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336:, for whom Kean had had a personal dislike, Bucke pulled the play out of contempt for Kean's conduct. After much cajoling by the theater staff to perform the play, Mr. Bucke then later had it republished with a preface concerning the incident, including excerpts from correspondence between the involved parties, which was later challenged in two books, "The Assailant Assailed" and "A Defense of Edmund Kean, Esq." The result was loss of face on both sides, and the play being performed anyway on 3 April 1819 to a disastrous reception, thanks to the controversy already surrounding the play and Kean's previous conduct.
374:
633:, who was then living in Paris. Kean: Genius or Scoundrel (Italian: Kean - Genio e sregolatezza) co-written, directed by and starring Vittorio Gassman, is a 1956 Italian dramatization of the life of Kean. It is based on the drama play Kean (1836) by Alexandre Dumas and its 1953 adaptation by Jean-Paul Sartre. It was screened at the Locarno Film Festival in 1957. The film's sets were designed by the art director Gianni Polidori. Much of the film was shot at the Teatro Valle in Rome.
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288:, which was on the verge of bankruptcy, resolved to give him a chance among the "experiments" they were making to win a return of their popularity. When the expectation of his first appearance in London was close upon him, he was so feverish that he exclaimed, "If I succeed I shall go mad." As he was unable to afford medical treatment for some time, his elder son died the day after he signed the three-year Drury Lane contract.
170:'s ballet of "Cymon." As a child, his vivacity, cleverness and ready affection made him a universal favourite, but his harsh circumstances and lack of discipline fostered self-reliance and wayward tendencies. About 1794 a few benevolent persons paid for him to go to school, where he did well; finding the restraint intolerable, however, he went to sea as a cabin boy at
370:." Kean had previously acted Tate's Lear, but told his wife that the London audience "have no notion of what I can do till they see me over the dead body of Cordelia." Kean played the tragic Lear for a few performances. They were not well received, though one critic described his dying scene as "deeply affecting;" with regret, Kean reverted to Tate.
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Kean's lifestyle became a hindrance to his career. As a result of his relationship with
Charlotte Cox, the wife of a City of London alderman, Kean was sued by Mr. Cox for damages for criminal conversation (adultery). Damages of ÂŁ800 were awarded against him by a jury that had deliberated for just 10
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of his son, Charles Kean, who was also an accomplished actor. At the words "Villain, be sure," in scene 3 of act iii, he suddenly broke down, and crying in a faltering voice "O God, I am dying. Speak to them, Charles," fell insensible into his son's arms. He died a few weeks later in Surrey, and is
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submitted his play "The
Italians, or; The Fatal Accusation" to Drury Lane, for which Kean was to play the lead. The play was well received by both council and actors until Kean seemed to have a change of heart and began to make several offhand remarks that his part was not big enough for him. Then,
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launched a violent attack on him. The adverse decision in the criminal conversation case of Cox v. Kean on 17 January 1825 caused his wife to leave him, and aroused against him such bitter feeling that he was booed and pelted with fruit when he re-appeared at Drury Lane, nearly compelling him to
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roused the audience to almost uncontrollable enthusiasm. Contemporaries recognized that Kean had brought dignity and humanity to his portrayal of the character. Jane Austen refers to his popularity in a letter to her sister
Cassandra dated 2 March 1814: "Places are secured at Drury Lane for
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He returned to
England and was ultimately received with favour, but by now he was so dependent on the use of stimulants that the gradual deterioration of his gifts was inevitable. Still, his great powers triumphed during the moments of his inspiration over the absolute wreck of his physical
492:, where there is a floor plaque marking his grave, as well as a wall plaque that was originally on the outside, but was moved inside and heavily renovated during restoration work in 1904. He is buried in the parish church of All Saints, in the village of
519:, it was in the impersonation of the great creations of Shakespeare's genius that the varied beauty and grandeur of the acting of Kean were displayed in their highest form, although probably his most powerful character was Sir Giles Overreach in
209:, then considered the great exponent of these roles. Kean's talent and interesting countenance caused a Mrs. Clarke to adopt him, but he took offence at the comments of a visitor and left her house suddenly, returning to his old surroundings.
