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{{Short description|English actress (1872–1957)}}
{{EngvarB|date=October 2017}}
{{Use dmy dates|date=October 2017}}
[[Image:mabel terry-lewis.jpg|thumb|right|Mabel Terry-Lewis photographed by Bassano in 1920]]
[[Image:mabel terry-lewis.jpg|thumb|right|Mabel Terry-Lewis photographed by Bassano in 1920]]
'''Mabel Gwynedd Terry-Lewis''' (born as Mabel Gwynedd Lewis) (28 October 1872 – 28 November 1957) was an English actress and a member of the Terry-Gielgud dynasty of actors of the 19th and 20th centuries.
'''Mabel Gwynedd Terry-Lewis''' (born as Mabel Gwynedd Lewis) ( 28 October 1872 – 28 November 1957) was an English actress and a member of the [[Terry family|Terry-Gielgud dynasty]] of actors of the 19th and 20th centuries.


After a successful career in her twenties and thirties she married and retired from the stage in 1904. Her husband died in 1917 and she returned to the theatre in 1920, continuing to act on stage and in films until the late 1940s. Among her celebrated roles was Lady Bracknell in ''[[The Importance of Being Earnest]]'', which she played opposite her nephew [[John Gielgud]] in 1930.
After a successful career in her twenties and thirties she married and retired from the stage in 1904. Her husband died in 1917 and she returned to the theatre in 1920, continuing to act on stage and in films until the late 1940s. Among her celebrated roles was Lady Bracknell in ''[[The Importance of Being Earnest]]'', which she played opposite her nephew [[John Gielgud]] in 1930.



==Life and career==
==Life and career==

===Early years===
===Early years===
Mabel Terry-Lewis was born in London, the youngest of the four children, all daughters, of Arthur James Lewis (1824–1901) and his wife [[Kate Terry|Kate]], ''née'' Terry. Lewis was a prosperous businessman, co-owner of the [[haberdashery]] firm of Lewis and Allenby, and an amateur painter, illustrator and musician.<ref>[http://www.whistler.arts.gla.ac.uk/correspondence/place/display/?rs=3&placeid=UKLoBakerSt The Correspondence of [[James McNeill Whistler]] [[The University of Glasgow]] Archive]</ref> Before their marriage, Kate Terry had been a well-known actress; her younger siblings, [[Ellen Terry|Ellen]], [[Marion Terry|Marion]], Florence and [[Fred Terry|Fred]] all followed her into the acting profession. The Lewises had no wish for any of their daughters to act professionally, but amateur theatricals were encouraged when the children were young. The author [[Lewis Carroll]] was a friend of Arthur Lewis, and on 24 January 1883 he visited the family home, Moray Lodge, for a performance of a comedietta titled ''Lady Barbara's Birthday'' given by the Lewis children and those of Ellen Terry. Also present on that occasion was [[W. S. Gilbert]]. Carroll wrote of the event:
Mabel Terry-Lewis was born in London, the youngest of the five children, four daughters, and one son, of Arthur James Lewis (1824–1901) and his wife, [[Kate Terry|Kate (née) Terry]]. Lewis was a prosperous businessman, co-owner of the [[haberdashery]] firm of Lewis and Allenby, and an amateur painter, illustrator and musician.<ref>The Correspondence of [[James McNeill Whistler]], [http://www.whistler.arts.gla.ac.uk/correspondence/place/display/?rs=3&placeid=UKLoBakerSt The University of Glasgow Archive]</ref> Before their marriage, Kate Terry had been a well-known actress; her younger siblings, [[Ellen Terry|Ellen]], [[Marion Terry|Marion]], Florence and [[Fred Terry|Fred]] all followed her into the acting profession. The Lewises had no wish for any of their daughters to act professionally, but amateur theatricals were encouraged when the children were young. The author [[Lewis Carroll]] was a friend of Arthur Lewis, and on 24 January 1883 he visited the family home, Moray Lodge, for a performance of a comedietta titled ''Lady Barbara's Birthday'' given by the Lewis children and those of Ellen Terry. Also present on that occasion was [[W. S. Gilbert]]. Carroll wrote of the event:
{{quote|[[Edith Craig|Edith]] [Craig] was clever (though not very articulate) and Katie [Terry-Lewis] distinctly good: then Teddie ([[Edward Gordon Craig]]) was ''very'' good, though a little given to rant: but Mabel was the gem of the whole thing. I never saw her equal among children, except Ellen Terry herself. She is a born actress.<ref>Foulkes, p. 97</ref>|}}
{{quote|[[Edith Craig|Edith]] [Craig] was clever (though not very articulate) and Katie [Terry-Lewis] distinctly good: then Teddie ([[Edward Gordon Craig]]) was ''very'' good, though a little given to rant: but Mabel was the gem of the whole thing. I never saw her equal among children, except Ellen Terry herself. She is a born actress.<ref>Foulkes, p. 97</ref>|}}


