Ellen Terry: Difference between revisions
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Among her most celebrated roles with Irving were Ophelia, Pauline in ''[[The Lady of Lyons]]'' by [[Edward Bulwer-Lytton]] (1878), Portia (1879), Queen Henrietta Maria in William Gorman Wills's drama ''Charles I'' (1879), Desdemona in ''[[Othello]]'' (1881), Camma in Tennyson's short tragedy ''The Cup'' (1881), Beatrice in ''[[Much Ado About Nothing]]'', another of her signature roles (1882 and often thereafter), Juliet in ''[[Romeo and Juliet]]'' (1882), Jeanette in ''The Lyons Mail'' by Charles Reade (1883), the title part in Reade's romantic comedy ''Nance Oldfield'' (1883), Viola in ''[[Twelfth Night]]'' (1884), Margaret in the long-running adaptation of ''Faust'' by Wills (1885), the title role in ''Olivia'' (1885, which she had played earlier at the Court Theatre), [[Lady Macbeth]] in ''[[Macbeth]]'' (1888, with [[incidental music]] by [[Arthur Sullivan]]<ref>[http://www.gilbertandsullivanarchive.org/sullivan/macbeth/index.html "Sullivan's incidental music to Shakespeare's ''Macbeth''], The Gilbert and Sullivan Archive, 28 January 2005, accessed 21 August 2016; Hugill, Robert. [http://www.planethugill.com/2016/08/mendelssohnian-charm-sir-arthur.html "Mendelssohnian charm: Sir Arthur Sullivan's ''Macbeth'' and ''The Tempest''"], PlanetHugill.com, 15 August 2016. See also [http://www.dailymail.co.uk/femail/article-1366616/Victorian-beetle-wing-dress-worn-Ellen-Terry-display-50k-repair-job.html "A flyaway success: Victorian dress made from 1,000 beetle wings restored at a cost of £50,000"]. ''The Daily Mail'', 16 March 2011</ref>), Queen Katherine in ''[[Henry VIII (play)|Henry VIII]]'' (1892),<ref>[http://www.gutenberg.org/files/14217/14217-h/14217-h.htm Review and drawings of ''Henry VIII''], ''Punch'' magazine, Vol. 102, 16 January 1892, p. 33</ref> Cordelia in ''[[King Lear]]'' (1892), Rosamund de Clifford in ''Becket'' by [[Alfred Tennyson]] (1893), [[Guinevere]] in ''King Arthur'' by [[J. Comyns Carr]], with incidental music by Sullivan (1895),<ref>[http://www.c20th.com/GSearly.htm Information about ''King Arthur'' including an image of the program] {{webarchive |url=https://web.archive.org/web/20080720182507/http://www.c20th.com/GSearly.htm |date=20 July 2008 }}</ref> [[Imogen (Shakespeare)|Imogen]] in ''[[Cymbeline]]'' (1896), the title character in [[Victorien Sardou]] and [[Émile Moreau (playwright)|Émile Moreau]]'s play ''Madame Sans-Gêne'' (1897)<ref name=Answers/> and Volumnia in ''Coriolanus'' (1901). |
Among her most celebrated roles with Irving were Ophelia, Pauline in ''[[The Lady of Lyons]]'' by [[Edward Bulwer-Lytton]] (1878), Portia (1879), Queen Henrietta Maria in William Gorman Wills's drama ''Charles I'' (1879), Desdemona in ''[[Othello]]'' (1881), Camma in Tennyson's short tragedy ''The Cup'' (1881), Beatrice in ''[[Much Ado About Nothing]]'', another of her signature roles (1882 and often thereafter), Juliet in ''[[Romeo and Juliet]]'' (1882), Jeanette in ''The Lyons Mail'' by Charles Reade (1883), the title part in Reade's romantic comedy ''Nance Oldfield'' (1883), Viola in ''[[Twelfth Night]]'' (1884), Margaret in the long-running adaptation of ''Faust'' by Wills (1885), the title role in ''Olivia'' (1885, which she had played earlier at the Court Theatre), [[Lady Macbeth]] in ''[[Macbeth]]'' (1888, with [[incidental music]] by [[Arthur Sullivan]]<ref>[http://www.gilbertandsullivanarchive.org/sullivan/macbeth/index.html "Sullivan's incidental music to Shakespeare's ''Macbeth''], The Gilbert and Sullivan Archive, 28 January 2005, accessed 