Maggie Gale - Stage Women, 1900-50: Female Theatre Workers and Professional Practice

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STAGE WOMEN, 190050

WOMEN, THEATRE AND PERFORMANCE

SERIES EDITORS
MAGGIE B. GALE AND KATE DORNEY

Already published:

Treading the bawds: actresses and playwrights on the late Stuart stage
GILLI BUSH-BAILEY

Performing herself: Autobiography and Fanny Kellys Dramatic Recollections
GILLI BUSH-BAILEY

Plays and performance texts by women 18801930: An anthology of plays by British and American women from the Modernist Period
EDS MAGGIE B. GALE AND GILLI BUSH-BAILEY

Auto/biography and identity: women, theatre and performance
EDS MAGGIE B. GALE AND VIV GARDNER

Women, theatre and performance: new histories, new historiographies
EDS MAGGIE B. GALE AND VIV GARDNER

Kitty Marion: Actor and activist
EDS VIV GARDNER AND DIANE ATKINSON

Female performance practice on the fin-de-sicle popular stages of London and Paris: Experiment and advertisement
CATHERINE HINDSON

Stage rights! The Actresses Franchise League, activism and politics 190858
NAOMI PAXTON

STAGE WOMEN, 190050

Female theatre workers and professional practice

EDITED BY MAGGIE B. GALE AND KATE DORNEY

Manchester University Press

Copyright Manchester University Press 2019

While copyright in the volume as a whole is vested in Manchester University Press, copyright in individual chapters belongs to their respective authors, and no chapter may be reproduced wholly or in part without the express permission in writing of both author and publisher.

Published by Manchester University Press
Altrincham Street, Manchester M1 7JA

www.manchesteruniversitypress.co.uk

British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library

ISBN 978 1 5261 0070 2 hardback

First published 2019

The publisher has no responsibility for the persistence or accuracy of URLs for any external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.

Typeset by
Servis Filmsetting Ltd, Stockport, Cheshire

CONTENTS

Introduction
Maggie B. Gale and Kate Dorney

1 Believe me or not: Actresses, female performers, autobiography and the scripting of professional practice
Maggie B. Gale

2 Female networks: Collecting contacts with Gabrielle Enthoven
Kate Dorney

3 Past the memoir: Winifred Dolan beyond the West End
Lucie Sutherland

4 Offstage labour: Actresses, charity work and the early twentieth-century theatre profession
Catherine Hindson

5 Very much alive and kicking: The Actresses Franchise League from 1914 to 1928
Naomi Paxton

6 Defending the body, defending the self: Women performers and the law in the long Edwardian period
Viv Gardner

7 Emotional and natural: The Australian and New Zealand repertoires and fortunes of North American performers
Margaret Anglin, Katherine Grey and Muriel Starr Veronica Kelly

8 Lily Brayton: A theatre maker in every sense
Brian Singleton

9 Aerial star: Lillian Leitzels celebrity, agency and her performed femininity
Kate Holmes

10 Ellen Terry: The art of performance and her work in film
Katharine Cockin

11 Mabel Constanduros: Different voices, voicing difference
Gilli Bush-Bailey

12 The odd woman: Margaret Rutherford
John Stokes

Gilli Bush-Bailey is Professor Emerita of Womens Performance History at Royal Central School of Speech and Drama. She has published widely on the history of writing and performing women; her monograph Performing Herself: Autobiography and Fanny Kellys Dramatic Recollections (Manchester University Press, 2011) led to her growing interest in women making and performing comedy. Relatively brief references to Constanduross work appear in Women Like Us, Comedy Studies 3.2 (2012) and Maggie B. Gale and Gilli Bush-Bailey (eds), Plays and Performance Texts by Women 18801930 (Manchester University Press, 2012). Shifting Scenes: The Child Performer and her Audience Revisited in the Digital Age, in Gillian Arrighi and Victor Emeljanow (eds), Entertaining Children (Palgrave, 2014), is part of her ongoing work with women and autobiographical performance, which also connects with her participation in UK company Tonic Theatres Advance, a theatre programme working towards gender equality in the industry.

Katharine Cockin is Professor of English Literature in the Department of Literature, Film and Theatre Studies, University of Essex, and has published widely on Ellen Terry and her daughter, Edith Craig, theatre director and suffrage activist. Cockins most recent monograph is Edith Craig and the Theatres of Art (Bloomsbury Methuen, 2017). Her publications also include articles and essays on womens suffrage drama and two volumes (one on womens suffrage drama) in the Womens Suffrage Literature series (Routledge, 2007). She is principal Investigator of the AHRC Ellen Terry and Edith Craig Database (200608), the AHRC Searching for Theatrical Ancestors (201517), www.ellenterryarchive.hull.ac.uk, and editor of the Collected Letters of Ellen Terry (8 vols, Pickering and Chatto). She is also editor of Routledges Dramatic Lives book series.

Kate Dorney is Senior Lecturer in the Department of Drama at the University of Manchester, having formerly been senior curator of Modern and Contemporary Performance at the Victoria and Albert Museum. She is co-editor of the journal Studies in Theatre and Performance and of the series Women, Theatre and Performance with Maggie B. Gale (Manchester University Press). She has published widely in the area of modern and contemporary theatre and performance curation and documentation. Publications include Played in Britain: Modern Theatre in 100 Plays, co-written with Frances Gray (Bloomsbury, 2012); The Changing Language of Modern English Drama 19452005 (Palgrave Macmillan, 2009); The Glory of the Garden: English Regional Theatre and the Arts Council 1980 to 2009, co-edited with Ros Merkin (Cambridge Scholars Press, 2010); and Vivien Leigh: Actress and Icon, co-edited with Maggie B. Gale (Manchester University Press, 2018).

Maggie B. Gale is Chair in Drama at the University of Manchester. She is a co-editor of the journal Contemporary Theatre Review, and of the series Theatre Theory Performance with Maria Delgado and Peter Lichtenfels, and Women, Theatre and Performance with Kate Dorney (both Manchester University Press). Recent publications include Vivien Leigh: Actress and Icon (Manchester University Press, 2018, ed. with Kate Dorney), Fifty Modern and Contemporary Dramatists (Routledge, 2014, ed. with John F. Deeney), The Routledge Drama Anthology: Modernism to Contemporary Performance (2nd edn, 2016, ed. with John F. Deeney), Plays and Performance Texts by Women 18801930 (Manchester University Press, 2012, ed. with Gilli Bush-Bailey) and The Cambridge Companion to the Actress (Cambridge University Press, 2007, ed. with John Stokes). She was awarded a Leverhulme Trust Major Research Fellowship grant to complete A Social History of British Performance Cultures 19001939: Citizenship, Surveillance and the Body

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