450:
33:
940:
666:
834:
479:. The two were married on 7 August 1869. She adopted his stage surname, and after their marriage they almost always appeared in the same productions. They remained at the Haymarket until the end of 1874, during which period she played the four parts listed above and seventeen other leading roles. Among the new plays in which she starred were a series of "fairy comedies" by
190:, a dramatist who led the movement toward naturalistic acting and design in theatre. Her elder sisters Fanny (1830–1903) and Georgina (1840–1913) became actresses. Another brother, Edward Shafto Robertson (1844–1871), became an actor. Kendal attended a music academy and later recorded in her memoirs that her father continually educated her in literature.
879:, to comparable popular and critical approval. After a brief return to London they set off on a second and more extensive American tour with a larger repertoire. From October 1891 to May 1892 they made what they billed as their third and last American tour, playing in a total of thirty-five cities. They reappeared on the London stage at the
156:
Kendals were part of a movement to make
British theatre more socially respectable, and she became known as "the matron of the English theatre". She was active in charitable causes but became estranged from her four surviving children later in life. Kendal outlived her husband and died in retirement at her home in
1237:
Ervine wrote that W.H. Kendal was not in his wife's class as an actor: "he was dull and pompous, both as a player and a private person, a solemn, sententious man whose heavy utterances were received by his wife as the most delicious sallies of wit; and he made a cult of respectability which, although
1223:
The theatre had attracted this label as early as 1839: "this very beautiful but most unlucky theatre", and it continued throughout most of the 19th century: "an establishment long reputed the most unfortunate in London (1859); "this seemingly ill-fated place of amusement" (1875); "an unlucky one; its
968:
Mrs Kendal should really be more cautious than she was at the
Garrick on Wednesday night. When you feed a starving castaway you do not give him a full meal at once: you accustom him gradually to food by giving him small doses of soup. Mrs Kendal, forgetting that London playgoers have been starved for
151:
between 1879 and 1888, transforming the fortunes of their theatre, previously known for financial failure. In the late 1880s and early 1890s the
Kendals spent much of their time in the US, touring more than 40 cities, and making a considerable amount of money. After returning to acting in Britain for
1115:
Madge Kendal was undoubtedly our greatest comedian; she was the first to interpret her art in a modern spirit – the first to be untheatrical, unsentimental – attainments described by your critic as "coldness of temperament and superficiality of thought". Surely a flagrantly indiscriminate summary of
901:
What of Mrs Kendal's reading of the part of Paula? It is the work of an accomplished comedienne who has at her command all the resources of her art. Comparisons are odious, and I do not propose to compare Mrs Kendal with Mrs
Patrick Campbell except on one point. She certainly puts a greater depth of
155:
Madge Kendal was generally considered a finer actor than her husband, and was particularly known for her performances in comic parts. Critical opinion was more divided about her performances in serious roles; some critics regarded her naturalistic acting as sensitive, while others found it cold. The
127:
in London in 1869, when she was 21. While in the company she met and married the actor W. H. Kendal. After their marriage, in August 1869, the two made it a rule to appear in the same productions, and became known to the public as "The
Kendals". They appeared together in new plays by such dramatists
973:
Shaw judged that "her finish of execution, her individuality and charm of style, her appetisingly witty conception of her effects, her mastery of her art and of herself her still supreme among
English actresses in high comedy". The biographer Richard Foulkes writes that the supremacy of which Shaw
870:
Everybody attended the
American debut of Mr and Mrs Kendal … that is to say everybody that could get seats or standing room. … The reports of Mrs Kendal's skill as a comedienne were not exaggerated. Her art is as fine as old point lace, and yet it is laid upon a temperament so genuinely sympathetic
802:
said, "when I look at Kendal I know acting is the profession of a gentleman". The
Kendals imposed a high moral code on the members of their company both on stage and behind the scenes. Another commentator wrote, "Mrs Kendal, one of the best artists of her sex on the London stage, is in private life
1127:
wrote "Madge Kendal was an accomplished but not a great actress", but a "great comedienne". He praised her "verve … extraordinary vitality and her gaiety". Ervine considered that her husband's determination to be respectable hampered her artistic development. In a 1986 study of great stage actors,
1008:
believed the blame lay with the parents, and reports Kendal as reproaching herself shortly before her death. W. H. Kendal died in 1917: his widow attributed his death to a broken heart caused by the scandal of their daughter
Margaret's divorce. In retirement, Kendal became active with many theatre
984:
in 1902. This was the first time Kendal appeared in a production without W. H. Kendal since their marriage, and
Foulkes speculates that her "unwonted exuberance and apparent spontaneity" may have been attributable to that fact. The Kendals continued to appear in popular plays without interruption
1194:
