THEATRE REVIEWS

20. Partners (1888)

Partners
by Robert Buchanan (adapted from the novel, Fromont Jeune et Risler Ainé by Alphonse Daudet).
London: Haymarket Theatre. 5 January to 24 March 1888 (81st performance).
New York: Madison Square Theatre. 2 to 28 April, 1888.
Other performances:
Birmingham: Prince of Wales’s Theatre. 28 August, 1891.

[Advert for Partners from The Stage (6 January, 1888 - p.11)]

The Era (15 October, 1887 - Issue 2560)

     MR BUCHANAN’S new comedy-drama is in active rehearsal at the Haymarket. It is in four acts, and will be entitled The Senior Partner. The cast will include Miss Marion Terry, Miss Achurch, Miss Le Thiere, Mr Brookfield, Mr Kemble, Mr Lawrence Cautley, and Mr and Mrs Beerbohm-Tree. The statement which has been circulated, to the effect that this play is a mere adaptation of a French novel, is without foundation. Though several suggestions have been taken from a foreign source, the work is in the main original.

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The New York Times (8 December, 1887)

     The new piece written by Robert Buchanan for the Haymarket will be called “Partners.” The play, which was to have been produced on Saturday, will not be brought out until Jan. 5. In addition to the regular company of the Haymarket the services of Misses le Thiere and Kingston have been secured. The latter lady is a well-known professional beauty who has had some experience in the provinces. She will be intrusted with an important rôle. The story of the play is as follows: An old German merchant is possessed of a beautiful wife, with whom his partner falls desperately in love. The German trusts both man and woman implicitly, despite the warnings of friends and enemies. During her husband’s absence on the Continent the wife has a passionate love scene with the partner, in which she confesses her love. He urges her to flee with him, which she is about to do, when the voice of her child is heard calling her from an adjoining room. This brings her back to her proper self, and she refuses to betray her husband. This is an excellent scene, and although the idea has been used before Buchanan’s treatment of it is forcible. The husband returns after being ruined by the failure of a Continental firm. From a conservatory he sees the two together and hears the woman avow her love for Charles, but he does not hear her avow that gratitude and respect preclude her from wronging her husband, even if the motherly love stirred by the voice of her child was not sufficient. Further, he is poor now, and her duty compels her to remain. The husband’s eyes are at last opened, and in a strong scene he drives her from his house without listening to her story. In the fifth act it is Christmas, with its sacred and peaceful associations. The old man’s heart, touched by the gladness around him, breathes forgiveness on his wife and partner, and the curtain falls on a holly-decked apartment in which once more reign domestic peace, happiness, and love.

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The Times (6 January, 1888 - p.9)

HAYMARKET THEATRE.

     In a note appended to the bill of his new play of Partners, which was produced at the Haymarket Theatre last night, Mr. Robert Buchanan intimates that the principal character, Heinrich Borgfeldt, is “founded upon that of Risler in M. Alphonse Daudet’s novel of ‘Fromont Jeune et Risler Ainé,’ but that, while numerous suggestions have been taken from the book, the leading situations and most of the dramatis personæ are radically different.” It would be easy to join issue with Mr. Robert Buchanan upon the question of his alleged independence of M. Daudet’s novel, but this would be a needless as well as an ungracious task. We quote his acknowledgment of the source of his inspiration in connexion with Partners not for the purpose of proving, what is already well known, that an adapter is apt to develop something of a foster-mother’s fondness for the little foundling under his charge, but because it explains certain of the imperfections of the piece, which the first-night public noted with their accustomed frankness. “Fromont Jeune et Risler Ainé” is unsuited to dramatization. M. Daudet himself has attempted the task and failed. Mr. Robert Buchanan has no doubt been wise, therefore, in endeavouring to shake himself free of the trammels of the novel; but the charm of that intensely realistic book has evidently pursued him throughout his undertaking to the extent of crippling the imaginativeness and the apt observation of character of which on other occasions he has given abundant proof. Regarded as an adaptation, Partners is a work of skill; the only question it raises is whether Mr. Robert Buchanan has not unduly handicapped himself in transplanting to London a story and a set of characters essentially Parisian in their growth, and governed by a code of morals which the Lord Chamberlain has not yet seen his way to accept.
     The character of Heinrich Borgfeldt, which is taken by Mr. Beerbohm Tree, retains the German habits of thought and speech, the uncouthness, the goodheartedness, and the crowning domestic sorrow of Risler. He has, however, ceased to be a designer of wall-papers and become a partner in what appears to be a financial house in the City—a circumstance which it must be confessed is somewhat incompatible with the childish simplicity of his nature. Nor does the actor help materially to explain the part, which suffers in an unusual degree from the difficulties of adaptation. It would not be easy, we fancy, for Mr. Beerbohm Tree or Mr. Robert Buchanan to discover at the head of a great City firm an elderly German combining with the most primitive tastes the appearance of an impecunious music teacher, and incapable, after 20 or 30 years’ residence in this country, to speak English without a plentiful intermixture of such expressions as “nein,” “ja wohl,” “mit mein wife,” and “auf Wiedersehen.” These are small matters no doubt, and Mr. Tree or Mr. Buchanan might urge with some show of reason that the German attributes of the character require to be accentuated upon the stage. Still, such manifest exaggerations are apt to detract from the value of a study of character, or at best to lessen one’s faith in the truthfulness of the actor’s or the author’s observation. In addition to Risler, we discover in the cast, under the name of Charles Derwentwater, the younger Fromont, who endeavours, as in the book, but without the same success, to detach the young and flighty Madame Risler from her wifely duties. We meet also with the faithful cashier, M. Planus, renamed Mr. Parr, and with the “illustrious Delobelle,” the tragedian out of employment, who reappears as Mr. Algernon Bellair. Sidonie, the Madame Risler of the original, is a thoroughly corrupt creature, vicious by instinct, and impossible as a type of character in an English play. Mr. Buchanan has changed her into a weak, undecided, but on the whole well-meaning woman, who allows herself to be drawn into a somewhat serious flirtation and to inspire her friends, including an ingénue sister, with the dread that their friendly offices to save her from the effects of her indiscretion may be “too late.” Such hybrid types are seldom acceptable to a theatrical audience, who demand, above all things, clearness of outline, alike in character and situation; but it is obvious that the adapter having taken M. Daudet’s story for better or worse was unable to help himself. The character of Madame Risler in the new version owes much to Miss Marion Terry, who invests it with a certain amount of charm and even plausibility. Among the personages of Mr. Buchanan’s creating are Gretchen, a child of the Rislers, who helps to bring about the inevitable reconciliation between husband and wife, and who is played by Miss Minnie Terry, a juvenile débutante of the well-known theatrical family of that name; Alice, a younger sister of Madame Risler’s,; and Mrs. Harkaway, a wicked “woman of the world,” very distantly suggested by the Madame Dobson of the book, who leads the unsophisticated heroine into temptation. Alice is gracefully embodied by Miss Achurch, while Mrs. Harkaway is drawn with the necessary degree of viciousness by Miss Gertrude Kingston. Mr. Brookfield gives an amusing sketch of the impecunious tragedian, and Mr. Laurence Cautley and Mr. Kemble as the “gentlemanly partner” and the sober, staid cashier, are excellent representatives of their parts. But the interest of the play centres after all in the character of Borgfeldt, which is drawn by Mr. Tree with all his graphic detail and picturesqueness. It is another finished portrait of a somewhat eccentric cast to be added to Mr. Tree’s already well stocked gallery.

