PLAYS

As with Buchanan’s novels, so with his plays - they have all been forgotten and it is extremely unlikely that any will ever be revived. John Cassidy in ‘Robert W. Buchanan’ (Twayne Publishers Inc., 1973) felt that “at least three of his plays—Sophia, Joseph’s Sweetheart, and Dick Sheridan—deserve printing and perhaps staging” but I doubt that will ever happen. Again, as with his novels, it is assumed that Buchanan wrote his plays purely to make money and, to a large extent, that is undoubtedly the case. However, reading Harriett Jay’s biography, it is clear that the theatre was in Buchanan’s blood from a fairly early age. In Chapter IV: Youth, 1856-58 there is an extract from Buchanan’s autobiography where he waxes lyrical about his teenage fascination with the plays and players at Glasgow’s Theatre Royal. In Chapter VIII, Harriett Jay describes his first attempts at writing for the theatre, The Witch-finder and The Rathboys (in one performance of which Buchanan himself played the part of the hero, Shadrack the Shingawn). Then in Chapter XXIV: Play-writing Harriett Jay deals with Buchanan’s later theatrical successes and the inevitable failure. Despite all the money he made from the theatre, in 1894 he was declared bankrupt. As he said to Henry Murray (the co-writer of A Society Butterfly, the play which finally ruined him): “We are all gamblers. Man is a gambler by nature and predestination, and life itself is a gamble. The tradesman, the City man, the professional man, the artist, are gamblers alike, and the artist is the biggest of all, for he stakes his brains against the public stupidity, and the odds are heavily against him.” Harriett Jay closes her chapter on Buchanan’s theatrical adventure with the following:
          “Looking back upon that experience, I think now that the man whom I then regarded as his bitterest enemy, since he brought about his financial disaster, was in reality a friend in disguise. For several years he had been living in a fool’s paradise, veritably gambling away the best hours of his life. What part had he, who from first to last was a Poet with the deep poetic heart, among the worldlings of finance? All his thoughts and dreams were of higher and nobler things, and au fond all his daily prayer was to escape again into solitude and to be alone with his first love. It was only half a heart he could give to money getting. He awoke from his folly disillusioned, wretched, dispirited, but the punishment he had received was really given to him in mercy, for from that time forth he saw both himself and the world with very different eyes.”

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Further insight into Buchanan’s working practices as a playwright is given in the autobiographies of two of his collaborators, G. R. Sims and Henry Murray. The latter providing a great deal of information about the play which ruined him, A Society Butterfly. However, even after that great disaster, Buchanan (and Jay) continued to write plays and one of these, Good Old Times, was finally produced five years after Buchanan’s death under the title When Knights Were Bold and with the sole writer’s credit of ‘Charles Marlowe’ (the pseudonym of Harriett Jay). This went on to become a great popular success, playing in London as a Christmas entertainment until the eve of the Second World War. How much of Buchanan remained in the play is open to speculation but it does give the story of Buchanan the dramatist a final, ironic twist.

Since so few of Buchanan’s plays were published, the main source of information about Buchanan’s dramatic work is the reviews. Although it can safely be said that he never achieved great critical success, one should not ignore the great popular success of several of his plays.

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1. Reviews

(Reviews of Robert Buchanan’s plays in chronological order. Buchanan produced 50 full-length plays, from The Rathboys in 1862 to Two Little Maids from School in 1898. In addition he produced a version of J. B. Buckstone’s The Flowers of the Forest and there is also the matter of When Knights Were Bold. The latter play and his other great popular success, Alone in London, are dealt with in some detail in this section.)

2. Other Plays

(Information about some of Buchanan’s other plays which did not make it to the stage.)

3. Short Plays

(Reviews of several short plays and one-act curtain-raisers written by Buchanan.)

4. Buchanan’s Theatrical Ventures In America

(Material relating to the visit Robert Buchanan and Harriett Jay made to America in 1884 and his associations with American theatre managers.)

5. Poetry Readings

(Reviews of the Public Readings given by Robert Buchanan himself, plus reviews of other performances of his poetry, including Fra Giacomo, which was presented as a one-act play.)

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In December, 1889, The Theatre published this photograph of Robert Buchanan and a brief biography. The latter has been transcribed verbatim.