Kendal recalled in her memoirs that Phelps had not been at rehearsals and was taken aback to find himself playing opposite so young an actress. An alternative account of the matter was given by Archer, according to whom Phelps was to play opposite Margharetta but thought her too old to play Lady
692:, the owner of the freehold of the theatre, the Kendals and John Hare jointly took over the management of the house in 1879. For the first time, the theatre's reputation was steadily defied. The new lessees aimed both to amuse and to improve public taste, and in the view of the theatre historian
570:
wrote, "One side of the character of Rosalind is shown by Mrs Kendal with admirable clearness and point. So suited to her style are the bantering speeches Shakespeare has put into the mouth of Rosalind, they might almost have been written for her", although the same critic missed "the underlying
296:
Miss Madge Robertson … is youthful in figure, but thoroughly practised in her art, and has a bright, intelligent face, which seems capable of expressing every variety of emotion. The mad scene in the fourth act was rendered with much taste, pathos and discrimination, and the debutante obtained a
185:
Marinus. Her father was from a theatrical family. He performed at eight theatres his family owned in towns in and around Lincolnshire and later became manager of the same. Her mother was from a Dutch family: her father taught languages in London, and she spoke English with no trace of a foreign
755:(1885), was mixed. Hare's Touchstone was considered by some to be the worst ever seen, and W. H. Kendal's Orlando was mildly praised, whereas Kendal's Rosalind, which had always been one of her best-loved roles, was again well regarded. Among the company in these years the actresses included
1070:, the leading critic of the time, "considered Madge Kendal the finest actress in England, a mistress of comedy and domestic drama even surpassing Ellen Terry". (Gielgud, who was born in 1904, was less sure of her excellence as a Shakespearean actress.) Agate rated her above
851:
After a farewell season of revivals of their greatest successes the St James's partnership with Hare came to an end in 1889. The Kendals went on a short provincial tour, and later in the year they set out on their first American appearance, making their debut at the
906:
The Kendals then took the play to the US, where self-appointed guardians of morality condemned it, and audiences flocked to see it. During the Kendals' fifth and last tour of the US, from September 1894 to May 1895, they visited more than forty cities, presenting
263:, respectively. Seventy years later Kendal recalled the production: "Even today I remember Ellen Terry's performance of Titania as a dream of charm. As girls we were 'Nellie' and 'Madge' to one another and 'Nellie' and 'Madge' we remained until her death".
1171:
attributes the decline of such provincial circuits to the effect of the railways, which "destroyed the comparative isolation of the small from the larger towns … local interests became absorbed in the now accessible wonders to be seen in the great world
696:, they achieved their aim. Under their management the St James's staged twenty-one plays: seven were new British pieces, eight adaptations of French plays, and the rest were revivals. Their first production on 4 October 1879 was a revival of
1132:
wrote "Madge Kendal was the greatest comedienne of her generation"; he quoted a contemporary of Kendal: "I defy any other actress, living or dead, to get a laugh out of some of the poor lines with which Mrs Kendal simply rocked the house."
317:. But despite good business at the box office, Montgomery was not a top-rank star, and the season did not mark a breakthrough in the leading lady's career. Returning to provincial theatres, Kendal and her father followed Montgomery to the
969:
years in the matter of acting, inconsiderately gave them more in the first ten minutes than they have had in the last five years, with the result that the poor wretches became hysterical, and vented their applause in sobs and shrieks.
725:'s plays staged there by Hare and the Kendals. It was regarded as daringly unconventional and a risky venture, but it caught on with the public. Other plays by Pinero given by the Hare-Kendal management at the St James's were
1100:
A very unhistrionic coldness of temperament and a superficiality of thought were the barriers between her acting and any form of greatness; and her rare adventures into the more exacting plays of the modern drama
807:, referred to as the Elephant Man. Although she probably never met him in person, she helped to raise funds and public sympathy for him. In February 1887 the Kendals gave a command performance of Gilbert's play
985:
until 1908, when they both retired, though she briefly emerged from retirement to reprise her Mistress Ford at the coronation gala of 1911 at His Majesty's. In 1924 she made her first radio broadcast, opposite
1210:
and other newspapers well into the 1870s. One headline, from November 1874, refers to "Mr and Mrs Kendal" while the text of the article calls her "Miss Madge Robertson". By late 1875 and early 1876
266:
Over this decade, the Robertsons played steadily in provincial theatres. After Bristol and Bath there was a false start in Kendal's career when she was engaged to play leading roles in the
688:, in an unfashionable part of the West End, had acquired a reputation as an unlucky theatre, and more money had been lost than made by successive managements. At the invitation of
798:
The Kendals, particularly W. H., became associated in the public mind with the transformation of the theatrical profession from disreputable to respectable. The actor-manager
1001:, together with other descendants of Mrs. Siddons, in a radio broadcast on 28 November 1931 to mark the centenary of Siddons' death on the day that Tree took over her role.