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The New York Times (6 January, 1888)

     Robert Buchanan’s new play, “Partners,” was produced at the Haymarket Theatre to-night in the presence of one of the most brilliant audiences of the season. In an author’s note on the programme it was stated that the character of Dorgfeldt was partly founded on that of Risler in “Fromont Jeune,” by Daudet, but that the leading situations and most of the dramatis personæ were radically different. If by this Buchanan means that the names of the characters being changed and the wife white-washed makes the play radically different, it is so; but in fact it is in the main identical, and the resemblance to Daudet’s play is complete. It can be considered but an adaptation from the French author. The one string which is played upon is too fine to sustain the tension put upon it by the adapter, and what is considered the great scene of the play is lengthened by one-third more than was necessary or advisable. In its English shape the play is the old story of a confiding husband and a wife weak to the verge of guilt, except that the man who tempts her to dishonor her husband is his trusted partner. The usual misunderstandings produce a separation, which of course terminates as soon as one word of explanation is given. The play has some strong situations and many anti-climaxes, and is far from faultless in construction. It was respectfully listened to on account of the superb acting of Beerbohm Tree, who saved it from an early doom, although at the fall of the curtain hisses and applause were pretty fairly divided. If the piece ever succeeds it will require a great deal of compression and many alterations.

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The Era (7 January, 1888 - Issue 2572)

“PARTNERS” AT THE HAYMARKET.
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A New Comedy-Drama, in Five Acts,
by Robert Buchanan.

Heinrich Borgfeldt     ...     ...     Mr H. BEERBOHM-TREE
Charles Derwentwater      ...     Mr LAURENCE CAUTLEY
Mr. Parr                   ...     ...     Mr H. KEMBLE
Mr. Algernon Bellair ...     ...     Mr CHAS BROOKFIELD
Mrs. Harkaway’s Husband       Mr ERIC LEWIS
Dr. Somerville           ...     ...     Mr STEWART DAWSON
Smith                        ...     ...     Mr ROBB HARWOOD
Boker                       ...     ...     Mr STRATTON RODNEY
Dickinson                  ...     ...     Mr C. ALLAN
Claire                        ...     ...     Miss MARION TERRY
Alice Bellair               ...     ...     Miss ACHURCH
Gretchen                    ...     ...     Miss MINNIE TERRY
Mary                         ...     ...     Miss EMILIE GRATTAN
Lady Silverdale          ...     ...     Miss LE THIERE
Mrs. Harkaway         ...     ...     Miss GERTRUDE KINGSTON