     Mr. Robert Buchanan, the subject of our portrait, was born at Canerswall, Staffordshire, in 1843. His father was a well-known disciple of Robert Owen. At ten years of age he was taken to Glasgow, and there studied at the High School and University. More fortunate than his friend David Gray, he, after years of trial, unaided and without patronage, struggled and conquered, aud published his first volume of poems, “Undertones,” which was hailed by the “Athenæum” as the advent of a new poet. He contributed to various magazines, collaborated with John Morley in the “Literary Gazette,” and edited for a short time the “Welcome Guest.” His first play, “The Witch Finder,” was produced at Sadler’s Wells in 1861. “Idylls and Legends of Inverburn,” “London Poems,” “North Coast Poems,” and “Ballads from the Scandinavian” followed each other in rapid succession and were received with great favour. The latter were founded on his experiences as a newspaper correspondent in Schleswig-Holstein during the Danish War. From Oban, where he was living for some time in ill-health, he contributed to the “Spectator” his “Hebrid Isles.” His most famous novels are “The Shadow of the Sword,” and “God and the Man.” The latter he dramatized for the Adelphi Theatre as “Stormbeaten.” Mr. Buchanan is the author of “A Madcap Prince,” and of “The Nine Day’s Queen,” but his work as a dramatist, up to the present time, will be best appreciated in “Sophia,” which ran at the Vaudeville for 500 nights; in “Joseph’s Sweetheart,” another great success at the same theatre; and in “A Man’s Shadow,” the greatest pecuniary result at the Haymarket Theatre. He is also the author of “Doctor Cupid,” and “Alone in London.” His work, “The City of Dream,” has evoked the highest comment. Mr. Buchanan’s forthcoming reprint of his plays and accompanying essay on “The Drama as Literature” will be anxiously looked for. His latest adaptation, “Theodora,” lately produced at Brighton, is very highly spoken of by provincial papers, Miss Grace Hawthorne in the title rôle and Mr. Fuller Mellish as Andreas, having gained unstinted praise; and we are shortly to sit in verdict on a new play of his, entitled “Man and the Woman,” at a matinée in which Miss Myra Kemble, an actress of Australian reputation, will appear. Mr. Robert Buchanan has, as is well known, the courage of his opinions, and writes fearlessly on many subjects; but he is always chivalrous, and bears the numerous encounters he invites with equanimity and good nature.

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The Plays:

i. Full Length Plays, produced:

The Rathboys. (An adaptation of Michael Banim’s Crohoore of the Billhook. In collaboration with Charles Gibbon.) 1862. [reviews]

The Witchfinder. 1864. [reviews]

A Madcap Prince. 1874. [reviews]

Corinne. 1876. [available at the Internet Archive] [reviews]

The Queen of Connaught. (An adaptation of Harriett Jay’s novel, written in collaboration with Harriett Jay.) 1877. [reviews]

The Nine Days’ Queen. 1880. [reviews]

The Shadow of the Sword. (An adaptation of Buchanan’s novel.) 1881. [reviews]

The Mormons: or St. Abe and his Seven Wives (Original title: The Exiles of Erin: or St. Abe and his Seven Wives. Partly based on Buchanan’s poem.) 1881. [reviews]

Lucy Brandon. (An adaptation of Bulwer-Lytton’s Paul Clifford.) 1882. [reviews]

Storm-Beaten. (An adaptation of Buchanan’s novel, God and the Man.) 1883. [reviews]

Lady Clare. (An adaptation of Georges Ohnet’s Le Maître de Forges.) 1883. [reviews]

A Sailor and his Lass. (In collaboration with Augustus Harris.) 1883. [reviews]

Bachelors. (In collaboration with Hermann Vezin, adapted from a German play by Julius Roderich Benedix.) 1884. [reviews]

Constance. 1884. [reviews]

Lottie. (An adaptation of Harriett Jay’s novel, Through the Stage Door. Presumably written in collaboration with Harriett Jay.) 1884. [reviews]

Alone in London, or, A woman against the world. (In collaboration with Harriett Jay.) 1885. [reviews]

Sophia. (An adaptation of Henry Fielding’s Tom Jones.) 1886. [reviews]

The Blue Bells of Scotland. (An adaptation of Buchanan’s novel, A Child of Nature.) 1887. [reviews]

Fascination, or, The way we live. (In collaboration with Harriett Jay.) 1887. [reviews]

Partners. (An adaptation of Daudet’s Fromont Jeune et Risler Ainé.) 1888. [reviews]

Joseph’s Sweetheart. (An adaptation of Fielding’s Joseph Andrews.) 1888. [reviews]

That Doctor Cupid. 1889. [reviews] [programme]

The Old Home. 1889. [reviews]

A Man’s Shadow. (An adaptation of Jules Mary’s Roger-la-Honte.) 1889. [reviews]

Theodora. (An adaptation of Victorien Sardou’s Théodora.) 1889. [reviews]

Man and the Woman. 1889. [reviews]

Clarissa. (An adaptation of Samuel Richardson’s Clarissa Harlowe.) 1890. [reviews]

Miss Tomboy. (An adaptation of Vanbrugh’s The Relapse.) 1890. [reviews]