91:
in Lincolnshire, where her father ran a chain of theatres. She began to act as a small child and made her London debut at the age of four. As a teenager she appeared with
2543:
803:
the epitome of all domestic virtues and graces". She was dubbed the "matron of the English theatre". Also during the St James's years she learned of the case of
751:(1883) was a substantial success and was revived by public demand two months after the end of its first run. The reception of a rare excursion into Shakespeare,
193:
Lincolnshire theatres gradually became financially unviable, and the Robertsons moved to London in the early 1850s, where William became joint manager of the
2563:
56:
475:
When the Haymarket company returned to London, Kendal remained with it; a fellow member was William Hunter Grimston, who acted under the stage name
362:, Kendal played Maud Hetherington, while her mother was Lady Ptarmigant. After Hull, Kendal went with her father to Liverpool, where she starred in
1204:
The professional change of surname was not immediate. "Madge Robertson" or "Miss Robertson" is reported as a member of the Haymarket company in
449:
1154:
Her place of birth was 58 Cleethorpes Road, Grimsby. Some early profiles of Kendal mistakenly take her birthplace to be the adjoining town of
586:. Hare had a comic character role, and the Kendals played the romantic leads, Flora and Harry Armytage. She went on to play Mrs Fitzroy in
1504:
2538:
2568:
1021:
to actress Joyce Bland. Kendal was awarded the freedom of her native town, Grimsby, in 1932, the first woman to receive that honour.
1290:
1875:
1939:
186:
accent. At the age of 17, she joined the Robertsons' company, meeting William, whom she married in 1828. Her eldest brother was
2583:
2578:
1357:
256:
17:
1291:"Kendal, Dame Madge [real name Margaret Shafto Robertson; married name Margaret Shafto Grimston] (1848–1935), actress"
2598:
2483:
2464:
2382:
2339:
2320:
2281:
689:
2588:
2548:
1089:
obituary was headed "Dame Madge Kendal: The Most Accomplished Actress of Her Generation", but an unflattering reference in
641:, the last of which played for twelve months, in London and on tour. The Kendals returned to the Court, where they revived
321:, where Montgomery had been appointed director, and in the inauguration in September she spoke the prologue in Sheridan's
2008:
1058:, whom Gielgud thought beautiful but quite unsuited to the role: "Mrs Kendal would be turning somersaults in her grave".
233:, in which she had four songs. Her singing was much praised, and an operatic career seemed possible, but she contracted
1795:
2593:
2503:
871:
and so pliant and transitional that there is no sign of effort, no direct exhibition of method in anything she does.
2573:
2558:
2528:
1754:
566:
883:
from January 1893 in a repertory of four plays, and then toured the English provinces, adding to their repertoire
143:
After a series of generally successful appearances in London and on tour in Britain, the Kendals joined the actor
780:
201:
by Edward Stirling, under her father's management. Other child roles quickly followed: Jeannie, a blind girl, in
1018:
960:
On the Kendals' return to the West End critics and audiences welcomed them back enthusiastically. In June 1896
1224:
capacity was so small that even with full houses" (1888); and even after the Hare and Kendal years and into
862:
649:, the Kendals played the Countess d'Autreval and her suitor, Gustave; in April she played Kate Greville in
491:
239:
1004:
The Kendals had at least six children. Two died young, and the Kendals became estranged from four others.
721:(1881) as of particular importance to this period of the theatre's history, being the first of several of
1014:
788:
2437:
2553:
1116:
the subtle, sensitive acting of this great comedian. That she failed in the second-rate neurotic drama
976:
948:
328:
2499:
510:
The Haymarket company disbanded in late 1874, and the Kendals then set up their own tour beginning in
237:, and her voice suffered after the removal of her tonsils. Nevertheless, she played a singing role in
1103:
431:
375:
318:
283:
194:
178:
137:
37:
1479:
1225:
981:
885:
768:
187:
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2195:
1238:
it earned appreciation for him and his far abler wife, made them both disliked in many quarters."
