Portrait of George Colman

George Colman the Younger:

Correspondence


A Preliminary Checklist and Finding Guide

of the Correspondence of George Colman, Jr.

William J. Burling
Department of English
Southwest Missouri State University
Springfield, MO 65804

"You know I hate Letter writing----"

Colman to Charles Mathews, 10 July 1804

Among the most important figures of the London theatrical scene in the late eighteenth and early nineteenth centuries, George Colman, Jr. (1762-1836) resided near the center of the theatrical milieu as manager of the Haymarket Theatre, a major playwright, and, from 1824 until his death, Licensor of Plays for the Lord Chamberlain's Office. Colman carried on a long and active correspondence with many of the leading playwrights, performers, managers, publishers, aristocrats, and other celebrities, as well as a host of minor figures. The standard biography of Colman appeared in 1946 and was quite complete for its day, but the present study presents more than 250 additional letters which were unknown to its author, Jeremy Bagster-Collins. The following Preliminary Checklist and Finding Guide is a contribution, therefore, toward a fresh examination of Colman's life, largely resulting from the research for my Summer Theatre in London, 1661-1820 and the Rise of the Haymarket Theatre (forthcoming), a study which is extensively concerned with Colman's managerial activities.

The first step in assembling the Checklist consisted of reexamining the many chatty and richly anecdotal memoirs of theatrical figures which appeared in the first half of the nineteenth century. Charles Mathews, R. W. Elliston, Thomas Dibdin, Joseph Munden, John Bannister, Frederick Reynolds, and John O'Keeffe, to name just a few of the more notable examples, were the subjects of biographies or created autobiographical accounts. Colman, himself, along with his well-known father, George, Sr., was the subject of the R. B. Peake's Memoirs of the Colman Family, which contains many of Colman's letters. As helpful as the printed accounts are, however, they are far from complete, for Colman was a prolific correspondent, thus requiring a much wider investigation. Extensive research was conducted at major libraries on both sides of the Atlantic, but this Checklist also has benefitted from recent advances in electronic bibliographical data bases.

I have attempted to provide the maximum amount of useful information, stopping short of actually preparing an annotated edition of the letters. For each document I include 1) the date; 2) the location of creation; 3) the name of the recipient; 4) a short summary of the document's contents; 5) the location of the manuscript; and 6) any bibliographical details, if the letter has been published. Short diplomatic transcriptions of quotations are sometimes provided for clarity, and occasional brief annotations are provided regarding unusual or obscure personages or events. Section I presents the datable letters; Section II offers undated items; and Section III provides a Select Bibliography of Works and Collections Consulted. Throughout I have used the abbreviation "C" to stand for Colman's name.

N.B.:This checklist is subject to revision as new material comes to light. Contact William J. Burling for up-to-date information.

I. Datable Correspondence

Document #1

Thursday [1784?]

To Elizabeth Inchbald, wishing her to understand that he has revealed her identity as the creator of A Mogul Tale. Thus, though the letter is undated, the context would suggest 1784, as the play premiered on 6 July 1784. [Victoria and Albert Art Library, 48.G. 3/29, f. 20]

Document #2

Friday [June 1785?], Soho Square

To Elizabeth Inchbald, urging her to perform, even though she has been ill, in Tancred and Sigismunda, as the play cannot be done without her. Thomson's play, with Inchbald appearing as Laura, was performed at the Haymarket on 16 June 1785. [Victoria and Albert Art Library, 48.G. 3/29, f. 18]

Document #3

29 November 1785, Soho Square

To Elizabeth Inchbald, granting permission for her to have a play (unspecified) which is Haymarket property produced for her benefit at one of the winter theatres. [Victoria and Albert Art Library, 48.G. 3/29, f. 8]

Document #4

3 March 1786, Bath

To Elizabeth Inchbald, agreeing to examine a new farce by Inchbald, to express his "real thoughts," and to give "all the assistance in my power." [Victoria and Albert Art Library, 48.G. 3/29, f. 9]

Document #5

8 March 1786, Bath

To Elizabeth Inchbald, stating that he has read her new farce and finds it to be excellent. The letter reveals C's broad familiarity with English drama and his mature critical judgment. Also clear is C's active role in running the theatre. [Victoria and Albert Art Library, 48.G. 3/29, f. 10/1-2]

Document #6

20 April 1786, Bath

To Elizabeth Inchbald, granting permision to have a play (unspecified) which is Haymarket property produced for her benefit at one of the winter theatres. [Victoria and Albert Art Library, 48.G. 3/29, f. 11]

Document #7

1788

To Hester Lynch Piozzi. Not seen. [Manchester, John Rylands University Library of Manchester. English MS.892/20]

Document #8

28 August 1788, Gower St.

To Mr. Wrighten [C's Haymarket assistantand prompter], concerning complications over a benefit. C orders The Gnome and The Spanish Barber (30 August 1788) for the program. The letter indicates C's active control of the theatre's affairs. [Victoria and Albert Theatre Museum, Colman ALS]

Document #9

Thursday Night [29 August 1788]

Fragment of a letter to Wrighten concerning the 30 August benefit, details missing. [Victoria and Albert Theatre Museum, Colman ALS]

Document #10

21 December [1788?], Richmond

To Elizabeth Inchbald, rejecting her idea for a new farce on the grounds that the plot and characters have been recently used in The Panel, but requesting that she submit another proposal. He also wishes her success with The Child of Nature (which had premiered on 28 November 1788). [Victoria and Albert Art Library, 48.G. 3/29, f. 19]

Document #11

1789

To "Mr. Humphry." Not seen. [Bodleian Library. MS.Montagu d.17, fols.63-66v.]

Document #12

25 February 1789, Richmond

To Elizabeth Inchbald, thanking her for submitting a new play and accepting it for production. He writes as though he has not heard from her in a long time and was genuinely surprised. [Victoria and Albert Art Library, 48.G. 3/29, f. 12]

Document #13

16 April 1789, Richmond

To Elizabeth Inchbald, praising her new farce but asking for some alterations. As she has not supplied a title, C suggests several, including "The Perplexed Husband," "The Perplexed Couple," and "The Married Man,"favoring the last, which she eventually employed (premiered on 15 July 1789). [Victoria and Albert Art Library, 48.G. 3/29, f. 13]

Document #14

24 February 1790

To George Woodfall, concerning the hiring of Blissett and Miss Fontenelle, and granting permission to Woodfall to use one of C's plays (unspecified) for one night. [Beinecke 8.336]

Document #15

21 March 1791, St. Albans St.

To John O'Keeffe, complimenting the merits of Wild Oats which C has just read. [O'Keeffe II.159]

Document #16

7 February 1792, St. Alban's St.

To Elizabeth Inchbald, commenting that the new farce she has submitted is melancholy and should be expanded from the present three acts to a full five. He also promises to attend to her newly submitted tragedy as soon as possible. [Victoria and Albert Art Library, 48.G. 3/29, f. 14/1]

Document #17

7 February 1793, St. Alban's St.

To Miss George (a celebrated singer), courteously rejecting her application to sing at the Little Haymarket during summer 1793. [Peake II. 218-19]

Document #18

30 May 1793, Mountains

To O'Keeffe, thanking him for the MS of The London Hermit and indicating it will soon be read to the company. [O'Keeffe II.290]

Document #19

5 August 1794

To Thomas Dibdin, a polite note refusing a play (unspecified) from Dibdin but encouraging him to submit future pieces. [Dibdin I.191-92.]

Document #20

12 June 1795, Piccadilly

To Lord Mulgrave, petitioning him to appoint David Morris [C's brother-in-law] to the position of Junior Clerk in the Auditor's Office. C speaks warmly of Morris. [British Library, Add.MS. 69,066]

Document #21

8 September 1795, Piccadilly

To Dr. Samuel Arnold, apologizing for seeming to have snubbed Arnold, and indicating he will meet him the next day at the bank to repay borrowed funds. [Peake II. 271-72]

Document #22

1796

To Jane Pope. Not seen. [Bodleian Library, MS.Toynbee b.1, fol. 351]

Document #23

7 April 1796, Piccadilly

Recipient unknown, in which C turns down an offer to perform, because the salary requested is too high. [Harvard Theatre Collection, uncatalogued Colman ALS]

Document #24

10 April 1796, Piccadilly

Recipient unknown, thanking that person for "the kind manner in which you have inform'd [me] of your intentions." [Folger Y.c. 590, #49]

Document #25

16 April 1796, Piccadilly

To R. W. Elliston, entreating Elliston to join the Haymarket troupe. [Raymond I. 73.]

Document #26

26 April 1796

Fragment of letter to R. W. Elliston about a play in preparation for the Haymarket. [Raymond I. 74.]

Document #27

13 May 1796, Piccadilly

To R. W. Elliston, regarding which roles he is to perform at the Haymarket. [Harvard Theatre Collection, TS 940.6F, I.36; a fragment appears in Raymond I. 74.]

Document #28

14 July 1796, London

To R. W. Elliston seeking to convince him to return to the Haymarket from Bath. [Raymond I. 79.]

Document #29

15 July 1796, Haymarket Theatre

To Edward Bellamy, stating that he is not pleased with the prospect of having his picture published, unless it be cut from the shoulders down. [Bellamy complied with C's request. Harvard Theatre Collection, TS 934.5F, V. 346]

Document #30

1 August 1796

Fragment of a letter to R. W. Elliston, urging him to come to terms for further appearances at the Haymarket. [Raymond I. 82.]