It is perhaps little known that Mabel was also a painter of miniatures. Who's Who in 1935 recorded that she had exhibited miniatures at the Royal Academy, Grafton and New Galleries and at Liverpool, Glasgow and Manchester. One such miniature was of Minnie Terry aged 5 years, circa 1887, which can be seen at [[Smallhythe Place]] in Kent, now a National Trust property, but once the home of actress [[Ellen Terry]] who was briefly married to the painter [[George Frederic Watts]]. Two other examples are miniatures of the 'Silver King' [[George_McCulloch_(mine_owner)|George McCulloch]] and his wife who lived near Mabel's home in London; these were gifted to the Art Gallery of South Australia in Adelaide by McCulloch's widow in 1928.
Mabel was the only one of the four Terry-Lewis daughters to pursue a theatrical career. Her first appearance on the professional stage was at the [[Garrick Theatre]], in January 1895, as Lucy Lorimer in "A Pair of Spectacles," with [[John Hare (actor)|John Hare]]. ''[[The Times]]'' commented, "Miss Lewis is a tall, dark and graceful young lady, exhibiting few of the characteristics of the novice."<ref>"Garrick Theatre", ''The Times'', 18 January 1895, p. 7</ref> ''[[The Manchester Guardian]]'' said that she "played the pretty little part with unaffected simplicity, and with more ease than might have been expected in a ''débutante''".<ref>"Our London Correspondence", ''The Manchester Guardian'', 18 January 1895, p. 5</ref>


Mabel was the only one of the four Terry-Lewis daughters to pursue a theatrical career. Her first appearance on the professional stage was at the [[Garrick Theatre]], in January 1895, as Lucy Lorimer in "A Pair of Spectacles," with [[John Hare (actor)|John Hare]]. ''[[The Times]]'' commented, "Miss Lewis ... is a tall, dark and graceful young lady, exhibiting few of the characteristics of the novice."<ref>"Garrick Theatre", ''The Times'', 18 January 1895, p. 7</ref> ''[[The Manchester Guardian]]'' said that she "played the pretty little part with unaffected simplicity, and with more ease than might have been expected in a ''débutante''".<ref>"Our London Correspondence", ''The Manchester Guardian'', 18 January 1895, p. 5</ref>
At the [[Criterion Theatre|Criterion]] in May 1897, she played Margaret Linfield in ''Threepenny Bits''.<ref name=who/> In the same year she played Bianca in ''[[The Taming of the Shrew]]'' for the [[Oxford University Dramatic Society]] at [[Oxford]].<ref>[http://collections.vam.ac.uk/item/O142104/photograph-cabinet-photograph-guy-little-theatrical-photograph/ Photograph of Terry-Lewis in ''[[The Taming of the Shrew]]'' in 1897], [[Victoria and Albert Museum]]</ref> she was not seen again in London until April 1898, when she appeared at the [[Gielgud Theatre|Globe]] (now the Gielgud Theatre), in Hare's company, playing Mary Faber in ''The Master''; the production attracted considerable attention because Kate Terry came briefly out of retirement to appear alongside her daughter. Although Kate had the lion's share of the press notices, Mabel was praised for a touching performance.<ref>"Globe Theatre", ''The Times'', 25 April 1898, p. 8; and "'The Master' at the Globe", ''The Observer'', 24 April 1898, p. 6</ref>