1182:
1084:
1051:
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894:
670:
32:
654:
2411:
2127:
1168:
1029:
843:
822:
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in 1869, before rejoining the Haymarket company, at this point on tour under the management of
411:
337:
120:
1691:
1185:
called him "a second-rate actor ... virulent but vulgar, energetic but decidedly provincial".
943:
799:
701:
685:
677:
601:
587:
552:
439:
427:
148:
77:
2393:
2523:
2518:
2017:
890:
853:
645:
in January 1879. In February, in her brother T. W. Robertson's adaptation from the French,
398:
229:
418:, a comedy adapted from the French; she also appeared there as Lady Clara Vere de Vere in
8:
2433:
2415:
1539:
1206:
1017:(DBE) in 1926. In December 1927 she presented the first award of the Kendal prize at the
974:
wrote was put to the test when Tree invited Kendal and Ellen Terry to appear together in
961:
579:
485:
467:
388:
363:
288:
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104:
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838:
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2335:
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2277:
1946:
archive, Macmillan, 1949, Oxford University Press, 2004. Retrieved 11 November 2019.
1876:"Hare, Sir John (real name John Joseph Fairs) (1844–1921), actor and theatre manager"
575:
522:
407:
271:
144:
124:
2063:
1681:
776:
772:
744:
714:, in which the Kendals made considerable successes as Lady Giovanna and the Count.
637:
633:
628:
516:
497:
302:
267:
116:
1885:
1300:
2366:
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620:, a carefully anglicised French comedy. She subsequently played Clara Douglas in
613:
550:. Back in London in early 1875, they played Kate Hardcastle and Young Marlowe in
423:
206:
41:
197:. There, in 1854, aged five, Kendal played the role of young Marie in the drama
1228:'s highly successful tenure between 1891 and 1918 the label was still familiar.
1124:
880:
814:
804:
784:
532:
503:
443:
244:
152:
more than a decade, they retired in 1908 from their long careers on the stage.
100:
1054:, both based on the life of Joseph Merrick. In the film, she was portrayed by
902:
feeling into the later acts, and on the whole (I should say) she does rightly.
600:. She played Susan Hartley (a part she reprised in several later revivals) in
406:, and playing leading roles in two other productions there. At the opening of
2512:
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227:
The family moved to Bristol in 1855, where Kendal played Eva in a dramatised
129:
69:
65:
2088:
2358:
2308:
2181:
1317:
1028:, Hertfordshire, in 1935, aged 87, after a long illness. She was buried at
1005:
792:
756:
665:
622:
476:
349:
314:
833:
374:
In April 1867 the Robertsons returned to London, where Kendal appeared at
1155:
1071:
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1025:
953:
939:
248:
157:
92:
73:
1313:
1111:
This drew immediate responses; a colleague, F. Forbes-Robertson, wrote:
986:
764:
538:
511:
252:
234:
96:
2236:"Dame Madge Kendal: The Most Accomplished Actress of Her Generation",
2150:
1091:
710:
306:
210:
112:
64:; 15 March 1848 – 14 September 1935) was an English actress of the
2476:
Treading the Boards: Actors and Theatres in Georgian Lincolnshire
1214:
and other papers were referring to "Mrs Kendal" in their reviews.
358:
332:
310:
275:
174:
108:
88:
1078:
and in the same league as Ellen Terry, Mrs Patrick Campbell and
301:
In the same Haymarket season she played Blanche to Montgomery's
2478:. Lincoln: Society for Lincolnshire History & Archaeology.
2293:
St James's Theatre, Its Strange and Complete History, 1835–1857
1158:; this error has been corrected in later biographical sketches.
514:
in November. For six consecutive nights they appeared there in
279:
260:
177:
in Lincolnshire, the youngest of the reportedly 22 children of
1009:
charities, becoming president of the actors' retirement home,
571:
tenderness that more emotional artists are able to present."
87:
Madge Kendal came from a theatrical family. She was born in
1297:, Oxford University Press, 2013. Retrieved 9 November 2019
1096:
obituary caused protests. The anonymous writer commented:
821:, the first such entertainment at a royal residence since
327:. Later the same year she appeared there as Nerissa, with
2015:, 28 November 1931, pp. 764 and 766; and "Broadcasting",
1195:
Macbeth, leading to Kendal's substituting for her mother.
