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class="vector-toc-numb">1.3</span> <span>Farces and drawing-room comedies: 1884–1893</span> </div> </a> <ul id="toc-Farces_and_drawing-room_comedies:_1884–1893-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Serious_plays" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Serious_plays"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.4</span> <span>Serious plays</span> </div> </a> <ul id="toc-Serious_plays-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Fin_de_siècle" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Fin_de_siècle"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.5</span> <span>Fin de siècle</span> </div> </a> <ul id="toc-Fin_de_siècle-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-20th_century" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#20th_century"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.6</span> <span>20th century</span> </div> </a> <ul id="toc-20th_century-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Works" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Works"> <div class="vector-toc-text"> <span class="vector-toc-numb">2</span> <span>Works</span> </div> </a> <button aria-controls="toc-Works-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Works subsection</span> </button> <ul id="toc-Works-sublist" class="vector-toc-list"> <li id="toc-Plays" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Plays"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.1</span> <span>Plays</span> </div> </a> <ul id="toc-Plays-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Broadway_productions" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Broadway_productions"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.2</span> <span>Broadway productions</span> </div> </a> <ul id="toc-Broadway_productions-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Revivals" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Revivals"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.3</span> <span>Revivals</span> </div> </a> <ul id="toc-Revivals-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Adaptations" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Adaptations"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.4</span> <span>Adaptations</span> </div> </a> <ul id="toc-Adaptations-sublist" class="vector-toc-list"> <li id="toc-Musicals" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Musicals"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.4.1</span> <span>Musicals</span> </div> </a> <ul id="toc-Musicals-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Cinema" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Cinema"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.4.2</span> <span>Cinema</span> </div> </a> <ul id="toc-Cinema-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Television" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Television"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.4.3</span> <span>Television</span> </div> </a> <ul id="toc-Television-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Reputation" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Reputation"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.5</span> <span>Reputation</span> </div> </a> <ul id="toc-Reputation-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Notes,_references,_and_sources" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Notes,_references,_and_sources"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Notes, references, and sources</span> </div> </a> <button aria-controls="toc-Notes,_references,_and_sources-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Notes, references, and sources subsection</span> </button> <ul id="toc-Notes,_references,_and_sources-sublist" class="vector-toc-list"> <li id="toc-Notes" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Notes"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.1</span> <span>Notes</span> </div> </a> <ul id="toc-Notes-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.2</span> <span>References</span> </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Sources" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Sources"> <div class="vector-toc-text"> <span class="vector-toc-numb">3.3</span> <span>Sources</span> </div> </a> <ul id="toc-Sources-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-External_links" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#External_links"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>External links</span> </div> </a> <ul id="toc-External_links-sublist" class="vector-toc-list"> </ul> </li> </ul> </div> </div> </nav> 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id="vector-page-titlebar-toc-unpinned-container" class="vector-unpinned-container"> </div> </div> </div> </nav> <h1 id="firstHeading" class="firstHeading mw-first-heading"><span class="mw-page-title-main">Arthur Wing Pinero</span></h1> <div id="p-lang-btn" class="vector-dropdown mw-portlet mw-portlet-lang" > <input type="checkbox" id="p-lang-btn-checkbox" role="button" aria-haspopup="true" data-event-name="ui.dropdown-p-lang-btn" class="vector-dropdown-checkbox mw-interlanguage-selector" aria-label="Go to an article in another language. Available in 15 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-15" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">15 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D8%A2%D8%B1%D8%AB%D8%B1_%D9%88%D9%8A%D9%86%D8%BA_%D8%A8%D9%8A%D9%86%D9%8A%D8%B1%D9%88" title="آرثر وينغ بينيرو – Arabic" lang="ar" hreflang="ar" data-title="آرثر وينغ بينيرو" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target"><span>العربية</span></a></li><li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Arthur_Wing_Pinero" title="Arthur Wing Pinero – Catalan" lang="ca" hreflang="ca" data-title="Arthur Wing Pinero" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target"><span>Català</span></a></li><li class="interlanguage-link interwiki-cs mw-list-item"><a href="https://cs.wikipedia.org/wiki/Arthur_Wing_Pinero" title="Arthur Wing Pinero – Czech" lang="cs" hreflang="cs" data-title="Arthur Wing Pinero" data-language-autonym="Čeština" data-language-local-name="Czech" class="interlanguage-link-target"><span>Čeština</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Arthur_Wing_Pinero" title="Arthur Wing Pinero – German" lang="de" hreflang="de" data-title="Arthur Wing Pinero" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Arthur_Wing_Pinero" title="Arthur Wing Pinero – Spanish" lang="es" hreflang="es" data-title="Arthur Wing Pinero" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Arthur_Wing_Pinero" title="Arthur Wing Pinero – French" lang="fr" hreflang="fr" data-title="Arthur Wing Pinero" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-id mw-list-item"><a href="https://id.wikipedia.org/wiki/Arthur_Wing_Pinero" title="Arthur Wing Pinero – Indonesian" lang="id" hreflang="id" data-title="Arthur Wing Pinero" data-language-autonym="Bahasa Indonesia" data-language-local-name="Indonesian" class="interlanguage-link-target"><span>Bahasa Indonesia</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Arthur_Wing_Pinero" title="Arthur Wing Pinero – Italian" lang="it" hreflang="it" data-title="Arthur Wing Pinero" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-arz mw-list-item"><a href="https://arz.wikipedia.org/wiki/%D8%A7%D8%B1%D8%AB%D8%B1_%D9%88%D9%8A%D9%86%D8%AC_%D9%BE%D9%8A%D9%86%D9%8A%D8%B1%D9%88" title="ارثر وينج پينيرو – Egyptian Arabic" lang="arz" hreflang="arz" data-title="ارثر وينج پينيرو" data-language-autonym="مصرى" data-language-local-name="Egyptian Arabic" class="interlanguage-link-target"><span>مصرى</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Arthur_Wing_Pinero" title="Arthur Wing Pinero – Dutch" lang="nl" hreflang="nl" data-title="Arthur Wing Pinero" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Arthur_Wing_Pinero" title="Arthur Wing Pinero – Portuguese" lang="pt" hreflang="pt" data-title="Arthur Wing Pinero" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%9F%D0%B8%D0%BD%D0%B5%D1%80%D0%BE,_%D0%90%D1%80%D1%82%D1%83%D1%80_%D0%A3%D0%B8%D0%BD%D0%B3" title="Пинеро, Артур Уинг – Russian" lang="ru" hreflang="ru" data-title="Пинеро, Артур Уинг" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Arthur_Wing_Pinero" title="Arthur Wing Pinero – Finnish" lang="fi" hreflang="fi" data-title="Arthur Wing Pinero" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Arthur_Wing_Pinero" title="Arthur