At the [[Criterion Theatre|Criterion]] in May 1897, she played Margaret Linfield in ''Threepenny Bits''.<ref name=who/> In the same year she played Bianca in ''[[The Taming of the Shrew]]'' for the [[Oxford University Dramatic Society]] at [[Oxford]].<ref>[https://collections.vam.ac.uk/item/O142104/photograph-cabinet-photograph-guy-little-theatrical-photograph/ Photograph of Terry-Lewis in ''The Taming of the Shrew'' in 1897], [[Victoria and Albert Museum]]</ref> She was not seen again in London until April 1898, when she appeared at the [[Gielgud Theatre|Globe]] (now the Gielgud Theatre), in Hare's company, playing Mary Faber in ''The Master''; the production attracted considerable attention because Kate Terry came briefly out of retirement to appear alongside her daughter. Although Kate had the lion's share of the press notices, Mabel was praised for a touching performance.<ref>"Globe Theatre", ''The Times'', 25 April 1898, p. 8; and "'The Master' at the Globe", ''The Observer'', 24 April 1898, p. 6</ref>
From then until 1904, Terry-Lewis had a successful stage career. She appeared at the Globe as Bella in ''School'' (January 1899), Blanche Haye in ''Ours'' (February 1899), Esther Eccles, [[Marie Wilton]]'s old part, in a revival of ''[[Caste (play)|Caste]]'' (March 1899), and Muriel Eden in ''The Gay Lord Quex'' (April 1899).<ref name=who/> In 1900 she toured in ''The Mistress of Craignairn '' and '' Gudgeons '',<ref name=who/> and on her return to London she opened at the [[Novello Theatre|Strand]] in May 1900, as Gloria Clandon in ''[[You Never Can Tell]]'', in which the ''[[The Observer]]'''s reviewer found her acting superior to [[George Bernard Shaw|Bernard Shaw]]'s play.<ref>"At the Play", ''The Observer'', 6 May 1900, p. 6</ref> After playing in a succession of ephemeral costume dramas, ending with the role of Sylvia Fitzallen in ''My Lady of Rosedale'', she retired from the stage on her marriage in 1904.<ref name=who>Parker, pp. 569–570</ref>

From then until 1904, Terry-Lewis had a successful stage career. She appeared at the Globe as Bella in ''School'' (January 1899), Blanche Haye in ''Ours'' (February 1899), Esther Eccles, [[Marie Wilton]]'s old part, in a revival of ''[[Caste (play)|Caste]]'' (March 1899), and created the role of Muriel Eden in ''[[The Gay Lord Quex (play)|The Gay Lord Quex]]'' (April 1899).<ref name=who/> In 1900 she toured in ''The Mistress of Craignairn '' and '' Gudgeons '',<ref name=who/> and on her return to London she opened at the [[Novello Theatre|Strand]] in May 1900, as Gloria Clandon in ''[[You Never Can Tell (play)|You Never Can Tell]]'', in which ''[[The Observer]]''{{'s}} reviewer considered her acting superior to [[George Bernard Shaw|Bernard Shaw]]'s play.<ref>"At the Play", ''The Observer'', 6 May 1900, p. 6</ref> After playing in a succession of ephemeral costume dramas, ending with the role of Sylvia Fitzallen in ''My Lady of Rosedale'', she retired from the stage on her marriage in 1904.<ref name=who>Parker, pp. 569–570</ref> Her only West End appearance during her marriage was in 1906, at her aunt Ellen Terry's jubilee celebration at [[Theatre Royal, Drury Lane|Drury Lane]], along with more than twenty other members of the Terry family.<ref>"A Cast of Terrys at Miss Ellen Terry's Jubilee Benefit Matinee", ''The Illustrated London News'', 16 June 1906, p. 894</ref>