21 August 2016; Hugill, Robert. [http://www.planethugill.com/2016/08/mendelssohnian-charm-sir-arthur.html "Mendelssohnian charm: Sir Arthur Sullivan's ''Macbeth'' and ''The Tempest''"], PlanetHugill.com, 15 August 2016. See also [http://www.dailymail.co.uk/femail/article-1366616/Victorian-beetle-wing-dress-worn-Ellen-Terry-display-50k-repair-job.html "A flyaway success: Victorian dress made from 1,000 beetle wings restored at a cost of £50,000"]. ''The Daily Mail'', 16 March 2011</ref>), Queen Katherine in ''[[Henry VIII (play)|Henry VIII]]'' (1892),<ref>[http://www.gutenberg.org/files/14217/14217-h/14217-h.htm Review and drawings of ''Henry VIII''], ''Punch'' magazine, Vol. 102, 16 January 1892, p. 33</ref> Cordelia in ''[[King Lear]]'' (1892), Rosamund de Clifford in ''Becket'' by [[Alfred Tennyson]] (1893), [[Guinevere]] in ''King Arthur'' by [[J. Comyns Carr]], with incidental music by Sullivan (1895),<ref>[http://www.c20th.com/GSearly.htm Information about ''King Arthur'' including an image of the program] {{webarchive |url=https://web.archive.org/web/20080720182507/http://www.c20th.com/GSearly.htm |date=20 July 2008 }}</ref> [[Imogen (Shakespeare)|Imogen]] in ''[[Cymbeline]]'' (1896), the title character in [[Victorien Sardou]] and [[Émile Moreau (playwright)|Émile Moreau]]'s play ''Madame Sans-Gêne'' (1897)<ref name=Answers/> and Volumnia in ''Coriolanus'' (1901). |
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Terry made her American debut in 1883, playing Queen Henrietta opposite Irving in ''Charles I''. Among the other roles she portrayed on this and six subsequent North American tours with Irving were Jeanette, Ophelia, Beatrice, Viola, and her most famous role, Portia.<ref>[http://www.answers.com/topic/ellen-terry ''American Theatre Guide'' entry]</ref><ref>[https://archive.org/stream/weekcanadianjour01toro#page/n103/mode/1up "Music and the Drama: Irving's Visit"], ''The Week: a Canadian journal of politics, literature, science and arts'', 28 February 1884, vol. 1, issue 13, p. 204, accessed 27 April 2013</ref> Her last role at the Lyceum was Portia in 1902, after which she toured in the British provinces with Irving and his company that autumn. Whether Irving's relationship with Terry was romantic as well as professional has been the subject of much speculation. According to Sir [[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".<ref>Holroyd, p. ?</ref> Irving was separated, but not divorced from his wife. Terry was separated from Wardell in 1881, and Irving was godfather to both her children. They travelled on holiday together, and Irving wrote tender letters to Terry.<ref name=dnb/><ref>Irving, John H. B. [http://www.theirvingsociety.org.uk/LETTERS.htm "Quest for the Missing Letters"], The Irving Society; accessed 12 October 2011</ref> |
Terry made her American debut in 1883, playing Queen Henrietta opposite Irving in ''Charles I''. Among the other roles she portrayed on this and six subsequent North American tours with Irving were Jeanette, Ophelia, Beatrice, Viola, and her most famous role, Portia.<ref>[http://www.answers.com/topic/ellen-terry ''American Theatre Guide'' entry]</ref><ref>[https://archive.org/stream/weekcanadianjour01toro#page/n103/mode/1up "Music and the Drama: Irving's Visit"], ''The Week: a Canadian journal of politics, literature, science and arts'', 28 February 1884, vol. 1, issue 13, p. 204, accessed 27 April 2013</ref> Her last role at the Lyceum was Portia in 1902, after which she toured in the British provinces with Irving and his company that autumn. Whether Irving's relationship with Terry was romantic as well as professional has been the subject of much speculation. According to Sir [[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".