Document #31

26 November [1796?], Soho Square

To Elizabeth Inchbald, stating that he is sorry to see her play (presumably Who's the Dupe?) advertised in the Public Advertiser for that day. Some mystery exists concerning a bundle sent to C, and the need for silence over the whole affair. C also promises to read Inchbald's newly submitted manuscript as soon as possible. [Victoria and Albert Art Library, 48.G. 3/29, f. 16]

Document #32

November-December 1796?

Fragment of a letter to R. W.Elliston advising him on roles at Covent Garden. [Raymond I.98-99.]

Document #33

Spring 1797?

Fragment of a letter to R. W. Elliston entreating him to perform at the Haymarket during the coming summer (1798?). C mentions he is preparing a new play, which Raymond (author of Elliston's Memoirs) identifies as The Heir at Law. [Raymond I.99-100.]

Document #34

Sunday [late February or early March? 1797], Piccadilly

To Dr. Samuel Arnold, requesting a loan of 200. [Peake II.274]

Document #35

Tuesday [late February or early March? 1797], Piccadilly

To Dr. Samuel Arnold, requesting that Arnold intervene with the Bishop of London and other officials to allow a play to be performed at the Little Haymarket during Lent. [Peake II.274-75]

Document #36

7 March 1797, Piccadilly

To Dr. Samuel Arnold, thanking him for his apology for not being able to assist C. Presumably this response refers to a denied request for a loan. [Peake II.275]

Document #37

9 April 1797

To R. W. Elliston. Not seen. [Westminster Archives, Broadley, Bath and Piccadilly, I, f. 170]

Document #38

3 May 1797, Piccadilly

To [Samuel ?] Pratt, thanking him for sending the MS of a new play, and saying he is taking it with him into the country. [ALS tipped into Folger Art vol. b9, opp. p. 404]

Document #39

18 May 1797, Mountains

To Dr. Arnold, agreeing to go with him to meet a Mr. Savignac in order to complete a loan from Arnold to C and the establishment of an annuity for Arnold. This transaction would increase the amount of C's debt to Arnold to 1,100. [Peake II.276]

Document #40

18 May 1797, Mountains

To John Taylor, pleasantly but firmly turning down a play of Taylor's which portrays the King of Sweden. [Folger Y.c. 590, #18]

Document #41

11 July 1797, Piccadilly

To Bellamy, returning the MS of play, rejected for performance. [Folger Y.c. 590, #1]

Document #42

20 July 1797

Recipient unknown, but to a performer wishing an engagement; C politely states that the arrangements for the season have long since been concluded. [Beinecke 8.338]

Document #43

5 December 1798, Piccadilly

To James Aicken, urging him to accept a small part (unspecified) in an upcoming play, as C is "unwilling to trust it to a raw Recruit." [Greater London Record Office, Q/WIL/600/1]

Document #44

12 December 1798

To Cadell and Davies concerning the publication of Blue-Beard. [Ransom Center, George Colman, Theatre Arts]

Document #45

12 December 1798

To Cadell and Davies. Not seen. [Ransom Center, George Colman, Theatre Arts]

Document #46

3 January 1799, Piccadilly

To [Willoughby?] Lacy, C sends regrets that he cannot meet Lacy, as he is going out of town Sunday next. [Beinecke 8.326]

Document #47

29 April 1799, Piccadilly

Recipient unknown [but an actress in C's troupe], asking for an appointment to smooth out a misunderstanding. [Harvard Theatre Collection, uncatalogued Colman ALS]

Document #48

23 February 1800, Piccadilly

To Dr. Samuel Arnold, agreeing to meet him for the purpose of taking out a life insurance policy, presumably as protection for the money owed by C to Arnold. The letter also mentions "Sheridan's most injurious encroachment upon my last season," i.e., summer 1799. [Peake II.284]

Document #49

5 August 1800

To Dr. Samuel Arnold, stating that a misunderstanding has taken place concerning the dismissal of a Mr. Fisher from employment at the theatre. C agrees to reinstate Fisher per Arnold's request. [Peake II.287]

Document #50

19 December 1800

To Cadell and Davies (publishers), informing them that David Morris will handle C's affairs with them, including the receipt of any monies advanced. [Beinecke, Rare Book Room, Im J637 +W791gh, vol. 10, following p. 420]

 

Document #51

24 December 1800

To Mary Ann Davenport. Not seen. [Tipped into The Life of Edmund Kean, opposite p. 404; qPN 2598 K3 H3 1869a v.2 HRC-TA MEK]

 

Document #52

Friday [1801?]

To Jack Bannister, enclosing a song written by C, which he terms "sad stuff--but it may produce some of the effect you desire." [Westminster Archives, Broadley, Haymarket, III, f. 93]

 

Document #53

25 June 1801, The Haymarket

To Prince Hoare, requesting that he send along as soon as possible the MS of the new play he has promised. [Folger Y.c. 590, #9]

 

Document #54

14 September 1802, Theatre Royal Haymarket

To Charles Mathews, offering to engage him for the 1803 summer season. [Peake II.295; Mathews I.207. Mathews' reply to C of 23 September 1802 is published in Mathews I.207; another letter to C of 5 October 1802 replies to a lost letter of C which was written in late September (Mathews I.208).]

 

Document #55

22 September 1802

To Henry Woodfall, an informative and lengthy response concerning Woodfall's proposed biography of C, which includes important biographical details. [Bagster-Collins 146-48, who reprints the letter from Bentley's Miscellany, XX.127-29. Also published in Thomas Woodfall's "Anecdotes of George Colman the Younger."]

 

Document #56

8 October 1802

To Charles Mathews, agreeing to terms of 10 per week and one benefit. [Peake II.295-96; Mathews I.208. Mathews' acceptance of C's offer is published in Mathews I.209.]

 

Document #57

18 October 1802

To Dr. Samuel Arnold, concerning personnel matters for the upcoming season, and expressing concern for Arnold's present illness (which soon thereafter proved fatal). [Peake II.293-94]

 

Document #58

[late Summer? 1802]

To R. W. Elliston, offering Elliston terms for three seasons, beginning 15 May 1803. [Raymond I.194]

 

Document #59

12 October 1802

To R. W. Elliston. A long and detailed letter offering terms of 14 per week and a clear benefit, which C insists Elliston must keep secret, for it would "establish a most destructive precedent." C also mentions that a 300 benefit was achieved during summer 1802. [Harvard Theatre Collection, uncatalogued Colman ALS. Partially reprinted in Raymond I.197-98]

 

Document #60

23 October 1802

To Charles Mathews, outlining C's repertory strategy for the upcoming season. [Peake II.296-98; Mathews I.209-11]

 

Document #61

29 October 1802

To R. W. Elliston, stating that he is very disappointed that Elliston wants such a high salary and is taking so long to decide if he will join the company for the 1803 season. A long and interesting letter. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #62

13 November 1802

To R. W. Elliston, continuing negotiations, and stating that 14 per week, a clear benefit, and a private benefit will be allowed and no more. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #63

[April?] 1803

To R. W. Elliston, concerning the hiring of additional personnel for the 1803 summer season; C also refers to the necessity to hide from his creditors at his "castellum".1 [Raymond I.227-28.]

 

Document #64

11 April 180[3?]

To R. W. Elliston, stating that he intends to visit Bath, that his journey should be kept a secret, and that he has much to say about the upcoming "campaign." [Beinecke 8.324]

 

Document #65

19 April 1803

To R. W. Elliston, giving him "full power to proceed in, & to close the treaty" with an actress (unnamed) to be employed at the Little Haymarket. [Cited in Murray, p. 169 n. 55. Huntington Library, HM 19392]

 

Document #66

undated [ca. 1803?]

To R. W. Elliston, authorizing him to treat for new plays. [Cited in Murray, p. 169 n. 56. ALS located at the Huntington Library.]

 

Document #67

30 April [1803]

To Charles Mathews, concerning his starting date at the Haymarket for the 1803 season. [Peake II.302; Mathews I.219]

 

Document #68

30 May 1803

To James Heath, begging pardon for not responding earlier, and enclosing three orders (i.e., free passes). [Harvard Theatre Collection, TS 941.5F, IV.455]

 

Document #69

[Summer? 1803], [Sudbury?]

To R. W. Elliston, attempting to reconcile Elliston's being offended by an earlier letter from C. [Raymond I.240-41]

 

Document #70

23 December 1803

To Charles Mathews, concerning the possible hiring of Charles Young for the upcoming season. [Peake II.305]

 

Document #71

[December 1803]

To R. W. Elliston, requesting advice about hiring Young. [Raymond I.246-47.]

 

Document #72

4 January 1804

To R. W. Elliston; a very long letter detailing plans and personnel for the 1804 summer season, including the ballet (i.e., The Enchanted Island), "which I am sorry to say will be expensive." [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #73

9 January 1804, Suffolk St., Charing Cross

To Charles Mathews, stating that he will not require Young's services for the 1804 season. [Harvard Theatre Collection, uncatalogued Colman ALS; reprinted in Peake II.305-7; Mathews I.256-57]

 

Document #74

[ca. Spring 1804]

To John Bannister, politely refusing him permission to use The Heir at Law for his benefit at Drury Lane. [Adolphus II.116-17.]

 

Document #75

[Spring 1804?]

To Thomas Dibdin, concerning details about Guilty or Nor Guilty, which C accepted for performance during summer 1804. [Bagster-Collins 172; Dibdin I.366-67.]