Her marriage, to Captain (later Major) Ralph Cecil Batley, was a happy one, and she enjoyed her quiet life on his country estate in [[Dorset]]. Her young nephew, [[John Gielgud]] stayed there on occasions, and took part in the amateur dramatics she organised for the [[Women's Institute]].<ref>Gielgud (2000), p. 284</ref> Batley had to resign his commission in January 1917 because of ill health, and he died on 23 October 1917 aged 54.<ref>"Deaths", ''The Times'', 27 October 1917, p. 5</ref> Writing in 1989 about his aunt, Gielgud was uncertain whether her return to the stage after being widowed was an outlet for her "boundless energies" or was for financial reasons.<ref name=g285>Gielgud (2000), p. 285</ref>
Her marriage, to Captain (later Major) Ralph Cecil Batley, was a happy one, and she enjoyed her quiet life on his country estate in [[Dorset]]. Her young nephew, [[John Gielgud]] stayed there on occasions, and took part in the amateur dramatics she organised for the [[Women's Institute]].<ref>Gielgud (2000), p. 284</ref> Batley had to resign his commission in January 1917 because of ill health, and he died on 23 October 1917 aged 54.<ref>"Deaths", ''The Times'', 27 October 1917, p. 5</ref> Writing in 1989 about his aunt, Gielgud was uncertain whether her return to the stage after being widowed was an outlet for her "boundless energies" or was for financial reasons.<ref name=g285>Gielgud (2000), p. 285</ref>


===Second stage career===
===Second stage career===
Terry-Lewis made her reappearance on the stage at the [[Prince of Wales Theatre]] on 10 February 1920, when she played Lady Sarah Aldine in " The Young Person in Pink," at a one-off charity matinée.<ref name=who/> Her return to the mainstream West End theatre was in April of the same year, in the role of Jane Stroud in " The Grain of Mustard Seed". ''The Times'' commented, "Miss Mabel Terry-Lewis, in the part of a grave, high-minded, somewhat ''désabusée'' patrician gives a performance of really exquisite beauty."<ref>"The Grain Of Mustard Seed", ''The Times'', 21 April 1920, p. 14</ref>
Terry-Lewis made her reappearance on the stage at the [[Prince of Wales Theatre]] on 10 February 1920, when she played Lady Sarah Aldine in ''The Young Person in Pink'', at a one-off charity matinée.<ref name=who/> Her return to the mainstream West End theatre was in April of the same year, in the role of Jane Stroud in " The Grain of Mustard Seed". ''The Times'' commented, "Miss Mabel Terry-Lewis, in the part of a grave, high-minded, somewhat ''désabusée'' patrician gives a performance of really exquisite beauty."<ref>"The Grain of Mustard Seed", ''The Times'', 21 April 1920, p. 14</ref>


In 1923 she toured America with [[Cyril Maude]] and [[Lydia Bilbrook]] in ''If Winter Comes'', playing at [[Chicago]] in April and New York in the autumn,<ref>"Dramatis Personae", ''The Observer'', 25 February 1923, p. 11</ref> During subsequent visits to the US she played for three seasons in such popular pieces as ''Aren't We All'', ''[[Easy Virtue]]'', and ''[[The Constant Wife]]''.<ref name=times>"Obituary – Miss Mabel Terry-Lewis", ''The Times'', 30 November 1957, p. 8</ref> In the West End she appeared in new plays and revivals, including including ''[[The Importance of Being Earnest]]'' as the formidable Lady Brackell to the John Worthing of Gielgud in 1930.<ref name=g285/> ''The Times'' observed, "Mr Gielgud and Miss Terry-Lewis together are brilliant ... they have the supreme grace of always allowing Wilde to speak in his own voice."<ref>"Lyric Theatre, Hammersmith", ''The Times'', 8 June 1930, p. 12</ref> Gielgud thought her performance was superb, although she had no sense of humour and never understood why audiences found her Lady Bracknell funny.<ref name=g285/>
In 1923 she toured America with [[Cyril Maude]] and [[Lydia Bilbrook]] in ''If Winter Comes'', playing at Chicago in April and New York in the autumn.<ref>"Dramatis Personae", ''The Observer'', 25 February 1923, p. 11</ref> During subsequent visits to the US she played for three seasons in such popular pieces as ''Aren't We All'', ''[[Easy Virtue (play)|Easy Virtue]]'', and ''[[The Constant Wife]]''.<ref name=times>"Obituary – Miss Mabel Terry-Lewis", ''The Times'', 30 November 1957, p. 8</ref> In the West End she appeared in new plays and revivals, including ''[[The Importance of Being Earnest]]'' as the formidable Lady Brackell to the John Worthing of Gielgud in 1930.<ref name=g285/> ''The Times'' observed, "Mr Gielgud and Miss Terry-Lewis together are brilliant ... they have the supreme grace of always allowing Wilde to speak in his own voice."<ref>"Lyric Theatre, Hammersmith", ''The Times'', 8 June 1930, p. 12</ref> Gielgud thought her performance was superb, although she had no sense of humour and never understood why audiences found her Lady Bracknell funny.<ref name=g285/>