     The Red Lamp having burnt itself out, Mr Robert Buchanan’s play named above was produced on the evening of Thursday last, in presence of a crowded audience, that included many notabilities representative of art, literature, and fashion. The author of Partners acknowledges some indebtedness to Daudet’s admirable story “Fromont Jeune et Risler Aîné,” and chiefly for his drawing of the character of his elderly hero, which is partly founded on that of Risler. Mr Buchanan has erred mainly on the side of over-elaboration. The simple story he has to tell—a story often told before Emile Augier wrote his “Gabrielle” and since—is not equal to five acts, and so, five acts being considered necessary, the interest is weakened by being long drawn out, and something like weariness comes of vain repetitions and a multiplicity of needless detail. The most striking instance of this arises with the close of the play, where the long-looked-for climax having been reached with the reconciliation of a husband and wife, who have been separated through the man’s faith and the woman’s weakness, people in whom we have felt little concern are dragged on to assist in creating an anti-climax over a bowl of punch. If, however, the play has some faults, it has many merits, and these assured it even more than a respectable hearing; for there were scenes that were replete with human sympathy, and that not only moved the house to hushed attention, but conjured tears to the eyes of those who are not always given to the melting mood.
     The scene of the first two acts is the house of Heinrich Borgfeldt. Heinrich is a wealthy manufacturer. He is a simple-minded old fellow, who has taken unto himself for wife a maiden who is younger than himself by twenty years. He has implicit faith in her, but while he loves her much, he loves his business more. He neglects his home for his office, but, at the same time, he indulges all the lady’s whims, and consents to provide her with a fine house, with carriages and horses, and with a butler, whom he regards with something akin to reverence. He has for partner a good-looking young fellow, Charles Derwentwater, who has been his wife’s sweetheart from childhood, and who envies him his possession, and is resolved to rob him of it, notwithstanding that he has a wife of his own in the daughter of Borgfeldt’s old employer. His passion for Claire—Mrs Borgfeldt—is encouraged both by the object of it and by a woman of fashion, Mrs Harkaway, and opportunity for mischief is soon provided by the fact that Borgfeldt is called away to Germany on important business connected with the firm. During his absence the illicit love-making is promoted for spiteful purposes of her own by Mrs Harkaway. Claire accompanies Charles Derwentwater to the theatre; at midnight in her own house listens to his protestations of affection; and is only saved from the danger that threatens by the sudden appearance of her child, who comes running from her bed to wish mamma “Good night.”
     The scene of the third act is Borgfeldt’s office, and here we learn that Derwentwater is a traitor to his partner, not only in love, but also in business. He has embezzled large sums of money, and he has brought the firm to the verge of ruin. When, presently, Borgfeldt returns, the true state of affairs is made plain to him by his old confidential clerk, Mr Parr. The evidence of the books convinces him of the financial disaster that threatens, but he is slow to believe that his wife is false to him. He fights against conviction, but conviction comes at last, and the poor old fellow is for a time overwhelmed by the double blow which brings dishonour to the hitherto prosperous “house” and dishonour to his home.
     In the fourth act the scene is again Borgfeldt’s residence, where his wife is giving a party all unconscious of his return. He suddenly makes his appearance while Charles holds her in his arms imploring her to fly with him, and to avoid exposure and disgrace. The guests are dismissed, and then the injured husband, in a scene with his partner, heaps coals of fire upon his head. For the sake of the scoundrel’s wife, who is the daughter of his dear old master, to whom Borgfeldt owes the position he has attained, Charles shall retain control of the business, and he—Borgfeldt—will take his place once more as a clerk in the office, will work night and day to avert the ruin which is impending, and will sacrifice himself to save the honour of the house. As for the weak and foolish Claire, believing her to have been something more and something worse, he takes from her her jewels; he drags even her wedding-ring from her finger; he orders them and all his and her fine possessions to be sold, and the proceeds to be devoted to the liquidation of the firm’s liabilities; and he drives her from his home with the wish that he may never look upon her face again.
     In the fifth and final act we see poor old Borgfeldt the occupant of a humble lodging, toiling at his books in the endeavour to put business matters on a satisfactory footing. Charles has disappeared, and he firmly believes that he has followed Claire. But Claire is close by waiting the opportunity to see her darling child. This opportunity is presently provided by her sister, the gentle Alice, whose advice she has spurned and whose remonstrances she has resented. And then comes the end, with, as will readily be guessed, reconciliation brought about partly by the child and partly by a letter which has long remained unopened, and which reveals the fact that Claire has been only weak and foolish and that her husband’s honour has been by her untarnished. The important part of Heinrich Borgfeldt was taken by Mr Beerbohm-Tree, who cannot be said to have done it full justice. At the outset he was thoroughly at home with his work, and all hearts went out to the simple-minded old fellow in his love for his wife and child, and in his desire for the happiness of both, while wonderfully diverting was the actor’s suggestion of Borgfeldt’s reverence for the newly established butler, whom he regards with the awe that might come of the presence in his house of the Archbishop of Canterbury or the Lord Mayor of London. Mr Beerbohm-Tree, too, may be credited with a powerful piece of work at the end of the third act, where the proofs of his wife’s perfidy are too strong, even for the great faith of the too confiding husband, and where, bowing his head upon his books, he breaks down with agonising sobs and vents his grief in a flood of tears. But the audience soon tired of Borgfeldt’s woes seeing that the actor became too slow and preachy in his method, and when, to the astonishment of everybody, the long-suffering and self-sacrificing German put on spectacles and presented the appearance of an octogenarian, everybody ceased to wonder that the young wife should have preferred the young and handsome lover to the old and unkempt and seemingly unwashed husband. Miss Marion Terry boldly attacked the difficulties of the character of the tempted wife, and gave us a telling illustration of the struggle between love and duty, her finest effect being created in the scene where Claire, ordered from her house, pleads, but pleads in vain, to be heard in her own defence. The villain of the play, Charles Derwentwater, was capitally represented by Mr Laurence Cautley. He made a very handsome lover, and he poured out his dishonourable passion as though he felt it. Decidedly one of the best played parts was that of Mr Parr, the head clerk, by Mr Kemble. This might have been a study from life, so eminently natural was it in every feature. A less welcome character was Algernon Bellair, father of Claire Borgfeldt. Bellair is described as a retired actor, and with his stilted speech and stagey stride he was made amusing by that clever actor Mr Charles Brookfield, but noting his miserable meannesses, his cadging propensities, and his actual dishonesty, we marvelled once more why, when a writer for the stage elects to represent the stage in one of his characters, the preference is so often shown for its seamy side. Mr Eric Lewis did well the little he had to do as “Mrs Harkaway’s husband;” and the worldliness and heartlessness of that lady were fairly set forth by Miss Gertrude Kingston, who, however, as yet lacks experience. This was her first appearance in London, and we may hope to see her to greater advantage, for she undoubtedly possesses a considerable degree of uncultivated talent. Mr C. Allan was vastly amusing as the butler, who, having served in aristocratic families, does not disguise his contempt for the middle classes; and Miss Janet Achurch played so well and so naturally as the heroine’s devoted sister that we could not but wish her more opportunity for the exercise of her ability. Miss Le Thiere gave distinction to the part of Lady Silverdale, an elderly lady, who, having been through the fire herself, works hard to keep the young and sorely tempted wife out of it, and a delightfully winsome and natural performance was supplied by little Minnie Terry as Borgfeldt’s child, Gretchen; while Miss Emily Grattan made a pleasing and satisfactory representative of Derwentwater’s wife. The fall of the curtain was followed by abundant cheering, but when Mr Beerbohm-Tree explained that the author was not in the house, the cheering was mingled with sounds of a less complimentary character. We incline, however, to the opinion that, with judicious alteration and compression, Partners should be assured of a fair measure of success.

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The Stage (13 January, 1888 - p.14)

HAYMARKET

     On Thursday evening, January 5, 1888, was produced here a “new comedy-drama,” in five acts, written by Robert Buchanan, entitled:—

Partners.

Heinrich Borgfeldt     ...     ...     Mr. H. Beerbohm-Tree
Charles Derwentwater      ...     Mr. Laurence Cautley
Mr. Parr                   ...     ...     Mr. H. Kemble
Mr. Algernon Bellair ...     ...     Mr. Charles Brookfield
Mrs. Harkaway’s Husband       Mr. Eric Lewis
Dr. Somerville           ...     ...     Mr. Stewart Dawson
Smith                        ...     ...     Mr. Robb Harwood
Boker                       ...     ...     Mr. Stratton Rodney
Dickinson                  ...     ...     Mr. C. Allan
Claire                        ...     ...     Miss Marion Terry
Alice Bellair               ...     ...     Miss Achurch
Gretchen                    ...     ...     Miss Minnie Terry
Mary                         ...     ...     Miss Emilie Grattan
Lady Silverdale          ...     ...     Miss Le Thiere
Mrs. Harkaway         ...     ...     Miss Gertrude Kingston