 

Document #76

1 April 1804

To R. W. Elliston; a long and newsy letter outlining in detail many of the plans for the upcoming season and displaying great optimism about the possibilities for success. [Harvard Theatre Collection, Garrick A&A, I.93]

 

Document #77

[late Spring 1804]

To R. W. Elliston, providing directions on how to mount the new ballet (i.e., The Enchanted Island) and referring to Dibdin's new play in rehearsal (i.e., Guilty or Not Guilty). [Victoria and Albert Theatre Museum, Colman ALS]

 

Document #78

[late Spring 1804]

To R. W. Elliston, responding to Elliston's unhappiness at not being consulted concerning the preparations for Guilty or Not Guilty. [Raymond I.248-50.]

 

Document #79

undated [ca. June 1804?]

To R. W. Elliston, concerning switching parts with Bannister in Dimond's new farce (The Hunter of the Alps?). [Folger Y.c. 590, #4]

 

Document #80

10 July [1804?]

To Charles Mathews, asking him if he would be willing to sing an enclosed song. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #81

[late Summer 1804?]

To Thomas Dibdin, responding to Dibdin's enquiry as to whether or not C wishes to purchase the copyright to Guilty or Not Guilty. [Bagster-Collins 173; Dibdin I.369-70.]

 

Document #82

Undated, Tuesday evening [ Summer 1804?]

To S. J. Arnold, concerning a song C wrote for performance at the Haymarket Theatre. [Peake II.307]

 

Document #83

31 December 1804

To Thomas Dibdin, concerning the possible sale to him of a share of the Haymarket company. [Dibdin I.372]

 

Document #84

[early 1805]

To Thomas Dibdin, providing further details of the negotiations for the sale of shares in the Haymarket company. [Dibdin I.374-75]

 

Document #85

[early 1805]

To Thomas Dibdin, attempting to put Dibdin at ease about his possible purchase of a share. [Dibdin I.375]

 

Document #86

[early 1805]

To Thomas Dibdin, again relating to the possible purchase of a share. [Dibdin I.376]

 

Document #87

31 July 1805

To R. W. Elliston, concerning the commutation of a 100 for Elliston's private benefit. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #88

12 September 1805

To James Winston (?), expressing G's concerns that Elliston intends to deliver an unauthorized address to the public on the theatre's final night. [Ransom Center, qPN 2287 J5 W5 cop. 1 v. 1 HRC-TA MEK]

 

Document #89

17 April 1806

To James Winston, consulting with him about Fawcett being allowed to perform The Heir at Law for his benefit at Covent Garden, and to allow Whitmore to paint a scene at the Haymarket for use in the play. C states that they should grant Fawcett's requests. [Folger Y.c. 590, #20]

 

Document #90

18 May 1806

To Joseph Munden, stating that he is unable to offer Mr. Doyle a position, even though he is recommended by Munden. [Victoria and Albert Theatre Museum, Colman ALS]

 

Document #91

[ca. Spring 1806?]

To R. W. Elliston, denying Elliston permission to use one of C's farces for his benefit at Drury Lane. [The Life and Enterprises of Robert William Elliston, Comedian, p. 118. Cited in Murray, p. 169, n65.]

 

Document #92

29 July 1806, Tuesday Eve.

To James Winston, concerning a change of plays due to the indisposition of Liston. C complains that he, himself, is "very unwell." [Folger Y.c. 590, #21]

Document #93

21 August 1806

To James Winston, concerning Haymarket scheduling of plays. [Folger Y.c. 590, #22]

 

Document #94

25 August 1806

To James Winston. Not seen. [Ransom Center, George Colman, Theatre Arts]

 

Document #95

26 August 1806

To Charles Mathews, requesting him to do his Ventriloquy. [Peake II.310; Mathews II.36]

 

Document #96

26 August 1806

To James Winston, giving orders for the next day's plays and requesting Winston to come to him as soon as he finishes his business that evening. [Folger Y.c. 590, #23]

 

Document #97

1? September 1806

To James Winston, concerning the wording of play bills. [Folger Y.c. 590, #24]

 

Document #98

Monday Night, 25 September 1806

To James Winston, concerning the upcoming staging of Lovers' Quarrels. [Ransom Center, Colman, Theatre Arts]

 

Document #99

[1807?]

To Richard Wroughton, Drury Lane Theatre, informing him that The Critic has been "erased" from the Haymarket performance schedule. [Westminster Archives, Broadley, Haymarket, f. 93]

 

Document #100

30 March [1807?]

To James Winston, begging to postpone a dinner party with the Winstons, until he and Mrs. Gibbs are recovered from bad colds. [Folger Y.c. 590, #25]

 

Document #101

8 July [1807], Wednesday Eve.

To James Winston, concerning the borrowing of a costume from Covent Garden for Young to wear in 1 Henry IV (13 July 1807); and other business matters. [Folger Y.c. 590, #26]

Document #102

16 July 1807, Friday Eve.

To James Winston, regarding the purchase of five pairs of boots for use in Hook's The Fortress. [Folger Y.c. 590, #27]

 

Document #103

19 August 1807, Lambeth Rd.

To James Farley, asking him to perform for the balance of the season to replace DeCamp, who has suddenly resigned. [Victoria and Albert Theatre Museum, Colman ALS]

 

Document #104

1808

To "Mr. [A. Spence?], bookseller." Not seen. [Bodleian Library, MS Montagu d.4, fols. 108-113v.]

 

Document #105

ca. April? 1808, Thursday Night

To James Winston, offering condolescences on Winston's "family misfortunes." [Folger Y.c. 590, #19]

 

Document #106

8 April 1808

To Winston, asking him to send a package to Oulton, but also offering condolences for his great loss. [Folger Y.c. 590, #28. Mrs. Winston eventually died on 10 April 1808.]

 

Document #107

16 June 1808

Recipient unknown, thanking him for his "proposal," but the arrangements for the season are already concluded. [Harvard Theatre Collection, TS 943.5, I.8]

 

 

Document #108

17 June 1808

To James Winston, concerning the casting of a play, and asking him to inform Morris that he had better not proceed in a certain personnel matter or C will consider it a personal affront and "direct interference" in the company's management. [Folger, Y.c. 590, #29]

 

Document #109

23 June 1808

To Charles Farley, stating that he is satisfied with their arrangements for the summer season, but that there will be no new ballets. [Harvard Theatre Collection, TS 934.5F, V.346]

Document #110

undated [late July 1808?]

To James Winston, concerning Liston's illness, and the resulting shuffling of plays to cover for him. Other scheduling matters are also discussed. [Folger Y.c. 590, #30]

 

Document #111

11 November 1808

To Charles Mathews, requesting to reschedule a social engagement, due to the confinement rules of the King's Bench Prison. [Harvard Theatre Collection, uncatalogued Colman ALS; reprinted in Peake II.326; Mathews II.47]

 

Document #112

before 13 September 1808

To James Winston (?), sending orders to perform The Africans, Tom Thumb, and The Critic "on Tuesday," i.e., 13 September 1808. [Folger Y.c. 590, #31]

 

Document #113

1809

Recipient unknown. Not seen. [Manchester, John Rylands University Library of Manchester. English MS.351/47]

 

Document #114

31 January 1809

To Prince Hoare, agreeing to allow Hoare to publish a prologue C has written for Hoare's play (unspecified). [Folger Y.c. 590, #10]

 

Document #115

17 April 1809

Recipient not identified, but probably James Winston; urging haste in dealing with Mrs. Davenport and the Court of Chancery. [Folger Y.c. 590, #32]

 

Document #116

28 April 1809

Recipient unknown, in which C states he will examine the comedy submitted to him for consideration, but that "proceedings of the Law, at present, take up almost the whole of my time." [Houghton fms Eng 945 (99)]

 

Document #117

15 May 1809

Recipient unknown, politely refusing a play, even though it was recommended by Richard Jones (one of C's leading performers). [Folger Y.c. 590, #50]

Document #118

1 June 1809

To Thomas Dibdin, requesting assistance for the widow of John Palmer, who is totally destitute. C indicates that Mrs. Palmer is living with them until arrangements can be made. [Folger Y.c. 590, #2.]

 

Document #119

[14 July 1809], Friday Night

To Charles Mathews, concerning whether Mathews or Winston should play the role of Darby in The Poor Soldier; C believes Mathews has the right. [Harvard Theatre Collection, uncatalogued Colman ALS. Mathews' original complaint to C of 10 July 1809 is found in Harvard Theatre Collection, bMS Thr 357 (100).]

 

Document #120

26 July 1809

To Henry Angelo, replying that he cannot provide Angelo with a season pass due to the "turbulent spirit" of Morris, but hopes that Angelo will enjoy the enclosed nightly passes. [Harvard Theatre Collection, TS 931.8F, III.328]

 

Document #121

3 December 1809

To W. A. Downs, arranging for dinner on the 4th, with the Listons. [Peake II.330]

 

Document #122

21 February 1810

To James Winston. Not seen. [Huntington Library, HM 11414]

 

Document #123

22 March 1810

To John Bannister, about possible alterations to "Bannister's Budget." [Adolphus II.191-92.]