<ref>Holroyd, p. ?</ref> Irving was separated, but not divorced from his wife. Terry was separated from Wardell in 1881, and Irving was godfather to both her children. They travelled on holiday together, and Irving wrote tender letters to Terry.<ref name=dnb/><ref>Irving, John H. B. [http://www.theirvingsociety.org.uk/LETTERS.htm "Quest for the Missing Letters"] {{webarchive|url=https://web.archive.org/web/20111224153429/http://www.theirvingsociety.org.uk/LETTERS.htm |date=24 December 2011 }}, The Irving Society; accessed 12 October 2011</ref> |
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In London, Terry lived in [[Earls Court]] with her children and pets during the 1880s, first in Longridge Road, then Barkston Gardens in 1889, but she kept country homes. In 1900, she bought her farmhouse in [[Small Hythe]], Kent, where she lived for the rest of her life.<ref>[http://www.rbkc.gov.uk/vmgallery/general/large.asp?gallery=vm_blue_plaques&img=blue_plaques/thumb/vm_bp_0003.jpg&size=large&caller=&cpg=&tpg= Information about Terry's pets and residences]</ref> In 1889, her son joined the Lyceum company as an actor, appearing with the company until 1897, when he retired from the stage to study drawing and produce woodblock engravings. Her daughter Edith also played at the Lyceum for several years from 1887, but she eventually turned to stage direction and costume design, creating costumes for Terry, [[Lillie Langtry]], and others early in the 20th century.<ref name=dnb/><ref>Cockin, Katharine. ''Edith Craig (1869–1947): Dramatic Lives'' Cassell (1998).</ref> |
In London, Terry lived in [[Earls Court]] with her children and pets during the 1880s, first in Longridge Road, then Barkston Gardens in 1889, but she kept country homes. In 1900, she bought her farmhouse in [[Small Hythe]], Kent, where she lived for the rest of her life.<ref>[http://www.rbkc.gov.uk/vmgallery/general/large.asp?gallery=vm_blue_plaques&img=blue_plaques/thumb/vm_bp_0003.jpg&size=large&caller=&cpg=&tpg= Information about Terry's pets and residences]</ref> In 1889, her son joined the Lyceum company as an actor, appearing with the company until 1897, when he retired from the stage to study drawing and produce woodblock engravings. Her daughter Edith also played at the Lyceum for several years from 1887, but she eventually turned to stage direction and costume design, creating costumes for Terry, [[Lillie Langtry]], and others early in the 20th century.<ref name=dnb/><ref>Cockin, Katharine. ''Edith Craig (1869–1947): Dramatic Lives'' Cassell (1998).</ref> |
Revision as of 13:05, 28 November 2017
Dame Ellen Terry | |
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Born | Alice Ellen Terry 27 February 1847 Coventry, England |
Died | 21 July 1928 Small Hythe, Kent, England | (aged 81)
Other names | Ellen Alice Terry |
Dame Alice Ellen Terry,
Born into a family of actors, Terry began performing as a child, acting in Shakespeare plays in London, and toured throughout the British provinces in her teens. At 16 she married the 46-year-old artist George Frederic Watts, but they separated within a year. She soon returned to the stage but began a relationship with the architect Edward William Godwin and retired from the stage for six years. She resumed 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 more than the next two decades she was considered the leading Shakespearean and comic 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 and Britain.