     That Mr. Buchanan has succeeded with his latest effort cannot be admitted; that he has, on the other hand, given a clever young actor a character in which a legitimate triumph has been secured is beyond doubt. Mr. Buchanan confesses that in his new play are “numerous suggestions” that have been taken from Daudet’s story, “Fromont Jeune et Risler Ainé.” With these we have nothing to do. The question is, what is the play like that has just been produced with such perfect stage management at the Haymarket Theatre? Is it a good acting play—one that will draw? Before answering this it will be well briefly to run through the plot of Partners. Heinrich Borgfeldt, a German, has been raised from the position of head clerk in an English merchant’s office to that of a partner. He is wealthy, and the soul of honour; his one idea in life is to do his duty, to keep the credit of his firm sound, its name untarnished. Borgfeldt has for partner in his business Charles Derwentwater, who is his very opposite in every way. Borgfeldt is old, and cares not for the gaieties of life; he is frugal in all things, save in securing the happiness of his young and beautiful wife, Claire. On the other hand, Derwentwater is young and handsome, a spendthrift, full of the pleasures of life, and is what is commonly called “a ladies’ man.” The result, according to the French school of thought, is evident. Derwentwater neglects his own wife, a simple, innocent girl, and becomes enamoured of Claire. She, poor foolish woman, is so fevered with his seemingly devoted admiration (chiefly shown by his presents of diamonds, bought at his firm’s expense), so mistaken with regard to her own husband, thinking his necessary attention to business neglect of her, that she half accepts her would-be destroyer’s vows, and for a time basks in a summer madness, which she thinks passionate love. In an evil moment Claire has listened to the advice of a friend—Mrs. Harkaway, “a woman of fashion”—who, in pique at Derwentwater’s turning from her own openly expressed admiration, soon manages to convince Claire that flirtation is not wicked so long as the husband remains in ignorance—that sin is not sinful unless found out. Weak-minded Claire, therefore, instead of boldly telling her husband all and turning her back upon Derwentwater, meets the latter half way, and without committing actual sin brings trouble and disgrace to her once happy home. Borgfeldt, owing to his firm having become involved in financial difficulties, undertakes a journey to Germany that he may secure money. Unsuccessful, he returns home to find his firm ruined, and seeming clear proof that during his absence his young wife has become the prey of his hitherto trusted partner. He is given a letter that has arrived at the office written by his wife and addressed to Derwentwater. This, which would explain all, he refuses to read, but instantly turns his wife out of his house. In the last act we find the old man living in comparative poverty, though he has once more placed the firm on a sound commercial basis. It is Christmas Eve, and as from outside his cottage he hears the message of “peace and goodwill to men,” carried to him by carol singers, the old man’s heart yearns that his wife, if innocent, may be with him once more. Claire, through the instrumentality of a mutual friend, Lady Silverdale, does return—the letter the husband refused to open is now read, proves her to be guiltless and faithful to her husband, and as the bells ring and the carol singers break out afresh, Borgfeldt takes his wife to his arms, and the curtain falls. This it will be owned is a simple tale that needs but simple and straightforward telling to make it successful. Instead of confining his play to two acts—quite sufficient—Mr. Buchanan makes the serious mistake of dragging the plot out through five weary acts that are crowded with unnecessary language, and hampered at every turn with anti-climax. True, the story of Partners is old—what of that? Old plots can be so re-dressed and clothed with rich ideas and beautiful language as to appear fresh and original. But no, Mr. Buchanan does not venture beyond well-beaten ground, his language is never above the average, his incidents are commonplace and tiresome. Take, for instance, the last incident in the play—the reconciliation of husband and wife. A dramatist who knew his work would have brought down his curtain upon the embrace. Mr. Buchanan, with a positive fondness for anti-climax, introduces punch drinking, and ruins the principal character, Borgfeldt, by making him drink to “Charles, my partner,” the very man who has tried to seduce his wife. Then again, in the office scene, Borgfeldt’s break down with grief should end the act, but Mr. Buchanan brings him back to common life by forcing business matters upon him—matters that should be finished with before the crushing news of Claire’s supposed sin is told. True that Mr. Buchanan has provided Mr. Beerbohm-Tree with a fine part in Borgfeldt, but he has also so constructed the character that few actors could gain for it the sympathy necessary for the success of the entire play. We have pointed out two instances that go far to rob the character of all pathos; a further one is where Borgfeldt, hearing the bells ringing and the carols sung, recalls the past. He is permitted but a moment to mark what there is of pathos in the incident before he is brought back again to the commonplace by an overbearing and quite out-of-the-picture character, “ a retired actor.” This character is conceived on the lines of the good old lend-me-half-a-crown-pay-you-to-morrow Micawber style, false to the state of the modern actor’s career and a blot upon the profession of the stage. It is very interesting to see what Mr. Beerbohm-Tree has done with this strange creation of the author’s, this Heinrich Borgfeldt. All who know this actor need not be told that the character is perfect as regards make-up and that his German-English accent is also true to nature. We have always considered Mr. Tree clever, we are now bound to admit that he has genius. Borgfeldt in his hands is a great, a noble conception brought to life and richly endowed with all the actor’s art. What faults are to be found with this performance are, we think, entirely due to the author. Mr. Tree has been censured for over-elaboration. All we noticed on the first night was apparently brought about by the over-anxiety of the actor in trying to render reasonably probable the inconsistencies and extravagances of an imperfectly drawn character. Mr. Charles Brookfield is admirably suited as Mr. Algernon Bellair, the retired actor, to whom we have referred. It is not Mr. Brookfield’s fault that Bellair becomes a nuisance at times, that his presence in certain scenes is destructive to art and to the general welfare of the piece. Mr. Brookfield does wonders with the part, and clearly proves his right to be looked upon as one of the most clever of our young actors. Another fine example of the actor’s art comes from Mr. H. Kemble, who as the head clerk, Mr. Parr, from the crown of his head to the sole of his foot, is true to life in every detail. The same remark applies to the Dickinson of Mr. C. Allan. Can anything be more amusing than the scenes between simple-minded Heinrich Borgfeldt and his grand butler Dickinson? They are splendidly funny; Mr. Allan plays like a true artiste. Mr. Laurence Cautley looks handsome and fascinating as Charles Derwentwater, but his acting wants heart and soul; not once did he on Thursday make us feel that Charles really meant to win Claire’s affections so that he might ruin her body and soul. Mr. Eric Lewis makes some amusement out of a small part, that of a henpecked husband; Mr. Stewart Dawson is fully competent as a doctor, and the two clerks are naturally played by Messrs. Harwood and Rodney. It is a rather difficult matter to speak of Miss Marion Terry’s Claire. Miss Terry is not the right lady for a part such as this. Her scenes with Mr. Cautley were on Thursday distressingly like rehearsals, there was little trace of that art that conceals art. In her scenes with Mr. Tree, Miss Terry acts as if Claire were a friend of Heinrich’s rather than his “darling frau.” Miss Achurch has little to do as Alice. She, however, looks the gently loving sister, and acts naturally. Miss Emilie Grattan, who has become quite a woman since last we saw her, is a pretty and innocent-looking Mary, and does all that is possible with the part; Miss le Thiere gives a well matured and most acceptable portrait of Lady Silverdale, while Miss Gertrude Kingston, a young lady who has wisely been gaining some experience in the provinces, gives an admirable study of Mrs. Harkaway. Her walk, talk and manners are well in keeping with this strange character; for Mrs. Harkaway dresses from head to foot in flaring red silk, she wears a single eyeglass, she whistles when Claire talks to her, she stands with her back to the fire after the fine old English gentleman style, she plays upon the piano like a woman without soul or manners, she snubs her little husband, and reduces him to the position of a pet dog; and, when leaving her friend’s drawing-room, she sneers at its occupants, and glories upon having brought misery upon its owner. To play such a dead-against-the-audience character, and succeed in gaining their applause, speaks well for Miss Kingston’s ability. A little child, Minnie Terry, daughter of Mr. Charles Terry, plays the tiny part of Gretchen with winning freshness. Perfectly free from all approach to staginess, this pretty infant gives her lines with such clearness and point as to make us think she has a natural gift. Great taste and liberality have been called into use over Partners. Nothing like Mrs. Borgfeldt’s drawing-room—for richness of design and perfection of detail—has ever been staged. The office scene in Act IV. also appears to be perfect as regards detail. The music introduced, “The Holly Berrie,” composed by Hamilton Clarke, is strictly in keeping with the old style of Christmas carol, while the incidental music, chiefly built upon German airs, is also from the same pen. Partners has, we understand, been in rehearsal a very long period, under the stage management of Mr. Edward Hastings, to whom is due the praise that the staging of the piece naturally brings forth. That Mr. Buchanan’s piece will succeed is pretty certain, and it will owe its success to its mounting and representation.
     We are pleased to learn that since the first night Partners has been considerably “cut,” and certain faults of construction remedied by Mr. Buchanan, and that now the performance ends before 11 o’clock. It is Mr. Tree’s intention that in a few nights Partners shall commence at half-past eight, so that a new first piece may be played.