The Bride of Love. 1890. [reviews]

Sweet Nancy. (An adaptation of Rhoda Broughton’s Nancy.) 1890. [reviews]

The English Rose. (In collaboration with G. R. Sims.) 1890. [reviews]

The Struggle for Life. (An adaptation of Alphonse Daudet’s La Lutte pour la Vie. In collaboration with Frederick Horner.) 1890. [reviews]

The Sixth Commandment. (An adaptation of Dostoyevsky’s Crime and Punishment.) 1890. [reviews]

Marmion. (An adaptation of the poem by Sir Walter Scott.)1891. [reviews]

The Gifted Lady. 1891. [reviews]

The Trumpet Call. (In collaboration with G. R. Sims.) 1891. [reviews]

Squire Kate. (An adaptation of La Fermière by Armand d'Artois and Henri Pagat, and Buchanan’s novel, Come Live with Me and Be My Love.) 1892. [reviews]

The White Rose. (An adaptation of Sir Walter Scott's Woodstock. In collaboration with G. R. Sims.) 1892. [reviews]

The Lights of Home. (In collaboration with G. R. Sims.) 1892. [reviews]

The Black Domino. (In collaboration with G. R. Sims.) 1893. [reviews]

The Piper of Hamelin: a fantastic Opera in two acts. 1893. Music by F. W. Allwood. [available at the Internet Archive] [reviews]

The Charlatan. 1894. [reviews]

Dick Sheridan. 1894. [reviews]

A Society Butterfly. (In collaboration with Henry Murray.) 1894. [reviews]

Lady Gladys. 1894. [reviews]

The Strange Adventures of Miss Brown. (Written in collaboration with Charles Marlowe - pseudonym of Harriett Jay. This play was later adapted into the musical comedy, Tulip Time, by Worton David, Alfred Parker and Bruce Sievier.) 1895. [available at the Internet Archive] [reviews]

The Romance of the Shopwalker. (In collaboration with Harriett Jay.) 1896. [reviews]

The Wanderer from Venus. (In collaboration with Harriett Jay.) 1896. [reviews]

The Mariners of England. (In collaboration with Harriett Jay.) 1897. [reviews]

Two Little Maids from School. (An adaptation of Alexandre Dumas’ Les Demoiselles de St. Cyr. In collaboration with Harriett Jay.) 1898. [reviews]

ii. Short Plays, produced:

Only A Vagabond. 1880. [A short play, loosely based on Buchanan’s poem, ‘Attorney Sneak’, which was presented as an opener for The Nine Days’ Queen and Lady Clare] [reviews]

Agnes. (An adaptation of Molière’s L’École des Femmes.) 1885. [reviews]

A Dark Night’s Bridal. 1887. [A one act play, based on a prose sketch by Robert Louis Stevenson, presented as an opener for Sophia.] [reviews]

The Night Watch. (A one act drama produced posthumously (April, 1902) at a benefit for the Buchanan Memorial Fund.) [review]

iii. Other Plays, unproduced:

The Flying Dutchman. 1878. [more information]

A Hero In Spite Of Himself. 1884. [more information]

The Squireen. (Written in collaboration with Aubrey Boucicault.) 1892. [more information]

The New Don Quixote. (In collaboration with Harriett Jay.) 1895. [more information]

Good Old Times. (Also known as In Days of Old. Written in collaboration with Harriett Jay, renamed When Knights Were Bold, and, under the ‘Charles Marlowe’ pseudonym alone, was first performed in 1906. Further details (reviews etc.) available in the “When Knights Were Bold” section.) 1896.

The Maiden Queen. 1896. (A comic opera in two acts. In collaboration with Harriett Jay. Music by Florian Pascal. Copyright performance at Ladbroke Hall, 6th April, 1905.) [more information]

The Heavenly Twins. (An adaptation of Sarah Grand’s novel The Heavenly Twins, written in collaboration with Harriett Jay.) c. 1896. [more information]

The Diamond Necklace. (In collaboration with Harriett Jay.) 1900. [more information]

iv. Plays produced, but not written by Buchanan:

The Flowers of the Forest. (By J. B. Buckstone.) 1883. [reviews]

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Further information about performances of Buchanan’s plays at London’s Adelphi Theatre is available on Eastern Michigan University’s Adelphi Theatre site:

Storm-Beaten 1882-83 Season
The Bride Of Love 1889-90 Season
The English Rose 1890-91 Season
The Trumpet Call, The White Rose 1891-92 Season
The Lights Of Home, The Black Domino 1892-93 Season

1898 poster for the Theatre Royal, Hobart, Tasmania
(J.W.B. Murphy Collection, State Library of Tasmania.)