WhiteRoseTwo

OUR artists have sketched from this romantic drama the effective scene outside Woodstock Manor House with Alice pleading to Cromwell for her lover’s life. Other incidents shown are a scene between Cromwell and his daughter; the quarrel between Sir H. Lee and Tompkins stopped by Everard; Tompkins and Phœbe; the dance of the peasantry while the soldiers are in Conventicle; the fugitive King about to take to the secret chamber with a meat pie to fall back upon, &c., &c.

(p.20)

[Click the picture for a larger version.]

Boston Evening Transcript (16 May, 1892 - p.7)

MUSIC AND DRAMA.
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A New Play on a Scott Romance.
__

(Regular Correspondence of the Transcript.)
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   LONDON, May 7.
   From every-day melodrama to historical romance is a jump indeed for the Adelphi Company; but one so neatly and excellently performed that they have all alighted on their feet without a stumble. Truly several of them tread this new ground with even better grace than they had in their old footing. “The White Rose” by George R. Sims and Robert Buchanan, is not “Woodstock” dramatized, but, as the authors tell us, a four-act romantic drama founded on Walter Scott’s novel. Cromwell is presented to us more as the father than as the stern leader of the Puritans. The interest is centred in the love that both Alice Lee and Elizabeth Cromwell feel for the hero. A most sympathetic creation this Elizabeth, this good pure English maiden with her tender devotion for her father, and care for his honor, whose love for Markham Everard is so unselfish that she saves his life to give him up to the woman he loves best. Markham Everard has saved the fugitive king, and for this is condemned to death. But when accused of having broken his oath, he answers, “I swore that no stain of shame should dishonor our cause. I have kept my word; I’ve not only saved Charles Stuart’s life, I have saved the honor of England.”
   Cromwell remains unbending until almost the moment when Everard is to be shot. Elizabeth’s successful appeal for forgiveness, which is the closing of the play, ranks among the best scenes in it. She reminds Cromwell that he has prayed that Charles Stuart might not fall into his hands, and that he should not have to take his life. If there is a traitor, then she is the one, for, remembering her father’s prayer, she has charged Everard to save the fugitive if ever it was in his power. She also reminds him how, out of his deep love for her, he wanted to secure her happiness by marrying her to Everard; how his wrath kindled when he learned Alice Lee was the rival of his child, and she ends by saying, “Father, you have not condemned this man because he is a traitor, but because he could not love your daughter!” “Child, child, thou hast torn my heart open!” cries out the father, and when Elizabeth with sublime untruth assures him that she had mistaken her own heart, which contained only sisterly affection for Everard, he forgives.
   Most admirably does Mrs. Patrick Campbell impersonate sweet Elizabeth. That the actress who was so successful as the heartless woman in “The Trumpet Call” should prove so gentle and sympathetic in this part, speaks volumes for her talent. She also has the great merit of knowing just what should be said simply, and what should be emphasized in the delivery of her words. A charming creation is Elizabeth on the part of the authors; and equally charming interpretation is she in the hands of the actress. Alice Lee is a character well suited to Miss Evelyn Millard. This young lady proves herself the worthy daughter of her gifted father (one of our best elocutionists) and improves with every new part. In this character she makes a pretty picture and acts with much earnestness. Leonard Boyne has never done anything better than Markham Everard. Whether as soldier, patriot or lover, he seems to put his heart and soul in his work. It is a most spirited, fervent and picturesque performance, and carries the sympathy of the spectator throughout. George Cockburn as Colonel Yarborough, Mr. Beveridge as Sir Harry Lee, and Charles Dalton as Roger Wildrake deserve words of praise. As Cromwell, Charles Cartwright has no easy task. Nervousness on the first night perhaps took a little away from the dignity of the character. (Of course we judge the Cromwell of the play without questioning if he be historical or not). The use of the actor’s voice was perhaps a little forced here and there; but on the whole it was a fine impersonation. Mr. Cartwright was especially good in his scenes with Elizabeth. In the second act Cromwell has two dreams. First he sees the execution of Charles I., then the picture changes to the death bed of his daughter. Cromwell wakes in an agony of grief, and calls for Elizabeth in heart-broken accents, sobbing violently as she rushes in and he clasps her in his arms. So true were Mr. Cartwright’s accents here that he roused the house to well-deserved enthusiasm. Altogether “The White Rose” is a success, and it is pleasing to see the drama once more lifted out of the commonplace.
   MARIE DE MENSIAUX.