Terry-Lewis's other plays included ''[[The Skin Game (play)|The Skin Game]]'', ''Death Takes a Holiday'', ''[[Dinner at Eight]]'', ''[[The Admirable Crichton]]'', ''Distinguished Gathering'', ''[[Victoria Regina (play)|Victoria Regina]]'', ''They Came to a City'' and ''[[Lady Windermere's Fan]]''.<ref name=times/> She also appeared in films, including
Terry-Lewis's other plays included ''[[The Skin Game (play)|The Skin Game]]'', ''Death Takes a Holiday'', ''[[Dinner at Eight (play)|Dinner at Eight]]'', ''[[The Admirable Crichton]]'', ''Distinguished Gathering'', ''[[Victoria Regina (play)|Victoria Regina]]'', ''They Came to a City'' and ''[[Lady Windermere's Fan]]''.<ref name=times/> She also appeared in films, including
''[[The Scarlet Pimpernel (1934 film)|The Scarlet Pimpernel]]'' (1934), ''[[The Third Clue]]'' (1934), ''[[Dishonour Bright]]'' (1936), ''[[The Squeaker (1937 film)|The Squeaker]]'' (1937), ''[[Jamaica Inn (film)|Jamaica Inn]]'' (1939), ''[[The Adventures of Tartu]]'' (1943) and ''[[They Came to a City]]'' (1945).<ref name=times/>
''[[The Scarlet Pimpernel (1934 film)|The Scarlet Pimpernel]]'' (1934), ''[[The Third Clue]]'' (1934), ''[[Dishonour Bright]]'' (1936), ''[[The Squeaker (1937 film)|The Squeaker]]'' (1937), ''[[Jamaica Inn (film)|Jamaica Inn]]'' (1939), ''[[The Adventures of Tartu]]'' (1943) and ''[[They Came to a City]]'' (1944).<ref name=times/>


Mabel Terry–Lewis died in London in 1957 at the age of 85.
She died in London in 1957, aged 85.

==Filmography==
*''[[Love Maggy]]'' (1921) - Lady Shelford
*''[[Shirley (1922 film)|Shirley]]'' (1922) - Mrs Prior
*''[[Caste (1930 film)|Caste]]'' (1930) - Marquise
*''[[The Third Clue]]'' (1934) - Mr. Fuller
*''[[The Scarlet Pimpernel (1934 film)|The Scarlet Pimpernel]]'' (1934) - Countess de Tournay
*''[[Dishonour Bright]]'' (1936) - Lady Melbury
*''[[The Squeaker (1937 film)|The Squeaker]]'' (1937) - Mrs Stedman
*''[[Stolen Life (1939 film)|Stolen Life]]'' (1939) - Aunt Helen
*''[[Jamaica Inn (film)|Jamaica Inn]]'' (1939) - Lady Beston
*''[[The Adventures of Tartu]]'' (1943) - Mrs Stevenson
*''[[They Came to a City]]'' (1944) - Lady Loxfield (final film role)


==See also==
==See also==
* [[Terry family]]
*[[Terry family]]


==Notes==
==Notes==
Line 35: Line 53:


==References==
==References==
* {{cite book | last= Foulkes | first= Richard | year= 2005| title= Lewis Carroll and the Victorian Stage: Theatricals in a Quiet Life | location=Aldershot, UK | publisher=Ashgate|url=http://books.google.co.uk/books?id=0UzBgODcWGQC&pg=PA96&lpg=PA96&dq=arthur+lewis+and+allenby&source=bl&ots=ScCqfKsuhl&sig=aXuzHMVvFB01K_WkajtPYeMeUXE&hl=en&ei=8yxRTf7TEcuHhQfMzcn2CA&sa=X&oi=book_result&ct=result&resnum=7&ved=0CEMQ6AEwBg#v=onepage&q=arthur%20lewis%20and%20allenby&f=false | isbn= 0754604667 }}
*{{cite book | last= Foulkes | first= Richard | year= 2005| title= Lewis Carroll and the Victorian Stage: Theatricals in a Quiet Life | location=Aldershot, UK | publisher=Ashgate|url=https://books.google.com/books?id=0UzBgODcWGQC&q=arthur+lewis+and+allenby&pg=PA96 | isbn= 0754604667 }}
* {{cite book | last= Gielgud | first= John | year= 1979 | title= An Actor and His Time | location= London | publisher= Sidgwick and Jackson | isbn= 0283985739}}
*{{cite book | last= Gielgud | first= John | year= 1979 | title= An Actor and His Time | location= London | publisher= Sidgwick and Jackson | isbn= 0283985739}}
* {{cite book | last=Gielgud | first=John | year=2000 | title= Gielgud on Gielgud – ''volume comprising reprints of'' Early Stages ''and'' Backward Glances | origyear=1939 and 1989 | location=London | publisher=Hodder and Stoughton | isbn=0340795026 }}
*{{cite book | last=Gielgud | first=John | year=2000 | title= Gielgud on Gielgud – ''volume comprising reprints of'' Early Stages ''and'' Backward Glances | orig-year=1939 and 1989 | location=London | publisher=Hodder and Stoughton | isbn=0340795026 }}
*{{cite book | last= Parker | first= John | year=1925 | title= Who's Who in the Theatre | location=London |edition=fifth| publisher=Sir Isaac Pitman and Sons | oclc=10013159 }}


==External links==
==External links==
* {{IMDb name|0856102}}
*{{IMDb name|0856102}}
*[http://www.bl.uk/projects/theatrearchive/gielgud_arch2.html Terry-Lewis in the Gielgud Archive at the [[British Library]]]
*[http://www.bl.uk/projects/theatrearchive/gielgud_arch2.html Terry-Lewis in the Gielgud Archive] at the [[British Library]]
*[http://www.wickedlady.com/films/ealing/city.html Terry-Lewis in ''[[They Came to a City]]'' at wickedlady.com]
*[http://www.wickedlady.com/films/ealing/city.html Terry-Lewis] in ''[[They Came to a City]]'' at wickedlady.com

{{Terry family tree}}

{{authority control}}


{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. -->
| NAME = Terry-Lewis, Mabel
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION = British actress
| DATE OF BIRTH = 28 October 1872
| PLACE OF BIRTH =
| DATE OF DEATH = 28 November 1957
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Terry-Lewis, Mabel}}
{{DEFAULTSORT:Terry-Lewis, Mabel}}
[[Category:1872 births]]
[[Category:1872 births]]
Line 58: Line 72:
[[Category:English stage actresses]]
[[Category:English stage actresses]]
[[Category:English film actresses]]
[[Category:English film actresses]]
[[Category:20th-century English actresses]]
[[Category:Terry family]]

Latest revision as of 21:10, 15 July 2023

Mabel Terry-Lewis photographed by Bassano in 1920

Mabel Gwynedd Terry-Lewis (born as Mabel Gwynedd Lewis) ( 28 October 1872 – 28 November 1957) was an English actress and a member of the Terry-Gielgud dynasty of actors of the 19th and 20th centuries.

After a successful career in her twenties and thirties she married and retired from the stage in 1904. Her husband died in 1917 and she returned to the theatre in 1920, continuing to act on stage and in films until the late 1940s. Among her celebrated roles was Lady Bracknell in The Importance of Being Earnest, which she played opposite her nephew John Gielgud in 1930.

