Ellen Terry

For more information on Alice Ellen Terry, visit Britannica.com.

Terry, Ellen [Alice] (1848–1928), actress. A highly polished performer whose regal beauty and radiant personality overcame whatever shortcomings she possessed as an actress, she made her American debut in 1883, playing Queen Henrietta opposite Henry Irving in Charles I. Among the other roles she essayed on this and several subsequent tours with Irving were Jeanette in The Lyons Mail, Ophelia, Beatrice, Viola, and her most famous portrayal, Portia. William Winter wrote, “Ellen Terry embodied Portia . . . the essential womanliness of that character was for the first time in the modern theatre adequately interpreted and portrayed.” After leaving Irving she later toured, most successfully in 1907 as Lady Cecily Wayneflete in Captain Brassbound's Conversion. In after years Terry traveled as a lecturer on Shakespeare. She wrote an autobiography, The Heart of Ellen Terry (1928), and, following her death, her correspondence with G. B. Shaw was published.

English actress Ellen Terry (1847-1928) was among the most famous leading ladies of the Victorian era. She won legions of admirers with her grace and golden-haired beauty and is particularly remembered for her interpretations of Shakespearean heroines, including Portia and Beatrice, opposite Henry Irving. At the time of her death a "Times" commentator concluded, "She was a woman of genius; but her genius was not that of the brain so much as of the spirit and of the heart. She was a poem in herself - a being of exquisite and mobile beauty. On the stage or off she was like the daffodils that set the poet's heart dancing."

Early Life and Stage Debut

Terry was born into a theater family, her parents having been actors in a touring company based in Portsmouth. Among her siblings six others performed on the stage, most notably Terry's elder sister Kate, who until her marriage and retirement from the stage in 1867 was one of the most sought after leading ladies in the English theatre. Successive generations followed in the family tradition, including Terry's own children and Kate Terry's grandson Sir John Gielgud, who became one of the twentieth century's most respected actors.

Under the guidance of her father, Terry began training for an acting career at an early age and made her stage debut as Mamillius the child under the direction of Charles Kean in A Winter's Tale at the Princess Theater in London on April 28, 1856, with Queen Victoria in attendance. A print made by Martin Laroche capturing her appearance as Mamillius with Kean in costume as Leontes is in the photography collection of the National Portrait Gallery. Although the success of her debut was marred by her unintentionally tripping over a prop wagon, she later played other roles for children, including Prince Arthur in King John and Puck in A Midsummer Night's Dream. She played comedy and burlesque as well as drama at the New Royalty Theatre in London and at Bristol's Theatre Royal and appeared in a number of contemporary works as well as Much Ado about Nothing, Othello, and A Merchant of Venice.

Marriage to G. F. Watts

In 1864, the sixteen-year-old Terry married the wellknown painter George Frederick Watts, thirty years her senior, and she retired from the stage. Watts's famous portraits of Terry, including "Choosing" and "Ophelia," were more successful than their domestic affairs, however, and they separated within a year. The famous image in "Choosing" depicts Terry deciding between earthly vanities represented by the showy camellias that she smells and nobler values represented by the violets held in her hand. Together with her sister Kate, Terry is also the subject of Watts's "The Sisters." In 1867 she performed in London in several works by the popular contemporary playwright John Taylor, including A Sheep in Wolf's Clothing at the Adelphi Theatre, The Antipodes at the Theatre Royal, and Still Waters Run Deep at the New Queen's Theatre.

In December 1867 Terry appeared for the first time opposite Henry Irving, with whom she would later develop a long professional association, when she played Katharine in Katherine and Petruchio, David Garrick's one-act version of The Taming of the Shrew at the Queen's Theatre. However, she ceased performing in 1868 when, separated but not divorced from Watts, Terry eloped with architect and designer Edward William Godwin. The couple took up residence in rural Hertfordshire and had two children, Edith, born in December 1869, and Edward (later the actor, designer, and producer Edward Gordon Craig) born in January 1872. Plagued by mounting debt, Terry returned to the stage in 1874 at the urging of the playwright Charles Reade and appeared in a number of Reade's works, including the roles Philippa Chester in The Wandering Heir, Susan Merton in It's Never Too Late to Mend, and Helen Rolleston in Our Seamen. Terry also performed with the actor/manager Charles Wyndham that same year at London's Crystal Palace as Volante in John Tobin's The Honeymoon and as Kate Hardcastle in Oliver Goldsmith's She Stoops to Conquer.