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The Penny Illustrated Paper (14 January, 1888 - p.10)

MR. H. BEERBOHM TREE bids fair to do for Comedy what Mr. Henry Irving has done for Tragedy. This clever young actor had already made his mark as a delineator of character unsurpassed for power of individualising, as witness his totally opposite creations, sketched above, of the original comic Curate in “The Private Secretary” and Macari, the cold-blooded villain in the weird drama of “Called Back.” Since Mr. Tree has had the good fortune to succeed to the managership of Mr. and Mrs. Bancroft’s handsome house in the Haymarket he has well sustained the finish and truth to nature of his own personal representations, and has placed on the stage the new pieces intrusted to him with a care and a magnificence which well entitle him to rank with Mr. Irving for artistic excellence. These distinguishing merits are conspicuous in Mr. Robert Buchanan’s new comedy-drama, “Partners,” which does not appear to have escaped hissing on the first night, but which on a subsequent evening, the piece having been judiciously compressed, went admirably. The central character and backbone of the play are derived from M. Daudet’s powerful romance, “Fromont Jeune et Risler Aîné.” Heinrich Borgefeldt, the character in question, is a middle-aged German, whose probity has won for him the senior partnership of his firm, a position which has gained for him also a fair young wife, Claire. But Claire evidently finds the attentions of the junior partner, Charles Derwentwater, congenial. Hence the tears of the German, who returns from his travels to find his firm ruined by Charles’s extravagances on behalf of Claire, and to imagine, on what appears to be good evidence, that his wife is about to elope with his seductive young partner. An old unopened letter convinces him of his error, and it is the means of reconciling Heinrich and Claire Borgefeldt in a touching Christmas scene. Heinrich Borgefeldt is one of Mr. Tree’s most artistic assumptions, and will tell the more when he infuses a spark of fire into the acting here and there. Mr. Laurence Cautley makes a fervid lover; and Miss Marion Terry a charmingly-graceful and natural Claire; while the Mrs. Harkaway of Miss Gertrude Kingston is decidedly clever, the Lady Silverdale of Miss Le Thiere is capital, and nothing could be more winsome than Miss Achurch’s Alice Bellair (whom the author ought to have given a sweetheart), little Minnie Terry’s Gretchen, or Miss Emilie Grattan’s Mary. Mr. H. Kemble is admirable as the confidential head clerk, Mr. Parr. Much laughter is occasioned by Mr. Chas. Brookfield’s humorous and true portrait of an old-school tragedian, Mr. Algernon Bellair; and justice is done to minor low-comedy parts by Mr. Eric Lewis and Mr. C. Allan.

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The Theatre (1 February, 1888)

“PARTNERS.”

New Comedy, in five acts, by ROBERT BUCHANAN.
First produced at the Haymarket Theatre, January 5, 1888.

     If Mr. Buchanan had done no more than fit Mr. Beerbohm-Tree with a character which was peculiarly suited to him, the play-going public would have had cause to feel some gratitude, for this young actor so identifies himself with whatever part he undertakes that, though the result may not in all cases be completely satisfactory, it cannot fail to be an interesting study to an audience. But in “Partners” the author has done more than this: he has given us a play with much interest in it, and at least one incident that is thoroughly human, the salvation of a mother from perhaps the greatest sin a woman can commit, through the timely remembrance of the duty she owes to her little child, and, through her, to her husband. Mr. Buchanan tells us in the playbill that his principal character has been partly founded on that of Risler in Daudet’s “Fromont Jeune et Risler Ainé.” He owes somewhat more than this to the work. Henrich Borgfeldt [(the Risler in “Partners”), an elderly man, has risen from being a mere counting-house drudge to become the head of a large mercantile firm. His gratitude to the deceased head of the establishment is unbounded; so great is it that he admits Charles Derwentwater, the husband of his late chief’s daughter Mary, to be a partner solely because he is her husband. Borgfeldt’s whole existence is wrapped up in two objects—the one the welfare and “honour of the house” over which he watches, the other his love for his young wife Claire. His almost over-anxiety and attention to business lays his wife open to the attentions and fascination of the partner, Charles, who, with the basest ingratitude, does his best to betray his benefactor’s honour, neglects a wife who loves him, and by his reckless extravagance, in the satisfying of which he even acts criminally, nearly brings the “house” to ruin. When Borgfeldt discovers his wife’s infamy, as he supposes, he drives her from him as an outcast, but with almost too magnanimous a feeling with regard to his duty towards the “honour of the house,” he abrogates his position as partner, gives up all the wealth he has accumulated, becomes once more a clerk in the counting-house, and keeps Charles’s wife in ignorance of her husband’s misdeeds of every kind. Fortunately for the old man’s ultimate happiness, his own wife Claire is able to prove that she may have been weak and wicked, but not criminal, as, at the time that she was on the brink of falling and yielding to her lover’s solicitations to fly with him, her little girl Gretchen comes for her usual good-night kiss, and saves her not only then, but for always, for it opens her eyes to the evil she is committing, an evil in which she has been encouraged and which has been almost suggested by a Mrs. Harkaway, who is jealous of her former suitor Charles’s admiration for Claire. The reconciliation between husband and wife is supposed to take place at Christmas time in the humble lodging in which Borgfeldt, his little girl Gretchen, and Alice Bellair, his wife’s sister, are living, and is brought about through the medium of the child. Had Mr. Buchanan confined the action of his play to three acts, instead of prolonging it to five, he might have achieved a success; as it is, the interest dwindled away on the first night until his audience became weary, and the excessive elaboration of the character of Borgfeldt by Mr. Beerbohm-Tree, excellent as it would have been had he not always occupied the stage, from the fact of its being but seldom relieved by any bursts of feeling, naturally, after a time, became slightly monotonous. Perfect as Mr. Tree’s broken English is, it is doubtful whether anyone after so long a residence in this country would have retained so much of his mother tongue, and a nature that could keep its passion so completely under control and behave with such an excess of magnanimity is almost ideal. Miss Marion Terry, I think, did as much as she could with a character that was inconsistent, and certainly showed much feeling when saved by her child Gretchen, a part that was very naturally filled by little Miss Minnie Terry. One of the most sterling performances was that of Mr. H. Kemble as the faithful and honest-speaking head clerk, Mr. Parr. Miss Achurch was graceful and sympathetic as Alice Bellair. Mr. Lawrence Cautley made a showy but rather stagy lover as Charles Derwentwater. The introduction of Algernon Bellair, an impecunious actor of the old school, was often sadly out of place, and jarred upon the feelings, though through no fault of Mr. Brookfield’s. Mr. Eric Lewis, with scarcely a word to say, was amusing as Mrs. Harkaway’s husband, and Mr. C. Allan was excellent as a pompous butler. Miss Gertrude Kingston with more experience will be a valuable addition to the company, judging from the way in which she filled the role of the heartless woman of fashion, Mrs. Harkaway; and Miss Le Thiere showed considerable dry humour as Lady Silverdale. Since the first performance such alterations have been introduced into “Partners” as cause it to play much closer and with manifest advantage.

