, Mr. Buchanan was able to preserve the spirit and character of Fielding’s story, and in “Joseph’s Sweetheart” he has certainly produced a pleasant and genial comedy, the reception of which upon its reappearance on Thursday was gratifying to both author and manager. Mr. Thomas Thorne has seldom had a character that suited him so well, and repeated performances have served to mellow and enrich what was of excellent quality in the first instance. There are evidences throughout of the observant and intelligent study Mr. Thorne has devoted to this character, which stand forth prominently among the stage portraits he has presented. Mr. Frederick Thorne is also to be credited with excellent acting as the Chaplain. He plays the character extremely well, and with plenty of vigour and energy. The brightness of style Mr. Frank Gillmore possesses enables him to do justice to the character of the hero, and Mr. Cyril Maude, a young actor as full of zeal as of intelligence, may always be trusted to give an effective interpretation of the author’s conception. The smaller male parts are well filled, and Miss Ella Bannister makes a very pleasing impression in the part of Fanny, her earnestness and simplicity of style being suitable and appropriate to the character. Miss Sylvia Hodson deserves great commendation for her capital rendering of Mrs. Slipslop. Miss Gladys Ffolliott, Miss Coralie Owen, Miss Rose Dudley, and others efficiently sustained their respective parts, and Master Vivian Deane agreeably played the boy Abe. The representation was in every way creditable to the theatre and performers.



The Stage (6 December, 1889 - p.9)

     Pending the production of Clarissa, Mr. Thomas Thorne has again revived Joseph’s Sweetheart at the Vaudeville, where the new season began on Thursday in last week. The captivating Joseph and the other attractive figures in Robert Buchanan’s admirable play have been closely followed up during their country perambulations in the provincial columns of THE STAGE, and the present exponents criticised at length on more than one occasion. Of the Thursday’s performance, therefore, not much need be said, save to remark that it was difficult to forget the delightful Fanny Goodwill of both Miss Kate Rorke and Miss Winifred Emery, the comely and pleasing Joseph of Mr. H. B. Conway, the Sir George Wilson of Mr. W. Rignold, and the very clever Lady Booby of Miss Vane, belonging to an earlier cast. The impersonations now given in the place of the foregoing ones by Miss Ella Banister, Mr. Frank Gillmore, Mr. C. Harbury, and Miss Gladys Ffolliott, however, have many compensating merits; and with the Messrs. Thorne and the remaining members of the former company co-operating with the newcomers and bringing the advantages of long familiarity to bear upon the characters assumed, a smooth, highly-artistic performance is the natural, as it is the very enjoyable result. Playgoers cannot see Joseph’s Sweetheart too often, and as the present revival is but a brief one, they cannot see it too soon.



Next: That Doctor Cupid (1889)

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