Terry's relationship with Godwin ended early in 1875 during preparations for the role that would bring her the highest fame of her career, that of Portia in The Merchant of Venice, which she first performed at the Prince of Wales's Theatre in London on April 17, 1875. According to biographer Tom Prideaux, "Her peculiar gift for Shakespeare was evident both in her husky but consummately clear diction and in what appeared to be a temperamental affinity with the poet himself, something akin to his lyric verve and humanity, which made his lines seem to originate in her own mind." While remembered for the sensation caused by Terry's interpretation of her role as well as for the artistry of Godwin's set designs, the production closed after only three weeks. However, those three weeks had been enough to solidify Terry's reputation as an actress of imposing skill and to attract numerous admirers of her beauty, including English poets Oscar Wilde and Algernon Swinburne. Wilde, an Oxford undergraduate at the time, wrote a sonnet describing Terry: "For in that gorgeous dress of beaten gold,/ Which is more golden than the golden sun, / No woman Veronese looked upon / Was half so fair as thou whom I behold." Terry later re-created the role in several touring productions and for numerous engagements from 1879 to her final appearance as Portia at London's Old Vic Theatre in 1917.

Lyceum Years

In late 1878 Terry joined the company managed by Henry Irving who had lately assumed ownership of the Lyceum Theatre. Her association with Irving was to become the most successful of her career, and over the next two decades she played opposite him as many of the great Shakespearean heroines, including Ophelia, Lady Macbeth, Viola, Queen Katherine, Juliet, Cordelia, and perhaps most notably Beatrice in Much Ado about Nothing, a role she first performed at the Lyceum in 1882 and later revived in 1884, 1891, and 1893. Over the years she was associated with the Lyceum, Terry appeared in such roles as Pauline in The Lady of Lyons by Edward George Bulwer-Lytton (1878), Margaret in Faust by William Gorman Wills (1885), Camma in The Cup (1880) and Rosamund de Clifford in Becket (1893), both by Alfred Tennyson, Jeanette in The Lyons Mail by Charles Reade (1883), Guinevere in King Arthur by J. Comyns-Carr (1895), and Madame Sans-Gêne in Victorien Sardou and Emile Moreau's play by that name (1897). Also during this period Terry was married to fellow actor Charles Kelly, from whom she had legally separated before his death in 1885.

Having spent most of her career appearing in works that were chosen by leading men to showcase their own talents, in 1903 Terry briefly assumed management of the Imperial Theatre in order to have more control over the material in which she appeared. She mounted a production of Henrik Ibsen's The Vikings in 1903 with herself as Hiordis, but the venture was a financial failure. She performed throughout England, including engagements in Nottingham, Liverpool, and Wolverhampton, and appeared in 1905 in J. M. Barrie's Alice-Sit-by-the-Fire, with considerable success.

Golden Jubilee Celebration

In 1906 a tribute was produced at the Drury Lane Theatre in celebration of her golden jubilee. Still a popular favorite with audiences, her fans started lining up the previous day for a matinee that included performances by Caruso, Mrs. Patrick Campbell, Eleanora Duse, Lillie Langtry, Herbert Beerbohm Tree, and more than twenty members of the Terry family. According to a contemporary account in the Times, "Some thousands of Londoners devoted what was virtually the whole of a working day to a theatrical debauch. From shortly after noon to six o'clock they filled Drury Lane with a riot of enthusiasm, a torrent of emotion, a hurly-burly of excitement, 'thunders of applause.' They cheered 'til they were hoarse, laughed to the verge of hysteria, and sang 'Auld Lang Syne' in chorus, not without tears." The Times commentator noted, "For half a century Ellen Terry has been appealing to our hearts. Whatever the anti-sentimentalists might say, that is the simple truth.…A creature of the full-blooded, naïve emotions she excites those emotions in us." Her address to the crowd is reprinted by biographer Nina Auerbach, "I will not say good bye. It is one of my chief joys that I need not say good bye - just yet - but can still speak to you as one who is still among you on the active list - still in your service - if you please."