Wing Pinero – Swedish" lang="sv" hreflang="sv" data-title="Arthur Wing Pinero" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%90%D1%80%D1%82%D1%83%D1%80_%D0%92%D1%96%D0%BD%D2%91_%D0%9F%D1%96%D0%BD%D0%B5%D1%80%D0%BE" title="Артур Вінґ Пінеро – Ukrainian" lang="uk" hreflang="uk" data-title="Артур Вінґ Пінеро" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target"><span>Українська</span></a></li> </ul> <div class="after-portlet after-portlet-lang"><span class="wb-langlinks-edit wb-langlinks-link"><a href="https://www.wikidata.org/wiki/Special:EntityPage/Q712073#sitelinks-wikipedia" title="Edit interlanguage links" class="wbc-editpage">Edit links</a></span></div> </div> </div> </div> </header> <div class="vector-page-toolbar"> <div class="vector-page-toolbar-container"> <div id="left-navigation"> <nav aria-label="Namespaces"> <div id="p-associated-pages" class="vector-menu vector-menu-tabs mw-portlet mw-portlet-associated-pages" > <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li id="ca-nstab-main" class="selected vector-tab-noicon mw-list-item"><a href="/wiki/Arthur_Wing_Pinero" title="View the content page [c]" accesskey="c"><span>Article</span></a></li><li id="ca-talk" class="vector-tab-noicon mw-list-item"><a href="/wiki/Talk:Arthur_Wing_Pinero" 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Click here for more information."><img alt="This is a good article. Click here for more information." src="//upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/19px-Symbol_support_vote.svg.png" decoding="async" width="19" height="20" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/29px-Symbol_support_vote.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/9/94/Symbol_support_vote.svg/39px-Symbol_support_vote.svg.png 2x" data-file-width="180" data-file-height="185" /></a></span></div></div> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">British playwright and actor (1855–1934)</div> <p class="mw-empty-elt"> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Arthur-Pinero-1895.jpg" class="mw-file-description"><img alt="photograph of middle-aged white man, bald, clean-shaven, sitting at writing-desk" src="//upload.wikimedia.org/wikipedia/en/thumb/a/a1/Arthur-Pinero-1895.jpg/330px-Arthur-Pinero-1895.jpg" decoding="async" width="330" height="224" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/a/a1/Arthur-Pinero-1895.jpg/495px-Arthur-Pinero-1895.jpg 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/a/a1/Arthur-Pinero-1895.jpg/660px-Arthur-Pinero-1895.jpg 2x" data-file-width="712" data-file-height="483" /></a><figcaption>Pinero in 1895</figcaption></figure> <p><b>Sir Arthur Wing Pinero</b> (24 May 1855 – 23 November 1934) was an English playwright and, early in his career, actor. </p><p>Pinero was drawn to the theatre from an early age, and became a professional actor at the age of 19. He gained experience as a supporting actor in British provincial theatres, and from 1876 to 1881 was a member of <a href="/wiki/Henry_Irving" title="Henry Irving">Henry Irving</a>'s company, based at the <a href="/wiki/Lyceum_Theatre,_London" title="Lyceum Theatre, London">Lyceum Theatre</a>, London. </p><p>Pinero wrote his first play in 1877. Seven years later, having written 15 more, three of them highly successful, he abandoned acting and became a full-time playwright. He first became known for a series of <a href="/wiki/Farce" title="Farce">farces</a>, of which <i><a href="/wiki/The_Magistrate_(play)" title="The Magistrate (play)">The Magistrate</a></i> (1885) was the longest-running. During the 1890s he turned to serious subjects. <i><a href="/wiki/The_Second_Mrs_Tanqueray" title="The Second Mrs Tanqueray">The Second Mrs Tanqueray</a></i> (1893), dealing with a woman with a scandalous past, was regarded as shocking, but ran well and made a large profit. His other successes included <i><a href="/wiki/Trelawny_of_the_%27Wells%27" class="mw-redirect" title="Trelawny of the 'Wells'">Trelawny of the "Wells"</a></i> (1898), a romantic comedy celebrating the theatre, old and new, and <i><a href="/wiki/The_Gay_Lord_Quex_(play)" title="The Gay Lord Quex (play)">The Gay Lord Quex</a></i>, about a reformed roué and a feisty young woman. A venture into opera, with a libretto for <i><a href="/wiki/The_Beauty_Stone" title="The Beauty Stone">The Beauty Stone</a></i> (1898), was not a success, and Pinero thereafter generally stuck to his familiar genre of society dramas and comedies. </p><p>Although he continued to write throughout the first three decades of the 20th century and into the fourth, it is Pinero's work from the 1880s and 1890s that has endured. There have been numerous revivals of many of his plays; and some have been adapted for the cinema or as musicals. By his later years, Pinero was seen as old-fashioned, and his last plays were not successful. He died in London at the age of 79. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Life_and_career">Life and career</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=1" title="Edit section: Life and career"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Early_years">Early years</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=2" title="Edit section: Early years"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Pinero%27s-drawing-of-his-father-1870.png" class="mw-file-description"><img alt="sketch of balding white man with side-whiskers, wearing pince-nez and reading a newspaper" src="//upload.wikimedia.org/wikipedia/en/thumb/0/0e/Pinero%27s-drawing-of-his-father-1870.png/170px-Pinero%27s-drawing-of-his-father-1870.png" decoding="async" width="170" height="183" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/0/0e/Pinero%27s-drawing-of-his-father-1870.png/255px-Pinero%27s-drawing-of-his-father-1870.png 1.5x, //upload.wikimedia.org/wikipedia/en/0/0e/Pinero%27s-drawing-of-his-father-1870.png 2x" data-file-width="294" data-file-height="317" /></a><figcaption>John Daniel Pinero, sketched by his son, 1870</figcaption></figure> <p>Pinero was born in London, the only son, and second of three children, of John Daniel Pinero (1798–1871), and his wife Lucy, <i>née</i> Daines (1836–1905). Pinero's father and grandfather were London <a href="/wiki/Solicitor" title="Solicitor">solicitors</a>. They were descended from the Pinheiro family, described by Pinero's biographer John Dawick as "a distinguished family of Sephardic Jews who rose to prominence in medieval Portugal before suffering the persecutions of the Inquisition". Pinero's branch of the family fled to England. His grandfather abandoned the Jewish faith, became a member of the <a href="/wiki/Church_of_England" title="Church of England">Church of England</a>, married a Christian Englishwoman, Margaret Wing, and became a highly successful lawyer. His younger son, Pinero's father, also took up the legal profession, but was much less successful; Pinero was brought up in circumstances that were not poor but were not affluent.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> He attended <a href="/wiki/Spa_Fields" title="Spa Fields">Spa Fields</a> Chapel <a href="/wiki/Charity_school" title="Charity school">charity school</a> in Exmouth Street, <a href="/wiki/Clerkenwell" title="Clerkenwell">Clerkenwell</a>, London, until the age of ten, when he went to work in his father's office.<sup id="cite_ref-dnb_2-0" class="reference"><a href="#cite_note-dnb-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>John Daniel Pinero died in May 1871, leaving very little money. To contribute to the family income, Pinero continued to work as a solicitor's clerk, earning £1 a week.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> In the evenings he studied elocution at the <a href="/wiki/Birkbeck,_University_of_London" title="Birkbeck, University of London">Birkbeck Literary and Scientific Institution</a>. He and his fellow students staged several productions of plays, and Pinero became irresistibly drawn to the theatre. In May 1874 he abandoned the legal profession and joined R. H. Wyndham at the <a href="/wiki/Theatre_Royal,_Edinburgh" title="Theatre Royal, Edinburgh">Theatre Royal, Edinburgh</a>, as a "general utility" actor.<sup id="cite_ref-who_4-0" class="reference"><a href="#cite_note-who-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> He made his professional debut in the small role of a groom in an adaptation of <a href="/wiki/Wilkie_Collins" title="Wilkie Collins">Wilkie Collins</a>'s <i><a href="/wiki/The_Woman_in_White_(novel)" title="The Woman in White (novel)">The Woman in White</a></i>.