In 1903 Terry took over management of London's
Early life and career
Terry was born in Coventry, England, the third surviving child born into a theatrical family.[3] Her parents, Benjamin (1818–96), of Irish descent, and Sarah (née Ballard, 1819–92), of Scottish ancestry, were comic actors in a Portsmouth-based touring company,[4] (where Sarah's father was a Wesleyan minister) and had 11 children. At least five of them became actors: Kate, Ellen, Marion, Florence, and Fred.[5] Two other children, George and Charles, were connected with theatre management.[6] Kate (the grandmother of John Gielgud) and Marion were particularly successful on stage.[7]
Terry made her first stage appearance at age nine, as Mamillius, opposite Charles Kean as Leontes, in Shakespeare's The Winter's Tale at London's Princess's Theatre in 1856.[8] She also played the roles of Puck in A Midsummer Night's Dream (1856), Prince Arthur in King John (1858), and Fleance in Macbeth (1859), continuing at the Princess's Theatre until the Keans' retirement in 1859.[9] During the theatre's summer closures, Terry's father presented drawing-room entertainments at the Royal Colosseum, Regent's Park, London, and then on tour. In 1859, she appeared in the Tom Taylor comedy Nine Points of the Law at the Olympic Theatre.[5] For the next two years, Terry and her sister Kate toured the British provinces in sketches and plays, accompanied by their parents and a musician.[4]
Between 1861 and 1862, Terry was engaged by the
Watts, Godwin and return to acting
Terry married three times and was involved in numerous relationships. In London, during her engagement at the Haymarket Theatre, she and her sister Kate had their portraits painted by the eminent artist George Frederic Watts. His famous portraits of Terry include Choosing, in which she must select between earthly vanities, symbolised by showy but scentless camellias, and nobler values symbolised by humble-looking but fragrant violets. His other famous portraits of her include Ophelia and Watchman, and, with Kate, The Sisters. He proposed marriage to Terry in spite of his being three decades her senior.[5] She was impressed with Watts's art and elegant lifestyle, and she wished to please her parents by making an advantageous marriage. She left the stage during the run of Tom Taylor's hit comedy Our American Cousin at the Haymarket, in which she played Mary Meredith.[5]
Terry and Watts married on 20 February 1864 at St Barnabas,
She returned to acting by 1866.[11] In 1867, Terry performed in several Tom Taylor pieces, 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, Long Acre. She would play there later that year for the first time opposite Henry Irving in the title roles of Katherine and Petruchio, David Garrick's one-act version of The Taming of the Shrew.[10]
In 1868, despite her parents' objection, she began a relationship with the progressive architect-designer and essayist
The relationship cooled in 1874 amid Godwin's preoccupation with his architectural practice and financial difficulties. However, even after their 1875 separation, Godwin continued to design Terry's costumes when she returned to the stage. In 1874 Terry played in a number of roles in Charles Reade's works: Philippa Chester in The Wandering Heir; Susan Merton in It's Never Too Late to Mend; and Helen Rolleston in Our Seamen. That 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.[10]
Shakespeare, Irving, Lyceum
In 1875, Terry gave an acclaimed performance as Portia in
In 1876, she appeared as Lady Teazle in
In 1878, 30-year-old Terry joined Henry Irving's company at the Lyceum Theatre as its leading lady at a generous salary, beginning with Ophelia opposite Irving's Hamlet. Soon she was regarded as the leading Shakespearean actress in Britain, and in partnership with Irving,[12] she reigned as such for over 20 years until they left the Lyceum in 1902.[3][13] 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 Tennyson, Bulwer-Lytton, Reade, Sardou, and plays by other contemporary playwrights, such as W. G. Wills, and other major plays.[4]
In 1879,
Among her most celebrated roles with Irving were Ophelia, Pauline in
Terry made her American debut in 1883, playing Queen Henrietta opposite Irving in Charles I. Among the other roles she portrayed on this and six subsequent North American tours with Irving were Jeanette, Ophelia, Beatrice, Viola, and her most famous role, Portia.[19][20] Her last role at the Lyceum was Portia in 1902, after which she toured in the British provinces with Irving and his company that autumn. Whether Irving's relationship with Terry was romantic as well as professional has been the subject of much speculation. According to Sir 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".[21] Irving was separated, but not divorced from his wife. Terry was separated from Wardell in 1881, and Irving was godfather to both her children. They travelled on holiday together, and Irving wrote tender letters to Terry.[5][22]
In London, Terry lived in
Shaw, Ibsen, Barrie
In 1902, Terry played Mistress Page in
She returned to the theatre in April 1906, playing Lady Cecily Wayneflete to acclaim in Shaw's
In 1908, she was back at His Majesty's, playing Aunt Imogen in W. Graham Robertson's fairy play Pinkie and the Fairies. She played
Films and last years
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 Victory and Peace (1918), Pillars of Society (1920), Potter's Clay (1922), and The Bohemian Girl (1922) as Buda the nursemaid, with Ivor Novello and Gladys Cooper.[29] During this time, she continued to lecture on Shakespeare throughout England and North America. She also gave scenes from Shakespeare plays in music halls under the management of Oswald Stoll. Her last fully staged role was as the Nurse in Romeo and Juliet at the Lyric Theatre on Shaftesbury Avenue in 1919.