Life and career

[edit]

Early years

[edit]

Mabel Terry-Lewis was born in London, the youngest of the five children, four daughters, and one son, of Arthur James Lewis (1824–1901) and his wife, Kate (née) Terry. Lewis was a prosperous businessman, co-owner of the haberdashery firm of Lewis and Allenby, and an amateur painter, illustrator and musician.[1] Before their marriage, Kate Terry had been a well-known actress; her younger siblings, Ellen, Marion, Florence and Fred all followed her into the acting profession. The Lewises had no wish for any of their daughters to act professionally, but amateur theatricals were encouraged when the children were young. The author Lewis Carroll was a friend of Arthur Lewis, and on 24 January 1883 he visited the family home, Moray Lodge, for a performance of a comedietta titled Lady Barbara's Birthday given by the Lewis children and those of Ellen Terry. Also present on that occasion was W. S. Gilbert. Carroll wrote of the event:

Edith [Craig] was clever (though not very articulate) and Katie [Terry-Lewis] distinctly good: then Teddie (Edward Gordon Craig) was very good, though a little given to rant: but Mabel was the gem of the whole thing. I never saw her equal among children, except Ellen Terry herself. She is a born actress.[2]

It is perhaps little known that Mabel was also a painter of miniatures. Who's Who in 1935 recorded that she had exhibited miniatures at the Royal Academy, Grafton and New Galleries and at Liverpool, Glasgow and Manchester. One such miniature was of Minnie Terry aged 5 years, circa 1887, which can be seen at Smallhythe Place in Kent, now a National Trust property, but once the home of actress Ellen Terry who was briefly married to the painter George Frederic Watts. Two other examples are miniatures of the 'Silver King' George McCulloch and his wife who lived near Mabel's home in London; these were gifted to the Art Gallery of South Australia in Adelaide by McCulloch's widow in 1928.

Mabel was the only one of the four Terry-Lewis daughters to pursue a theatrical career. Her first appearance on the professional stage was at the Garrick Theatre, in January 1895, as Lucy Lorimer in "A Pair of Spectacles," with John Hare. The Times commented, "Miss Lewis ... is a tall, dark and graceful young lady, exhibiting few of the characteristics of the novice."[3] The Manchester Guardian said that she "played the pretty little part with unaffected simplicity, and with more ease than might have been expected in a débutante".[4]

At the Criterion in May 1897, she played Margaret Linfield in Threepenny Bits.[5] In the same year she played Bianca in The Taming of the Shrew for the Oxford University Dramatic Society at Oxford.[6] She was not seen again in London until April 1898, when she appeared at the Globe (now the Gielgud Theatre), in Hare's company, playing Mary Faber in The Master; the production attracted considerable attention because Kate Terry came briefly out of retirement to appear alongside her daughter. Although Kate had the lion's share of the press notices, Mabel was praised for a touching performance.[7]

From then until 1904, Terry-Lewis had a successful stage career. She appeared at the Globe as Bella in School (January 1899), Blanche Haye in Ours (February 1899), Esther Eccles, Marie Wilton's old part, in a revival of Caste (March 1899), and created the role of Muriel Eden in The Gay Lord Quex (April 1899).[5] In 1900 she toured in The Mistress of Craignairn and Gudgeons ,[5] and on her return to London she opened at the Strand in May 1900, as Gloria Clandon in You Never Can Tell, in which The Observer's reviewer considered her acting superior to Bernard Shaw's play.[8] After playing in a succession of ephemeral costume dramas, ending with the role of Sylvia Fitzallen in My Lady of Rosedale, she retired from the stage on her marriage in 1904.[5] Her only West End appearance during her marriage was in 1906, at her aunt Ellen Terry's jubilee celebration at Drury Lane, along with more than twenty other members of the Terry family.[9]

Her marriage, to Captain (later Major) Ralph Cecil Batley, was a happy one, and she enjoyed her quiet life on his country estate in Dorset. Her young nephew, John Gielgud stayed there on occasions, and took part in the amateur dramatics she organised for the Women's Institute.[10] Batley had to resign his commission in January 1917 because of ill health, and he died on 23 October 1917 aged 54.[11] Writing in 1989 about his aunt, Gielgud was uncertain whether her return to the stage after being widowed was an outlet for her "boundless energies" or was for financial reasons.[12]