At the time of the jubilee Terry was appearing at the Court Theatre as Lady Cicely Wayneflete in Captain Brassbound's Conversion by Bernard Shaw, one of her most ardent professional and personal admirers. She continued in the part during American and British tours in 1907. While in Pittsburgh she married her co-star, the American actor James Carew. Shaw later assessed her interpretation of Lady Cicely in a letter to Terry written after their return to England and quoted by Prideaux, "At the Court, you were always merely trying to remember your part. But now you have realized you are Lady Cicely. Her history has become your history; and instead of trying to remember somebody else's words, you simply say what is right to say in the situation … and there you have the whole thing alive and perfect. It is really a very wonderful performance."

Terry continued to work throughout her sixties and seventies, appearing as Nance Oldfield in a Pageant of Famous Women written by her daughter, Edith Craig, and C. Hamilton in 1909. She separated from Carew in 1910. Other notable theatrical engagements of this period include Nell Gwynne in The First Actress by Christopher St. John (Christabel Marshall; 1911), and Darling in Barrie's TheAdmirable Crichton (1916). She also developed a successful career on the international lecture circuit, discussing Shakespearean heroines and interspersing her discussion with recitation. According to a favorable review in Times, "She is to English audiences what she is, not merely because she has played nearly all the great Shakespeare heroines, but because she reflects them in her own self and personality.… It is a happy thing for England as well as for Miss Terry, now that her acting days are nearly over, that she has found so effective a way of bringing home to Shakespeare's countrymen the inner meaning of his plays and the charm of her own art." During World War I she performed many war benefits.

Although Terry is most associated with the Victorian stage, she remained active into the motion picture era and appeared in several films, including her debut as Julia Lovelace in Her Greatest Performance (1917) as well as The Invasion of Britain (1918), Pillars of Society (1918), Potter's Clay (1922), and The Bohemian Girl (1922).

In May 1922 Terry received an honorary degree from the University of St. Andrews. She was named a Dame of the British Empire in the New Year's honors list of 1925. She died several days after suffering a heart attack, at home in Smallhythe, near Tenterden, Kent, on July 21, 1928. According to the Times obituary, "The death of Dame Ellen Terry … has been received with universal sorrow. In the history of the English stage no other actress has ever made herself so abiding a place in the affections of the nation."

Books

Auerbach, Nina, Ellen Terry: Player in Her Time, W. W. Norton, 1987.

Prideaux, Tom, Love or Nothing: The Life and Times of Ellen Terry, Scribner, 1976.

Shearer, Moira, Ellen Terry, Sutton, 1998.

Terry, Dame Ellen, The Story of My Life, Schocken Books, 1982.

Periodicals

Journal of European Studies, June-September, 2002.

New Republic, October 12, 1987.

Times (London), June 13, 1906; July 19, 1911; July 23, 1928.

Online

Ellen Terry Biography,http://www.lib.rochester.edu/camelot/terry.html (January 10, 2004).

Ellen Terry Tribute Page,http://www.ellenterry.org (January 12, 2004).

Terry, Ellen (1847-1928). Actress. Born into an acting family, Alice Ellen Terry left the stage for some years until concern for her children's future prompted a return in 1874. She joined Irving as his leading lady at the Lyceum theatre (1878), where her beauty and grace enhanced his productions; appearing in Britain and America, their famous partnership lasted until 1902. Enormously popular, her vitality and stagecraft were underpinned by intelligence, yet all her successes, except in Shakespeare, were in sentimental melodrama.

Quotes:

"Imagination, industry, and intelligence -- the three I s -- are all indispensable to the actress, but of these three the greatest is, without doubt, imagination."

This article needs additional citations for verification. Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (October 2009)

Dame Ellen Terry
Ellen Terry at the age of 16 years.
Born	Alice Ellen Terry 27 February 1847(1847-02-27) Coventry, England, UK
Died	21 July 1928 (aged 81) Smallhythe, near Tenterden, Kent, England, UK
Other name(s)	Ellen Alice Terry

Dame Ellen Terry, GBE (27 February 1847^[1] – 21 July 1928) was an English stage actress who became the leading Shakespearean actress in Britain.

Born into a family of actors, Terry began acting as a child in Shakespeare plays and continued as a teen, in London and on tour. At sixteen she married the much older artist George Frederick Watts, but they separated within a year. She briefly returned to acting but then began a relationship with the architect Edward William Godwin and retired from the stage for six years. She returned to acting in 1874 and was immediately acclaimed for her portrayal of roles in Shakespeare and other classics.