<sup id="cite_ref-d29_6-0" class="reference"><a href="#cite_note-d29-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Actor_and_rising_playwright:_1874–1884"><span id="Actor_and_rising_playwright:_1874.E2.80.931884"></span>Actor and rising playwright: 1874–1884</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=3" title="Edit section: Actor and rising playwright: 1874–1884"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Henry_Irving.jpg" class="mw-file-description"><img alt="head and shoulder portrait of clean-shaven white man with longish hair" src="//upload.wikimedia.org/wikipedia/commons/thumb/3/38/Henry_Irving.jpg/170px-Henry_Irving.jpg" decoding="async" width="170" height="237" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/38/Henry_Irving.jpg/255px-Henry_Irving.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/38/Henry_Irving.jpg/340px-Henry_Irving.jpg 2x" data-file-width="358" data-file-height="500" /></a><figcaption><a href="/wiki/Henry_Irving" title="Henry Irving">Henry Irving</a>: Pinero was a member of his company from 1876 to 1881.</figcaption></figure> <p>As a junior member of Wyndham's company Pinero quickly gained experience in a range of roles, supporting <a href="/wiki/E._A._Sothern" class="mw-redirect" title="E. A. Sothern">E. A. Sothern</a> in <i><a href="/wiki/Our_American_Cousin" title="Our American Cousin">Our American Cousin</a></i>, and <a href="/wiki/Charles_Mathews" title="Charles Mathews">Charles Mathews</a> in the <a href="/wiki/Honor%C3%A9_de_Balzac" title="Honoré de Balzac">Balzac</a> adaptation <i>A Game of Speculation</i>, and graduating to larger parts such as Crosstree in <i><a href="/wiki/Black-Eyed_Susan" title="Black-Eyed Susan">Black-Eyed Susan</a></i>.<sup id="cite_ref-d29_6-1" class="reference"><a href="#cite_note-d29-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> His engagement in Edinburgh came to a sudden end in February 1875 when the theatre was destroyed by fire.<sup id="cite_ref-dnb_2-1" class="reference"><a href="#cite_note-dnb-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> He was fortunate in being offered another provincial engagement, at the Royal Alexandra Theatre, <a href="/wiki/Liverpool" title="Liverpool">Liverpool</a>, where he began to be noticed by the press, gaining approving reviews for his acting in supporting roles.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> A production of <i>Miss Gwilt</i>, an adaptation of Wilkie Collins's <i><a href="/wiki/Armadale_(novel)" title="Armadale (novel)">Armadale</a></i>, starring <a href="/wiki/Ada_Cavendish" title="Ada Cavendish">Ada Cavendish</a>, was reported by the theatrical paper <i><a href="/wiki/The_Era_(newspaper)" title="The Era (newspaper)">The Era</a></i> as "a genuine triumph";<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> the play transferred from Liverpool to the <a href="/wiki/West_End_theatre" title="West End theatre">West End</a>, and Pinero retained his role as an elderly solicitor.<sup id="cite_ref-dnb_2-2" class="reference"><a href="#cite_note-dnb-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> The production was not the hoped-for success in London, but Pinero received good notices for his performance, and when the run finished after ten weeks he was immediately engaged by <a href="/wiki/Henry_Irving" title="Henry Irving">Henry Irving</a>'s manager, Mrs Bateman, as a member of the supporting cast for Irving's forthcoming provincial tour.<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p><p>Although the tour was uncongenial, and Pinero gathered some highly critical notices, he continued to work as a supporting actor to Irving for five years. He first appeared at the <a href="/wiki/Lyceum_Theatre,_London" title="Lyceum Theatre, London">Lyceum</a>, Irving's London base, in December 1876 and played a total of 21 parts there between then and 1881. His Shakespearean roles were Lord Stanley in <i><a href="/wiki/Richard_III_(play)" title="Richard III (play)">Richard III</a></i> (1877), Rosencrantz in <i><a href="/wiki/Hamlet" title="Hamlet">Hamlet</a></i> (1878), Guildenstern in <i>Hamlet</i> (1879), Salarino in <i><a href="/wiki/The_Merchant_of_Venice" title="The Merchant of Venice">The Merchant of Venice</a></i> (1879), and Roderigo in <i><a href="/wiki/Othello" title="Othello">Othello</a></i> (1881). In a revival of the melodrama <i><a href="/wiki/The_Bells_(play)" title="The Bells (play)">The Bells</a></i>, with which Irving's name was already synonymous, he played Dr Zimmer (1878).<sup id="cite_ref-who_4-1" class="reference"><a href="#cite_note-who-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p><p>While in Irving's company Pinero wrote his first plays. He began with <i>£200 a Year</i>, a one-act comedy written in a single afternoon for a colleague to present at a benefit performance in 1877. The play was well received and was given several further performances, bringing Pinero's name a modest amount of publicity.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> His first full-length play, <i>La Comète</i>, was staged in a theatre in <a href="/wiki/Croydon" title="Croydon">Croydon</a> in 1878, and he wrote four more one-act comedies, staged in London in 1878–1880, playing in two of them – <i>Daisy's Escape</i> and <i>Bygones</i> – at the Lyceum.<sup id="cite_ref-who_4-2" class="reference"><a href="#cite_note-who-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Another of these, <i>Hester's Mystery</i> (1880), written for the comic actor <a href="/wiki/J._L._Toole" class="mw-redirect" title="J. L. Toole">J. L. Toole</a>, ran for 300 performances at the <a href="/wiki/Toole%27s_Theatre" title="Toole's Theatre">Folly Theatre</a>.<sup id="cite_ref-dnb_2-3" class="reference"><a href="#cite_note-dnb-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Myra-Holme-1882.png" class="mw-file-description"><img alt="portrait of young white woman with dark hair, leaning back in a chair" src="//upload.wikimedia.org/wikipedia/en/thumb/a/a0/Myra-Holme-1882.png/170px-Myra-Holme-1882.png" decoding="async" width="170" height="261" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/a/a0/Myra-Holme-1882.png/255px-Myra-Holme-1882.png 1.5x, //upload.wikimedia.org/wikipedia/en/a/a0/Myra-Holme-1882.png 2x" data-file-width="259" data-file-height="398" /></a><figcaption>Myra Holme, who married Pinero in 1883</figcaption></figure> <p>Pinero's profile as a playwright was further raised by <i>The Money Spinner</i>, a full-length comedy, first given at the Prince's Theatre, <a href="/wiki/Manchester" title="Manchester">Manchester</a> in November 1880 and then at the <a href="/wiki/St_James%27s_Theatre" title="St James's Theatre">St James's</a> in London in January 1881. The theatre historian <a href="/wiki/J._P._Wearing" title="J. P. Wearing">J. P. Wearing</a> regards the play as of particular importance in the history of the St James's, a theatre previously known more for its failures than its successes. Pinero's play was regarded as daringly unconventional and a risky venture, but it caught on with the public, particularly for the character Baron Croodle, a "disreputable but delightful old reprobate and card-shark" played by <a href="/wiki/John_Hare_(actor)" title="John Hare (actor)">John Hare</a>.<sup id="cite_ref-hdnb_11-0" class="reference"><a href="#cite_note-hdnb-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> The following year Pinero wrote the first of eleven more plays for the St James's, <i>The Squire</i> (1881).<sup id="cite_ref-hdnb_11-1" class="reference"><a href="#cite_note-hdnb-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> It caused controversy by its supposed similarity to <a href="/wiki/Thomas_Hardy" title="Thomas Hardy">Thomas Hardy</a>'s <i><a href="/wiki/Far_from_the_Madding_Crowd" title="Far from the Madding Crowd">Far from the Madding Crowd</a></i>.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p><p>After leaving Irving's company Pinero joined another well-known London management, <a href="/wiki/Squire_Bancroft" title="Squire Bancroft">Squire Bancroft</a> and his wife <a href="/wiki/Effie_Bancroft" title="Effie Bancroft">Effie</a>, who ran the <a href="/wiki/Haymarket_Theatre" class="mw-redirect" title="Haymarket Theatre">Haymarket Theatre</a>. For them he played the Marquis de Cevennes (<i>Plot and Passion</i>, 1881), Sir Alexander Shendryn (<i>Ours</i>, 1882), Hanway (<i>Odette</i>, 1882) and finally Sir Anthony Absolute in <i><a href="/wiki/The_Rivals" title="The Rivals">The Rivals</a></i> (1884) as part of a starry cast that included Squire Bancroft, <a href="/wiki/Johnston_Forbes-Robertson" title="Johnston Forbes-Robertson">Johnston Forbes-Robertson</a>, <a href="/wiki/Lionel_Brough" title="Lionel Brough">Lionel Brough</a> and <a href="/wiki/Julia_Gwynne" title="Julia Gwynne">Julia Gwynne</a>. Pinero received mixed notices, some unfavourable,<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> and others among the best of his acting career.