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The Theatre (1 June, 1892)

Our Play-Box.
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“THE WHITE ROSE.”

Romantic drama, in four acts, founded on Sir WALTER SCOTT’S novel “Woodstock,” by
GEORGE R. SIMS and ROBERT BUCHANAN.
First produced at the Adelphi Theatre, Saturday evening, April 23rd, 1892.

Roundheads.

Col. Markham Everard ... Mr. Leonard Boyne.
Oliver Cromwell ... Mr. C. Cartwright.
Colonel Yarborough ... Mr. Geo. Cockburn.
General Harrison ... Mr. R. Davis.
Mr. Bletson ... Mr. H. Cooper, junr.
Captain Pearson ... Mr. Howard Russell.
Joseph Tomkins ... Mr. C. Collette.
Ezekiel Robins ... Mr. F. T. Lingham.
Ephraim Wood ... Mr. W. Northcote.
Habakkuk ... Mr. E. Saxon.
Corporal of the Guard ... Mr. F. Anderson.
Elizabeth Cromwell ... Mrs. P. Campbell.

Soldiers, Citizens, Commissioners, etc.,

Royalists.

Charles Stuart ... Mr. Fuller Mellish.
Sir Harry Lee ... Mr. J. D. Beveridge.
Albert Lee ... Mr. Mathew Brodie.
Roger Wildrake ... Mr. Charles Dalton.
Jolliffe ... Mr. Arthur Leigh.
Jeremiah Holdfast ... Mr. Lionel Rignold.
Landlord ... Mr. H. Cooper.
Alice Lee ... Miss E. Millard.
Maid at Inn ... Miss Alice Bronze.
Phœbe Mayflower ... Miss Clara Jecks.

Melodrama has for so long a time reigned at the Adelphi, that some little curiosity was aroused as to whether Messrs. Gatti’s patrons would accept in its place romantic drama in the form of a costume play. The departure, to all appearances, has been a successful one, for the house is nightly crowded. Following in the main Sir Walter Scott’s novel, Messrs. Sims and Buchanan have imported into their work (in the greater portion of two acts) entirely fresh incident, growing out of the aspect under which they present Oliver Cromwell’s character, that of a sympathetic almost mystic enthusiast, the one great passion of his life being the love he bears his daughter Elizabeth. But little attention has been paid to historical record as far as these characters are concerned, and in lieu of Colonel Markham Everard being made a tool by Cromwell, he is one of his most trusted and beloved lieutenants. Colonel Everard is in love with Alice Lee, and befriends her father when Woodstock is confiscated by the Parliamentary Commission. He drives out Colonel Yarborough when he comes to take possession, and for this is summoned before Cromwell to explain his conduct. Elizabeth Cromwell, who is deeply attached to Everard, pleads his cause, and Cromwell, who has learnt her secret and wishes to see her happy, bestows even greater favours on Everard. Albert Lee introduces to his father’s house as a fugitive (representing him as a young Scotch nobleman) Charles Stuart, who is endeavouring to escape over seas. The vicious king makes love to his generous host’s daughter, confides to her who he really is, and is pressing on her his dishonourable proposals when they are interrupted by the entry of Colonel Everard. He draws upon Charles, when Alice rushes between them announcing that his opponent si the King. Everard, though a Roundhead, has always looked upon the execution of Charles I as a murder; he will not be a party to the capture of the young king, and he passes him through the lines, and, denounced by Colonel Yarborough, is condemned to death by Cromwell. Elizabeth again pleads his cause, and after a severe struggle in Cromwell’s mind, obtains not only his pardon, but smooths the way to his marriage with Alice Lee. Mr. Charles Cartwright gave a very powerful rendering of the Cromwell that the authors drew, and in the scene of the dream in which he is supposed to witness the execution of Charles I, and the subsequent death of his beloved daughter, he fairly brought down the house. Mrs. Patrick Campbell’s Elizabeth Cromwell was eminently moving and pathetic, the perfect type of a gentle and loving woman. Mr. Leonard Boyne threw into the part of Colonel Everard the romance and earnestness which it requires. Mr. George Cockburn made his mark as the intriguing and envious Colonel Yarborough. Miss Evelyn Millard pleased her audience as Alice Lee, though her method was at times stagey, and Messrs. Charles Collette and Lionel Rignold, and Miss Clara Jecks supplied the comedy element amusingly. Messrs. Beveridge and Matthew Brodie should be favourably mentioned. The scenery surpassed even what is usually provided at the Adelphi, and “Karl” may be complimented on the accuracy of his designs of the handsome costumes.