1120:
was due to her unsuitability for exaggerated histrionics.
1689:, 9 August 1874, p. 11; and "Prince of Wales Theatre",
199:
The Struggle for Gold; or, The Orphan of the Frozen Sea
2398:(fourth ed.). London: Sir Isaac Pitman and Sons.
1882:, Oxford University Press. Retrieved 10 February 2019
980:, as Mistress Ford and Mistress Page respectively, at
2200:, Internet Broadway Database, accessed 14 August 2017
993:, and she later took the title part of her ancestor,
2115:
Gielgud (1979), p. 41–42; and Gielgud (2000), p. 279
1832:"The Hare and Kendal Management at the St James's",
136:, and from time to time in classics by Shakespeare,
2544:Dames Commander of the Order of the British Empire
2457:W. S. Gilbert, A Classic Victorian and His Theatre
2370:
889:, which had recently premiered in London starring
1902:, 31 January 1885, p. 144; and "As You Like It",
1685:, 17 October 1871, p. 5; "The London Theatres",
1015:Dame Commander of the Order of the British Empire
956:(l.) as Mistress Page and Kendal as Mistress Ford
594:, and then Lady Hilda in Gilbert's fairy comedy,
76:and English comedies. Together with her husband,
2510:
2349:Kendal, Madge (1933). Rudolph De Cordova (ed.).
1136:
1044:Kendal is a featured character in the 1979 play
660:
297:conspicuous share of the honours of the evening.
875:At the same theatre the Kendals also presented
286:. Her performance attracted favourable notice.
27:English actress and theatre manager (1848–1935)
897:compared the two actresses in the title role:
608:. In September 1876 the Kendals moved to the
344:The next year Kendal rejoined her mother in
2564:People associated with Gilbert and Sullivan
1679:, 28 May 2871, p. 12; "Haymarket Theatre",
1328:
1326:
653:, an adaptation of an old French comedy by
173:Madge Robertson, later Kendal, was born in
84:, she became an important theatre manager.
2251:Forbes-Robertson, F. "Dame Madge Kendal",
1940:"Kendal, Dame Margaret Shafto (1848–1935)"
1708:, 10 October 1875, p. 5; "Court Theatre,
1066:Gielgud wrote that many people, including
2410:
1934:
1932:
1930:
847:as Phillipe Derblay and Claire de Beaupré
825:'s death more than twenty years earlier.
604:'s adaptation of a French comedy, called
2144:
2142:
2140:
2138:
1721:Stedman, pp. 84, 91–92, 103, 115 and 135
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1107:was one of them) left the audience cold.
938:
832:
664:
582:in March 1875, opening in a new comedy,
448:
414:in December 1868 she played Florence in
356:. In her brother T. W. Robertson's play
31:
2454:
2329:
2307:
1995:
1993:
1880:Oxford Dictionary of National Biography
1870:
1868:
1866:
1864:
1295:Oxford Dictionary of National Biography
453:The Kendals as Philamir and Zeolide in
14:
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2473:
2391:
2365:
2348:
2290:
2268:
1927:
1828:
1826:
1824:
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1358:Yorkshire Post and Leeds Intelligencer
1320:Collections. Retrieved 9 November 2019
1285:
1283:
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501:(1873, as Selene); in Gilbert's drama
247:Theatre in 1863, starring the sisters
2135:
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2109:
1971:
1969:
1967:
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1735:
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1573:Archer, William. "Mr and Mrs Kendal.
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616:. There Kendal played Lady Ormond in
181:and his wife Margharetta Elisabetta,
2432:
1990:
1861:
1167:In a 1900 biography of the Kendals,
2459:. Oxford: Oxford University Press.
1815:
767:; among their male colleagues were
700:. This was followed in December by
160:, Hertfordshire, at the age of 87.
24:
2164:"Handing down the torch of fame".
2106:
1964:
1724:
1562:
1502:
1443:
1383:
1252:
386:'s company, appearing with him in
205:(a stage adaptation of a story by
163:
72:eras, best known for her roles in
40:, in the role of Lady Giovanna in
25:
2610:
2539:Burials at East Finchley Cemetery
2504:National Portrait Gallery, London
2493:
2377:. London: Angus & Robertson.
2089:"The mystery of Charles Bancroft"
828:
507:(1874) she played Mrs Van Brugh.
270:. In July 1865 she opened at the
2569:English people of Danish descent
2334:. London: Hodder and Stoughton.