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> This was his last professional engagement as an actor.<sup id="cite_ref-who_4-3" class="reference"><a href="#cite_note-who-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>n 1<span class="cite-bracket">]</span></a></sup> </p><p>During his time at the Haymarket Pinero married Myra Emily Wood (c. 1852–1919), who had acted under the stage name of Myra Holme, a widow with two children, Angus and Myra, from her first marriage. The wedding took place on 19 April 1883. There were no children of the marriage to Pinero.<sup id="cite_ref-dnb_2-4" class="reference"><a href="#cite_note-dnb-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Farces_and_drawing-room_comedies:_1884–1893"><span id="Farces_and_drawing-room_comedies:_1884.E2.80.931893"></span>Farces and drawing-room comedies: 1884–1893</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=4" title="Edit section: Farces and drawing-room comedies: 1884–1893"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Arthur-Cecil-as-Posket-1885.png" class="mw-file-description"><img alt="middle=aged man in Victorian evening dress, much muddied and torn, clutching a chair for support" src="//upload.wikimedia.org/wikipedia/en/thumb/8/85/Arthur-Cecil-as-Posket-1885.png/250px-Arthur-Cecil-as-Posket-1885.png" decoding="async" width="250" height="289" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/8/85/Arthur-Cecil-as-Posket-1885.png/375px-Arthur-Cecil-as-Posket-1885.png 1.5x, //upload.wikimedia.org/wikipedia/en/8/85/Arthur-Cecil-as-Posket-1885.png 2x" data-file-width="469" data-file-height="542" /></a><figcaption><a href="/wiki/Arthur_Cecil" title="Arthur Cecil">Arthur Cecil</a> as Mr Posket in <i><a href="/wiki/The_Magistrate_(play)" title="The Magistrate (play)">The Magistrate</a></i>, 1885</figcaption></figure> <p>With the exception of two adaptations of serious French works, <i>The Ironmaster</i> (1884) and <i>Mayfair</i> (1885),<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>n 2<span class="cite-bracket">]</span></a></sup> Pinero's output between 1884 and 1893 consisted of six <a href="/wiki/Farce" title="Farce">farces</a> and five comedies.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> During this period he became particularly associated with the <a href="/wiki/Royal_Court_Theatre" title="Royal Court Theatre">Court Theatre</a>, where five of his farces were presented, with great success at the box office, between 1885 and 1892, beginning with <i><a href="/wiki/The_Magistrate_(play)" title="The Magistrate (play)">The Magistrate</a></i>. Wearing writes that in these plays Pinero "attacked facets of Victorian society by creating credible though blinkered characters, trying to preserve their respectability while trapped in a relentless whirlpool of catastrophically illogical events".<sup id="cite_ref-dnb_2-5" class="reference"><a href="#cite_note-dnb-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>Pinero told an interviewer that with the first of his Court farces, <i>The Magistrate</i>, he had tried "to raise farce a little from the low pantomime level". Instead of relying on the Parisian stereotype, revolving around potentially adulterous liaisons, he tried to create believable characters in credible situations.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> The piece played for 363 performances in its first run, the first play in the history of the Court to run for more than a year.<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> When its star, <a href="/wiki/Arthur_Cecil" title="Arthur Cecil">Arthur Cecil</a>, required a summer break, <a href="/wiki/Herbert_Beerbohm_Tree" title="Herbert Beerbohm Tree">Beerbohm Tree</a> deputised for him for three weeks.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> Three touring companies were needed to meet the demand for the play in the British provinces, and local managements in Australia, India and South Africa were licensed to stage it; Pinero travelled to New York for the American premiere, at <a href="/wiki/Daly%27s_Theatre_(30th_St.)" class="mw-redirect" title="Daly's Theatre (30th St.)">Daly's Theatre</a> in October 1885.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> He had turned 30 earlier that year. A retrospective review of his career published in 1928 pointed out that Pinero – who had recently celebrated 50 years as a West End playwright – achieved fame at an unusually early age: his contemporaries <a href="/wiki/George_Bernard_Shaw" title="George Bernard Shaw">Bernard Shaw</a>, <a href="/wiki/J._M._Barrie" title="J. M. Barrie">J. M. Barrie</a> and <a href="/wiki/John_Galsworthy" title="John Galsworthy">John Galsworthy</a> were all in their thirties before their plays were produced in London.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p><p>Pinero's other Court farces – <i><a href="/wiki/The_Schoolmistress_(play)" title="The Schoolmistress (play)">The Schoolmistress</a></i> (1886), <i><a href="/wiki/Dandy_Dick_(play)" title="Dandy Dick (play)">Dandy Dick</a></i> (1887), <i><a href="/wiki/The_Cabinet_Minister" title="The Cabinet Minister">The Cabinet Minister</a></i> (1890) and <i><a href="/wiki/The_Amazons_(play)" title="The Amazons (play)">The Amazons</a></i> (1893) – ran for 291, 262, 199 and 114 performances respectively, an aggregate of 866.<sup id="cite_ref-list_24-0" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> Their success was outstripped by that of the gentler comedy <i><a href="/wiki/Sweet_Lavender" title="Sweet Lavender">Sweet Lavender</a></i>, which ran at <a href="/wiki/Terry%27s_Theatre" title="Terry's Theatre">Terry's Theatre</a> for 684 performances from March 1888 to January 1890.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> This piece concerns an impoverished clerk, a bibulous but wise barrister, fraudulent bankers, a long-lost sweetheart and happy endings all round. It was billed as "a domestic drama", and was mainly comic, but, <i>The Era</i> reported, "there are scenes where the laughter is hushed, where smiles give way to tears, and where mirth is merged in heartfelt sympathy".<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Serious_plays">Serious plays</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=5" title="Edit section: Serious plays"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Plays in a similar vein to <i>Sweet Lavender</i> – <i>The Weaker Sex</i> (1888) and <i>Lady Bountiful</i> (1891) – did not match its success,<sup id="cite_ref-dnb_2-6" class="reference"><a href="#cite_note-dnb-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> running for 61 and 65 performances respectively.<sup id="cite_ref-list_24-1" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> Nonetheless Pinero's attention continued to turn more to serious than to farcical topics. Wearing comments that Pinero began to write "problem plays", considering "the double standard of morality, applied unequally to men and women". His first was <i>The Profligate</i> (1889), in which past misdeeds come to haunt a seemingly respectable man. It was chosen to inaugurate the new <a href="/wiki/Garrick_Theatre" title="Garrick Theatre">Garrick Theatre</a>, but the lessee, John Hare, persuaded a reluctant Pinero to tone down the ending to avoid alienating his respectable society audience: in the final version the protagonist does not kill himself, as Pinero had written, but is forgiven by his wife.<sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> The play ran for 129 performances.<sup id="cite_ref-list_24-2" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Punch-cartoon-The-Second-Mrs-Tanqueray-1893.png" class="mw-file-description"><img alt="cartoon showing a young woman in Victorian evening dress leaping over a hurdle on which the word "convention" is painted; she is followed by one man in evening dress and watched by another, who is mopping his brow in relief" src="//upload.wikimedia.org/wikipedia/en/thumb/5/58/Punch-cartoon-The-Second-Mrs-Tanqueray-1893.png/330px-Punch-cartoon-The-Second-Mrs-Tanqueray-1893.png" decoding="async" width="330" height="235" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/5/58/Punch-cartoon-The-Second-Mrs-Tanqueray-1893.png/495px-Punch-cartoon-The-Second-Mrs-Tanqueray-1893.