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The Edinburgh Evening News (8 June, 1892 - p.2)

Everyone feels sorry for George R. Sims and Robert Buchanan. As they were desirous of teaching the Adelphi playgoer his melodramatic fare was indigestible and not altogether artistic, they took Scott’s “Woodstock” and converted it into a poetic, romantic play. The critics applauded; the superior public talked of patronising the Adelphi; while the old degenerate Adelphi patrons have left “The White Rose” severely alone. They scorn to be elevated even at the bidding of their whilom favourites, George R. Sims and Bard Buchanan, and “The White Rose” is to be withdrawn.

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The Era (10 September, 1892 - p.7)

THE BRITANNIA.
On Monday, Sept. 5th, the Romantic Drama, in Four Acts,
by G. R. Sims and Robert Buchanan,
Founded on Sir Walter Scott’s “Woodstock,” entitled
“THE WHITE ROSE.”

ROUNDHEADS.

Oliver Cromwell ... ... Mr W. H. PERRETTE
Colonel Markham Everard Mr ALGERNON SYMS
Colonel Yarborough ... ... Mr EDWARD LEIGH
General Harrison ... ... Mr POULTON
Captain Pearson ... ... Mr BARRETT
Joseph Tomkins ... ... Mr G. B. BIGWOOD
Ezekiel Robins ... ... Mr KELSEY
Ephraim Wood ... ... Mr GREGORY
Habakuk ... ... Mr LUCAS
Corporal of the Guard ... ... Mr F. BEAUMONT
Elizabeth Cromwell ... ... Miss OLIPH WEBB

ROYALISTS.

Charles Stuart ... ... Mr WALTER COPLEY
Sir Harry Lee ... ... Mr J. MUNRO
Albert Lee ... ... Mr BRUCE LINDLEY
Roger Wildrake ... ... Mr WALTER STEADMAN
Jolliffe ... ... Mr ATTERTON
Jeremiah Holdfast ... ... Mr W. GARDINER
Alice Lee ... ... Miss BEATRICE TOY
Maid ... ... Miss F. KELSEY
Milkmaid ... ... Miss MANNING
Phœbe Mayflower ... ... Miss NELLIE CLARK