In 1878 she joined Henry Irving's company as his leading lady, and for the next two decades she was considered the leading Shakespearean actress in Britain. Two of her most famous roles were Portia in The Merchant of Venice and Beatrice in Much Ado About Nothing. She and Irving also toured with great success in America.

In 1903 Terry took over management of London's Imperial Theatre, focusing on the plays of George Bernard Shaw and Henrik Ibsen. The venture was a financial failure, however, and Terry then toured and later also lectured. She continued to find acting success until 1920, while also appearing in films until 1922.

Contents 1 Family 2 Early career 3 Watts, Godwin, Portia 4 Shakespeare, Irving, Lyceum 5 Shaw, Ibsen, Barrie 6 Films, last years 7 Legacy 8 References 9 Sources 10 External links

Family

Charles Kean (left) and Ellen Terry in The Winter's Tale, 1856

Alice Ellen Terry (she reversed her given names by the time of her first marriage) was born in Coventry, England, the third child born into a theatrical family.^[2] Her parents, Benjamin (1818–96) and Sarah (née Ballard, 1819–92), were comic actors in a touring company based in Portsmouth^[3] and had eleven children. At least five of them became actors: Ellen, Florence, Fred, Kate and Marion. Two other children, George and Charles, were connected with theater management.^[4]

Terry's sister Kate was a very successful actress until her marriage and retirement from the stage in 1867. Marion, over a long career, played leading roles in over 125 plays.^[5] Terry's great nephew (Kate's grandson), Sir John Gielgud, became one of the twentieth century's most respected actors.^[6]

Early career

Terry's first appearance on stage came at the age of eight, when she appeared opposite Charles Kean as Mamillius in Shakespeare's The Winter's Tale at London's Princess's Theatre in 1856.^[7] She also played the juvenile roles of Prince Arthur in King John and Puck in A Midsummer Night's Dream and continued acting at the Princess Theatre until the Keans' retirement in 1859.^[8] For the next two years, Terry and Kate toured in sketches and plays, accompanied by their parents and a musician.^[3]

Between 1861 and 1862, Terry was engaged by the Royalty Theatre in London, managed by Madame Albina de Rhona, where she acted with the Kendals, among other famous actors. In 1862, she joined her sister Kate in Bristol and began working with J. H. Chute's stock company, where she played a wide variety of parts, including burlesque roles requiring singing and dancing, as well as roles in Much Ado about Nothing, Othello, and A Merchant of Venice.^[6] In 1863, Chute opened the Theatre Royal in Bath, where Terry, now aged 15, appeared at the opening as Titania in A Midsummer Night's Dream and then returned to London to join the company at the Haymarket Theatre in Shakespearean roles.^[3]

Watts, Godwin, Portia

Choosing: painting of Terry by first husband, George Frederic Watts, ca. 1864

Terry married three times and was involved in numerous relationships. In London, during an engagement at the Haymarket Theatre, she and her sister Kate had their portraits painted by the eminent artist George Frederick Watts. His famous portraits of Terry include Choosing, in which she must select between earthly vanities, symbolised by showy but scent-less camellias, and nobler values symbolised by humble-looking but fragrant violets. His other famous portraits of her include Ophelia and, together with her sister Kate, The Sisters. Watts soon proposed marriage to Terry. She was impressed with Watts' art and elegant lifestyle and wished to please her parents by making an advantageous marriage. Terry and Watts married on 20 February 1864, seven days before her 17th birthday, when Watts was 46. She was uncomfortable in the role of child bride, however, and they separated after only ten months of marriage, during which she took a break from the stage. She returned to acting by 1866.^[9]

Terry's son, Edward Gordon Craig

In 1867 Terry performed in several pieces by John Taylor, including A Sheep in Wolf's Clothing at the Adelphi Theatre, The Antipodes at the Theatre Royal, Drury Lane, and Still Waters Run Deep at the Queen's Theatre. Later that year, she first played opposite Henry Irving in Katherine and Petruchio, David Garrick's one-act version of The Taming of the Shrew, at the Queen's Theatre.^[6]

In 1868 Terry began a relationship with the progressive architect-designer Edward William Godwin, whom she had met some years before. With him she retreated to a house, Pigeonwick, in Harpenden, Hertfordshire, retiring for six years from acting. They could not marry, as Terry was still married to Watts and did not finalize a divorce until 1877—then a scandalous situation. With Godwin she had a daughter, Edith Craig, in December 1869 and a son, Edward Gordon Craig, in January 1872. The surname Craig was chosen to avoid the stigma of illegitimacy.^[9]