 

Document #124

3 May 1810

To James Winston, stating that Mr. Ware is not to receive an increase in salary for the 1810 summer season. [Folger Y.c. 590, #33]

 

Document #125

undated [May? 1810?] Friday Mor[ning]

To James Winston, further concerning the salary dispute with Ware, and other Haymarket business. [Folger Y.c. 590, #37]

 

Document #126

11 June 1810

To James Winston, on various Haymarket matters, including Mathews turning down a part; the scheduling of The Spanish Barber; and reading "Dimond's play as early as possible," i.e., The Doubtful Son. [Folger Y.c. 590, #34]

 

Document #127

12 June 1810

To James Winston, requesting he "come over to me the moment you receive this," regarding the printing of play bills for immediate performances. [Folger Y.c. 590, #35]

 

Document #128

14 June 1810

To James Winston, about the program for Saturday, 16 June and other business. [Ransom Center, George Colman, Theatre Arts]

 

Document #129

29 June 1810

To James Winston, concerning the unwillingness of Harris at Covent Garden to allow Liston to perform at the Haymarket for a play already scheduled. C directs Winston to "put up anything you can," indicating the precarious circumstances under which the Haymarket operated before the winter houses closed for the season. [Folger Y.c. 590, #36]

 

Document #130

undated [late July, but before the 25th, 1810] Friday Eve.

To James Winston, concerning Haymarket scheduling, especially a new comedy (i.e., High Life in the City); the illness of Jones; and Truman's salary, which C states should be 2 per week. [Folger Y.c. 590, #38]

 

Document #131

undated [summer 1810]

To James Winston, concerning the abrasive and unacceptable behavior of Stapleton, one of the actors in the company, who attempted to bully Winston. C advises Winston not to chastise Stapleton physically, but to keep a constable near at hand. [Folger Y.c. 590, #39]

 

Document #132

13 June 1810, 4 Melina Place

To Thomas Hill, thanking him for a recent visit and sending compliments to "Mr. Dubois." [Harvard Theatre Collection, TS 114.5.5, tipped in]

 

Document #133

14 June 1810

To James Winston. Not seen. [Ransom Center, George Colman, Theatre Arts]

 

Document #134

17 July 1810

To James Winston, further concerning Stapleton's "scurrilous letter" and complaints. C also mentions prior troubles with Putnam, and warns that Morris might use this incident "to supply his fires, in the Court of Chancery." C encloses a copy of the letter he sent to Stapleton. [Folger Y.c. 590, #40]

 

Document #135

Copy of C's letter to Stapleton, which orders him to toe the line or to leave the company. [Folger Y.c. 590, #41]

 

Document #136

undated [late July 1810],Sunday

To James Winston, concerning the scheduling of Haymarket plays and plans to read a "New Burlesque Tragick Opera" (i.e., Bombastes Furioso) to the cast; and to use "Chinese dresses" in it. C mentions that he is making the "necessary alterations" in the script, confirming his hand in the play. [Folger Y.c. 590, #42]

 

Document #137

6 September 1810

To John Liston, concerning arrangements for him to perform next week at the Haymarket and attempting to patch up a misunderstanding with him. Liston is very angry, and C tries, unsuccessfully, to temper matters: a note added at the bottom by Liston indicates that he did not return after that Saturday. [Victoria and Albert Theatre Museum, Colman ALS]

 

Document #138

9 September 1810

Recipient unknown, concerning a pass to be left at the box office. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #138

23 September 1810

To James Winston, urging him to return to town for a meeting. Elliston is proposing a winter theatre company at the Haymarket, and C wants Winston's advice. [Westminster Archives, Broadley, Haymarket, III, f. 93]

 

Document #139

29 September 1810, 4 Melina Place

To James Winston, requesting a meeting to deal with Elliston's "impatience" over a matter not specified. [Folger Y.c. 590, #43]

 

Document #140

16 December 1810, Tuesday Night

To Francis Fladgate, concerning an attempt to deliver an injunction to C (possibly concerning his play X.Y.Z.), which was prevented by his being ill. C also speculates on the upcoming Chancery activities and hopes for a speedy resolution. [Folger Y.c. 590, #6]

 

Document #141

1811

To Thomas Shaw. Not seen. [Garrick Club Library. Theatres of London, Vol. IV, p. 88]

 

Document #142

10 June 1811

To James Winston, insisting that a tune known to be a "Rebel Song" be immediately removed from The Royal Oak, as performance of it will endanger the Haymarket license. [Westminster Archive, Broadley, Haymarket, III, f. 93]

 

Document #143

3 August 1811

To S. J. Arnold, thanking Arnold for his attention to a small misunderstanding about C's request to present The School for Scandal. The tone of the letter is cordial. [Harvard Theatre Collection, TS 990.1, V.132]

 

Document #144

22 August 1811

To Charles Mathews, proposing terms for the balance of the 1811 and for summer 1812. [Harvard Theatre Collection, uncatalogued Colman ALS; reprinted in Peake II.337-38; Mathews II.94]

 

Document #145

25 September 1811

To Joseph Munden, in which C implies that he, himself, is possibly the author of The Travellers Benighted. [Bagster-Collins p. 230; Memoirs of Munden, p. 214]

 

Document #146

27 September 1811

To John Bannister, to arrange a meeting. [Adolphus II.196.]

 

Document #147

11 November 1811

To John Bannister, in reply to a request Bannister has made for a favor from C. [Adolphus II.217-72.]

 

Document #148

1812

To "Mr. Ward." Not seen. [John Rylands University Library of Manchester. English MS700/109-110]

 

Document #149

1812

To "Mr. [A. Spence?], bookseller." Not seen. [Bodleian Library, MS Montagu d.4, fols. 108-113v.]

 

 

Document #150

27 January 1812, 4 Melina Place, Westminster Road

To Mr. Freeman, concerning the renegotiation of the ground sub-lease for the Haymarket Theatre. C makes clear that the theatre needs considerable improvements and that the proprietors are even considering the building of a new venue. Thus they must have assurances that the lease will be renewed to them upon the expiration of the current lease in 1819. [Folger Y.c. 590, #7]

 

Document #151

28 January 1812, 4 Melina Place, Westminster Rd.

To Charles Mathews, requesting him to squelch rumors of other plans and to confirm his intention to perform at the Haymarket during summer 1812. [Harvard Theatre Collection, uncatlogued Colman ALS; reprinted in Peake II.340-42; Mathews II.118-19]

 

Document #152

10 February 1812, 4 Melina Place, Westminster Road

To Charles Mathews, a long and important letter indicating that he meant no offence by the letter of 28 January 1812, but merely wished to dispel the rumors. [Harvard Theatre Collection, uncatalogued Colman ALS; partially printed in Mathews II.119-20]

 

Document #153

4 April 1812, 4 Melina Place, Westminster Rd.

To Charles Mathews, informing him to deal only with C and not with Morris. [Harvard Theatre Collection, uncatalogued Colman ALS; reprinted in Peake II.344-45; Mathews II.129-30]

 

Document #154

8 May 1812, 4 Melina Place, Westminster Rd.

To Charles Mathews, taking him to task for presuming to appear at a benefit at the King's Theatre. Mathews's name was mistakenly printed in Mrs. Mountain's benefit bill. [Harvard Theatre Collection, uncatalogued Colman ALS; reprinted in Peake II.346-47; Mathews II.132]

 

Document #155

23 May 1812

To James Winston, concerning the impending actors's strike. [Westminster Archives, Broadley, Haymarket, III, f. 95]

 

Document #156

7 July 1812

To John Turner Colman Fawcett, C's godson, advising him that "the Farce" (i.e., The Child of Chance) will be performed again as soon as a new lead performer can be procured. [Bagster-Collins, p. 238. In the private collection of F. W. Fawcett c. 1935; present location unknown.]

 

Document #157

4 November 1812, 4 Melina Place, Westminster Rd.

To Joseph Munden, taking him to task for being unreasonable. [Raymond II.364-67.]

 

Document #158

1813

To "Mr. Earle." Not seen. [Bodleian Library, MS.Montagu d.6, fol. 452]

 

Document #159

undated, but early 1813

To David Morris; a draft copy making clear that unless he cooperates that the theatre will be unable to conclude its arrangements for the upcoming season. C goes on to show how Morris's list of proposed performers is faulty and demands that he stop meddling with that dimension of the business. [Victoria and Albert Theatre Museum, Haymarket Production File, 1813]

 

Document #160

3 February 1813

Draft of a letter to Lord Chamberlain Yarmouth, asking for relief from the competition mounted by the Lyceum Theatre. [Westminster Archives, Broadley, Haymarket, III, f. 95]

 

Document #161

13 February 1813, 4 Melina Place

To Francis Fladgate; a long and interesting letter which reveals the tensions and complexities of the Chancery suit then pending. C refers to Morris as "a Rat in a corner" but is still concerned about the suit and asks Fladgate to come for a consultation. [Harvard Theatre Collection, TS 943.5, I.121]

 

Document #162

4 March 1813, 4 Melina Place

To Mr. Calvert, a cover note accompanying document "No. 2," as submitted in support of a petition to the Lord Chamberlain. [PRO, LC 7/4, pt. 2]

 

Document #163

1814

To Charles Mathews. Not seen. [Bodleian Library. MS.Montagu d.17, fols.63-66v.]

