It has been turned into a number of film adaptations, mostly in the silent era. This included The Ticket of Leave Man (1912), The Ticket-of-Leave Man (1918) and the 1937 Tod Slaughter melodrama The Ticket of Leave Man. The 1914 film The Ticket-of-Leave Man is not an adaptation of the play, but is based on the 1869 novel Foul Play written by Taylor's frequent collaborator Charles Reade.
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The Ticket of Leave Man is a 1912 Australian silent film directed by Gaston Mervale starring Louise Lovely.
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From 27 March 1863 he was the original Hawkshaw, a detective, in The Ticket-of-Leave Man by Taylor, his first distinct acting success.Tom Taylor, The Ticket-of-Leave Man, accessed 15 February 2016. In 1864 he became manager of the Olympic Theatre. In London he had appeared only at this theatre.
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The Ticket of Leave Man is a 1937 British thriller film directed by George King and starring Tod Slaughter, John Warwick and Marjorie Taylor.BFI.org It was based on The Ticket-of-Leave Man, an 1863 melodrama by Tom Taylor which introduced the character Hawkshaw the Detective. It takes its name from the Ticket of leave which was issued to convicts when they were released.
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Horace Wigan (1815/16 – 7 August 1885) was an actor, dramatist and theatre manager. He was the original Hawkshaw, the detective in the play The Ticket- of-Leave Man by Tom Taylor.
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These films, which include Maria Marten or Murder in the Red Barn (1935), Sweeney Todd: The Demon Barber of Fleet Street (1936) and The Ticket of Leave Man (1937) are a unique record of a bygone art-form.
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In 1914 it served as the basis for the American The Ticket-of- Leave Man. In 1920 the novel was adapted into a silent film Foul Play directed by Edwin J. Collins and starring Renee Kelly and Henry Hallett.
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Parry also built the New Theatre Royal, Hull which he opened on November 27, 1871 with a production by his own company of the Post Boy by H. T. Craven and Tom Taylor, The Ticket of Leave Man. Parry played the lead in both plays.
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Rutland Barrington, who appeared with Fowler in Lady Clancarty, called her "one of the most delightful soubrettes that ever graced the stage"., pp. 16 and 18 In 1875 she played Deborah in The Spendthrift and May Edwards, the heroine, in The Ticket-of-Leave Man. She also portrayed Louise in The Two Orphans at the Olympic.
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10 May 1821) with a convict called John White (died Nov.1828). Elizabeth was granted permission to wed the District Constable, and ticket of leave man, John Butler Hewson, on 28 May 1828. Hewson became the foster father of the children, including Hannell, when they joined their mother in Newcastle. Hannell was educated at Christ Church School, Newcastle.
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359 and in 1885 he again played Green Jones in The Ticket-of-Leave Man (opposite his wife, who played Sam), a role he reprised in his benefit performance in 1891 at the Gaiety Theatre."Dramatic and Musical Intelligence", The Colonies and India, 14 November 1891, p. 18 In 1890 he was the stage manager at Adelphi Theatre.
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Warfield was born David Wohlfeld in San Francisco, California, to German-Jewish parents, Louise and Sigmund Wohlfeld. His first connection with the theatre was as an usher. He made his first stage appearance in 1888 in The Ticket-of-Leave Man. Two years later he went to New York City, where he appeared at the Casino Theatre and at Weber and Field's Music Hall.
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Hawkshaw the Detective, played originally by Horace Wigan,victorian.nuigalway.ie/modx/assets/docs/pdf/Vol59iTicket.pdf debuted in the 1863 play of Tom Taylor, The Ticket of Leave Man. His character was taken up by the New York World on February 23, 1913, and continued for many years in various Pulitzer-owned newspapers. In 1917, some of Hawkshaw and the Colonel's newspaper antics were republished in book form by the Saalfield Company.
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Henry Neville Thomas Henry Gartside Neville (20 June 1837 – 19 June 1910) was an English actor, dramatist, teacher and theatre manager. He began his career playing dashing juvenile leads, later specialising in Shakespearean roles, modern comedy and melodrama. His most famous role was as Bob Brierley in Tom Taylor's The Ticket-of-Leave Man. As the manager of the Olympic Theatre from 1873 to 1879, he presented numerous successful productions.