The relationship with Godwin cooled in 1874 amid financial difficulties, and Terry returned to her acting career, separating from Goodwin in 1875. In 1874, Terry played in a number of Charles Reade's works, including as Philippa Chester in The Wandering Heir, Susan Merton in It's Never Too Late to Mend, and Helen Rolleston in Our Seamen. The same year, she performed at The Crystal Palace with Charles Wyndham as Volante in The Honeymoon by John Tobin and as Kate Hardcastle in She Stoops to Conquer by Oliver Goldsmith.^[6]

Shakespeare, Irving, Lyceum

As Lady Macbeth, by John Singer Sargent, 1889

In 1875, Terry gave an acclaimed performance as Portia in The Merchant of Venice at the Prince of Wales's Theatre. Oscar Wilde wrote a sonnet, upon seeing her in this role: "No woman Veronese looked upon / Was half so fair as thou whom I behold."^[9] She recreated this role many times in her career until her last appearance as Portia at London's Old Vic Theatre in 1917. In 1876, she appeared as Lady Teazle in The School for Scandal and in a play called Olivia by William Gorman Wills at the Court Theatre, among other performances. Terry married again, in November 1877, to Charles Clavering Wardell Kelly, an actor/journalist, but they separated before his death in 1885.

In 1878, the 30 year old Terry joined Henry Irving's company at the Lyceum Theatre as its leading lady, beginning with Ophelia opposite Irving's Hamlet. Soon, Terry was regarded as the leading Shakespearean actress in Britain, and in partnership with Irving,^[10] reigned as such for over 20 years until they left the Lyceum in 1902.^[2][11] Their 1879 production of The Merchant of Venice ran for an unusual 250 nights, and success followed success in the Shakespeare canon as well as in other major plays.^[3] In 1879, The Times said of Terry's acting in All is Vanity, or the Cynic's Defeat by Paul Terrier, "Miss Terry's Iris was a performance of inimitable charm, full of movement, ease, and Laughter... the most exquisite harmony and natural grace... such an Iris might well have turned the head of Diogenes himself.^[12]

Whether Irving's relationship with Terry was romantic as well as professional has been the subject of much speculation. According to Michael Holroyd's book about Irving and Terry, A Strange Eventful History, after Irving's death, Terry stated that she and Irving had been lovers and that: "We were terribly in love for a while".^[13]

As Katherine in Henry VIII

Among her most celebrated roles with Irving were Portia, Beatrice in Much Ado About Nothing, another of her signature roles (1882 and often thereafter),^[14] as well as Pauline in The Lady of Lyons by Edward George Bulwer-Lytton (1878), Juliet, Cordelia in King Lear, Jeanette in The Lyons Mail by Charles Reade (1883), Margaret in Faust by William Gorman Wills (1885), Lady Macbeth in Macbeth (1888, with incidental music by Arthur Sullivan^[15]), Queen Katharine in Henry VIII (1892),^[16] Rosamund de Clifford in Becket by Alfred Tennyson (1893), Guinevere in King Arthur by J. Comyns Carr, with incidental music by Sir Arthur Sullivan (1895),^[17] Imogen in Cymbeline (1896) and the title character in Victorien Sardou and Émile Moreau's play Madame Sans-Gêne (1897).^[6]

Terry made her American debut in 1883, playing Queen Henrietta opposite Irving in Charles I. Among the other roles she essayed on this and several subsequent tours with Irving were Jeanette in The Lyons Mail, Ophelia, Beatrice, Viola, and her most famous role, Portia.^[18] She lived in Earls Court with her children and pets during the 1880s. She first lived in Longridge Road before moving to Barkston Gardens in 1889.^[19]

In 1900, Terry bought her farmhouse in Smallhythe, Kent, England, where she lived for the rest of her life.