Messrs G. R. Sims and Robert Buchanan’s drama The White Rose has been the attraction at the Britannia Theatre, Hoxton, this week. As our readers will remember, the authors founded their play upon Sir Walter Scott’s novel “Woodstock,” and utilised the material at their disposal to such advantage as to produce a very interesting and touching piece, full of action and incident, and containing some very clever characterisation. The hero is not, as usual in plays of the period, a Royalist. Colonel Markham Everard is a Parliamentarian, and it is the conflict between his political principles and his higher instincts which creates one of the most telling situations of the drama. Markham is sent to turn the old Royalist, Sir Harry Lee, and his daughter Alice out of their house. Albert, Sir Harry’s son, introduces Charles II. into Woodstock Chase as a Scottish friend, Lord Wilmot. Everard, by protecting Sir Harry and his daughter against the rudeness of the Parliamentary Commissioners, places himself in danger from the wrath of Cromwell. Roger Wildrake, a rough and ready friend of Everard’s, proceeds to Windsor Castle, and “interviews” the Lord protector; but Colonel Yarborough, a rejected suitor of Alice Lee, who is in love with Everard, arrives at the Castle, and gives his version of Everard’s conduct. Finally, Markham arrives also, and makes his defence. Matters are further complicated by the affection for Everard which springs up in the breast of Cromwell’s daughter Elizabeth, and by the amorous attacks made by the sheltered Charles upon Alice Lee, whom he places in several highly compromising situations. In the end, however, the lovers are united.
In the original performance of the piece, Mr Leonard Boyne enacted Colonel Markham Everard, Mr Charles Cartwright appeared as Oliver Cromwell, Mr Charles Collette was the Joseph Tomkins, Mrs Patrick Campbell gave a charming embodiment of Elizabeth Cromwell, Mr Fuller Mellish played Charles Stuart, Mr J. D. Beveridge was Sir Harry Lee, and Mr Lionel Rignold and Miss Clara Jecks were also in the cast. A pillar of strength in the representation at the Britannia Theatre this week has been Mr G. B. Bigwood, who has positively revelled in the humour of the rôle of Joseph Tomkins, and has made that personage extremely amusing. Mr W. H. Perrette has made a stern and dignified Cromwell; Mr Edward Leigh has depicted cleverly the malicious disposition of Colonel Yarborough; and Miss Oliph Webb has played Elizabeth Cromwell in a manner which has maintained her reputation as an actress of delicacy and tenderness. Mr Walter Copley has enacted Charles II. in dashing and energetic style, the necessary dash of supremacy not being omitted. Mr J. Munro has been solid, careful, and paternal as Sir Harry Lee; Mr Bruce Lindley has shown spirit and activity as Albert Lee; and Mr Walter Steadman has displayed his versatility by the admirable manner in which he has portrayed Roger Wildrake. Mr W. Gardiner has been very quaint and droll as the butler, Holdfast; and Miss Beatrice Toy is a sweetly sympathetic Alice Lee, Miss Nellie Clark being brisk and lively as Phœbe Mayflower.

[Programme for The White Rose at the Britannia Theatre, Hoxton, September, 1892.]

The Era (29 October, 1892 - p.9)

THE MARYLEBONE.
On Monday, Oct. 24th, the Drama,
by G. R. Sims and Robert Buchanan, entitled
“THE WHITE ROSE.”

ROUNDHEADS.

Elizabeth Cromwell ... ... Mrs HENRY GASCOIGNE
Oliver Cromwell ... ... Mr J. FRED. POWELL
General Harrison ... ... Mr WILMORE
Joseph Tomkins ... ... Mr C. A. MORGAN
Ezekiel Robins ... ... Mr W. GILMORE
Habakuk ... ... Mr G. DAWSON
Colonel Yarborough ... ... Mr J. K. WALTON
Colonel Markham Everard Mr W. J. ROBERTSON
Captain Pearson ... ... Mr J. P. EMERY
Ephraim Wood ... ... Mr WILLIAMS
Corporal of the Guard ... ... Mr TOWLER

ROYALISTS.