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/5/58/Punch-cartoon-The-Second-Mrs-Tanqueray-1893.png/660px-Punch-cartoon-The-Second-Mrs-Tanqueray-1893.png 2x" data-file-width="785" data-file-height="558" /></a><figcaption><i><a href="/wiki/Punch_(magazine)" title="Punch (magazine)">Punch</a></i> cartoon showing Pinero's relief as the second Mrs Tanqueray (<a href="/wiki/Mrs_Patrick_Campbell" title="Mrs Patrick Campbell">Mrs Patrick Campbell</a>) successfully leaps over a hurdle marked "Convention", followed by <a href="/wiki/George_Alexander_(actor)" title="George Alexander (actor)">George Alexander</a> as Tanqueray</figcaption></figure> <p>When his next such drama came to be produced Pinero remained firm: the play would, and did, end in tragedy. This was his best-known serious work, <i><a href="/wiki/The_Second_Mrs_Tanqueray" title="The Second Mrs Tanqueray">The Second Mrs Tanqueray</a></i> (1893). While he was planning it, several plays of <a href="/wiki/Henrik_Ibsen" title="Henrik Ibsen">Henrik Ibsen</a> were presented in London for the first time, regarded by much of polite society as <i>avant garde</i>, blunt and shocking.<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>n 3<span class="cite-bracket">]</span></a></sup> Seeing <i><a href="/wiki/Ghosts_(play)" title="Ghosts (play)">Ghosts</a></i> led Pinero to reconsider his approach to playwriting, which now seemed old-fashioned by comparison. He was far from uncritical of Ibsen's plays, but recognised that if he was to be a serious dramatist he must treat social problems and human misconduct frankly.<sup id="cite_ref-d169_28-1" class="reference"><a href="#cite_note-d169-28"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p><p><i>The Second Mrs Tanqueray</i> centred on "a woman with a past". Hare declined to present it, and <a href="/wiki/George_Alexander_(actor)" title="George Alexander (actor)">George Alexander</a>, the actor-manager running the <a href="/wiki/St_James%27s_Theatre" title="St James's Theatre">St James's Theatre</a>, to whom Pinero then offered the play, said, "Sorry, I daren't do it".<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> He had second thoughts, and accepted it. The production was scheduled to replace <a href="/wiki/Oscar_Wilde" title="Oscar Wilde">Oscar Wilde</a>'s <i><a href="/wiki/Lady_Windermere%27s_Fan" title="Lady Windermere's Fan">Lady Windermere's Fan</a></i>, which also focused on a woman with a far from respectable past. Unlike Pinero's play, Wilde's ended happily, and was seen by the respectable habitués of the St James's as mildly shocking but acceptable.<sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> In Pinero's play Paula Tanqueray kills herself. In Wearing's words, "although not as avant-garde as Ibsen's plays, Tanqueray confronted its fashionable St James's audiences with as forceful a social message as they could stomach".<sup id="cite_ref-dnb_2-7" class="reference"><a href="#cite_note-dnb-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Both Pinero and Alexander were apprehensive about the public reception of the piece, but it was a sensational success at its opening in May 1893, made a profit of more than £10,000,<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>n 4<span class="cite-bracket">]</span></a></sup> and was still playing to full houses when Alexander, who disliked acting in long runs, closed the production in April 1894 after 225 performances.<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup> </p><p>Wearing comments that the public's appetite for similar Pinero plays varied. <i><a href="/wiki/The_Notorious_Mrs_Ebbsmith" class="mw-redirect" title="The Notorious Mrs Ebbsmith">The Notorious Mrs Ebbsmith</a></i> (1895) managed a run of 88 performances, <i>The Benefit of the Doubt</i> (1895) ran for 74, <i>The Thunderbolt</i> (1908) and <i>Mid-Channel</i> (1909) both ran for 58.<sup id="cite_ref-list_24-3" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Fin_de_siècle"><span id="Fin_de_si.C3.A8cle"></span>Fin de siècle</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=6" title="Edit section: Fin de siècle"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The year 1898 saw one of Pinero's most enduring successes and his most conspicuous failure. The first was <i><a href="/wiki/Trelawny_of_the_%27Wells%27" class="mw-redirect" title="Trelawny of the 'Wells'">Trelawny of the "Wells"</a></i>, the second, <i><a href="/wiki/The_Beauty_Stone" title="The Beauty Stone">The Beauty Stone</a></i>. In <i>Trelawny of the "Wells"</i>, described by a 21st-century critic as "Pinero's love letter to theatre",<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> the author addressed his regular topics of class and inexorable change, to which he added a study of the enduring power of the theatre. The play shows a popular actress in mid-Victorian melodramas marrying into the aristocracy, regretting it, returning to the stage and finding that she can no longer make the old style of plays work, successfully switching to works in the new realistic style. Wearing calls the play Pinero's homage to <a href="/wiki/Thomas_William_Robertson" class="mw-redirect" title="Thomas William Robertson">Tom Robertson</a>, whose pioneering theatrical realism influenced two generations of writers including <a href="/wiki/W._S._Gilbert" title="W. S. Gilbert">W. S. Gilbert</a> and Bernard Shaw as well as Pinero.<sup id="cite_ref-dnb_2-8" class="reference"><a href="#cite_note-dnb-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> The critics were confused by the play. Pinero commented that they seemed "divided as to whether the piece is a weak farce or an imperfect realistic drama".<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> It had a good, though not outstanding, run of 135 performances at the Court, but subsequently became one of Pinero's most revived plays.<sup id="cite_ref-list_24-4" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p><p>At the same time the impresario <a href="/wiki/Richard_D%27Oyly_Carte" title="Richard D'Oyly Carte">Richard D'Oyly Carte</a> was in need of a new opera for his <a href="/wiki/Savoy_Theatre" title="Savoy Theatre">Savoy Theatre</a> after the end of <a href="/wiki/Gilbert_and_Sullivan" title="Gilbert and Sullivan">Gilbert and Sullivan</a>'s long partnership. It is not clear why Carte chose to commission a libretto from two writers with no experience in the genre, but for <a href="/wiki/Arthur_Sullivan" title="Arthur Sullivan">Arthur Sullivan</a>'s <i>The Beauty Stone</i> he brought together Pinero and <a href="/wiki/J._Comyns_Carr" title="J. Comyns Carr">J. Comyns Carr</a>, an art critic, gallery owner and part-time author of dramas.<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>n 5<span class="cite-bracket">]</span></a></sup> Sullivan, who was used to Gilbert's skill and flexibility, quickly found his new collaborators inept: "gifted and brilliant men, with <i>no</i> experience in writing for music, and yet obstinately refusing to accept any suggestions from me as to form and construction".<sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> He later wrote in his diary, "heartbreaking to have to try to make a musical piece out of such badly constructed (for music) mess of involved sentences".<sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> The musical analyst William Parry describes the libretto as "a verbose mess ... suffused with a fussy air of arch medievalism".<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> At its premiere, on 28 May 1898, the piece ran for four hours, and Pinero and Carr had to accept some drastic cuts to their words, which also meant sacrificing some of Sullivan's best music.<sup id="cite_ref-44" class="reference"><a href="#cite_note-44"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> The reviews for the music ranged from polite to enthusiastic; for the libretto they ranged from polite to damning. <a href="/wiki/Max_Beerbohm" title="Max Beerbohm">Max Beerbohm</a>, who had succeeded Shaw as theatre critic of <i><a href="/wiki/Saturday_Review_(London_newspaper)" title="Saturday Review (London newspaper)">The Saturday Review</a></i> and who was to become a persistent irritant to Pinero, was particularly waspish.