Carrington made his first stage appearance in 1904, and the next year, he played his first part in Shakespeare in Cymbeline at the Queen’s Theatre, Manchester. He spent eight years with Frank Benson‘s company and played many major roles in Shakespeare. After leaving the military in 1919 he revived his career at Stratford where, eventually, he played in over 140 productions. Among his parts were Caliban, Mark Antony (Julius Caesar), Oberon, Ford (Merry Wives of Windsor), Leontes, and Mercutio (1919). Other parts in various venues included Bassanio, Othello, Shylock, Richard II, Hamlet, Benedick, Gioachino (Cymbeline), Orsino, Orlando, Henry V, Macbeth, and Cassius (Julius Caesar).

After 1922, he broadened his repertoire and acted in a number of contemporary plays. When he returned to Shakespeare he was the first actor to play the role of Hamlet for a radio audience in 1928. He also appeared in three Shakespeare films in 1911, but his career was on the stage.

While at New College, Oxford, Benson produced Agamemnon, the first play to be performed there in the original Greek. In 1882, he made his first professional appearance at the Lyceum Theatre, London—then under the management of Sir Henry Irving—playing the role of Paris in Romeo & Juliet. The next year, he formed a company of his own. In 1886 he married Gertrude Constance Featherstonhaugh (1860–1946), who acted in his company and played leading parts with him. Benson continued to appear in London and regularly toured the English provinces in Shakespearean roles, and he also performed in Canada (1913) and South Africa (1921). He is remembered for his performances of the characters Hamlet, Coriolanus, Richard II, Lear, and Petruchio (Britannica).

For many years between the late 1800s and the early 1900s, Benson devoted himself to the production of Shakespeare’s plays. In 1886, in particular, Benson was granted control over the Stratford Shakespeare Festival and artistic direction of the Shakespeare Memorial Theatre. After 1888, he organized twenty-six of the annual Stratford-upon-Avon Shakespeare Festivals. However, in 1889-1890, the plays were directed by Osmond Tearle, and in 1895, Ben Greet was invited to produce a year of his plays. In his Festivals, Benson always made a point to “resurrect” some long-forgotten play in the Shakespeare canon to be performed during the three-week run of the festival. Many of these resurrected plays are now staples of the world stage and the classroom: A Midsummer Night’s Dream, Julius Caesar, Henry IV, Richard II, The Tempest, Twelfth Night. We may credit Benson with reviving the character of Falstaff for the modern audience and for the first documented modern performances of Shakespeare’s great cycle of history plays. Over his years, he managed to produce every one of Shakespeare’s plays, including an uncut version of Hamlet, except for Titus Andronicus and Trolius and Cressida. Benson founded an acting school in 1901, and was knighted in 1916 in Drury Lane Theatre—the first actor to earn such an honor since David Garrick in the eighteenth Century (Buckley).

Here are a few audio and video clips featuring Sir Frank Benson.

Born in 1853, Tree’s real name was Herbert Draper Beerbohm. He assumed his famous stage name in the 1870s. After a string of performances, he joined Frank Benson’s company in 1886, where he played Iago before going on to London and the Haymarket Theatre where he eventually became the manager. “He elevated the Haymarket’s status as a Shakespearian playhouse, and his productions of The Merry Wives of Windsor (1889), Hamlet (1892), and Henry IV, Part 1 (1896) earned him recognition not only as an accomplished actor–manager capable of producing a wide range of genres but also as a solid competitor to Henry Irving and the Lyceum Theatre.

“While Tree built Her Majesty’s Theatre’s (opened in 1897) solid reputation on the successful productions of a variety of dramas, he earned his theater the international reputation as the premier playhouse for Shakespeare in Britain during the Edwardian era, and it is for this dedication to the production of Shakespeare that his career was most celebrated. During his twenty-year tenure at Her Majesty’s, he worked indefatigably to popularize Shakespeare with the general theater-going public, and his success is evinced by an impressive production record unmatched by any West End manager: he put on sixteen Shakespeare plays which averaged initial three-month runs, many of them successful enough for periodic revivals during subsequent seasons, and he instituted an annual Shakespeare festival which featured more than two hundred performances by Her Majesty’s Theatre company and other acting corps during its nine-year existence (1905–13). At a time when most theater managers believed that Shakespeare’s plays lacked commercial viability and spelt financial ruin, Tree proved that Shakespeare could be made accessible and appealing to large numbers of patrons.