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The Stage (2 March, 1888 - p.13)

     Buchanan’s Partners was played at the Haymarket Theatre on Saturday evening last for the fiftieth time. The cutting the play has received has made it much more acceptable than it at first was. I am pleased to notice that most of the blots in the piece which were pointed out in The Stage have been wiped out, much to the advantage of the story. By-the-bye, Miss Netta Aylward has been playing Mrs. Harkaway in Partners during the last week in place of Miss Kingston, who had through domestic trouble to give up her part. Miss Aylward succeeded well enough to gain the managerial smile and congratulatory shake of the hand.

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The New York Times (1 April, 1888)

     Mr. Alexander Salvini will have the character sustained in London by Mr. Beerbohm Tree in “Partners” at the Madison-Square Theatre tomorrow night. The man is an elderly German, Henry Borgfeldt, a wealthy manufacturer, the husband of a young, vain wife, and the partner in business of a vain and foolish young man. The character is founded on Daudet’s Risler in “Fromont Jeune et Risler Aine,” and Mr. Robert Buchanan’s play is merely a new stage version of that famous romance which had already been put on the stage—in France with notable success—before Mr. Buchanan took up the subject. A dramatic version of Daudet’s story under the title of “Sidonie” was tried at the Fifth-Avenue Theatre in this city during the Winter of 1877-8. Mr. Buchanan has changed the scene from Paris to London, given new names to the people, and modified the story so as to avoid the tragic but entirely natural ending of the original. But many of the essential components of “Fromont jeune et Risler aine” will be recognized in “Partners.” The faithful bookkeeper of the firm has a counterpart in Parr, the character intrusted to Mr. J. H. Stoddart and the retired comedian is reproduced in Algernon Bellair, to be acted by Mr. E. M. Holland. The cast, otherwise, will be as follows: Charles Derwentwater, Walden Ramsey; Mrs. Harkaway’s husband, Herbert Ayling; Dr. Somerville, William Davidge; Dickinson, C. P. Flockton; Boker, John Findlay; Smith, W. H. Pope; Servant, George S. Stevens; Claire, Marie Burroughs; Alice Bellair, May Robson; Gretchen, Gertie Homan; Mary Derwentwater, Kate Malony; Lady Silverdale, Mrs. Phillips, and Mrs. Harkaway, Mathilde Madison.

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The New York Times (3 April, 1888)

“PARTNERS:” MR. SALVINI’S NEW CHARACTER.