Charles Stuart ... ... Mr. J. HENDERSON
Albert Lee ... ... Mr ARTHUR KINGSLEY
Jolliffe ... ... Mr GOUGH
Alice Lee ... ... Miss MABEL PATE
Landlady ... ... Miss M. THORNE
Sir Harry Lee ... ... Mr EDWARD BODDY
Roger Wildrake ... ... Mr WILFORD BAILEY
Jeremiah Holdfast ... ... Mr ARTHUR RICH
Phœbe Mayflower ... ... Miss LUCY MURRAY
Maid of the Inn ... ... Miss KATE HALLAM

“Mrs Henry Gascoigne and the favourite Marylebone Company”—says the programme at the popular theatre in Church-street, Marylebone, this week. Favourites, indeed, are the artists who have so well won the affections of local playgoers. And justly favourites, if careful, assiduous labour in the service of public recreation can merit liking and admiration. This week the piece chosen for the display of the talents of this capable company is The White Rose, which was originally performed with great success at the Adelphi Theatre last April. The story, as some of our readers may remember, deals with the adventures of Charles Stuart while hiding from the pursuit of the soldiers of the Commonwealth. Contrary to stage custom, the hero, Colonel Markham Everard, is a Parliamentarian. His Cromwell-ism is, however, mitigated by courtesy and humanity, and he interferes to protect Sir Harry Lee and his daughter Alice from the rude and churlish Cimmissioners. Charles Stuart is introduced into Sir Harry’s house in disguise, and is concealed. There is an underplot connected with the love of Elizabeth Cromwell for Everard; Charles, true to his nature, repays the hospitality of Sir Harry by making improper overtures to his daughter; Colonel Everard secures the escape of the future king, and gives himself up to be shot, but is saved from execution by the entreaties of Elizabeth, assisted by the irritation caused in Cromwell by the too-exultant expressions of Colonel Yarborough, Everard’s jealous enemy.
The romantic story so well told by Messrs G. R. Sims and Robert Buchanan has been developed with striking skill this week by the Marylebone company. Mrs Henry Gascoigne, of whom, by-the-by, a fine portrait larger than life-size stands in the vestibule of the theatre, plays Elizabeth Cromwell with great sweetness and delicacy. Her performance is especially pure and poetical in the interview between Elizabeth and Everard in the second act. Mrs Gascoigne is both intellectually elevated and emotionally intense. Her Elizabeth is replete with grace, charm, and true femininity. Mr J. F. Powell’s Oliver Cromwell is a fine historical portrait. Mr Powell does full justice to the solid grandeur of Cromwell’s character, and is very effective in the scenes in which the authors have shown the Dictator endeavouring to arrange a match between Everard and Elizabeth. Mr Arthur Rich evokes roars of laughter by his broadly droll representation of Jeremiah Holdfast; Mr C. A. Morgan depicts Joseph Tomkins with much dry humour; and Miss Lucy Murray is bright, smart, and piquant as Phœbe Mayflower. Mr W. J. Robertson merits special praise for the nobility and manliness of his impersonation of Colonel Markham Everard. His acting in the third division of the piece, when Everard is harassed by conflicting impulses and emotions, is very powerful indeed. Mr Arthur Kingsley is excellent as Albert Lee; and Mr J. Henderson depicts with great skill the curious character of Charles Stuart. Miss Mabel Pate’s Alice is full of stately grace and natural amiability, and Mr Wilford Bailey makes a palpable hit as the roystering Roger Wildrake. Mr J. K. Walton gives marked effect to the rôle of Colonel Yarborough, which he plays with admirable energy and emphasis. Mr J. P. Emery appears to great advantage as Captain Pearson. In the dressing and mounting of the drama evident pains have been taken. The costumes are picturesque and well made; and the scenery, considering the revival is only for six nights, is very well done. The minor parts are carefully sustained; and the supernumeraries have been marshalled with much care. The White Rose has been preceded by Diamond Cut Diamond, with Mr Edward Boddy as Mr Hartley, Mr Wilford Bailey as Captain Howard, Mr Arthur Rich as Trap, and Miss Lucy Murray as Charlotte.