“Fittingly, his initial Shakespearian production, Julius Caesar, was his first commercial success at Her Majesty’s, and during its six-month run (January 22 to June 10, 1898) it enjoyed 165 consecutive performances and attracted 242,000 spectators.” His next revivals, King John (1899 -1900), A Midsummer Night’s Dream (1900), and Henry VIII (1910-11) were also record breakers in their own right. “Most of the Shakespeare revivals at Her Majesty’s enjoyed equally unprecedented runs. Tree succeeded in popularizing Shakespeare with his audiences because he staged the plays in ways that appealed to spectators’ taste for elaborate spectacle and realistic scenery and scenic effects. Working in the tradition of pictorial realism which dominated the nineteenth- and early twentieth-century theater, Tree brought this scenographic method to its apogee, staging the most spectacular Shakespearian revivals in British stage history. […]” Tree’s work with Shakespeare also involved four film projects that spanned his career at Her Majesty’s: the opening shipwreck from his 1904-5 revival of The Tempest; a five-scene version of Henry VIII, based on his 1910-11 production featuring himself as Cardinal Wolsey; a 1916 Macbeth, bearing no direct resemblance to his 1911 stage version; and, though not as extensive as the others but certainly the most important historically, three brief segments from his King John revival filmed in 1899—Tree’s initial cinematographic venture and the very first record of Shakespeare on film. His eldest daughter, Viola Tree, was born in 1884.

“Tree excelled in character roles, and was considered by many to be the best character actor of his day. He possessed an exceptional mimetic genius that enabled him to enact a wide range of roles in which he gave each a unique and differing individuality, and he excelled especially in those characters with idiosyncratic and eccentric natures on which he could build strong, vivid parts.” He died in London in 1917 (Oxford Dictionary of National Bibliography).

Here are some audio and video clips of Sir Beerbohm Tree performing Shakespeare.

Mantell was born in Scotland and first appeared on stage in Belfast, Northern Ireland; for a time he used the stage name Robert Hudson, but he reassumed his name Mantell after he joined the company of Helena Modjeska in 1878 and came to the United States. His first professional appearance was at the Theatre Royal in Rockdale in 1876. His first role with Dame Modjeska was as Tybalt in Hamlet at the Leyland Opera House in Albany, New York.

He returned to the UK, but met with little success and went back to the US permanently, where for years he toured with his own company. He was not particularly popular in New York City, so he toured other cities in the country. He was an indefatigable worker—something of a war horse—and he was constantly on the road with this troupe. One way for him to keep a leading actress with this kind of workload was to marry her, which he did four times. He married his last wife, actress Genevieve Hamper, thirty-four years his junior, until his death.

Over the years, Mantell played in Hamlet, Othello (as both Iago and Othello, alongside Hamper’s Desdemona), Romeo & Juliet (alongside Hamper), Richard III, King Lear (a role he especially enjoyed), Macbeth, The Merchant of Venice, Julius Caesar, and King John. Despite his failure to excite the critics and public in London and New York, he was a well-respected Shakespearean actor on the road. He also played in eight films between 1896 and 1923. Clarence J. Bulliet wrote his biography, Robert B. Mantell’s Romance, in 1918.

It will have blood, they say; blood will have blood (3.4).

Macbeth, set primarily in Scotland, mixes witchcraft, prophecy, and murder. Three “Weird Sisters” appear to Macbeth and his comrade Banquo after a battle and prophesy that Macbeth will be king and that the descendants of Banquo will also reign. When Macbeth arrives at his castle, he and Lady Macbeth plot to assassinate King Duncan, soon to be their guest, so that Macbeth can become king.

After Macbeth murders Duncan, the king’s two sons flee, and Macbeth is crowned. Fearing that Banquo’s descendants will, according to the  Weïrd Sisters’ predictions, take over the kingdom, Macbeth has Banquo killed. At a royal banquet that evening, Macbeth sees Banquo’s ghost appear covered in blood. Macbeth determines to consult the Weird Sisters again. They comfort him with ambiguous promises.