     It was a night of triumph at the Madison-Square Theatre. Robert Buchanan’s play, a palpable imitation of “Fromont jeune et Risler aine,” though it cannot be strictly called a dramatization of Daudet’s romance, was well received from the beginning. The acting of Mr. Alexander Salvini was uncommonly moving and forcible; his associates were generally efficient, and two of them at least, Mr. Stoddart and Mr. E. M. Holland, achieved distinguished success. The audience was large, friendly, and demonstrative. As the evening wore on the demonstrations increased in vigor and effusiveness. The fourth act of the drama ends with a passage of words between a husband and wife touching their social relation in its most serious point and involving a strong display of emotion and passion. When the curtain had fallen upon this scene the actors were thrice recalled, and the tumult did not subside until Mr. A. M. Palmer had appeared on the stage to acknowledge the tribute bestowed upon his theatre and his company.
     “Partners” is in five acts, and it pleases Mr. Buchanan to describe it as a comedy-drama. The story of the play resembles Daudet’s famous romance except in one important particular. The character of Sidonie is displaced by a weak-minded, vain woman, who does not wholly succumb to temptation, and whose love for her child helps her to maintain her wifely honor. In the height of the domestic tempest, when Henry Borgfeldt sees commercial ruin and personal disgrace before him, when he casts his wife from him and sacrifices all to preserve the honor of his firm, the spectator knows that the storm clouds will pass away and Borgfeldt’s romance will have a happy ending. To be sure, the character of Claire Borgfeldt is not to be compared, as a study of human nature with Daudet’s Sidonie, that strong, repellant, yet fascinating, study of total depravity. Claire is merely a pretty, ill-bred simpleton, who loves her child, and will be very fond of her husband after a little sad experience. Mr. Buchanan has kept close to Daudet in choosing other essential materials for his play; in the viciousness of the young partner, in the sagacity and faithfulness of the old bookkeeper, and in the harmless pretentiousness of the retired actor, the story of “Fromont jeune et Risler aine” is strictly adhered to. The rest of the play is Buchanan’s own, and a very fair amount of skill is displayed in the development of the plot and in the employment of theatrical device.
     Henry Borgfeldt, a German, was a workman employed by a firm of manufacturers. The head of the firm encouraged him and in time he became a partner. When the play begins Borgfeldt is the senior partner and Charles Derwentwater, husband of his old employer’s daughter, is the junior partner. Borgfeldt regards Mr. Charles and Mr. Charles’s wife almost with reverence; his 5-year-old daughter he simply worships; his wife, Claire, he blindly adores. He is rough, lusty, frank, unsuspicious, and affectionate. The splendor of his new home worries him somewhat, and the dignified butler, who always addresses him as “me lud” from force of “’abit” makes him very uncomfortable, but he bears it all for the sake of Claire. Charles Derwentwater loves Claire; a fashionable coquette whom he has piqued endeavors to cause his ruin and Claire’s by way of revenge. Parr, Borgfeldt’s head clerk, warns him from impending ruin, but he will not heed the warning. Returning from a business trip abroad, however, he finds that Parr’s predictions are verified. Derwentwater is a defaulter; the firm is on the verge of bankruptcy, and his wife’s guilt seems to be plain. He tears her diamonds from her neck to increase the assets of the firm and drives her from the house. He compels Charles to return to his own wife, his old master’s daughter, who must be protected from disgrace, and, giving up all his property, retires from the partnership and returns to his old place as a workman. In time his wife’s innocence is manifested and the unusual virtue of Borgfeldt gets its reward.
     It will be seen that Borgfeldt is not quite so reasonable a person as Risler. His blind adoration of Claire is changed to brutal hate too quickly; he does not wait for proofs of his wife’s guilt before he accuses her. His fierce passion after the disclosures is as unreasonable as his complacency and contentment before he knows the truth. But if such men as Borgfeldt are not common, yet the character can scarcely be called an impossible one. In the person of Mr. Salvini last evening the identity of the man was clearly established. A more potent and effective example of acting has not lately been seen on our stage. His strong individuality dominated the whole play, and the ardor and vehemence with which the character was endowed by the actor carried the sympathies of the spectators as with the force of a whirlwind. A gentler touch of some passages, a bit of delicate shading here and there would have improved the performance, but there is no ground for cavil. The wholesome vigor of Mr. Salvéni is not to be lightly regarded in these days of theatrical feebleness. His strong dramatic instinct, his sense of the picturesque were denoted in everything he did. His make-up was a remarkable disguise, and he looked the character to the life.
     Of the others we must speak very briefly. Mr. Stoddart had a congenial rôle as Parr. This was an admirable study, full of dignity and pathos. In the scene of the revelation Parr seems to be playing Iago to his employer’s Othello, and the honest contempt the old clerk feels for Borgfeldt’s sentimental weakness gives a twist to his utterances that makes the likeness stronger. A droll bit of quiet caricature was contributed by Mr. E. M. Holland, as Algernon Bellair, a retired actor with a profound regard for himself, Claire’s father, and a pensioner of Borgfeldt. Miss May Robson gave just the right tone to the few words spoken by Alice Bellair, Claire’s sister, a character remotely suggested by the lame girl of Daudet. Miss Robson’s acting had the effect of absolute sincerity. Miss Marie Burroughs was sweet and pretty as Claire, but lacking in force. Mr. Flockton was the dreadfully dignified butler; Miss Mathilde Madison, in gorgeous robes, the tiresome, intriguing woman of fashion; Mrs. Phillips, a good old lady with plenty of common sense, and Gertie Homan, a cunning little girl, appeared as Gretchen, Borgfeldt’s child.

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The Stage (20 April, 1888 - p.9)

     Robert Buchanan’s Partners has “caught on” at Madison Square Theatre, New York, where it was produced with the following cast:—Henry Borgfeldt, Alexander Salvini; Charles Derwentwater, Walden Ramsay; Mr. Parr, J. H. Stoddard; Mr. Algernon Bellair, E. M. Holland; Mrs. Harkaway’s Husband, Herbert Ayling; Dr. Somerville, William Davidge; Dickinson, C. P. Flockton; Boker, John Findlay; Smith, W. H. Pope; Servant, George S, Stevens; Claire, Marie Burroughs; Alice Bellair, May Robson; Gretchen, Gertie Homan; Mary, Kate Malony; Lady Silverdale, Mrs. E. J. Phillips; Mrs. Harkaway, Mathilde Madison. In mentioning the first performance of the play in America the New York Mirror says:—“Partners will run this season out at the Madison Square, and we should not be surprised if its career continued there for at least some part of the next season.”

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From the chapter, ‘Mr. Palmer’s Productions. [Madison Square Theatre, 1887-88.]’ by George Edgar Montgomery in The Dramatic Year 1887-1888, edited by Edward Fuller (Boston: Ticknor and Company, 1889 - p. 75-78).

     It seems to be without question that Mr. Palmer looked to Mr. Buchanan’s play, “Partners,” as about the most serious production of his season. This play had been received with decided favour in London, and it was known to be based, in a measure, upon one of the famous novels of recent literature. Moreover, Mr. Buchanan is himself a writer of reputation—too prolific and versatile a writer for the highest kind of reputation—yet a man of brilliant endowment. Mr. Buchanan has succeeded rather well in building a play, so to speak, out of one of Fielding’s novels; it was felt, when the announcement was made that he had built one out of Daudet’s “Fromont Jeune et Risler Ainé,” that he might be successful at this second and not less hazardous venture. But I fancy, on the whole, that those who are acquainted with Mr. Buchanan’s “Partners,” prefer not to think of it in association with such a potent and original book as “Fromont Jeune et Risler Ainé.”
     The popularity of plays appears to depend measurably upon the skilful manner in which they approach the commonplace. The material which goes to make what we often speak of as a strong play would make a feeble novel. And the subtle distinction which lifts a novel into literature is quite as often the thing we do not expect to find nor care to find in a play. The beauty, the power, the courage and character of Daudet’s novel are not reproduced, indeed, barely suggested, in Mr. Buchanan’s “Partners.” This piece is really a dexterous bit of commonplace, a threadbare touching upon a great theme, a feeble dallying with actual life. It is a good illustration of the stage in its attitude towards society and morals. The heroine—she who takes the part of the living and imperishable Sidonie—is a silly wife of the average kind, small-minded enough to be tempted, not bold enough to commit herself to any positive thought or action. The hero, on the other hand, is a man of the most positive character. He is the woman’s husband; a German of plebeian birth, Henry Borgfeldt. Borgfeldt’s honesty, ingenuousness, manliness, and simple passion, are certainly worth all the rest of Mr. Buchanan’s play. Yet there are minor characters that are neatly sketched, several taking situations, and at least one scene of really tragic interest.
     Among those who had places in the cast of “Partners” were Mr. Alexander Salvini as Borgfeldt, Miss Marie Burroughs as Claire, Miss Mathilde Madison as Mrs. Harkaway, Mr. Walden Ramsay as Charles Derwentwater, Mr. C. P. Flockton as Dickinson, Miss May Robson as Alice, and Mr. E. M. Holland as Algernon Bellair—a very even and excellent distribution of characters.
     One might believe that Mr. Buchanan had written “Partners”—shutting his eyes to all its improbabilities and conventionalities— for the single purpose of giving Mr. Salvini a rare opportunity to display copious natural talent. Mr. Salvini had, of course, revealed his talent previously. Even in “Elaine” he did some fine things; though his acting in “Elaine” was, in the main, merely bearish. In a certain play, acted on a recent afternoon, at the Madison Square Theatre, his acting brought back to memory the glow and the strength—and much of the intelligence—of his father. In “Partners,” however, he was called upon to perform what is technically described as a “character part,” the part of a middle-aged German, brought up in a hard school of life, tender at heart, though rough in manner, gentle as a child or stern as a judge. Mr. Salvini treated this character with absolute ease and sincerity, and by it he demonstrated both his versatility and his native genius. But, then, he can be quite as uninteresting as he can be interesting; he may accept this hint for what it is worth. His future on the stage, it seems to me, is assured.