Second stage career

[edit]

Terry-Lewis made her reappearance on the stage at the Prince of Wales Theatre on 10 February 1920, when she played Lady Sarah Aldine in The Young Person in Pink, at a one-off charity matinée.[5] Her return to the mainstream West End theatre was in April of the same year, in the role of Jane Stroud in " The Grain of Mustard Seed". The Times commented, "Miss Mabel Terry-Lewis, in the part of a grave, high-minded, somewhat désabusée patrician gives a performance of really exquisite beauty."[13]

In 1923 she toured America with Cyril Maude and Lydia Bilbrook in If Winter Comes, playing at Chicago in April and New York in the autumn.[14] During subsequent visits to the US she played for three seasons in such popular pieces as Aren't We All, Easy Virtue, and The Constant Wife.[15] In the West End she appeared in new plays and revivals, including The Importance of Being Earnest as the formidable Lady Brackell to the John Worthing of Gielgud in 1930.[12] The Times observed, "Mr Gielgud and Miss Terry-Lewis together are brilliant ... they have the supreme grace of always allowing Wilde to speak in his own voice."[16] Gielgud thought her performance was superb, although she had no sense of humour and never understood why audiences found her Lady Bracknell funny.[12]

Terry-Lewis's other plays included The Skin Game, Death Takes a Holiday, Dinner at Eight, The Admirable Crichton, Distinguished Gathering, Victoria Regina, They Came to a City and Lady Windermere's Fan.[15] She also appeared in films, including The Scarlet Pimpernel (1934), The Third Clue (1934), Dishonour Bright (1936), The Squeaker (1937), Jamaica Inn (1939), The Adventures of Tartu (1943) and They Came to a City (1944).[15]

She died in London in 1957, aged 85.

Filmography

[edit]

See also

[edit]

Notes

[edit]
  1. ^ The Correspondence of James McNeill Whistler, The University of Glasgow Archive
  2. ^ Foulkes, p. 97
  3. ^ "Garrick Theatre", The Times, 18 January 1895, p. 7
  4. ^ "Our London Correspondence", The Manchester Guardian, 18 January 1895, p. 5
  5. ^ a b c d e Parker, pp. 569–570
  6. ^ Photograph of Terry-Lewis in The Taming of the Shrew in 1897, Victoria and Albert Museum
  7. ^ "Globe Theatre", The Times, 25 April 1898, p. 8; and "'The Master' at the Globe", The Observer, 24 April 1898, p. 6
  8. ^ "At the Play", The Observer, 6 May 1900, p. 6
  9. ^ "A Cast of Terrys at Miss Ellen Terry's Jubilee Benefit Matinee", The Illustrated London News, 16 June 1906, p. 894
  10. ^ Gielgud (2000), p. 284
  11. ^ "Deaths", The Times, 27 October 1917, p. 5
  12. ^ a b c Gielgud (2000), p. 285
  13. ^ "The Grain of Mustard Seed", The Times, 21 April 1920, p. 14
  14. ^ "Dramatis Personae", The Observer, 25 February 1923, p. 11
  15. ^ a b c "Obituary – Miss Mabel Terry-Lewis", The Times, 30 November 1957, p. 8
  16. ^ "Lyric Theatre, Hammersmith", The Times, 8 June 1930, p. 12

References

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  • Foulkes, Richard (2005). Lewis Carroll and the Victorian Stage: Theatricals in a Quiet Life. Aldershot, UK: Ashgate. ISBN 0754604667.
  • Gielgud, John (1979). An Actor and His Time. London: Sidgwick and Jackson. ISBN 0283985739.
  • Gielgud, John (2000) [1939 and 1989]. Gielgud on Gielgud – volume comprising reprints of Early Stages and Backward Glances. London: Hodder and Stoughton. ISBN 0340795026.
  • Parker, John (1925). Who's Who in the Theatre (fifth ed.). London: Sir Isaac Pitman and Sons. OCLC 10013159.
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