Another nobleman, Macduff, rides to England to join Duncan’s older son, Malcolm. Macbeth has Macduff’s wife and children murdered. Malcolm and Macduff lead an army against Macbeth, as Lady Macbeth goes mad and commits suicide.

Macbeth confronts Malcolm’s army, trusting in the Weird Sisters’ comforting promises. He learns that the promises are tricks, but continues to fight. Macduff kills Macbeth and Malcolm becomes Scotland’s king (reproduced with permission from Folger).

Postcards of Macbeth:

Productions of Macbeth:

1895 Henry Irving‘s Macbeth with Ellen Terry as Lady Macbeth and Irving as Macbeth opened at the Lyceum Theatre (London) on July 24 for three performances. Frank Cooper played Macduff and F. H. Macklin, Banquo (Wearing I: 502-3).

1897 Ben Greet managed a production of Macbeth that opened at the Olympic Theatre (London) on May 31 and ran for seven performances. Macbeth was played by Louis Calvert, Lady Macbeth by Laura Johnson, Duncan by W. R. Staveley, and Macduff by Frank Rodney (Wearing, II: 665).

1898 Johnston Forbes-Robertson played Macbeth in his production of the play that opened on September 17 at the Lyceum Theatre (London); Macbeth ran for fifty-eight performances. Lady Macbeth was played by Mrs. Patrick Campbell, Macduff by Robert Taber, Malcom by John Martin Harvey, and Banquo by Bernard Gould (Wearing, II: 762).

1900 On April 23, Frank Benson and his company began the annual Shakespeare Festival at Stratford-upon-Avon. Among the players were Marion Terry as Rosalind in As You Like it and John Coleman as Pericles. The company also performed Othello, Macbeth, and The Merchant of Venice (Loney, I: 3).

1903 Frank Benson opened a two-week Shakespeare Festival season at Stratford-upon-Avon on April 20. Among the plays his troupe presented were Hamlet, The Winter’s Tale, Macbeth, The Merry Wives of Windsor, and A Midsummer Night’s Dream (Loney, I: 16).

1907 On March 4, Ben Greet’s company returned to New York City’s Garden Theatre. The plays in repertory included Macbeth, As You Like It, Julius Caesar, Twelfth Night, Much Ado About Nothing, and The Merchant of Venice. Among Greet’s players were Sybil Thorndyke, Julia Perkins, and Sidney Greenstreet (Loney, I: 37).

1909 Arthur Bourchier revived Macbeth at London’s Garrick Theatre on May 7; his wife Violet Vanbrugh played Lady Macbeth (Loney, I: 49).

1909 The London Shakespeare Festival presented by Herbert Beerbohm Tree‘s ensemble, began June 21 at His Majesty’s Theatre, London. The festival ran for two weeks with The Merry Wives of Windsor, Twelfth Night, Julius Caesar, Hamlet, Richard III, The Merchant of Venice, and Macbeth (Loney, I: 50).

1910 On January 17, Ben Greet’s repertory of plays opened at the Garden Theatre, New York City, with, among other classics, these Shakespeare plays: Macbeth, Julius Caesar, The Tempest, A Midsummer Night’s Dream, and The Merchant of Venice (Loney, I: 53).

1910 At the first Stratford-upon-Avon Summer Shakespeare Festival, Benson presented The Winter’s Tale, Julius Caesar, Macbeth, Henry V, Twelfth Night, As You Like It, Richard II, Hamlet, and The Merry Wives of Windsor (Loney, I: 54).

1910 On December 5, E. H. Sothern and Julia Marlowe opened a season of Shakespearean repertory at the Broadway Theatre, New York City. Among the plays were Hamlet, Macbeth, Romeo and Juliet, and As You Like It (Loney, I: 54).

1911 On April 17 the annual Stratford Shakespeare Festival opened with The Merry Wives of Windsor. This year Frank Benson also offered The Merchant of Venice, Twelfth Night, Much Ado About Nothing, Henry V, Julius Caesar, Macbeth, As You Like It, Romeo and Juliet, A Midsummer Night’s Dream, and Richard III (Loney, I: 158).