In 1920 she retired from the stage and in 1922 from film, although she returned to play Susan Wildersham in Walter de la Mare's fairy play, Crossings, in November 1925 at the Lyric Hammersmith.[5]
In 1922, the University of St Andrews conferred an honorary LLD upon Terry, and in 1925 she was appointed Dame Grand Cross of the Order of the British Empire, only the second actress, after Geneviève Ward, to be created a dame for her professional achievements. In her last years, she gradually lost her eyesight and suffered from senility. Stephen Coleridge anonymously published an annotated volume of his correspondence with Terry, The Heart of Ellen Terry, in 1928.[30]
Death
On 21 July 1928, Terry died of a
Legacy
After her death, the Ellen Terry Memorial Museum was founded by Edith Craig in her mother's memory at Smallhythe Place, an early 16th-century house that she bought at the turn of the 20th century.
Terry's daughter Edith Craig became a theatre director, producer, costume designer, and an early pioneer of the women's suffrage movement in England. Terry's son, Edward Gordon Craig, became an actor, scenery and effects designer, illustrator, and director; he also founded the Gordon Craig School for the Art of the Theatre in Florence, Italy, in 1913. Her grandnephew was the actor John Gielgud.[34] Illustrator Helen Craig is Terry's great granddaughter.[35]
Gallery
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Terry's son, Edward Gordon Craig
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An 1868 self-caricature signed "Ellen Terry (Watts)"
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Drawing by Sargent for Terry's golden jubilee programme, 1906
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With pets Fussie and Drummie in the 1880s
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Portrait photograph of Ellen Terry, 1915
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In her garden with granddaughter Nelly Gordon, c. 1918
See also
References
- ^ Birth certificate is dated 1847 Archived 6 August 2007 at the Wayback Machine
- ^ she had reversed her given names by the time of her first marriage
- ^ a b c Biography and reviews of Terry
- ^ a b c d e f Biography of Terry at the Stage Beauty website
- ^ a b c d e f g h i j k Booth, Michael R. "Terry, Dame Ellen Alice (1847–1928)", Oxford Dictionary of National Biography, Oxford University Press, September 2004; online edn, January 2008, accessed 4 January 2010
- ^ Hartnoll, pp. 815–17.
- ^ Obituary, Time Magazine, 1 September 1930
- ^ The photograph of Terry as Mamillius and Kean as Leontes was taken by Martin Laroche.
- ^ Hartnoll, p. 816.
- ^ a b c d e Terry Biography at Answers.com
- ^ a b c Profile of Terry by Amanda Hodges Archived 17 May 2007 at the Wayback Machine
- ^ Description of the Terry and Irving partnership and link to further information about Terry Archived 4 May 2005 at the Wayback Machine
- ^ Information from Schoolnet.com Archived 30 October 2007 at the Wayback Machine
- ^ The Times, 10 April 1879, p. 8, col. B
- ^ "Miss Ellen Terry's Benefit", The Era, 23 May 1880, p. 6
- ^ "Sullivan's incidental music to Shakespeare's Macbeth, The Gilbert and Sullivan Archive, 28 January 2005, accessed 21 August 2016; Hugill, Robert. "Mendelssohnian charm: Sir Arthur Sullivan's Macbeth and The Tempest", PlanetHugill.com, 15 August 2016. See also "A flyaway success: Victorian dress made from 1,000 beetle wings restored at a cost of £50,000". The Daily Mail, 16 March 2011
- ^ Review and drawings of Henry VIII, Punch magazine, Vol. 102, 16 January 1892, p. 33
- ^ Information about King Arthur including an image of the program Archived 20 July 2008 at the Wayback Machine
- ^ American Theatre Guide entry
- ^ "Music and the Drama: Irving's Visit", The Week: a Canadian journal of politics, literature, science and arts, 28 February 1884, vol. 1, issue 13, p. 204, accessed 27 April 2013
- ^ Holroyd, p. ?
- ^ Irving, John H. B. "Quest for the Missing Letters" Archived 24 December 2011 at the Wayback Machine, The Irving Society; accessed 12 October 2011
- ^ Information about Terry's pets and residences
- ^ Cockin, Katharine. Edith Craig (1869–1947): Dramatic Lives Cassell (1998).
- ^ a b Biography of Terry BBC Coventry
- ^ Cockin (2015), p. 164 et. seq.