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and met the actor at supper, speaks of his "unassuming manner ... partaking in some degree of shyness" and of the "touching grace" of his singing. Kean's delivery of the three words "I answer—No!" in the part of Sir Edward
Mortimer in
529:, the effect of his first performance of which was such that the pit rose en masse, and even the actors and actresses themselves were overcome by the terrific dramatic illusion. His main disadvantage as an actor was his small stature.
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On the death of his uncle, she took charge of him, and he began the systematic study of the principal
Shakespearean characters, displaying the peculiar originality of his genius with interpretations entirely different from those of
252:, who began by calling him "a horrid little man." Upon further experience of his ability, she said that he "played very, very well," but that "there was too little of him to make a great actor." He made an early appearance with
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A second visit to
America in 1825 was largely a repetition of the persecution which he had suffered in England. Some cities showed him a spirit of charity, but many audiences subjected him to insults and even violence. In
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233:. He subsequently joined Saunders's circus, where in the performance of an equestrian feat he fell and broke both legs, the accident leaving traces of swelling in his insteps throughout his life.
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Newspaper notice for meeting of the Boston
Debating Society: "Would the public be justified in expelling Kean the tragedian from the stage on account of his private character?" (October 1825)
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His eccentricities at the height of his fame were numerous. He chose his dinner according to the role he was to play. For a tyrant pork, for a murderer beef and for a lover mutton.
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actor, who performed, among other places, in London, Belfast, New York, Quebec, and Paris. He was known for his short stature, tumultuous personal life, and controversial divorce.
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604:, cast Macready into an abyss of despair at rivalling him in this role. So full of dramatic interest is the life of Edmund Kean that it formed the subject for the play "Kean" by
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Sometimes he would ride recklessly on his horse, Shylock, throughout the night. He was presented with a tame lion with which he might be found playing in his drawing-room. The
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316:" demonstrated his mastery of the range of tragic emotion. His triumph was so great that he himself said on one occasion, "I could not feel the stage under me."
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343:. The success of his visit to America was unequivocal, although he fell into a vexatious dispute with the press. In 1821, he appeared in Boston with
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after a performance in
February 1819 where Kean went out of his way to botch the opening night of "Switzerland," a play by historical novelist
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Exterior of the
Richmond Theatre and Edmund Kean's House. Kean was manager of the Richmond Theatre from 1831 until his death in 1833.
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743:(1997). O'Toole delivered the line, "dying is easy; comedy is hard" and attributed it to the last words of Kean in the 1982 movie
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Saturday, but so great is the rage for seeing Kean that only a third and fourth row could be got." Successive appearances in "
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Kean was the first to restore the tragic ending to Shakespeare's "King Lear," which since 1681 had been replaced on stage by
990:'Fulham: Walham Green and North End', in Old and New London: Volume 6, (London, 1878) pp. 521-528. British History Online
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George Daniel, quoted in Grace Ioppolo, "William Shakespeare's King Lear: A Sourcebook." London, Routledge, 2003, p. 79.
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faculties. His appearance in Paris was a failure owing to a fit of drunkenness. He appeared in the title part of
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At age 14, he obtained an engagement to play leading characters for 20 nights in the York Theatre, appearing as
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Actors and Actresses of Great Britain and the United States from the days of David Garrick to the present time
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in 1831, continuing in that role until his death two years later. He resided in a house next to the theatre.
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who attended his performances, and he was purportedly made an honorary chief of the tribe, receiving the name
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said of him, "He is a magnificent uncut gem; polish and round him off and he will be a perfect tragedian."
159:'s clerk, and his mother was an actress, Anne Carey, daughter of the 18th-century composer and playwright
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Becoming Shakespeare: The Strange Afterlife That Turned a Provincial Playwright into the Bard.