1911 Herbert Beerbohm Tree has a revival of Macbeth at his Majesty’s Theatre, London, on September 5. Violet Vanbrugh was cast as Lady Macbeth, with Tree as Macbeth (Loney, I: 159).

1911 E. H. Sothern and Julia Marlowe opened their season at the Broadway Theatre, New York City. In the repertory were Macbeth, The Taming of the Shrew, Hamlet, The Merchant of Venice, Romeo and Juliet, and Twelfth Night. They returned on November 20 and added As You Like it to the list (Loney, I: 158).

Sir Henry Irving was the stage name of John Henry Brodribb, who was born in 1838 and raised in a working-class family. He was one of the most famous British actor-managers and dominated the late Victorian Stage (along with Sir Herbert Beerbohm Tree). He was born in Somerset but lived in London from the age of ten. It was seeing Samuel Phelps (also a mentor to Sir Johnston Forbes-Robertson) playing Hamlet that inspired Irving to take to the stage, and he joined the Lyceum Theatre, Sunderland, in 1856. Irving serves as somewhat of a common ancestor of the majority of the players in our collection and on the site, having mentored Forbes-Robertson and Sir Frank Benson, who himself mentored Beerbohm Tree.

Irving’s breakthrough came with the success of The Bells in 1871, produced at the Lyceum in London. From then on, his personal life took second place to his professional life. On opening night of The Bells, November 25, 1871, Irving’s wife, Florence criticized his profession: “Are you going on making a fool of yourself like this all your life?” Irving got out from their carriage at Hyde Park Corner, walked off into the night and chose never to see her again. Though they never formally divorced, he never married again after this. Their two children were Henry Brodribb, born in 1870, and Laurence, born in 1871. Henry “H. B.” Irving became an accomplished actor-manager in his own right and later a lawyer and writer.

It was after this that Irving took over the lease for this theater, the Lyceum, from Hezekiah Bateman, and Ellen Terry became his leading lady. She was the Ophelia to his Hamlet, the Juliet to his Romeo, the Beatrice to his Benedick, the Portia to his Shylock, the Lady Macbeth to his Macbeth. Together, they were an international sensation, the gold standard of Shakespeare-in-performance, a tour de force. Their air-tight performing relationship reportedly made Bernard Shaw, then a theater critic, jealous. They went into joint management of the Lyceum in 1878. During this period, Irving’s Shylock (shown here) became as renowned as his Hamlet and became the new standard for the Jew’s stage portrayal. He also famously played Iago opposite Edwin Booth’s Othello. In 1892, he memorably played Cardinal Wolsey in Henry VIII. With the Lyceum company, he and Terry made several hugely successful tours in the US and Canada. As Terry aged, she moved on to solo performances and eventually left the company.

In 1898, he was appointed Rede Lecturer at the University of Cambridge, a position previously held by the likes of Matthew Arnold, John Ruskin, J. J. Thompson, and others. His lecturer was called, “The Theater in Relation to the State.”

Irving was the first actor ever to be appointed to knighthood, which he received in 1895. His final Shakespeare performance in London was of Coriolanus, in 1901. He died in Bradford after having a stroke during his final provincial tour in 1905 where he played crowd favorite, Tennyson’s Becket. The chair in which he sat when he died is now on display at the Garrick Club, of which he was a member. He enjoys the distinction of being the first person to ever be cremated prior to internment at Westminster Abbey.

Irving produced his own critical edition of Shakespeare’s works, from a performer’s lens, published as The Henry Irving Shakespeare by Cambridge University Press in 1906. He wrote, in an 1893 issue of The English Illustrated Magazine, that his four favorite parts were Hamlet, Richard III, Iago, and Lear. That same year, Bram Stoker, Irving’s manager and friend, published a two-volume biography titled, Personal Reminisces of Henry Irving. William Archer published a study (1885) of Irving during his lifetime, but the rest came posthumously. There have been many books published about the monumental Sir Irving and his work, even to this day.