<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> Besides the shortcomings of the libretto, the uncomic, romantic style of the piece was not in keeping with the traditions of the Savoy or the expectations of its audience,<sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup> and the opera closed on 16 July after 50 performances – the worst run for any of Sullivan's operas.<sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> </p><p>Within a year of the disappointment of <i>The Beauty Stone</i> Pinero returned to successful form with a four-act play <i><a href="/wiki/The_Gay_Lord_Quex_(play)" title="The Gay Lord Quex (play)">The Gay Lord Quex</a></i>, a comedy of manners, in succession to two others in the genre, <i>The Times</i> (1891) and <i>The Princess and the Butterfly</i> (1897).<sup id="cite_ref-dnb_2-9" class="reference"><a href="#cite_note-dnb-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> <i>The Gay Lord Quex</i>, a story of a determined and resourceful young woman and a reformed aristocratic philanderer,<sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup> had an initial run of 300 performances,<sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> and has proved one of Pinero's more revivable plays.<sup id="cite_ref-51" class="reference"><a href="#cite_note-51"><span class="cite-bracket">[</span>n 6<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="20th_century">20th century</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=7" title="Edit section: 20th century"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:His-House-in-Order-1906.jpg" class="mw-file-description"><img alt="white man reading a letter, raising a hand and looking horrified, watched by a woman with dark hair and intent facial expression" src="//upload.wikimedia.org/wikipedia/en/thumb/c/c1/His-House-in-Order-1906.jpg/220px-His-House-in-Order-1906.jpg" decoding="async" width="220" height="243" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/c/c1/His-House-in-Order-1906.jpg/330px-His-House-in-Order-1906.jpg 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/c/c1/His-House-in-Order-1906.jpg/440px-His-House-in-Order-1906.jpg 2x" data-file-width="555" data-file-height="612" /></a><figcaption><a href="/wiki/George_Alexander_(actor)" title="George Alexander (actor)">George Alexander</a> and <a href="/wiki/Irene_Vanbrugh" title="Irene Vanbrugh">Irene Vanbrugh</a> in <i>His House in Order</i>, 1906</figcaption></figure> <p>In the first decade of the century Pinero continued to be regarded as among the forefront of British playwrights. His comedy of manners <i>Iris</i> (1901) ran for 115 performances, and in 1906 he had one of his biggest successes, with <i>His House in Order</i>, another work for Alexander and the St James's. This piece is a drama about a put-upon second wife who eventually triumphs over the domineering family of her husband's dead first wife and wins his undivided love. It was a triumph for <a href="/wiki/Irene_Vanbrugh" title="Irene Vanbrugh">Irene Vanbrugh</a> and Alexander in the lead roles, and for Pinero;<sup id="cite_ref-52" class="reference"><a href="#cite_note-52"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup> it ran for 430 performances and took more than £78,000 at the box-office. The alliance between Alexander had by now become a firm friendship, punctuated by occasional arguments between the actor-manager and the author, who became extremely prescriptive about the staging of his plays and the delivery of his lines.<sup id="cite_ref-dnb_2-10" class="reference"><a href="#cite_note-dnb-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p><p>Another of Pinero's friends was Shaw. As authors they held very different views of the nature and purpose of drama. Although both addressed social problems in their plays, Shaw, who held that all good art is didactic, concentrated on the problem itself, whereas Pinero focused more on the people affected by it, which Shaw felt weakened the argument.<sup id="cite_ref-53" class="reference"><a href="#cite_note-53"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup> Nevertheless, they were on good terms and both were prominent in campaigns for a national theatre and the reform or abolition of theatre censorship. Shaw conceived the idea that playwrights needed a titled figure to lead their campaigns, and lobbied the British government to secure a <a href="/wiki/Knight_Bachelor" title="Knight Bachelor">knighthood</a> for Pinero. Whether because of Shaw's canvassing or not is unknown, but Pinero was knighted in 1909, only the second dramatist to receive the honour (Gilbert having been knighted two years earlier). Pinero rarely used the title, but shortened his signature from "Arthur W. Pinero" to "Arthur Pinero".<sup id="cite_ref-54" class="reference"><a href="#cite_note-54"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:Arthur_Wing_Pinero.jpg" class="mw-file-description"><img alt="Right profile of white man with bald head except for a small amount of dark hair at the back and sides, clean shaven, with bushy eyebrows" src="//upload.wikimedia.org/wikipedia/commons/thumb/5/5b/Arthur_Wing_Pinero.jpg/170px-Arthur_Wing_Pinero.jpg" decoding="async" width="170" height="240" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/5b/Arthur_Wing_Pinero.jpg/255px-Arthur_Wing_Pinero.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/5b/Arthur_Wing_Pinero.jpg/340px-Arthur_Wing_Pinero.jpg 2x" data-file-width="396" data-file-height="558" /></a><figcaption>Pinero aged about 55</figcaption></figure> <p>In the second decade of the century Pinero had his last two real successes. The comedy <i><a href="/wiki/The_%22Mind_the_Paint%22_Girl" title="The "Mind the Paint" Girl">The "Mind the Paint" Girl</a></i> ran at the <a href="/wiki/Duke_of_York%27s_Theatre" title="Duke of York's Theatre">Duke of York's Theatre</a> for 126 performances in 1912, and <i>The Big Drum</i>, his last play for Alexander had 111 performances at the St James's in 1915.<sup id="cite_ref-list_24-5" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> The <a href="/wiki/First_World_War" class="mw-redirect" title="First World War">First World War</a> badly affected his wish and ability to write. He had suffered an emotional blow in 1913 when his stepson killed himself, and the outbreak of war the following year appalled Pinero. Following the sinking of <a href="/wiki/RMS_Lusitania" title="RMS Lusitania">RMS <i>Lusitania</i></a> by a German <a href="/wiki/U-boat" title="U-boat">U-boat</a> on 7 May 1915, he wrote to <i><a href="/wiki/The_Times" title="The Times">The Times</a></i> calling on <a href="/wiki/Naturalization#United_Kingdom" title="Naturalization">naturalised</a> British citizens of German origin to make public statements of their loyalty to the King and reject Germany's methods of warfare.<sup id="cite_ref-55" class="reference"><a href="#cite_note-55"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> In the following days, numerous letters were received by the newspaper from naturalised Britons affirming their loyalty, including public figures such as <a href="/wiki/Ernest_Cassel" title="Ernest Cassel">Sir Ernest Cassel</a>, <a href="/wiki/George_Henschel" title="George Henschel">Sir George Henschel</a>, <a href="/wiki/Sir_Carl_Meyer_1st_Baronet" class="mw-redirect" title="Sir Carl Meyer 1st Baronet">Sir Carl Meyer</a> and <a href="/wiki/Felix_Schuster" title="Felix Schuster">Sir Felix Schuster</a>.<sup id="cite_ref-56" class="reference"><a href="#cite_note-56"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup> Among others who came under public pressure because of the war was Shaw, who opposed it strenuously, and was much vilified by the public and even by his colleagues. Pinero refused to join in the chorus of disapproval, and his friendship with Shaw endured, although they saw less of each other after Shaw resigned from the Dramatists' Club under pressure from its pro-war members led by <a href="/wiki/Henry_Arthur_Jones" title="Henry Arthur Jones">Henry Arthur Jones</a>.<sup id="cite_ref-57" class="reference"><a href="#cite_note-57"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> </p><p>Pinero's wife died in 1919, having been an invalid for some time. Although her death was foreseen it caused Pinero deep distress, and after it he was often despondent, despite the devoted attention of his stepdaughter.<sup id="cite_ref-dnb_2-11" class="reference"><a href="#cite_note-dnb-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> During the last years of his life Pinero gradually ceased to be a figure of importance in the theatre. After the end of the war he wrote eight more plays; two of them remained unstaged and of the four that were produced in London the longest-running lasted for 64 performances.