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Table Talk of Samuel Taylor Coleridge and The Rime of the Ancient Mariner, Christobel, &c
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On 29 November 1820, Kean appeared for the first time in New York City as Richard III at the
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A Celebrated Old Playhouse: The History of the Richmond Theatre in Surrey from 1765 to 1884
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in 1827 as a comeback role at Drury Lane, but the play was not a success. He turned down
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On his return to England, he sought the protection of his uncle, Moses Kean, a mimic,
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Authentic memoirs of Edmund Kean, containing a specimen of his talent at composition
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adapted the Dumas play into a French silent feature film starring Russian actor
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For several years his prospects were very gloomy, but in 1814 the committee of
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owned a finger-ring that had once belonged to Kean, and used it as a literary
174:. Finding life at sea even more restricting, however, he pretended to be both
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1342:. Vol. 15 (11th ed.). Cambridge University Press. pp. 705–706.
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said, "Seeing him act was like reading Shakespeare by flashes of lightning."
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Old Drury Lane: Fifty Years' Recollections of Author, Actor, and Manager
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A print of Edmund Kean as Shylock in Shakespeare's "Merchant of Venice."
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905:"The Italians, or; The Fatal Accusation," preface pages v through xxvi
922:"" in "Shakespeare Tragedies," Oxford University Press, 1912, p. 743.
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1066:"BBC - Shakespeare on Tour - Hell-raising actor appears in Penzance"
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Kean made his first appearance on the stage at age four as Cupid in
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This article incorporates text from a publication now in the
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retire permanently into private life. For many years, he lived at
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The acclaimed latter 20th-century British theatre and film actor
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https://www.british-history.ac.uk/old-new-london/vol6/pp521-528
427:. Kean's last appearance in New York was on 5 December 1826 in
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248:. In 1807, he played leading parts in the Belfast theatre with
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Caricatures, cartoons and portraits of Edmund Kean, 1812-1833
130:(4 November 1787 – 15 May 1833) was a British
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The Life and Adventures of Edmund Kean, Tragedian, 1787-1833
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for the writing of the second volume of his autobiography
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Several theatrical works have been based on Kean's life:
1312:: Edmund Kean, New York, Columbia University Press, 1933
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and lame so skillfully that he deceived the doctors at
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767:"Edmund Kean, MM, St. Marks Lodge at Glasgow No.102"
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and general entertainer who, besides continuing his
1033:Kershaw, S. W. (April 1902). "Portraits in Stone".
431:, the role in which he was first seen in America.
419:, he was much impressed with the kindness of some
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1120:Coleridge, Samuel Taylor; Morley, Henry (1884).
483:on 15 March 1833, when he played Othello to the
291:His opening at Drury Lane on 26 January 1814 as
1404:Freemasons of the United Grand Lodge of England
1365:New York Public Library for the Performing Arts
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1010:New York, Columbia University Press, 1933 p 275
1357:of an Aesthetic Realism lecture by Eli Siegel
1353:Richard Henry Dana on Edmund Kean's Acting,
236:At about this time, he picked up music from
1363:, held by the Billy Rose Theatre Division,
355:. On 4 June 1821, he returned to England.
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155:. His father was probably Edmund Kean, an
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1204:'The South Bank Show' - 'Peter O'Toole',
894:The Works of Lord Byron, footnote pg. 202
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1288:(Downey & Co. Limited, London, 1897)
1023:. Cambridge University Press, 2003. p.59
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479:His last appearance on the stage was at
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193:studies, introduced him to the study of
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1141:. London: Michael Joseph. p. 119.
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834:. Cleveland Jewish News. Archived from
622:achieved one of his greatest triumphs.
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1372:An Inventory of the Collection at the
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323:Portrait of Edmund Kean as Richard III
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956:Boston Commercial Gazette, 10-27-1825
832:"This day, May 15, in Jewish history"
741:Loitering with Intent: The Apprentice
726:
700:, 1978, a BBC Play of the Month with
260:, going on to marry Mary Chambers of
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1439:Actors from the City of Westminster
859:"There, They Could Say, Is the Jew"
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593:, who was much impressed by Kean's
472:He took over the management of the
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1126:. New York: Routledge. p. 38.