 

Document #164

1814, Friday Night, Melina Place

To James Winston, complaining of being "sickened by the ungrateful task of tinkering for Authors," in reference to a play by Robert Jameson, perhaps Love and Gout. [Folger Y.c. 590, #44]

 

Document #165

31 January 1814, 4 Melina Place

To Richard Jones, thanking him for his offer to perform during summer 1815. C remarks that the he is "still in the dark" about the outcome of the arbitration and thus can form no solid plans. [Harvard Theatre Collection, TS 942.10, vol. 1, following p. 38]

 

Document #166

14 July 1814, 4 Melina Place

To Taylor, thanking him for clarifying that a recent review by a Mr. Jordan of C's Vagaries Vindicated was actually complimentary and not critical, as published in the Sun. C also mentions, "I find, after all, that we do not advertise in the Courier." [Harvard Theate Collection, 937.3, VIII.630]

 

Document #167

7 August 1814, 4 Melina Place, Westminster Rd.

To Charles Mathews, requesting Mathews's assistance, despite his recent injuries, to return as soon as possible to perform in a pantomime (i.e., Dr. Hocus Pocus), for the company is experiencing considerable losses. [Peake II.348-50; Mathews II.176]

 

Document #168

17 August 1814

To James Winston, concerning various Haymarket scheduling and advertising matters. C complains that he has been unwell. Westminster Archives, Broadley, Haymarket, III, f. 95]

 

Document #169

12 September 1814

To Charles Mathews, thanking him for remaining at the Haymarket into the fall. [Harvard Theatre Collection, uncatalogued Colman ALS; reprinted in Mathews II.181]

 

Document #170

2 October 1814, Melina Place

To James Winston, requesting that he send a painter to Melina Place, to create some "clouds." [Folger Y.c. 590, #45]

 

Document #171

7 April 1815, 4 Melina Place, Westminster Rd.

To Charles Mathews, attempting to recruit him for the summer 1815 season. [Harvard Theatre Collection, uncatalogued Colman ALS; reprinted in Peake II.351-52; Mathews 218-19]

 

Document #172

7 May 1815

To David Morris; C's copy, concerning arrangements for personnel during the upcoming season. [Folger Y.c. 590, #13]

 

Document #173

11 June 1815

To David Morris; C's copy, suggesting arrangements for the upcoming season. C lists proposed performers and salaries and further minor details. Additional details on the verso. [Victoria and Albert Theatre Museum, Colman ALS]

 

Document #174

19 June 1815

To David Morris, containing further details relative to the upcoming season. C mentions a contract with a Mr. Glosspo (?) to light the theatre for 4 per night. C also makes clear that Morris has made dealings with one performer especially difficult because Morris offered the person too large of a salary prior to the aborted 1813 season. [Victoria and Albert Theatre Museum, Colman ALS]

 

Document #175

12 July 1815, Melina Place

To David Morris, C's copy, concerning Haymarket affairs. C urges Morris to be more prompt and reasonable in the payment of bills, especially for small items, as the theatre is having trouble operating efficiently. [Folger Y.c. 590, #14 recto]

 

Document #176

13 July 1815, Melina Place

To David Morris, C's copy, which argues vigorously for the immediate hiring of much needed personnel, and makes clear that Morris does not understand what is at stake. [Folger Y.c. 590, #14 verso]

 

Document #177

17 July 1815, Melina Place

To David Morris, angrily reprimanding him for various partnership violations. C mentions the terms of the "Deed of Partnership" then in effect which delineate their various duties, but goes on to state that this will be "the last season" that he and Winston "are to endure you." It was not. [Victoria and Albert Theatre Museum, Colman ALS]

 

Document #178

Tuesday night [18 July 1815?]

To Mrs. Coutts, concerning a social mixup involving the Duke of York, which C attempted to sort out at the theatre but was unable to complete due to having been summoned to attend to the king. [Victoria and Albert Theatre Museum, Colman ALS. The date given here is suggested in accompanying notes tot he letter, but the actual date may well have been July 1817, by which time C was actively friendly with the Couttses.]

 

Document #179

27 July 1815, 4 Melina Place

To [March?, at the Lyceum Theatre], a friendly note concerning material being presented there that goes beyond the limits of the license grant to the Lyceum. [Folger Y.c. 590, #11]

 

Document #180

27 July 1815, 4 Melina Place

To the Lord Chamberlain, complaining that The Castle of Andalusia and The Beehive are being performed illegally at the Lyceum Theatre. [PRO, LC 7/4, pt. 2]

 

Document #181

1 September 1815

To James Winston, advising that they not try to compete against with the winter houses after 11 September. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #182

after 1816, 5 Melina Place

Recipient unknown (but a woman), asking patience on a matter which C is deliberating. [British Library Add. MS 45,926, f. 21]

 

Document #183

1 February 1816, 4 Melina Place

Recipient unknown, being a cover letter for a statement to be filed in the case of Mr. Samuel J. Arnold's application for a license from the Lord Chamberlain. [Folger Y.c. 590, #51]

 

Document #184

10 April 1816, 5 Melina Place

To James Winston, a copy of a letter pertaining to Haymarket business. [Folger W.a. 78, 50r]

 

Document #185

24 April 181[6?]

To David Morris [?]; a copy by Winston, wherein C requests a "decent answer" to his suggestions for the forming of the company for the upcoming season. [Folger W.a. 78, 50v]

 

Document #186

1 May 1816, 5 Melina Place

Recipient unknown, but apparently David Morris's solicitor, making clear that arbitration is still underway and that Winston is no longer Stage Manager. C complains that Morris is delaying the finalization of arrangements for the upcoming season. [Victoria and Albert Theatre Museum, Colman ALS]

 

Document #187

6 May 1816

Recipient unknown. Not seen. [Ransom Center, George Colman, Theatre Arts]

 

Document #188

14 June 1816

Recipient unknown, but requesting that Morris immediately prepare and repair scenery for the upcoming season. This is apparently a draft copy. [Victoria and Albert Theatre Museum, Colman ALS]

 

Document #189

14 June 1816

Recipient unknown, stating that Mrs. Mathews is to be employed for 1 a night whenever she wishes to perform. [Victoria and Albert Theatre Museum, Colman ALS; written on the verso of Document #179.]

 

Document #190

7 May 1816

To John Whitaker (composer), complying with his request for a copy of the score of the trio to Chip off the Old Block, as he has mislaid the original. C adds, "I trust the Partners . . . will have no objections." [Greater London Record Office, Q/WIL/471]

 

Document #191

13 May 1816, 5 Melina Place

To Charles Mathews, offering to meet in order to settle terms for the upcoming season. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #192

7 June 1816, 5 Melina Place

To Edward Sandy, respectfully declining a tragedy, on the grounds that the company is "devoted to the Comick Muse." [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #193

19 July 1816, 5 Melina Place

To Edward Sandy, still declining the tragedy, but asking Sandy to stop by on Tuesday next for conversation. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #194

26 July 1816, 5 Melina Place

To David Morris, complaining that he is giving out too many orders (i.e., free passes) to the theatre, which are a "great injury to our concern." [Victoria and Albert Theatre Museum, Colman ALS]

 

Document #195

17 August 1816, 5 Melina Place

To David Morris, stating that he and James Winston will not be responsible for any expenses incurred by Morris for his personal lodgings, which are connected to the theatre. [Victoria and Albert Theatre Museum, Colman ALS; Morris was given the rights to the house in the 1805 partnership arrangements.]

 

Document #196

1817

To Lord Blessington. Not seen. [University of Edinburgh Library, La.II.422/34]

 

Document #197

1817

Recipient unknown; mutilated. Not seen. [Bodleian Library, MS.Autogr c.23, fol. 7]

Document #198

13 August 1817

To James Winston, asking him to pass along an enclosed note to a "Mrs. Ember [?]." [Folger Y.c. 590, #47]

 

Document #199

24 January 1817, 5 Melina Place, Westminster Rd.

To Charles Mathews, attempting recuit him for the summer 1818 season. [Peake II.356-57; Mathews II.239 Mathews did not perform at the Haymarket during 1818.]

 

Document #200

14 February 1817, 5 Melina Place

To Mrs. Davenport, enquiring if she would agree to join the company for the upcoming season on the same terms as the previous year. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #201

10 July 1817, 5 Melina Place

To Mr. Coutts, proposing a fee of 1 per evening for a box. [Victoria and Albert Theatre Museum, Colman ALS]

 

Document #202

21 July 1817, 5 Melina Place

C's copy of an order to Morris to engage Miss Costells for 2 per week for the rest of the season. C also insists that Morris needs to rethink his practice of offering free passes (i.e., orders) for the good of the theatre. [Folger Y.c. 590, #15]

 

Document #203

8 August 1817, 5 Melina Place

To Mr. Coutts, thanking him for sending a Dr. Hooper to visit again. C remarks that he is leaving town in a few days but will see Coutts on Monday next. The letter expresses considerable gratitude to Coutts for his attentions. [Victoria and Albert Theatre Museum, Colman ALS]

 

Document #204

19 August 1817, 5 Melina Place

To Mrs. Coutts, sending poems and martinique (i.e., snuff). [Victoria and Albert Theatre Museum, Colman ALS]

 

Document #205

17 September 1817, 5 Melina Place

To Mr. Coutts, thanking him for an invitation to visit Holly Lodge on Tuesday the 23rd. C has sent Coutts an advance copy of the annual Haymarket farewell address. [Victoria and Albert Theatre Museum, Colman ALS]

 

Document #206

Saturday evening [1818?]

To Richard Jones, concerning a prologue for Jones's play, presumably The Green Man (premiered 15 August 1818). [Victoria and Albert Theatre Museum, Colman ALS]

 

Document #207

29 August 1818, 5 Melina Place

To James Thomson, offering to read the play which Thomson submitted, but pointing out that he would not be able to stage it, if accepted, until next season (i.e., 1819). [Harvard Theatre Collection, uncatalogued Colman ALS; the play was possibly A Cure for Romance.]

 

Document #208

25 April 1820, 5 Melina Place

A letter to C's publisher asking 100 for a work written by Colman Sr.? [Folger Y.c. 590, #52]

 

Document #209

16 October 1820, 5 Melina Place

To John Bannister, asking for a later date for dinner, due to problems from the gout. [Adolphus II.272.]