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1913, d. 10-17-2004 At some point after he became famous under this name, he secured the legal right to it. Florence's first success was in A Row at the Lyceum (1851); following this, he established his reputation as Captain Cuttle in Dombey and Son, Bob Brierly in The Ticket-of-Leave Man, and Sir Lucius O’Trigger in The Rivals. His last appearance was as Zekiel Homespun in a production of Heir-at-Law.
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From about that time, the former Assistant Surgeon's house was occupied by Francis Greenway, a ticket-of-leave man who had been transported for forgery in 1814. Greenway was appointed to the position of civil architect and assistant engineer for the government in 1816, for which his salary included lodging quarters. This appointment ceased in 1822, however, Greenway refused to relinquish his government house. He produced a document (later claimed to be a forgery) purporting to give him title to the land.
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Raye played lead roles in many musicals and television production in her native Britain. Her theatre roles included Funny Side Up, Fun and Games, The Merry Widow, Dear Miss Phoebe and The Ticket-of-Leave Man. Raye was a star of early British films including Song of Romance (the first British musical Technicolor film) as well as in the films Strawberry Roan (1944) and Waltz Time (in which she sings) (1945) and the 1947 While I Live (1947) and Green Fingers (1948).
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Photographic portrait of Martelli in later life. Martelli worked in Fremantle before being appointed to Toodyay in 1856. Salvado had visited the town in 1855 and with the assistance of a ticket-of-leave man had marked out a site for a church and petitioned the governor for 10 acres of land. Although the number of Catholics in the region was relatively small, it had increased with the arrival of convicts and Enrolled Pensioner Guards (EPGs) and their families at the two rural convict hiring depots at York and Toodyay.
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The site of 91 and 93 George Street was the site of the Assistant Surgeon's House, constructed shortly after the arrival of the First Fleet in 1788. The location of this residence relates to the location of the Colony's first hospital just to the south of the site. Once a more substantial hospital was constructed in Macquarie Street in 1816, the Assistant Surgeon no longer required the house. From about that time, the former Assistant Surgeon's house was occupied by Francis Greenway, a ticket-of-leave man who had been transported for forgery in 1814.
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A poster for a production of the play in 1868 The Ticket-of-Leave Man is an 1863 stage melodrama in four acts by the British writer Tom Taylor, based on a French drama, Le Retour de Melun. It takes its name from the Ticket of Leave issued to convicts when they were released from jail on parole. A recently returned convict is blackmailed by another man into committing a robbery, but is rescued thanks to the intervention of a detective. It has been described as probably being the first play about a detective.
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1875 Revival of The Ticket-of-Leave Man, starring Neville and Nellie Farren Neville continued building his reputation on the London stage in the 1870s as actor and also as the manager of the Olympic Theatre from 1873 to 1879, where his company included rising actors such as Rutland Barrington, Helen Ernstone, Emily Fowler and Johnston Forbes-Robertson.The Olympic Theatre: Static Information - list of managers, accessed 21 May 2009The Times, 6 July 1877, p. 42; and 4 September 1878, p. 3 In 1870, he played Henry Little in Put Yourself in His Place at the Adelphi. In 1872 he had a great success in The School for Scandal of which The Times said, "Mr Henry Neville is the leading actor in the class of characters in which Charles Surface is comprised."The Times, 12 November 1872, p. 5 This was followed, at the Olympic, by The School for Intrigue, in which he played the part of Almaviva. Other successes during the 1870s, both as manager and actor, included his portrayal of Lord Clancarty in Taylor's Lady Clancarty, Pierre in John Oxenford's The Two Orphans in 1874, an 1874–75 revival of The Ticket-of-Leave Man, and Franklin Blake in a dramatisation of Wilkie Collins's The Moonstone in 1877.