2315:. London: Sidgwick and Jackson.
2185:. 18 September 1935. p. 10.
2052:. 27 September 1884. p. 10.
1944:Dictionary of National Biography
1641:Hull and Eastern Counties Herald
684:Since its inception in 1835 the
369:
123:, she joined the company of the
2295:. London: Barrie and Rockliff.
2245:
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2221:
2212:
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1978:
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1715:
1698:
1669:
1656:
1647:
1639:"Masonic Amateur Theatricals".
1632:
1623:
1610:
1595:
1591:. 26 September 1865. p. 3.
1580:
1546:
1531:
1522:
1496:
1487:
1483:. 21 September 1891. p. 4.
1470:
1455:
1434:
1425:
1416:
1407:
1361:. 16 September 1935. p. 5.
1231:
1217:
1198:
1188:
1175:
1161:
560:, and went on to the Gaiety in
382:, and then at the Haymarket in
2168:. 16 December 1927. p. 7.
2035:. 28 November 1931. p. 6.
1643:. 15 November 1866. p. 5.
1466:. 25 February 1854. p. 7.
1374:
1365:
1348:
1339:
1307:
1148:
1019:Royal Academy of Dramatic Arts
934:
168:
13:
1:
2584:20th-century theatre managers
2579:19th-century theatre managers
1836:, September 1888, pp. 134–145
1606:. 3 November 1865. p. 9.
1245:
1137:Notes, references and sources
1061:
1039:
661:St James's Theatre: 1879–1888
574:The Kendals joined the actor
489:(1870, as Princess Zeolide),
366:, Sheridan and modern plays.
2599:Actresses from Hertfordshire
2439:Dramatic Opinions and Essays
2351:Dame Madge Kendal by Herself
2131:. 21 August 1896. p. 4.
2046:"Mrs Kendal in Manchester".
1886:UK public library membership
1602:"Nottingham Theatre Royal".
1301:UK public library membership
863:The New York Dramatic Mirror
612:under the management of the
331:as Portia and Montgomery as
7:
2589:Actresses from Lincolnshire
2549:Actresses awarded damehoods
1024:Kendal died at her home in
378:, playing Edith Fairlam in
10:
2615:
2392:Parker, John, ed. (1922).
2262:
2255:, 20 September 1935, p. 17
2154:, 16 September 1935, p. 14
2064:"Grimston – William Bruce"
1849:, 21 November 1891, p. 584
1799:, 10 December 1859, p. 709
1758:, 27 February 1975, p. 301
1704:"Provincial Theatricals",
1336:, 16 September 1935, p. 14
977:The Merry Wives of Windsor
949:The Merry Wives of Windsor
329:Mary Frances Scott-Siddons
119:. Under the management of
2500:Portraits of Madge Kendal
2242:, 16 September 1935, p. 5
1906:, March 1885, pp. 137–139
1559:, April 1883, pp. 214–216
1537:"The Haymarket Theatre",
1104:The Second Mrs. Tanqueray
999:A Lesson from Mrs Siddons
610:Prince of Wales's Theatre
319:Theatre Royal, Nottingham
240:A Midsummer Night's Dream
203:The Seven Poor Travellers
179:William Shaftoe Robertson
62:Margaret Shafto Robertson
38:Valentine Cameron Prinsep
2594:Actresses from Yorkshire
2474:Wright, Neil R. (2016).
2417:The Kendals: A Biography
2395:Who's Who in the Theatre
2021:, 28 November 1931, p. 8
1695:, 17 November 1874, p. 5
1666:, 13 January 1869, p. 10
1604:Nottinghamshire Guardian
1480:Dundee Evening Telegraph
1141:
1118:The Second Mrs Tanqueray
909:The Second Mrs Tanqueray
886:The Second Mrs Tanqueray
495:(1871, as Galatea), and
82:William Hunter Grimston)
2574:People from Chorleywood
2559:Actors from Cleethorpes
2529:English stage actresses
2353:. London: John Murray.
2239:The Manchester Guardian
1948:(subscription required)
1858:Duncan, pp. 176 and 184
1784:, 6 November 1839, p. 2
1782:The Theatrical Observer
1464:Illustrated London News
1085:The Manchester Guardian
1050:and the unrelated 1980
952:with Tree as Falstaff,
2455:Stedman, Jane (1996).
2442:. New York: Brentano.
2330:Gielgud, John (2000).
2291:Duncan, Barry (1964).