943:, "Introduction" from "King Lear"
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327:In 1817, a local playwright named
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1399:English male Shakespearean actors
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1091:. Ashgate Publishing. p. 2.
1021:The Orient on the Victorian Stage
771:Provincial Grand Lodge of Glasgow
229:, who commanded him to appear at
1394:19th-century English male actors
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1242:(Tinsley Brothers, London, 1869)
1424:English people of Irish descent
1250:On Actors and the Art of Acting
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37:Kean as Sir Giles Overreach in
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1182:Thaxter, John (31 May 2007).
884:Jane Austen letters 28A11/B26
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709:, 1983, a YTV biography with
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555:were among his visitors and
351:, an adaptation of Racine's
347:in "The Distrest Mother" by
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1252:(Smith Elder, London, 1875)
1238:Frederick William Hawkins,
1139:The Great British Breakfast
1048:Bingham, Frederick (1886).
662:, 1953 (produced 1954 with
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1310:Hillebrand, Harold Newcomb
1306:New York: Walker & Co.
1284:Joseph Fitzgerald Molloy,
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1004:Hillebrand, Harold Newcomb
615:Kean, ou Désordre et génie
526:A New Way to Pay Old Debts
43:A New Way to Pay Old Debts
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1370:Theater Arts Manuscripts:
1206:London Weekend Television
406:, much closer to London.
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1112:Coleridge, Samuel Taylor
1054:. London: Henry Vickers.
682:, a Broadway musical by
559:was his devoted friend.
474:Richmond Theatre, Surrey
368:The History of King Lear
1434:People from Westminster
1429:Male actors from London
1355:report by Carol McCluer
1339:Encyclopædia Britannica
1240:The life of Edmund Kean
1087:Kahan, Jeffrey (2006).
945:Oxford University Press
515:Encyclopædia Britannica
498:Gustavus Vaughan Brooke
272:Drury Lane and New York
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468:, a role that went to
466:James Sheridan Knowles
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341:Anthony Street Theatre
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242:James Harvey D'Egville
1184:"Kean Theatre Review"
670:and in 2007 starring
650:Alexandre Dumas, père
618:, in which the actor
608:as well as a play by
585:In his earlier days,
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456:Thomas Colley Grattan
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410:Second American visit
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1409:People from Horndean
1302:Lynch, Jack (2007).
1265:, "Edmund Kean," in
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573:Lucius Junius Brutus
500:took up the part of
488:commemorated in the
244:, and fencing from
223:Richardson's Theatre
197:. At the same time,
168:Jean-Georges Noverre
1374:Harry Ransom Center
1255:Henry Barton Baker
1208:documentary (1993).
1118:, 27 April 1823 in
718:, a tragicomedy by
1246:George Henry Lewes
1137:Read, Jan (1981).
864:The New York Times
777:on 22 October 2020
727:Cultural influence
620:Frédérick Lemaître
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553:Richmond the Black
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207:John Philip Kemble
199:Charlotte Tidswell
1297:Chatto and Windus
1291:Edward Stirling,
1281:, New York, 1886)
1279:Cassell & Co.
1233:The Life of E. K.
1221:Francis Phippen,
1168:Los Angeles Times
627:Alexandre Volkoff
625:In 1924 director
512:According to the
504:vacated by Kean.
435:Decline and death
147:Kean was born in
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517:Eleventh Edition
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672:Antony Sher
612:, entitled
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429:Richard III
417:Quebec City
334:Jane Porter
298:Richard III
195:Shakespeare
161:Henry Carey
149:Westminster
128:Edmund Kean
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753:References
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360:Nahum Tate
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387:minutes.
314:King Lear
262:Waterford
213:Discovery
157:architect
138:Biography
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