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Meehan's farmhoue was not demolished until 1958.Jack, 2015, 5 Although Hosking kept horses and carriages at Macquarie Field and furnished the cottage, for which he received £3,000 from his wife, the couple did not live there in the 1840s. The brand new house was occupied by an overseer, who was a ticket-of-leave man called WIlliam Potter, and there were 12 salaried workmen, probably housed in one or both of Meehan's farmhouses. There was a characteristic range of trades covering the needs of a colonial mixed farm: ploughman, groom, bullock-driver, carter, wheelwright, cook, dairman and gardener.
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106–08 In 1871, she toured with Henry Neville in Dion Boucicault's Elfie, playing Rosie Aircastle and Sam Willoughby in The Ticket-of-Leave Man. In 1872 she was Alfonzo in a burlesque of Zampa at the Royal Court Theatre. With Neville's company in 1873 at the Olympic, she played Florence in Mystery, Kate in Sour Grapes, Martha Gibbs in All That Glitters and Suzanne in The School for Intrigue, an adaptation of The Marriage of Figaro. The next season at the Olympic, she was Lady Betty Noel in Lady Clancarty by Tom Taylor and Beatrice in Much Ado About Nothing.
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This included dramatizations of the murderous careers of Burke and Hare, Sweeney Todd (first featured in The String of Pearls (1847) by George Dibdin Pitt), the murder of Maria Marten in the Red Barn and the bizarre exploits of Spring Heeled Jack. The misfortunes of a discharged prisoner are the theme of the sensational The Ticket-of-Leave Man (1863) by Tom Taylor. Early silent films, such as The Perils of Pauline had similar themes. Later, after silent films were superseded by the 'talkies', stage actor Tod Slaughter, at the age of 50, transferred to the screen the Victorian melodramas in which he had played a villain in his earlier theatrical career.
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Florence gained national prominence with a forty-year career in which he excelled at playing the humorous and poetic Irish character. Ticket-of-Leave Man was presented by him more than one thousand times on national tours. In his later years he partnered with actor Joseph Jefferson as half of a comedy duo. Carolyn Grattan Eichin, From San Francisco Eastward: Victorian Theater in the American West, (Reno: University of Nevada Press, 2020), 221, 227-8 From Malvina's observation of wealthy American on vacation abroad, Florence asked Benjamin Edward Woolf to write The Mighty Dollar, that the couple would perform in over 2,500 times during the mid-1870s and well into the 1880s.
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The Dramatic List: a record of the performances of living actors and actresses of the British stage, 1880. In January 1860 she appeared in original productions staged by Madame Céleste, manager of the Lyceum Theatre in London: as Lucie Manette in A Tale of Two Cities, and later as Milaine de St Ange in The House on the Bridge of Notre Dame. She was engaged for the next two years at the Olympic Theatre in London. Here she created roles in new plays: as Martha Gibbs in Tom Taylor's All that Glitters is not Gold, as Lady Camilla Hailstone in Watts Phillips's Camilla's Husband, and as May Edwards in Tom Taylor's The Ticket-of-Leave Man.
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2 He attracted further good notices for his next role, in The Love Chase, receiving encouragement from The Times "as a representative of young men of something like rank and position."The Times, 20 October 1860, p. 9 The same year, he played Victor Savignie in Arrienne at the Lyceum and, at the Olympic Theatre, he played Ivan in Serf and Valjean in an adaptation of Les Miserables.Collins, Barry. "Thomas Henry Gartside Neville Performances" , Gartside–Neville family website, 2007, accessed 25 May 2009 In May 1863, still at the Olympic, Neville created the role of Bob Brierley in Tom Taylor's drama about the dismal life of a released convict, The Ticket-of-Leave Man, a character in which he made the success of his career.
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On 31 March 1866, she became manager of the New Royalty Theatre and opened with a revival of The Ticket-of-Leave Man, and Robert Reece's burlesque, Ulf the Minstrel. In a clever and successful piece by H. T. Craven, entitled Meg's Diversion, later that year, she acted the title part, the author played Jasper Pidgeon, and F. Dewar played Roland. On 29 November 1866 she put on the stage F. C. Burnand's burlesque, The Latest Edition of Black-eyed Susan, or, the Little Bill that was taken up. The piece, although it failed to please the critics, had an unprecedented run, and on its performance at the Royalty on 23 September 1868, it was said that Miss Oliver had repeated the song Pretty See-usan, don't say no, no less than 1775 times.