Shaw, Ibsen, Barrie

Photo ca. 1880

In 1903, Terry formed a new venture, taking over management of the Imperial Theatre with her son, after her business partner, Irving, ended his tenure at the Lyceum in 1902. Here she had complete artistic control and could choose the works in which she would appear, as Irving had done at the Lyceum. The new venture focused on the plays of George Bernard Shaw and Henrik Ibsen, including the latter's The Vikings in 1903, with Terry as Hiordis. During this time, Terry struck up a friendship and a famous correspondence with Shaw.^[2] Theatre management turned out to be a financial failure for Terry. She then toured England, taking engagements in Nottingham, Liverpool, and Wolverhampton, and appeared in 1905 in J. M. Barrie's Alice-Sit-by-the-Fire.^[6] Irving died in 1905 and, upset by his death, Terry again retired from the stage.^[3]

Drawing by Sargent for Terry's golden jubilee program, 1906

She returned to the theatre again in April 1906, playing Lady Cecily Wayneflete to acclaim in Shaw's Captain Brassbound's Conversion at the Court Theatre and then touring successfully in that role in Britain and America. On 12 June 1906, after 50 years on the stage, a star-studded gala performance was held at the Drury Lane Theatre for Terry's benefit and to celebrate her golden jubilee, at which Enrico Caruso sang, W. S. Gilbert directed a performance of Trial by Jury, Eleanora Duse, Mrs. Patrick Campbell, Lillie Langtry, Herbert Beerbohm Tree, and more than twenty members of Terry's family performed, among other performances.^[3] Terry next appeared as Hermione in Tree's production of The Winter's Tale. In 1907 she toured America under the direction of Charles Frohman. During that tour, on 22 March 1907, she married co-star, American James Carew, who had appeared with her at the Court Theatre. She was thirty years older than Carew. Terry's acting career continued strongly, but her marriage broke up after only two years.^[20]

She played as Nance Oldfield in a Pageant of Famous Women written in 1909 by C. Hamilton and her daughter Edith. In 1910 she toured the U.S. again with much success, acting, giving recitations and lecturing on the Shakespeare heroines. Returning to England, she played roles such as Nell Gwynne in The First Actress by Christopher St. John (Christabel Marshall; 1911). Also in 1911, she recorded scenes from five Shakespeare roles for the Victor Talking Machine Company.^[21] In 1914 Terry toured Australia and the U.S., again reciting and lecturing on the Shakespeare heroines. She did this also in Britain. While in the U.S., she underwent an operation for the removal of cataracts from both eyes, but the operation was only partly successful. In 1916, she played Darling in Barrie's The Admirable Crichton (1916). During World War I she performed in many war benefits.

Films, last years

Smallhythe, near Tenterden, Kent, Terry's home, 1900-28

In 1916, she appeared in her first film as Julia Lovelace in Her Greatest Performance and continued to act in London and on tour, also making a few more films through 1922, including The Invasion of Britain (1918), Pillars of Society (1918), Victory and Peace, Potter's Clay (1922), and The Bohemian Girl as Buda the nursemaid, with Ivor Novello and Gladys Cooper (1922).^[14] She also continued to lecture on Shakespeare throughout England, the USA and Canada. Her last fully staged role was as the Nurse in in Romeo and Juliet at the Lyric Theatre in 1919. In 1920 she retired from the stage and in 1922 from film.

In 1925 Terry was made a Dame Grand Cross of the Order of the British Empire. In her last years, she gradually lost her eyesight and suffered from senility. Stephen Coleridge anonymously published Terry's second autobiography, The Heart of Ellen Terry in 1928.

Terry died at her home at Smallhythe Place, near Tenterden, Kent, England, at age 81. Her ashes rest in a silver chalice on the right side of the chancery of the actors' church, St Paul's, Covent Garden, London.^[14]

Legacy

After her death, the Ellen Terry Memorial Museum was founded in her memory at Smallhythe Place near Tenterden in Kent, an early 16th century house that she bought at the turn of the century.^[20] The museum was taken over by the National Trust in 1939. Also following her death, Terry's correspondence with Shaw was published.

Terry's daughter Edith Craig became a theatre director, producer, costume designer and early pioneer of the women's suffrage movement in England; her son, Edward Gordon Craig, became an actor, scenery and effects designer, illustrator and director and founded the Gordon Craig School for the Art of the Theatre in Florence, Italy, in 1913; and her grandnephew was the actor Sir John Gielgud. The singer Helen Terry and illustrator Helen Craig are also descendants of hers.