- ^ Cockin (2001), pp. 7, 27-28, 46 and 48–50
- ^ Recordings for the Victor Talking Machine Co. Archived 27 September 2007 at the Wayback Machine
- ^ Information from Findagrave.com
- ^ Irving, John H. B. "Quest for Missing Ellen Terry Letters", The Irving Society; accessed 5 March 2016. Archived 7 April 2014 at the Wayback Machine
- ^ Holroyd, pp. 508–509
- ^ "National Portrait Gallery, Death-mask of Ellen Terry". Retrieved 4 November 2017.
- ISBN 0786479922
- ISBN 1-55783-415-6
- ^ Jansen-Gruber, Marya. "The Authors and Illustrators – Profiles: Helen Craig", Through The Looking Glass Children’s Book Reviews website; accessed 1 April 2014
Sources
- Auerbach, Nina. Ellen Terry: Player in Her Time (1987) W. W. Norton; (1997) University of Pennsylvania Press ISBN 978-0-8122-1613-4
- Chisholm, Hugh, ed. (1911). . Encyclopædia Britannica. Vol. 26 (11th ed.). Cambridge University Press.
- Cockin, Katharine. Edith Craig (1869–1947): Dramatic Lives (1998) Cassell.
- Cockin, Katharine (2001). Women and Theatre in the Age of Suffrage: The Pioneers Players 1911–25. Basingstoke: Palgrave. ISBN 0333686969.
- Cockin, Katharine (ed.) Ellen Terry, Spheres of Influence (2011) Pickering & Chatto.
- Cockin, Katharine (ed.) Ellen Terry: Lives of the Shakespearian Actors (2012) Pickering & Chatto.
- Cockin, Katherine (ed.) The Collected Letters of Ellen Terry, Vol. 6, London: Pickering & Chatto (2015) ISBN 9781851961504
- "Drama: This Week", The Athenæum, 19 January 1895, p. 93.
- Foulkes, Richard ed. Henry Irving: A Re-evaluation, (2008) London: Ashgate.
- 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 0-19-866136-3
- Holroyd, Michael. A Strange Eventful History, Farrar Straus Giroux, 2008 ISBN 0-7011-7987-2
- Manvell, Roger. Ellen Terry. New York: G. P. Putnam's Sons, 1968.
- Melville, Joy. Ellen and Edy. London: Pandora, 1987.
- Parker, J. ed., Who's Who in the Theatre, 11th edn (1952)
- 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.
- Stoker, Bram. Personal Reminiscences of Henry Irving, 2 vols. (1906)
- Biographies and correspondence
- Cheshire, David F. Portrait of Ellen Terry (1989) Amber Lane Press, ISBN 0-906399-93-9
- Cockin, Katharine (ed). The Collected Letters of Ellen Terry (2010–2017; 8 volumes) London: Pickering & Chatto.
- Craig, E. G. Ellen Terry and Her Secret Self (1932)
- Ellen Terry and Bernard Shaw: A Correspondence (1931); and The Shaw-Terry Letters: A Romantic Correspondence (both edited by Christopher St. John)
- The Heart of Ellen Terry (1928) Ed. Stephen Coleridge [anon.] London; Mills & Boon, Ltd.
- Fecher, Constance. Bright Star: a Portrait of Ellen Terry (1970)
- Hiatt, C. Ellen Terry and her Impersonations (1908)
- Pemberton, Thomas Edgar. Ellen Terry and Her Sisters, London: C.A. Pearson (1902)
- R. Manvell, Ellen Terry (1968)
- St John, Christopher. Ellen Terry (1907)
- The Story of My Life by Ellen Terry at Project Gutenberg (1908) London: Hutchinson & Co; (1982) Schocken Books
External links
- Works by Ellen Terry at Project Gutenberg
- Works by or about Ellen Terry at Internet Archive
- Ellen Terry at IMDb
- Ellen Terry at the Internet Broadway Database
- Profile and photos of Terry, University of Rochester
- Photos and links to Terry information at the Stage Beauty website
- Terry bibliography
- Paintings and other images of Terry at the National Portrait Gallery
- Photos of Terry's home at Smallhythe and of Terry, National Trust
- Beach, Chandler B., ed. (1914). . . Chicago: F. E. Compton and Co.
- The Ellen Terry Collection held by the Victoria and Albert Museum Theatre and Performance Department.
- Victor Catalog listing of recitals by Ellen Terry