[Advert for The White Rose at the Britannia Theatre, Hoxton
from The Hackney Express and Shoreditch Observer (19 September, 1896 - p.2).]

The Era (26 September, 1896 - p.11)

THE BRITANNIA.
On Monday, Sept. 21st, the Romantic Drama, in Four Acts,
founded on Sir Walter Scott’s Novel “Woodstock,”
by George R. Sims and Robert Buchanan, entitled
“THE WHITE ROSE.”

Oliver Cromwell ... ... Mr HUGH CARMICHAEL
Colonel Markham Everard Mr ALGERNON SYMS
Colonel Yarborough ... ... Mr EDWARD LEIGH
General Harrison ... ... Mr POULTON
Captain Pearson ... ... Mr BARRETT
Joseph Tomkins ... ... Mr J. DUNLOP
Ezekiel Robins ... ... Mr KELSEY
Ephraim Wood ... ... Mr GREGORY
Corporal of the Guard ... ... Mr F. BEAUMONT
Elizabeth Cromwell ... ... Miss MARY KILPACK
Charles Stuart ... ... Mr EDWIN FERGUSSON
Sir Harry Lee ... ... Mr J. B. HOWE
Albert Lee ... ... Mr BRUCE LINDLEY
Roger Wildrake ... ... Mr WALTER STEADMAN
Jolliffe ... ... Mr ATTERTON
Jeremiah Holdfast ... ... Mr J. ROWLAND
Landlord ... ... Mr BROUGHTON
Alice Lee ... ... Miss BEATRICE DAY
Maid at Inn ... ... Miss FLORRIE KELSEY
Milkmaid ... ... Miss MAGGIE KELSEY
Phœbe Mayflower ... ... Miss MARIE BRIAN

From the modern realism of It’s Never Too Late to Mend to the romance and chivalry of the Cavalier and Roundhead period of English history is a far cry, but Mrs Lane has had excellent warranty for the change in the crowds that have flocked to the great theatre in Hoxton during the week, and that have shown the deepest interest in the incidents and events of Messrs George R. Sims and Robert Buchanan’s piece, which is founded on Sir Walter Scott’s romance of “Woodstock.” The representation at the Britannia is noteworthy for the fact that it introduces for the first time to London a young actress in the person of Miss Beatrice Day, who comes with good credentials from the provinces. Her Alice Lee is instinct with refinement and charm, and her tall, graceful figure and fascinating appearance fit her admirably for heroic female parts. She has an excellent voice, and her acting is full of sensibility and intelligence. The part of the Royalist maiden is not one with great opportunities, but they are sufficient for Miss Day to show that she is an acquisition to the Britannia company. Mr Algernon Syms as Colonel Markham gives strength and earnestness to the character and convictions of the conscientious Roundhead; Mr Hugh Carmichael submits a thoughtful and intelligent performance of Oliver Cromwell; and Mr Walter Steadman becomes very popular as Roger Wildrake, so staunch to the interests of his friend Everard. Miss Mary Kilpack figures pathetically as Elizabeth Cromwell, being especially good in her intercession for the condemned Everard. Mr J. B. Howe makes a dignified Sir Harry Lee, the loyal old Royalist; the comic interludes of the piece are ably treated by Mr Joseph Rowland as Jeremiah Holdfast and Miss Marie Brian as Phœbe Mayflower; and Mr J. Dunlop displays ability in the humorous rôle of Joseph Tomkins, the military clerk. Efficient aid is lent to the drama by Mr Edwin Fergusson as Charles Stuart, in spite of a tendency that this actor has to a throaty utterance; and by Mr Bruce Lindley as Albert Lee. Mr Edward Leigh as Colonel Yarborough brings out the sinister nature of the part, and the minor characters are effectively delineated. To the varieties Miss Marie Gilbert, a male impersonator, and the Four Holsworths, in Dixie’s Land, contribute; the concluding farce being John Oxenford’s No Followers Allowed.

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Next: The Lights of Home (1892)

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