                                                                                                               GEORGE EDGAR MONTGOMERY.

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Brooklyn Eagle (15 January, 1889 - p.4)

“PARTNERS.”
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Presentation of Robert Buchanan’s Comedy.

     The story of the comedy of “partners has already been sketched and the performance noted in these columns. Suffice it to repeat that it shows the financial ruin of a wealthy manufacturer, Henry Borgfeldt, by his junior partner, a gay, unthinking young fellow, who squanders the money of the firm in pleasure and who is also brought into bad repute before the audience by attempting to dishonor the frivolous wife of his friend. Dramatic suspense is held by the supposition that he has accomplished his purpose, but all is made happy by Borgfeldt’s discovery, at the last, that his wife had resisted temptation and that her better nature had been awakened through sympathy with his misfortunes. The sinning partner absents himself, in expiation, resigns his personal fortune to retrieve the losses of the firm, and husband and wife are reunited. Robert Buchanan, who adapted the comedy from something of Alphonse Daudet’s, is not a first class dramatist, and he allows too much of his work to go before the public without revision. “Partners,” in spite of its inherent interest, its deft handling of incident and the force with which the principal situations are developed, needs a little kindly editing. There are so many redundancies and repetitions of speech that two hours of work are stretched along through a space of three hours and more. It is not the time that makes a play tedious, but the unwise employment of it. With condensation “Partners” would be bettered, and among the things cut out should be most of Borgfeldt’s “My Gods!” and the frequent assurances of his old clerk that he “foresaw it all from the first.” A strong or meaning phrase quickly loses its effect when it is dinned into the ears. Of the acting of the play by Mr. Palmer’s well picked company—actors who are not cast in the piece now running at his own house—little can or should be said except in praise. Whatever the play, it is delightful to find a troupe working together so neatly, so harmoniously, and so justifying the assignment of players to parts. It recalls the good and not very old days of stock companies and makes one wish that such performances might be seen oftener. Alexander Salvini appears as Borgfeldt and his assumption of the character is a surprise. Instead of the graceful actor of Romeos and Launcelots we see a heavy, hearty German of middle age, with bristling hair, shuffling step, awkward in movement and. most remarkable of all, speaking with a tongue that trips in its English, quite as a German’s tongue is apt to do. Considering Mr. Salvini’s Italian birth and training the acquisition of this dialect must have involved an amount of study little less than heroic. Aside from the completeness of these technical details, too, his personation has artistic amplitude and robust physical power and the exhibitions of mental suffering perceptibly moved the audience. Contrasted with him is the well clothed, vain, light minded junior partner whom Louis Massen depicted without great effort. Mr. Massen is an interesting actor when he has real work to do, but in a wax figure part like this he does not show to advantage. His strongest emotion does not uncurl his mustache, unslick his hair or wrinkle his clawhammer coat. C. P. Flockton, as the old clerk, was a striking portraiture; he looked as if he might have stepped out of a page of Dickens. Frederick Corbett, too, as a relic of the palmy days, though he had little to do but maunder about and borrow money, contrived to be amusing and at times recalled the elder Sothern in “The Crushed Tragedian.” Another cleverly acted bit was C. H. Taylor’s Mr. Harkaway, a society idiot. The ladies of the cast showed a comparative lack of the energy and the color that was seen in the work of the men, but they were graceful, handsomely dressed and played with a pretty appreciation of what was expected of them. Maud Harrison was the erring wife, Nannie Craddock, was her sensible sister; Kate Malony was the neglected spouse of the junior partner. Virginia Buchanan was a fine and sensible old lady who tried to keep Mrs. Borgfeldt from running to her ruin, though impelled to do so by a female Mephistopholes that Katharine Rogers presented. The play was set in a satisfactory manner. Next week, the London Gaiety Company will appear in “Miss Esmeralda.”

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The E. J. Phillips website provides some information regarding the American reception of “Partners”.

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The Stage (3 September, 1891 - p.11)

BIRMINGHAM.

     PRINCE OF WALES’S (Proprietors, Messrs. James Rodgers and Son; General Manager, Mr. C. M. Appleby; Acting-Manager, Mr. T. R. Foster).—Mr. H. Beerbohm-Tree’s engagement finished on Saturday. The visit has been a remunerative one. On Friday he presented, for the first time in this city, Robert Buchanan’s play, Partners, and achieved a great success. Nearly three years have elapsed since this drama was produced in London, but the present is the first opportunity we have had of noticing it as presented in the provinces. On this occasion it was received with marks of sincere approval. Although Mr. Buchanan in his adaptation of one of the popular French novels has not introduced anything very original into his work, he has very cleverly woven the incidents together, and the interest is kept running right through the telling of the story. For the representation of this play no better combination of talent than the Haymarket Co. could be got together. As Heinrich Borgenfeldt Mr. Tree has special opportunities, and, needless to say, the character is portrayed in a most effective manner. In his delivery of the “broken English” he is perfect, and in the scene where he first hears the rumours respecting his wife, his acting is masterly. Mr. Fred Terry as Charles Derwentwater was exceedingly good, and Mr. H. Kemble gave a faithful representation of the old clerk, Mr. Parr. One of the best bits of character-study was that of Mr. Fernandez as the retired actor, Algernon Bellair, and this performance was repeatedly applauded. Mr. Allan made a dignified butler, and Mr. Harkaway was humorously depicted by Mr. Goring. As Claire, Miss Julia Neilson scored a success, especially in the last two scenes, and here she had the sympathy of the whole of her audience with her. The part is a very heavy one, but Miss Neilson proved most efficient. Miss Aylward acted well in the small part of Alice, and Miss Adelaide Gunn made an effective Mrs. Harkaway. Miss Rose Leclercq as the good-hearted Lady Silverdale was admirable, and Miss Annie Sheply was a clever little Gretchen. The drama was most tastefully dressed and exceedingly well staged.

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