 

Document #210

11 July 1821

To Michael Kelly, providing a translation and explanation of a quotation by Fianille. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #211

Recipient unknown, accepting an invitation to meet the next day. [Victoria and Albert Theatre Museum, Colman ALS]

 

Document #212

24 October 1821, Brighton

To R. W. Elliston, regarding the termination of negotiations for a play which C was asked to create for the Drury Lane company. [Raymond II.305-6.]

 

Document #213

23 December 1821, Melina Place

To Mr. and Mrs. Coutts, accepting an invitation to visit them on 8 January. [Victoria and Albert Theatre Museum, Colman ALS]

 

Document #214

24 April 1822, 5 Melina Place

To Charles Kemble, thanking him for his recent letter, and enquiring if he might contribute to the Literary Fund. [Harvard Theatre Collection, Schwalbe A&A, vol. 2, f.p. 222]

 

Document #215

5 May 1822, Fulham Lodge

To John Bannister, about bringing a play to Bannister and reading it to him (perhaps The Law of Java). [Ransom Center, George Colman, Theatre Arts; reprinted in Adolphus II.273.]

 

Document #216

[before 17 May 1822]

To Edmund Byng, apologizing for not being able to visit because the king has commanded a performance of The Law of Java (17 May 1822). [Peake II.410]

 

Document #217

1823

To Edmund Byng. Not seen. [London, Society of Antiquaries, Library. Cely-Trevilian Bequest (MS444) IX, 114]

 

Document #218

1823

To George Brown. Not seen. [Bodleian Library, MS.Beckford c.37, fols. 104-105]

 

Document #219

10 January 1823, 5 Melina Place

To George Brown, paying 20 toward a note of 41 owed to Brown, and saying that he has not yet heard about the "appointment." [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #220

10 April 1823

To Hon. Edmund Byng, complaining of the gout and fondly recollecting Lady Torrington and Byng's father. [Peake II.409]

 

Document #221

16 June 1823

To Edmund Byng, stating that C Is about to take a sea voyage to the Nore and is anxious becuase he cannot swim. [Peake II.409]

 

Document #222

1823

To John Wilson Croker, a cover note for a document from 1773 by Colman Sr. protesting an order to close down The Beggar's Opera. [Houghton Ms Eng 896]

 

Document #223

18 November 1823

To Edmund Byng, apologizing for not visiting, and stating that their cabin has been damaged by high winds. C Also also laments being unable to create a new comedy. [Peake II.409-10]

 

Document #224

[late 1823?]

To Edmund Byng, complaining of the gout and inviting Byng and Cavendish Bradshaw for dinner the next week. [Peake II.410-11]

 

Document #225

1824

To William Macready, approving Werner, but requiring that the printed book of the play, which had been submitted for licensing, must be returned as soon as possible. [British Library Add. MS 43,038, f. 1]

 

Document #226

1824

To "Taylor." Not seen. [Gosforth, Northumberland Record Office. In ZAN M12, Brook Autographs: Vol. III, 173]

 

Document #227

1824

To Joseph Clarke. Not able to locate; this item seems to be missing (see also Document #225). [British Library, Add MS.42865]

 

Document #228

1824

To the Manager, Olympic Theatre. Not able to locate; this item seems to be missing. [British Library, Add MS.42865]

 

Document #229

9 February 1824

To the Manager, Covent Garden Theatre. Not seen. [Huntington Library, HM 42388]

 

Document #230

28 February 1824

To Edmund Byng, complaining of an attack of the gout and inviting Byng to dinner "as soon and as often as you please." [Peake II.411]

 

Document #231

29 February, 1824, 5 Melina Place, Westminster Rd.

To Sir William Knighton, regarding C's evaluation of Alasco for possible production at Covent Garden Theatre. C finds the play full of "clap-trap sentiments," but will agree to license it if the play is revised according to his suggestions. [Peake II.400-01]

 

Document #232

6 May 1824

To "The Manager, Theatre Royal Drury Lane": Order to omit various words and passages from The Partisans, or, The War of 1644. [Pennsylvania State University, VF 9-2]

 

Document #233

12 June 1824

To Thomas Dibdin, Haymarket, transmitting the licenses for Dibdin's Come If You Can and Samuel Poole's A Year in an Hour, and reminding Dibdin to submit plays at least 14 days in advance for approval. [Huntington Library, HM 42213]

 

Document #234

25 June 1824, Melina Place

To "The Manager, Theatre Royal, Haymarket," ordering omissions of various words and passages from Married and Single, or, Takings and Mistakings. [Pennsylvania State University, VF 9-2]

 

Document #235

15 July 1824, Melina Place

To the Manager, Haymarket Theatre, denying an immediate license for the prologue and epilogue to Married and Single because Lord Chamblerain Montrose is away in Scotland. [Huntington Library, HM 42214]

 

Document #236

2 December 1824, 5 Melina Place

To Sir William Knighton, in which C forwards to a request by Kelly to have permission to dedicate a publication to the king. [Harvard Theatre Collection, uncatalogued Colman ALS; reprinted in Peake II.402-3]

Document #237

21 December 1824, Brompton Square

To the Manager, Drury Lane, ordering omissions from St. Roman's Well and The Fall of Algiers. [Folger Y.c. 590, #5]

 

Document #238

February-March 1825

C's official correspondence regarding licensing of plays. Scattered short notes, with copies of occasional remarks to managers reminding them to submit plays for examination at least 14 days in advance. [British Library Add. MS 42,870; also contains mss of several plays]

 

Document #239

15 February 1825, Brompton Square

To the Manager, Covent Garden Theatre, concerning alterations to and the licensing of Father and Son and The Englishman in Spain. [Ransom Center, tipped into The Century of the Colmans (extra-illustrated), after p. 396; qPN 2598 C7 C45 v. 7 HRC-TA MEK]

 

Document #240

19 April 1825

To the Manager, Haymarket Theatre, transmitting the license for Tribulation. [Huntington Library, HM 42215]

 

Document #241

25 May 1825, Brompton Square

Recipient unknown, wherein C identifies a quotation from Hesiod. [Folger Y.c. 590, #53.]

 

Document #242

25 July 1825

To the Manager, Haymarket Theatre, requiring alterations to Quite Correct. [Huntington Library, HM 42216]

 

Document #243

8 August 1825

To the Manager, Haymarket Theatre, requiring alterations to The Pawnbroker's Daughter. [Huntington Library, HM 42217]

 

Document #244

September-December 1825

C's official licensing correspondence, especially regarding a controversy over a play called Charles the First, which C and Lord Chamberlain Montrose find questionable, but which was eventually licensed. [British Library Add. MS 42,873]

Document #245

12 September 1825

To the Manager, Haymarket Theatre. Not seen. [Huntington Library, HM 42389]

 

Document #246

19 September 1825

To the Manager, Haymarket Theatre, transmitting the license for The Sorrows of Werter, and reminding the manager to submit plays for llicensing in a more timely fashion. [Huntington Library, HM 42218]

 

Document #247

10 December 1825

To Mary Russell Mitford. Not seen. [Huntington Library, HM 06611]

 

Document #248

[ca. February 1826]

To J. Fawcett, Covent Garden Theatre, expressing provisional approval for Pride Must Have a Fall. [British Library, Add. MS 42,865, f. 3]

 

Document #249

3 March 1826

To Charles Kemble, requesting alterations to The Deceivers Deceived and The Brothers of Cordova to make them suitable for licensing. [British Library, Add MS.33,964, f.245]

 

Document #250

24 January 1826, Brompton Square

To the Manager, Covent Garden Theatre, requesting alterations to The French Libertine to make it suitable for licensing. [British Library, Add MS.42876, f.38]

 

Document #251

23 June 1826

To Frederic Reynolds, thanking him for a copy of Reynold's "Life" and expressing great pleasure in reading it. [British Library Add. MS 27,925, f. 53]

 

Document #252

7 August 1826

To the Manager, Haymarket Theatre. Not seen. [Huntington Library, HM 42219]

 

Document #253

5 September 1826

To the Manager, Haymarket Theatre. Not seen. [Huntington Library, HM 42220]

Document #254

7 November 1826, Brompton Square

To the Manager, Covent Garden, granting him a license for the prologue and epilogue to Foscari, and warning him that the prologue should not have been spoken without a license and that a repeat offense will not be acceptable. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #255

7 November 1826

To the Manager, Haymarket Theatre, requiring the deletion of two lines from the annual "Farewell Address." [Huntington Library, HM 42221]

 

Document #256

14 November 1826, Brompton Square

To the Manager, Drury Lane, giving him official notice that the practice of interpolating material must be discontinued, as all material presented on the stage must be approved by the Licenser. [Folger Y.c. 590, #17]

 

Document #257

18 November 1826, Brompton Square

To Charles Mathews, asking him to call on "Wednesday next." [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #258

21 November 1826

To the Manager, Covent Garden Theatre, to make omissions in The Assignation to render it suitable for performance. [Folger Y.d. 483, #8.]

 

Document #259

30 December 1826

To Thomas Morton, asking him to make five small changes in The School for Grown Children, which C believes is an excellent play. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #260

1 January 1827, Brompton Square

To James Winston, requesting clarification concerning an upcoming production of Lady of the Lake at Drury Lane. [ Ransom Center, tipped into The Century of the Colmans (extra-illustrated), after p. 396; qPN 2598 C7 C45 v. 7 HRC-TA MEK]

 

Document #261

9 January 1827, Brompton Sq.

To Edmund Byng, canceling dinner due his great sorrow for the recent death of the king. C remarks, "I had so many reasons to love him, and to be grateful to him." [Peake II.411-12]

 

Document #262

7 May 1827, Brompton Square

Recipient unknown, postponing a visit due to an attack of the gout. [A copy not in C's hand; Harvard Theatre Collection, uncatalogued Colman ALS.]