2218:Gielgud (2000), p. 279
2128:South Wales Daily News
2068:www.deceasedonline.com
2009:"Mirror of the B.B.C."
1808:"St James's Theatre",
1780:"St James's Theatre",
1712:, 13 March 1876, p. 6
1664:The Theatrical Journal
1662:"The Gaiety Theatre",
1620:, 1 April 1893, p. 251
1543:, 6 August 1865, p. 15
1314:"Kendal, Madge (Dame)"
1030:St Marylebone cemetery
957:
946:'s 1902 production of
848:
681:
626:, Lady Gay Spanker in
472:
338:The Merchant of Venice
216:and an old melodrama,
49:
18:Madge Robertson Kendal
2373:The Great Stage Stars
2313:An Actor and His Time
2209:Gielgud (1979), p. 41
2179:"Dame Madge Kendal".
2148:"Dame Madge Kendal",
1812:, 29 March 1875, p. 6
1771:, 14 March 1875, p. 4
1692:Birmingham Daily Post
1477:"Dame Madge Kendal".
1355:"Dame Madge Kendal".
1332:"Dame Madge Kendal",
1052:film of the same name
982:His Majesty's Theatre
942:
917:Still Waters Run Deep
836:
668:
553:She Stoops to Conquer
492:Pygmalion and Galatea
452:
35:
2018:Western Morning News
1577:, March 1887, p. 483
1431:Pemberton, pp. 20–21
1013:. She was appointed
891:Mrs Patrick Campbell
854:Fifth Avenue Theatre
698:The Queen's Shilling
655:Jean-François Bayard
651:The Queen's Shilling
209:), and roles in the
2420:. London: Pearson.
2412:Pemberton, T. Edgar
2166:Westminster Gazette
2125:"Heard in camera".
1975:Morley, pp. 206–208
1847:The Saturday Review
1796:The Saturday Review
1743:Morley, pp. 203–205
1509:www.stagebeauty.net
1404:Parker, pp. 451–453
860:, in October 1889.
592:A Nine Days' Wonder
486:The Palace of Truth
468:The Palace of Truth
389:Our American Cousin
348:. There she played
222:August von Kotzebue
2332:Gielgud on Gielgud
2049:Manchester Courier
1898:"As You Like It",
1618:The London Journal
1589:Nottingham Journal
1575:Longman's Magazine
1289:Foulkes, Richard.
1169:T. Edgar Pemberton
958:
849:
682:
647:The Ladies' Battle
564:; the reviewer in
473:
324:School for Scandal
195:Marylebone Theatre
149:St James's Theatre
50:
2554:People from Filey
2485:978-0-90-358255-1
2466:978-0-19-816174-5
2384:978-0-8160-1401-9
2341:978-0-340-79502-6
2322:978-0-283-98573-7
2283:978-1-905791-92-7
2093:www.oldwhitelodge
1987:in Morley, p. 207
1961:in Morley, p. 206
1938:Ervine, St John.
1884:(subscription or
1767:"Court Theatre",
1675:"Women and Men",
1629:Kendal, pp. 89–91
1587:"Theatre Royal".
1422:Kendal, pp. 21–22
1299:(subscription or
856:in New York with
719:The Money Spinner
523:The Lady of Lyons
408:John Hollingshead
404:A Hero of Romance
284:Walter Montgomery
272:Haymarket Theatre
230:Uncle Tom's Cabin
125:Haymarket Theatre
53:Dame Madge Kendal
16:(Redirected from
2606:
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2367:Morley, Sheridan
2362:
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2276:. London: Haus.
2270:Croall, Jonathan
2256:
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2013:Popular Wireless
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1047:The Elephant Man
921:A Scrap of Paper
858:A Scrap of Paper
777:Albert Chevalier
773:Allan Aynesworth
769:George Alexander
745:B. C. Stephenson
717:Wearing regards
643:A Scrap of Paper
629:London Assurance
606:A Scrap of Paper
602:Palgrave Simpson
517:Romeo and Juliet
498:The Wicked World
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1130:Sheridan Morley
1080:Sybil Thorndike
1064:
1042:
997:, in a comedy,
991:Granny's Juliet
937:
837:The Kendals in
831:
761:Helen Maud Holt
741:The Hobby Horse
708:, based on the
669:The Kendals in
663:
460:
456:
440:Kate Hardcastle
424:J. B. Buckstone
372:
207:Charles Dickens
188:T. W. Robertson
171:
166:
164:Life and career
147:in running the
121:J. B. Buckstone
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2494:External links
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2031:"By the way".