References

With pets Fussie and Drummie in 1880s

1. ^ Birth certificate is dated 1847
2. ^ ^{a b c} Biography and reviews of Terry
3. ^ ^{a b c d e f} Biography of Terry at the Stage Beauty website
4. ^ Hartnoll, p. 815-17.
5. ^ Obituary TIME Magazine, September 1, 1930
6. ^ ^{a b c d e f} Terry Biography at Answers.com
7. ^ The photograph shown at left, of Terry as Mamillius and Kean as Leontes, was taken by Martin Laroche.
8. ^ Hartnoll, p. 816.
9. ^ ^{a b c} Profile of Terry by Amanda Hodges
10. ^ Description of the Terry and Irving partnership and link to further information about Terry
11. ^ Information from Schoolnet.com
12. ^ The Times, 10 April 1879, p. 8, col. B
13. ^ Holroyd, p. ?
14. ^ ^{a b c} Information from Findagrave.com
15. ^ Information about Sullivan's incidental music to Macbeth in 1888, The Gilbert and Sullivan Archive
16. ^ Review and drawings of Henry VIII
17. ^ Information about King Arthur including an image of the program
18. ^ American Theatre Guide entry
19. ^ Information about Terry's pets and residences
20. ^ ^{a b} Biography of Terry at BBC's Coventry page
21. ^ Recordings for the Victor Talking Machine Co.

Sources

• Auerbach, Nina. Ellen Terry: Player in Her Time (1987) W. W. Norton; (1997) University of Pennsylvania Press ISBN 978-0-8122-1613-4
• Cheshire, David F. Portrait of Ellen Terry (1989) Amber Lane Press.
• "Drama: This Week." The Athenæum. 19 January 1895, p. 93.
• Goodman, Jennifer R. "The Last of Avalon: Henry Irving's King Arthur of 1895." Harvard Library Bulletin, 32.3 (Summer 1984) pp. 239-55.
• Hartnoll, Phyllis and Peter Found, The Concise Oxford Companion to the Theatre. (1992) Oxford University Press ISBN 0198661363
• Holroyd, Michael. A Strange Eventful History, Farrar Straus Giroux, 2008 ISBN 0701179872
• Manvell, Roger. Ellen Terry. New York: G. P. Putnam's Sons, 1968.
• Prideaux, Tom. Love or Nothing: The Life and Times of Ellen Terry (1976) Scribner.
• Scott, Clement. Ellen Terry (1900) New York: Frederick A. Stokes Company, 1900.
• Shearer, Moira. Ellen Terry (1998) Sutton.
• Information about Terry and Irving at the People Play UK website

Biographies and correspondence

• The Story of My Life by Ellen Terry at Project Gutenberg (1908) London: Hutchinson & Co.; (1982) Schocken Books
• The Heart of Ellen Terry (1928) Ed. Stephen Coleridge [anon.] London; Mills & Boon, ltd.
• Ellen Terry and Bernard Shaw : A Correspondence; and The Shaw-Terry Letters: A Romantic Correspondence (Christopher St. John, Editor)
• Pemberton, Thomas Edgar. Ellen Terry and Her Sisters, London: C.A. Pearson (1902)

External links

Wikimedia Commons has media related to: Dame Ellen Terry

• Ellen Terry at the Internet Movie Database
• Works by Ellen Terry at Project Gutenberg
• Ellen Terry at the Family Records Centre
• Find-A-Grave photos and biography
• Links to descriptions of Terry's performances with photos
• Profile and photos of Terry
• Terry bibliography
• Links to Photos and a review of Terry
• Photos of Terry and of her funeral
• Paintings and other images of Terry
• Drawing of Terry as Portia in The Merchant of Venice
• Drawing of Terry and Irving as Ophelia and Hamlet and information from the People Play website
• Photos of Terry's home at Smallhyth and of Terry
• Archival material relating to Ellen Terry listed at the UK National Register of Archives
• "Gilbert's New Play; The Fairy's Dilemma Is Brilliantly Nonsensical", The New York Times, 15 May 1904, p. 4

Persondata
NAME	Terry, Ellen Alice
ALTERNATIVE NAMES	Dame Ellen Terry; Terry, Alice Ellen
SHORT DESCRIPTION	English actress
DATE OF BIRTH	27 February 1847
PLACE OF BIRTH	Coventry, England
DATE OF DEATH	21 July 1928
PLACE OF DEATH	Smallhythe, near Tenterden, Kent, England

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