 

Document #263

14 May 1827

To the Manager, Covent Garden Theatre, requiring omissions in Love and Reason. [Folger Y.d. 483, #9.]

 

Document #264

31 May 1827

To the Manager, Haymarket Theatre. Not seen. [Huntington Library, HM 42222]

 

Document #265

16 June 1827

To the Manager, Haymarket Theatre. Not seen. [Huntington Library, HM 42223]

 

Document #266

12 July 1827

To the Manager, Haymarket Theatre. Not seen. [Huntington Library, HM 42224]

 

Document #267

13 July 1827

To the Manager, Haymarket Theatre. Not seen. [Huntington Library, HM 42225]

 

Document #268

6 August 1827

To the Manager, Haymarket Theatre. Not seen. [Huntington Library, HM 42226]

 

Document #269

13 August 1827

To the Manager, Haymarket Theatre. Not seen. [Huntington Library, HM 42227]

 

Document #270

18 August 1827

To the Manager, Haymarket Theatre. Not seen. [Huntington Library, HM 42228]

Document #271

29 August 1827

To the Manager, Haymarket Theatre, concerning omissions to Spring and Autumn; or, The Bride at Fifty. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #272

22 September 1827

To the Manager, Haymarket Theatre. Not seen. [Huntington Library, HM 42229]

 

Document #273

3 October 1827

To the Manager, Haymarket Theatre. Not seen. [Huntington Library, HM 42230]

 

Document #274

3 October 1827

To J. Willis. Not seen. [Huntington Library, HM 42232]

 

Document #275

1828

To Edmund Byng. Not seen. [London, Society of Antiquaries Library. Cely-Trevilian Bequest (MSS444) IX, 114]

 

Document #276

1828

To W. Segnier. Not seen. [London, National Portrait Gallery, Archive and Library, Stanton Album, p. 12]

 

Document #277

17 January 1828, Brompton Square

To John Bowyer Nichols, thanking him for the additional volumes of Craddock's Memoirs. [British Library, Add. MS 52,285, f. 149]

 

Document #278

19 January 1828

To the Manager, Drury Lane, concerning omissions to The Haunted Inn. [MS tipped into Folger Art vol. b19, f. 135]

 

Document #279

24 January 1828, Brompton Square

To Frederick Reynolds, regarding possible alterations to The Black Prince to make it suitable for licensing, and expressing praise for the play. [British Library Add. MS 27,925, f. 61]

Document #280

17 March 1828, Brompton Sq.

To Edmund Byng, apologizing for not being to comply with a request to write "a few nonsensical sentences"(i.e., a contribution to Byng's poetical miscellany, The Casket) due to a severe attack of the gout which has lasted six weeks. [Peake II.412]

 

Document #281

17 April 1828

To Edmund Byng, stating that he has been unsuccessful in creating a subject "worthy" of The Casket. C also mentions that "my head is . . . full of autobiography," i.e., that he is hard at work on Random Records. [Peake II.412-13]

 

Document #282

24 October 1828

To the Manager, Drury Lane, concerning omissions to Rhyme and Reason. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #283

28 November 1828

To the Manager, Drury Lane, concerning omissions to Lodgings for Single Gentlemen. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #284

1 May 1828

To the Manager, Drury Lane, requiring omissions to The School for Gallantry. [Folger Y.d. 483, #10]

 

Document #285

11 June 1828, Brompton Square

To Charles Mathews, in which C remarks that he has an attack of gout, is about "to overhaul a bundle of family papers," and will try to fulfill Mathews's request for an autograph letter of Colman, Sr. [Harvard Theatre Collection, TS 941.5F, III.371]

 

Document #286

26 June 1828, Brompton Sq.

To R. B. Peake, congratulating him on The Bottle Imp and approving it for performance. [Peake II.406]

 

Document #287

27 June 1828, Brompton Square

To John Bannister, inviting him to visit on "Thursday next." [Adolphus II.273.]

Document #288

[June 1828?]

To Alfred Bunn, Manager at Drury Lane, approving an Americanised version of C's own Who Wants a Guinea?, though he believes the alterations are "rubbish." [Peake II.407]

 

Document #289

4 September 1828, Brompton Square

To Frederick Reynolds, apologizing for not being able to attend a dinner party and regretting that he cannot do so in the near future. [Harvard Theatre Collection, TS 941.5F, IV.104]

 

Document #290

22 October 1828

To the Manager, Covent Garden, regarding omissions in The Stepmother. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #291

5 November 1828

To the Manager, Covent Garden, to make omisions in The Daughter's Vow. [Folger Y.d. 483, #11] //but see 6 Jan 1829--same docket #?//

 

Document #292

Undated [1829], Monday, Brompton Square

To J. Cooper, Drury Lane Theatre, advising him that Young at Sixty, a new play, may be performed under its original title of Know Your Own Mind. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #293

6 January 1829

To the Manager, [Drury Lane], to make omissions in Caswallon, or, The Chief. [Folger Y.d. 483, #11] //should probably be #12?//

 

Document #294

14 February 1829

To the Manager, Covent Garden, to make omissions in The Knights Templar. [Folger Y.d. 483,, #13]

 

Document #295

17 February 1829

To the Manager, Drury Lane, to make omissions in Peter the Great. [Folger Y.d. 483, #14]

 

Document #296

2 March 1829

To the Manager, Covent Garden, to make omissions in Procrastination. [Folger Y.d. 483, #15]

 

Document #297

14 March 1829

To the Manager, Drury Lane, concerning omissions to All at Sixes and Sevens. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #298

24 March 1829

To the Manager, Covent Garden, concerning omissions to The Devil's Elixir; or, The Shadowless Man. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #299

27 April 1829, Brompton Sq.

To Yates, Manager of the Adelphi Theatre, asking him to quiet Beazley's concerns over the needed alterations to his new play. [Peake II.405; see letter to Beazley of 28 April 1829.]

 

Document #300

28 April 1829

To Samuel Beazley, Jr., regarding an unnamed play (presumably The Elephant of Siam) which requires approval for licensing. C mentions that he must postpone the decision until next Tueday because "some dry proceedings of the law . . . at present take up almost the whole of my time." [Peake II.405]

 

Document #301

7 May 1829

Recipient unknown, wherein C asks to postpone an appointment until Thursday next, due to an attack of the gout. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #302

1 December 1829, Brompton Square

To Yates (Adelphi Theatre), stating that he need not send the prologue for the new play, which ridicules the position of Yeoman of the Guard, as it will not be licensed. [ Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #303

2 January 1830, Brompton Square

Recipient unknown [but probably Richard Bentley], announcing that the second volume is completed, i.e., of Random Records, and ready to be sent to the printer. [A facsimile; Harvard Theatre Collection, Life and Correspondence of David Garrick, III.7]

 

Document #304

8 January 1830, Brompton Square

To Richard Bentley, asking to postpone an appointment set for that day until tomorrow. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #305

25 January 1830

To the Manager, Theatre Royal Bristol, to make omissions in Werner. [Houghton bMS 1631 (83)]

 

Document #306

19 March 1830, Brompton Square

To Richard Bentley, asking him to send a copy of C's Random Records to a Mr. Mats [?], editor of the French-language paper Le Fuset des Londres for review. C also mentions that negotiations are suspended with Cadell for publishing a third volume. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #307

25 June 1830, Brompton Square

To R. B. Peake, new proprietor of the Adelphi Theatre, sending best wishes and enclosing licenses for some performances. C does object, however, to certain passages in Don Giovanni. [Harvard Theatre Collection, TS 990.1, V.134]

 

Document #308

3 August 1830, Brompton Square

To Lord Chamberlain Jersey, commenting on the "doubtful" patent status of the Drury Lane and Covent Garden theatres and on patent auspices in general. C also refers to "Dover Castle," but the context is unclear. [Greater London Record Office, Acc. 1128/186, pt. II, f. 279]

 

Document #309

21 August 1830, Brompton Square

To W. Moore, concerning acceptance of obligation for quarterly payments to a General Wheatley. [Folger Y.c. 590, #12]

 

Document #310

30 September 1830

To Lord Chamberlain Jersey, concerning possible objections to Seeming and Scheming, but the play was eventually licensed. [ALS original: Greater London Record Office, Acc. 1128/185, pt. II, ff. 273-74; copy: British Library Add. MS 42,904, f. 311]

 

Document #311

15 November 1830

To Richard Bentley, asking for some information and for permission to state in the third volume of "Records" that the the previous volumes have sold well. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #312

27 November 1830, Brompton Sqaure

To Mrs. Davenport, enquiring after her health. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #313

15 December 1830, Wednesday Eve., Brompton Square

To Edmund Byng, canceling a social call for the next morning. [Folger Y.c. 590, #2]

 

Document #314

1831

To the Earl of Harrington. Not seen. [Reading, University of Reading Library, MS1507.]

 

Document #315

8 January 1831

To the Manager, Drury Lane, requiring omissions in The Pledge. [Folger Y.d. 483, #15]

 

Document #316

4 February 1831

To R. W. Elliston, inviting Elliston to him on the following day.. [Ransom Center, George Colman, Theatre Arts]

 

Document #317

22 February 1831

To J. Cooper, Drury Lane, requesting passes for three people in a box for Tuesday next. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #318

5 May 1831, Brompton Square

To Richard C. Reynolds (son of Frederick Reynolds), arranging for the use of C's opera ticket. [British Library Add. MS 27,925, f. 75]

Document #319

12 July 1831 Brompton Square

To John Bannister, replying to Bannister's request for C to visit. [Adolphus II.274.]