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Information from Footlight Notes website Later in 1864, Farren moved to the Olympic Theatre, where she stayed for several years, playing in a number of pieces, including The Hidden Hand by Tom Taylor; My Wife's Bonnet by John Maddison Morton; the burlesques Prince Camaralzaman, or, the Fairies' Revenge and Faust and Marguerite; and Shakespeare's Twelfth Night, as the Clown. She also played the title role in Lydia Languish, Charlotte in High Life Below Stairs, Nerissa in The Merchant of Venice, Nan in Good for Nothing by J. B. Buckstone, Jo in Nicholas Nickleby, and Sam Willoughby in The Ticket-of-Leave Man, again earning praise for her comic portrayals. The manager of the Olympic, Horace Wigan, and playwright Tom Taylor, each of whom directed shows at the theatre, taught Farren much about stagecraft and encouraged her to experiment and expand her acting.Hollingshead, p.
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8 The following year she moved to the Globe Theatre in Philomel, part of a double-bill with The Ticket-of-Leave Man,The Times, 12 April 1870, p. 8 and in the same year, she appeared in Man o' Airlie with Hermann Vezin.The Times, 17 May 1870, p. 5 Also in 1870, she created the part of Katie Maguire in Inisfallen by Edmund Falconer at the Lyceum Theatre, LondonThe Times, 19 September 1870, p. 6 and played Lizzie Hexham in another adaptation of a Dickens novel, Our Mutual Friend, at the Opera Comique.Dickens and the Drama by Shafte Justin Adair Fitz-Gerald (1859–1925), London: Chapman & Hall, Ltd. (1910) The Observer wrote of this production, "Her acting... is poetical in the highest sense.... If we mistake not, Miss Ernstone will occupy a distinguished position on the stage."The Observer, 1 January 1871, p. 3 In 1873 at Astley's Theatre, Ernstone played the title role in The Fair Rosamond by William Mower Akhurst (1822–1878).
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He began his professional stage career in 1868 at the Theatre Royal, Plymouth, in F. C. Burnand's burlesque Paris and as Rodolphe (Max) in Der Freischütz and then at the Theatre Royal, Brighton, as Don Ottavio in Little Don Giovanni, Lord Woodbie in The Flying Scud, Don John in Much Ado About Nothing and Osbaldistone in Rob Roy, among others, and still sang in concerts, including a performance of Haydn's Fifth Mass in Bristol. Soon afterwards, he joined Captain Disney Roebuck's touring company in classic plays (The School for Scandal, East Lynne, The Ticket-of-Leave Man, The Lady of Lyons, David Garrick and The Rivals), pantomime, burlesque and operetta, sometimes playing opposite his future wife, Lottie Venne. With Venne he went back to the Theatre Royal, after which, Fisher played in Glasgow and Nottingham. To distinguish himself from another Walter Fisher, in the early 1870s he adopted the middle name Henry.
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"The spark that lit the bonfire", in Gilbert and Sullivan News (London), Spring 2003. After a period at the Brighton Theatre he played Captain Pertinax in Taming a Truant at London's Olympic Theatre in 1863.Revival of Olympic Theatre, Footlights Notes, reprinting information from The Sporting Gazette, London, 11 April 1863, p. 383b, accessed 8 October 2013 He married the actress Nellie Farren on 8 December 1867;"Robert Soutar", England & Wales, FreeBMD Marriage Index, 1837–1915, Ancestry.com , accessed 16 October 2013Article about the Gaiety tour of Australia they met when they were both members of the company at the Olympic Theatre. Their sons were Henry Robert Soutar (1868–1928), an actor and later a general labourer,"Death Certificate for Henry Robert Soutar (1928)", Ancestry.com , accessed 16 October 2013 and the actor Joseph Farren Soutar.Farren Soutar on the Internet Movie Database At the Adelphi Theatre in 1868, Soutar's one-act farce, The Fast Coach, written with C. J. Claridge, was produced, and at the same theatre he played the role of Green Jones in Tom Taylor's melodrama The Ticket-of- Leave Man.
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