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1915:Parker, p. 986
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1553:Scott, Clement
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1462:"Marylebone".
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929:The Ironmaster
913:Lady Clancarty
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895:William Archer
881:Avenue Theatre
877:The Ironmaster
873:
872:
844:The Ironmaster
830:
829:American tours
827:
815:Queen Victoria
805:Joseph Merrick
789:Brandon Thomas
785:William Terris
763:and the young
753:As You Like It
732:The Ironmaster
662:
659:
562:As You Like It
533:As You Like It
444:Lydia Languish
412:Gaiety Theatre
380:The Great City
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2096:. Retrieved
2092:
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2016:
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1752:"The Week",
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1512:. Retrieved
1508:
1505:"Mrs Kendal"
1498:
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1472:
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1452:Kendal, p. 8
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781:Henry Kemble
757:Fanny Brough
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723:A. W. Pinero
718:
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544:Uncle's Will
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477:W. H. Kendal
474:
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142:
140:and others.
86:
79:
61:
52:
51:
45:
29:
2524:1935 deaths
2519:1848 births
1999:Shaw, p. 13
1904:The Theatre
1834:The Theatre
1557:The Theatre
1181:The critic
1156:Cleethorpes
1072:Edith Evans
1068:James Agate
1026:Chorleywood
954:Ellen Terry
935:Later years
925:All for Her
810:Sweethearts
739:(1885) and
674:Young Folks
436:Lady Teazle
394:Brother Sam
364:Shakespeare
214:Tit-Tat-Toe
169:Early years
158:Chorleywood
105:Shakespeare
74:Shakespeare
2513:Categories
1246:References
1062:Reputation
1040:In fiction
987:Viola Tree
866:reported:
765:May Whitty
747:'s comedy
727:The Squire
706:The Falcon
690:Lord Newry
686:St James's
678:St James's
584:Lady Flora
539:East Lynne
512:Birmingham
376:Drury Lane
274:, playing
253:Kate Terry
235:diphtheria
97:Kate Terry
46:The Falcon
36:Kendal by
2448:786136429
2426:684413482
2404:473894893
2301:979694996
2253:The Times
2151:The Times
1888:required)
1334:The Times
1303:required)
1172:outside".
1092:The Times
711:Decameron
671:Burnett's
638:Diplomacy
614:Bancrofts
576:John Hare
352:opposite
307:Desdemona
303:King John
211:pantomime
145:John Hare
113:Desdemona
70:Edwardian
66:Victorian
2436:(1928).
2414:(1900).
2369:(1986).
2311:(1979).
2272:(2008).
743:(1886).
735:(1884),
729:(1881),
702:Tennyson
634:Sardou's
432:Rosalind
268:West End
138:Sheridan
117:West End
42:Tennyson
2502:at the
2359:2325826
2263:Sources
2098:24 July
2073:24 July
1769:The Era
1706:The Era
1687:The Era
1677:The Era
1540:The Era
1514:25 June
1212:The Era
1207:The Era
964:wrote:
749:Impulse
737:Mayfair
676:at the
578:at the
556:at the
504:Charity
463:Gilbert
359:Society
333:Shylock
311:Othello
309:to the
292:wrote:
289:The Era
278:to the
276:Ophelia
257:Titania
243:at the
175:Grimsby
115:in the
109:Ophelia
89:Grimsby
2482:
2463:
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2424:
2402:
2381:
2357:
2338:
2319:
2299:
2280:
1985:Quoted
1959:Quoted
839:Pinero
680:, 1883
471:(1870)
461:
457:
420:Dreams
305:, and
280:Hamlet
261:Oberon
60:(born
48:, 1879
1142:Notes
989:, in
623:Money
618:Peril
548:Weeds
428:Viola
335:, in
249:Ellen
220:, by
93:Ellen
2480:ISBN
2461:ISBN
2444:OCLC
2422:OCLC
2400:OCLC
2379:ISBN
2355:OCLC
2336:ISBN
2317:ISBN
2297:OCLC
2278:ISBN
2100:2020
2075:2020
1516:2020
1074:and
927:and
813:for
791:and
546:and
442:and
402:and
346:Hull
259:and
251:and
245:Bath
132:and
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101:Bath
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817:at
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255:as
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128:as
107:'s
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2137:^
2108:^
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1929:^
1878:,
1863:^
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1445:^
1385:^
1325:^
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1293:,
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1101:(
20:)
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