 

Document #320

25 November 1831, Brompton Square

To John Bannister, politely refusing "to scribble something" for Angelo's Angelo's Reminiscences. [Adolphus II.275-76.]

 

Document #321

2 December 1831

To Frederick Vining (Manager, Theatre Royal, Brighton), advising him that certain competitors of Vining's are licensed and legal. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #322

26 June 1832

To the Manager, English Opera Company, Olympic Theatre, concerning required omissions to The Climbing Boy. [Harvard Theatre Collection, TS 990.1, V.134]

 

Document #323

10 July 1832, 22 Brompton Square

To Charles Mathews, replying that he would be glad to meet with him on the 17th. [Harvard Theatre Collection, TS 940.6F, II.264]

 

Document #324

9 April 1833, Brompton Square

To Russell (Manager), Theatre Royal, Glasgow, concerning licensing for a benefit performance. [Ransom Center, tipped into The Century of the Colmans (extra-illustrated), oppposite p. 396; qPN 2598 C7 C45 v. 7 HRC-TA MEK]

 

Document #325

23 May 1833

To Bartley (Manager, Covent Garden?), requesting copies of the new interlude to be performed on the 29th and of The Magic Flute, for licensing purposes. [Harvard Theatre Collection, TS 990.1, V.133]

 

Document#326

10 June 1833, Brompton Square

To Plase, a short note asking him to accept for his "Collection of theatrical tracts" the enclosed copy of C's privately printed and distributed Observations on the Notice of a Motion to Rescind Certain Powers of His Majesty's Lord Chamberlain (dated February 1825, included in the file). [Folger Y.d. 23, #104]

 

Document #327

20 December 1833

To the Manager, Drury Lane, concerning omissions to St. George the Dragon. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #328

3 October 1834

To the Manager, Haymarket Theatre. Not seen. [Huntington Library, HM 42231]

 

Document #329

17 October 1834

To the Manager, Adelphi Theatre, concerning omisions in Oscar the Bandit. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #330

19 January 1835

To the Manager, Drury Lane, concerning omissions to The King's Word. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #331

3 August 1835, Brompton Square

To Francis Nathaniel, 2nd Marquess of Conyngham, commenting on the farce My Late Friend and on rumors of a royal license for a new theatre. [Ransom Center, tipped into The Century of the Colmans (extra-illustrated), after p. 396; qPN 2598 C7 C45 v. 7 HRC-TA MEK]

 

II. Undated Documents

 

Document #332

August 23 [no year], Soho Square

Recipient unknown, requesting that person to dine next Wednesday. [Harvard Theatre Collection, TS 963.6, opp. p. 248]

 

Document #333

Undated, Soho Square

To Dr. Samuel Arnold, concerning a new farce; C also mentions [Peter Miles] Andrews's new opera, which he likes very much. [Harvard Theatre Collection, TS 931.8F, X.40]

Document #334

undated, Thursday Night [1 April]

To Elizabeth Inchbald, concerning the writing of a five-act play. C is actively involved and has given her a "plan" for one of the acts. [Victoria and Albert Art Library, 48.G. 3/29, f. 15]

 

Document #335

undated, Thursday, Soho Square

To Elizabeth Inchbald, complimenting her on the revisions to her new play but stating that more work needs to be done. He suggests "The Husbands" or "The Two Husbands" as the title. [Victoria and Albert Art Library, 48.G. 3/29, f. 21]

 

Document #336

undated

To Elizabeth Inchbald, graciously accepting her apologies for changing her mind in regard to naming her new son after C. He states he will still be the godfather and sponsor, despite "sermons" which Inchbald's friends have given her about C. [Victoria and Albert Art Library, 48.G. 3/29, f. 19]

 

Document #337

undated, Sunday, Piccadilly

Presumably to the Licenser, though not identified as such, being a cover letter for a revised version of a play to which their were objections. [Folger Y.c. 590, #54]

 

Document #338

Undated

Addresee illegible; C apologizes for having to cancel a social call, as he is indisposed with the gout. [Folger Y.c. 590, #8]

 

Document#339

Undated

To James Winston, concerning a call for a rehearsal, and containing a new speech for "Velin" to be inserted before "the entrance of the French Tragedian." [Folger Y.c. 590, #46]

 

Document #340

Undated, Friday Night

To James Winston, asking him to pass along various Haymarket busines papers to Morris. [Folger Y.c. 590, #48]

 

Document #341

Undated, Soho Square

Recipient unknown, concerning a sketch for a medallion. [Harvard Theatre Collection, TS 940.6F, II.233]

 

Document #342

Undated, Saturday Eve.

To Charles Mathews, informing him that the Queen has requested that he dine with her on Wednesday next. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #343

Undated, Monday Morning

To Mr. Jackson, stating that he will not be able to see Jackson that day but will do so on Wednesday next. [Harvard Theatre Collection, uncatalogued Colman ALS; a note in another hand assigns the letter to 1809.]

 

Document #344

Undated, Monday, 5 Melina Place

To Johnstone, apologizing for being prevented from seeing him today but hoping to do so tomorrow. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document #345

Undated, Monday Eve.

Recipient unknown, agreeing to see the correspondent tomorrow. [Harvard Theatre Collection, uncatalogued Colman ALS; a note in another hand says that the business of the meeting is to "cut the play, before we cut the mutton."]

 

Document #346

Undated, Saturday Morning [ca. 1809-1811]

To James Winston, concerning Haymarket business and the new play by Dimond (perhaps The Foundling of the Forest. [Harvard Theatre Collection, uncatalogued Colman ALS]

 

Document#347

Undated

To John Murray. Not seen. [National Library of Scotland, MS.2224, f.93]

 

Document#348

Undated

Recipient unknown. Not seen. [Liverpool City Libraries, Hornby Library, Hornby Autograph Letter Collection]

 

Document#349

Undated

To James Winston. Not seen. [Truro. Royal Institution of Cornwall, Courtney Library, Enys Collection 313]

 

Document#350

Undated

To John Delap. Not seen; includes a ms poem. [Manchester, John Rylands University Library of Manchester. English MS.547]

 

Document #351

Undated

To "Mr. Ward." Not seen. [John Rylands University Library of Manchester, English MS.700/109-110]

 

Document #352

Undated

To Richard Bentley. Not seen. [Nottingham Archives, DD1251/20/79]

 

Document #353

Undated

To Harriet Melon. Not seen. [Bodleian Library, MS.Eng.lett.c.63, fol. 75]

 

Document #354

ca. 1801?

To Robert W. Elliston. Not seen. [Huntington Library, HM 06606]

 

Document #355

undated

Recipient unknown. Not seen. [Ransom Center, tipped into The Century of the Colmans (extra-illustrated), before the preface; qPN 2598 C7 C45 v. 1 HRC-TA MEK]

 

Document #356

12 September

Recipient unknown. Not seen. [Ransom Center, tipped into The Jeffersons, opposite p. 20; qPN 2287 J5 W5 cop. 1 v.1 HRC-TA MEK]

 

Document #357

undated

To Charles Kemble, fragment of a letter containing only the direction to Kemble and C's signature. [MS Greater London Record Office, Q/WIL/602/1]

 

 

 

III. Works and Collections Consulted

 

Adolphus, John.
Memoirs of John Bannister, Comedian. 2 vols. London: Bentley, 1839.
 
Bagster-Collins, Jeremy.
George Colman the Younger, 1762-1836. NY: King's Crown P, 1946.
 
Dibdin, Thomas.
The Reminiscences of Thomas Dibdin. 2 vols. London: Henry Colburn, 1827.
 
Mathews, Mrs. Charles.
Charles Mathews, Comedian. 2 vols. London: R. Bentley, 1838.

Memoirs of Joseph Munden, Comedian. By His Son. London: R. Bentley, 1844.

Murray, Christopher.
Robert William Elliston Manager. A Theatrical Biography. London: Society for Theatre Research, 1975.
 
O'Keeffe, John.
Recollections of the Life of John O'Keeffe, Written by Himself. 2 vols. London: Colburn, 1826.
 
Peake, Richard Brinsley.
Memoirs of the Colman Family. 2 vols. London, 1841. Rpt. New York: Blom, 1971.
 
Raymond, George.
Memoirs of Robert William Elliston. 2 vols. London. John Ollivier, 1846. Rpt. New York: Blom, 1969.

 

Collections Consulted:

Beinecke Library; British Library; Clark Library; Folger Library; Greater London Record Office; Harvard: Houghton Library, Harvard Theatre Collection; Huntington Library; Pennsylvania State University Library; Public Record Office, Kew; Ransom Humanities Center; Victoria and Albert Theatre Museum, Covent Garden; Victoria and Albert Art Library; Westminster Archives

 

1 Raymond identifies the location as Sudbury, near Harrow (I.239).


Links back to Colman Home Page, plans for a New Edition of His Plays, a Biographical Sketch, a complete List of Plays, a listing of Summaries of the Plays, and the Selected Bibilography



Content Editors for this Site: William Burling, Southwest Missouri State University, and Martin Wood, University of Wisconsin - Eau Claire.

Site maintained by Marty Wood at UWEC; please report any errors or broken links to me.

Server space for the George Colman the Younger Web Site has been graciously provided by The University of Wisconsin - Eau Claire.

I am grateful to my colleague Dennis Jerz, Assistant Professor of English at UWEC, for occasional technical assistance.

updated 10/6/99