<sup id="cite_ref-list_24-6" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p><p>His heart weakened by a serious bout of influenza, Pinero failed to survive an operation for a <a href="/wiki/Hernia" title="Hernia">hernia</a>. He died on 23 November 1934 in Marylebone Nursing Home.<sup id="cite_ref-58" class="reference"><a href="#cite_note-58"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup> A memorial service was held at <a href="/wiki/St_Marylebone_Parish_Church" title="St Marylebone Parish Church">St Marylebone Parish Church</a> on 28 November 1934,<sup id="cite_ref-59" class="reference"><a href="#cite_note-59"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup> after which, by Pinero's request, his ashes were buried in his wife's grave in the churchyard of <a href="/wiki/Chiddingfold" title="Chiddingfold">Chiddingfold</a>, Surrey, close to their former country house.<sup id="cite_ref-dnb_2-12" class="reference"><a href="#cite_note-dnb-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Works">Works</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=8" title="Edit section: Works"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Plays">Plays</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=9" title="Edit section: Plays"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <table class="wikitable plainrowheaders" style="text-align: left; margin-right: 0;"> <tbody><tr> <th scope="col">Title </th> <th scope="col">Theatre </th> <th scope="col">Date </th> <th scope="col">Genre </th> <th scope="col">Acts </th> <th scope="col">Perfs </th> <th scope="col">Notes </th></tr> <tr> <td><i>£200 a Year</i> </td> <td><a href="/wiki/Globe_Theatre_(Newcastle_Street)" title="Globe Theatre (Newcastle Street)">Globe</a> </td> <td>6 October 1877 </td> <td>comedy </td> <td>1 </td> <td>36 </td> <td> </td></tr> <tr> <td><i>La Comète</i> </td> <td>Theatre Royal, Croydon </td> <td>22 April 1878 </td> <td>drama </td> <td>3 </td> <td>n/k </td> <td> </td></tr> <tr> <td><i>Two Can Play at That Game</i> </td> <td><a href="/wiki/Lyceum_Theatre,_London" title="Lyceum Theatre, London">Lyceum</a> </td> <td>20 May 1878 </td> <td>comedy </td> <td>1 </td> <td>40 </td> <td> </td></tr> <tr> <td><i>Daisy's Escape</i> </td> <td>Lyceum </td> <td>20 September 1878 </td> <td>comedy </td> <td>1 </td> <td>31 </td> <td> </td></tr> <tr> <td><i>Hester's Mystery</i> </td> <td><a href="/wiki/Toole%27s_Theatre" title="Toole's Theatre">Folly</a> </td> <td>5 June 1880 </td> <td>comedy </td> <td>1 </td> <td>308 </td> <td> </td></tr> <tr> <td><i>Bygones</i> </td> <td>Lyceum </td> <td>18 September 1880 </td> <td>comedy </td> <td>1 </td> <td>89 </td> <td> </td></tr> <tr> <td><i>The Money Spinner</i> </td> <td>Prince's Theatre, Manchester<br />and <a href="/wiki/St_James%27s_Theatre" title="St James's Theatre">St James's</a> </td> <td>5 November 1880<br />and 8 January 1881 </td> <td>comedy </td> <td>2 </td> <td>98 </td> <td> </td></tr> <tr> <td><i>Imprudence</i> </td> <td>Folly </td> <td>27 July 1881 </td> <td>farce </td> <td>3 </td> <td>54 </td> <td> </td></tr> <tr> <td><i>Bound to Marry</i> </td> <td>unperformed </td> <td> </td> <td>comedy </td> <td>3 </td> <td> </td> <td><sup id="cite_ref-60" class="reference"><a href="#cite_note-60"><span class="cite-bracket">[</span>n 7<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td><i>The Squire</i> </td> <td>St James's </td> <td>29 December 1881 </td> <td>play </td> <td>3 </td> <td>170 </td> <td> </td></tr> <tr> <td><i>Girls and Boys</i> </td> <td><a href="/wiki/Toole%27s_Theatre" title="Toole's Theatre">Toole's Theatre</a> </td> <td>31 October 1882 </td> <td>comedy </td> <td>3 </td> <td>52 </td> <td> </td></tr> <tr> <td><i>The Rector</i> </td> <td><a href="/wiki/Royal_Court_Theatre" title="Royal Court Theatre">Court</a> </td> <td>24 March 1883 </td> <td>play </td> <td>4 </td> <td>16 </td> <td> </td></tr> <tr> <td><i>Lords and Commons</i> </td> <td><a href="/wiki/Haymarket_Theatre" class="mw-redirect" title="Haymarket Theatre">Haymarket</a> </td> <td>24 November 1883 </td> <td>comedy </td> <td>4 </td> <td>70 </td> <td> </td></tr> <tr> <td><i>The Rocket</i> </td> <td>Prince of Wales, Liverpool<br />and <a href="/wiki/Gaiety_Theatre,_London" title="Gaiety Theatre, London">Gaiety</a> </td> <td>30 July 1883<br />and 10 December 1883 </td> <td>farce </td> <td>3 </td> <td>51 </td> <td> </td></tr> <tr> <td><i>Low Water</i> </td> <td>Globe </td> <td>12 January 1884 </td> <td>comedy </td> <td>3 </td> <td>7 </td> <td> </td></tr> <tr> <td><i>The Ironmaster</i> </td> <td>St James's </td> <td>17 April 1884 </td> <td>play </td> <td>4 </td> <td>200 </td> <td><sup id="cite_ref-61" class="reference"><a href="#cite_note-61"><span class="cite-bracket">[</span>n 8<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td><i>In Chancery</i> </td> <td>Lyceum, Edinburgh<br />and Gaiety </td> <td>19 September 1884<br />and 24 December 1884 </td> <td>farce </td> <td>3 </td> <td>36 </td> <td> </td></tr> <tr> <td><i><a href="/wiki/The_Magistrate_(play)" title="The Magistrate (play)">The Magistrate</a></i> </td> <td>Court </td> <td>21 March 1885 </td> <td>farce </td> <td>3 </td> <td>363 </td> <td> </td></tr> <tr> <td><i>Mayfair</i> </td> <td>St James's </td> <td>31 October 1885 </td> <td>play </td> <td>5 </td> <td>53 </td> <td><sup id="cite_ref-62" class="reference"><a href="#cite_note-62"><span class="cite-bracket">[</span>n 9<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td><i><a href="/wiki/The_Schoolmistress_(play)" title="The Schoolmistress (play)">The Schoolmistress</a></i> </td> <td>Court </td> <td>27 March 1886 </td> <td>farce </td> <td>3 </td> <td>291 </td> <td> </td></tr> <tr> <td><i>The Hobby Horse</i> </td> <td>St James's </td> <td>25 October 1886 </td> <td>comedy </td> <td>3 </td> <td>109 </td> <td> </td></tr> <tr> <td><i><a href="/wiki/Dandy_Dick_(play)" title="Dandy Dick (play)">Dandy Dick</a></i> </td> <td>Court </td> <td>27 January 1887 </td> <td>farce </td> <td>3 </td> <td>262 </td> <td> </td></tr> <tr> <td><i><a href="/wiki/Sweet_Lavender" title="Sweet Lavender">Sweet Lavender</a></i> </td> <td><a href="/wiki/Terry%27s_Theatre" title="Terry's Theatre">Terry's</a> </td> <td>21 March 1888 </td> <td>comedy </td> <td>3 </td> <td>684 </td> <td> </td></tr> <tr> <td><i>The Weaker Sex</i> </td> <td>Theatre Royal, Manchester<br />and Court </td> <td>28 September 1888<br />and 16 March 1889 </td> <td>comedy </td> <td>3 </td> <td>61 </td> <td> </td></tr> <tr> <td><i>The Profligate</i> </td> <td><a href="/wiki/Garrick_Theatre" title="Garrick Theatre">Garrick</a> </td> <td>24 April 1889 </td> <td>play </td> <td>4 </td> <td>129 </td> <td> </td></tr> <tr> <td><i><a href="/wiki/The_Cabinet_Minister" title="The Cabinet Minister">The Cabinet Minister</a></i> </td> <td>Court </td> <td>23 April 1890 </td> <td>farce </td> <td>4 </td> <td>199 </td> <td> </td></tr> <tr> <td><i>Lady Bountiful</i> </td> <td>Garrick </td> <td>7 February 1891 </td> <td>play </td> <td>4 </td> <td>65 </td> <td> </td></tr> <tr> <td><i>The Times</i> </td> <td>Terry's </td> <td>24 October 1891 </td> <td>comedy </td> <td>4 </td> <td>155 </td> <td> </td></tr> <tr> <td><i><a href="/wiki/The_Amazons_(play)" title="The Amazons (play)">The Amazons</a></i> </td> <td>Court </td> <td>7 March 1893 </td> <td>farce </td> <td>3 </td> <td>114 </td> <td> </td></tr> <tr> <td><i><a href="/wiki/The_Second_Mrs_Tanqueray" title="The Second Mrs Tanqueray">The Second Mrs Tanqueray</a></i> </td> <td>St James's </td> <td>27 May 1893 </td> <td>play </td> <td>4 </td> <td>225 </td> <td> </td></tr> <tr> <td><i><a href="/wiki/The_Notorious_Mrs._Ebbsmith" title="The Notorious Mrs. Ebbsmith">The Notorious Mrs Ebbsmith</a></i> </td> <td>Garrick </td> <td>13 March 1895 </td> <td>play </td> <td>4 </td> <td>88 </td> <td> </td></tr> <tr> <td><i>The Benefit of the Doubt</i> </td> <td><a href="/wiki/Harold_Pinter_Theatre" title="Harold Pinter Theatre">Comedy</a> </td> <td>16 October 1895 </td> <td>comedy </td> <td>3 </td> <td>74 </td> <td> </td></tr> <tr> <td><i><a href="/wiki/The_Princess_and_the_Butterfly" title="The Princess and the Butterfly">The Princess and the Butterfly</a></i> </td> <td>St James's </td> <td>29 March 1897 </td> <td>comedy </td> <td>4 </td> <td>97 </td> <td> </td></tr> <tr> <td><i><a href="/wiki/Trelawny_of_the_%27Wells%27" class="mw-redirect" title="Trelawny of the 'Wells'">Trelawny of the "Wells"</a></i> </td> <td>Court </td> <td>20 January 1898 </td> <td>comedy </td> <td>4 </td> <td>135 </td> <td> </td></tr> <tr> <td><i><a href="/wiki/The_Beauty_Stone" title="The Beauty Stone">The Beauty Stone</a></i> </td> <td><a href="/wiki/Savoy_Theatre" title="Savoy Theatre">Savoy</a> </td> <td>28 March 1898 </td> <td>opera </td> <td>3 </td> <td>50 </td> <td><sup id="cite_ref-63" class="reference"><a href="#cite_note-63"><span class="cite-bracket">[</span>n 10<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td><i><a href="/wiki/The_Gay_Lord_Quex_(play)" title="The Gay Lord Quex (play)">The Gay Lord Quex</a></i> </td> <td>Globe </td> <td>8 April 1899 </td> <td>comedy </td> <td>4 </td> <td>300 </td> <td> </td></tr> <tr> <td><i><a href="/wiki/Iris_(play)" title="Iris (play)">Iris</a></i> </td> <td>Garrick </td> <td>21 September 1901 </td> <td>play </td> <td>5 </td> <td>115 </td> <td> </td></tr> <tr> <td><i>Letty</i> </td> <td><a href="/wiki/Duke_of_York%27s_Theatre" title="Duke of York's Theatre">Duke of York's</a> </td> <td>8 October 1903 </td> <td>play </td> <td>4 </td> <td>64 </td> <td> </td></tr> <tr> <td><i>A Wife without a Smile</i> </td> <td><a href="/wiki/Wyndham%27s_Theatre" title="Wyndham's Theatre">Wyndham</a>'s </td> <td>12 October 1904 </td> <td>farce </td> <td>3 </td> <td>77 </td> <td> </td></tr> <tr> <td><i>His House in Order</i> </td> <td>St James's </td> <td>1 February 1906 </td> <td>play </td> <td>4 </td> <td>430 </td> <td> </td></tr> <tr> <td><i>The Thunderbolt</i> </td> <td>St James's </td> <td>9 May 1908 </td> <td>play </td> <td>4 </td> <td>58 </td> <td> </td></tr> <tr> <td><i>Mid-Channel</i> </td> <td>St James's </td> <td>2 September 1909 </td> <td>play </td> <td>4 </td> <td>58 </td> <td> </td></tr> <tr> <td><i>Preserving Mr Panmure</i> </td> <td>Comedy </td> <td>19 January 1911 </td> <td>farce </td> <td>4 </td> <td>99 </td> <td> </td></tr> <tr> <td><i><a href="/wiki/The_%22Mind_the_Paint%22_Girl" title="The "Mind the Paint" Girl">The "Mind the Paint" Girl</a></i> </td> <td>Duke of York's </td> <td>17 February 1912 </td> <td>comedy </td> <td>4 </td> <td>126 </td> <td> </td></tr> <tr> <td><i>The Widow of Wasdale Head</i> </td> <td>Duke of York's </td> <td>14 October 1912 </td> <td>comedy </td> <td>1 </td> <td>26 </td> <td> </td></tr> <tr> <td><i>Playgoers</i> </td> <td>St James's </td> <td>31 March 1913 </td> <td>comedy </td> <td>1 </td> <td>70 </td> <td> </td></tr> <tr> <td><i>The Big Drum</i> </td> <td>St James's </td> <td>1 September 1915 </td> <td>play </td> <td>4 </td> <td>111 </td> <td> </td></tr> <tr> <td><i>Mr Livermore's Dream</i> </td> <td><a href="/wiki/London_Coliseum" title="London Coliseum">London Coliseum</a> </td> <td>15 January 1917 </td> <td>sketch </td> <td>1 </td> <td>12 </td> <td> </td></tr> <tr> <td><i>The Freaks</i> </td> <td>New </td> <td>14 February 1918 </td> <td>comedy </td> <td>3 </td> <td>51 </td> <td> </td></tr> <tr> <td><i>Monica's Blue Boy</i> </td> <td>New </td> <td>8 April 1918 </td> <td>play </td> <td>1 </td> <td>38 </td> <td><sup id="cite_ref-64" class="reference"><a href="#cite_note-64"><span class="cite-bracket">[</span>n 11<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td><i>Quick Work</i> </td> <td>Springfield Mass </td> <td>17 November 1919 </td> <td>comedy </td> <td>3 </td> <td> </td> <td> </td></tr> <tr> <td><i>A Seat in the Park</i> </td> <td>Winter Garden </td> <td>21 February 1922 </td> <td>comedy </td> <td>1 </td> <td>1 </td> <td> </td></tr> <tr> <td><i><a href="/wiki/The_Enchanted_Cottage_(play)" title="The Enchanted Cottage (play)">The Enchanted Cottage</a></i> </td> <td>Duke of York's </td> <td>1 March 1922 </td> <td>comedy </td> <td>3 </td> <td>64 </td> <td> </td></tr> <tr> <td><i>A Private Room</i> </td> <td><a href="/wiki/Little_Theatre_in_the_Adelphi" title="Little Theatre in the Adelphi">Little</a> </td> <td>14 May 1928 </td> <td>play </td> <td>1 </td> <td>23 </td> <td> </td></tr> <tr> <td><i>Dr Harmer's Holidays</i> </td> <td><a href="/wiki/Lafayette_Square_Opera_House" title="Lafayette Square Opera House">Shubert Belasco</a>, Washington DC </td> <td>16 March 1931 </td> <td>play </td> <td>9 </td> <td> </td> <td> </td></tr> <tr> <td><i>Child Man</i> </td> <td>unperformed </td> <td> </td> <td>farce </td> <td>3 </td> <td> </td> <td> </td></tr> <tr> <td><i>A Cold June</i> </td> <td><a href="/wiki/Duchess_Theatre" title="Duchess Theatre">Duchess</a> </td> <td>29 May 1932 </td> <td>comedy </td> <td>3 </td> <td>19 </td> <td> </td></tr> <tr> <td><i>Late of Monckford's</i> </td> <td>unperformed </td> <td> </td> <td>play </td> <td>3 </td> <td> </td> <td> </td></tr></tbody></table> <dl><dd>Source: Dawick.<sup id="cite_ref-list_24-12" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup></dd></dl> <div class="mw-heading mw-heading3"><h3 id="Broadway_productions">Broadway productions</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=10" title="Edit section: Broadway productions"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The original London productions that were followed by New York productions were: <i>The Money Spinner</i> (New York, 1882); <i>The Squire</i> (1882); <i>Girls and Boys</i> (1883); <i>Lords and Commons</i> (1884); <i>In Chancery</i> (1885); <i><a href="/wiki/The_Magistrate_(play)" title="The Magistrate (play)">The Magistrate (play)</a></i> (1885); <i>The Schoolmistress</i> (1886); <i>Dandy Dick</i> (1887); <i>Sweet Lavender</i> (1888); <i>Lady Bountiful</i> (1891); <i><a href="/wiki/The_Cabinet_Minister" title="The Cabinet Minister">The Cabinet Minister</a></i> (1892); <i><a href="/wiki/The_Second_Mrs_Tanqueray" title="The Second Mrs Tanqueray">The Second Mrs Tanqueray</a></i> (1893); <i>The Amazons</i> (1894); <i><a href="/wiki/The_Notorious_Mrs_Ebbsmith" class="mw-redirect" title="The Notorious Mrs Ebbsmith">The Notorious Mrs Ebbsmith</a></i> (1895); <i>The Benefit of the Doubt</i> (1896); <i><a href="/wiki/The_Princess_and_the_Butterfly" title="The Princess and the Butterfly">The Princess and the Butterfly</a></i> (1897); <i><a href="/wiki/Trelawny_of_the_Wells" class="mw-redirect" title="Trelawny of the Wells">Trelawny of the Wells</a></i> (1898); <i><a href="/wiki/The_Gay_Lord_Quex_(play)" title="The Gay Lord Quex (play)">The Gay Lord Quex (play)</a></i> (1900); <i>Iris</i> (1902); <i>Letty</i> (1904); <i>A Wife without a Smile</i> (1904); <i>His House in Order</i> (1906); <i>Mid-Channel</i> (1910); <i>Preserving Mr. Panmure</i> (1912); <i><a href="/wiki/The_%22Mind_the_Paint%22_Girl" title="The "Mind the Paint" Girl">The "Mind the Paint" Girl</a></i> (1912); and <i>The Enchanted Cottage</i> (1923).<sup id="cite_ref-list_24-13" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:Schoolmistress_-_Weir_Collection.jpg" class="mw-file-description"><img alt="theatre poster depicting a melange of characters" src="//upload.wikimedia.org/wikipedia/commons/thumb/4/46/Schoolmistress_-_Weir_Collection.jpg/220px-Schoolmistress_-_Weir_Collection.jpg" decoding="async" width="220" height="272" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/46/Schoolmistress_-_Weir_Collection.jpg/330px-Schoolmistress_-_Weir_Collection.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/46/Schoolmistress_-_Weir_Collection.jpg/440px-Schoolmistress_-_Weir_Collection.jpg 2x" data-file-width="2500" data-file-height="3088" /></a><figcaption>Poster for provincial production of <i>The Schoolmistress</i></figcaption></figure> <div class="mw-heading mw-heading3"><h3 id="Revivals">Revivals</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=11" title="Edit section: Revivals"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Among the notable British revivals of Pinero plays singled out in John Dawick's 1993 study of the dramatist were: </p> <ul><li><i>The Magistrate</i>: <a href="/wiki/Old_Vic" class="mw-redirect" title="Old Vic">Old Vic</a>, 1959; <a href="/wiki/Chichester_Festival" class="mw-redirect" title="Chichester Festival">Chichester Festival</a> and then <a href="/wiki/Cambridge_Theatre" title="Cambridge Theatre">Cambridge Theatre</a>, London, 1969; <a href="/wiki/Royal_National_Theatre" title="Royal National Theatre">National Theatre</a>, 1986</li> <li><i><a href="/wiki/The_Schoolmistress_(play)" title="The Schoolmistress (play)">The Schoolmistress</a></i>: <a href="/wiki/Royal_Exchange_Theatre" class="mw-redirect" title="Royal Exchange Theatre">Royal Exchange Theatre</a>, Manchester, 1979</li> <li><i>Dandy Dick</i>: <a href="/wiki/Mermaid_Theatre" title="Mermaid Theatre">Mermaid Theatre</a>, London, 1965; Chichester and then the Garrick, London, 1973</li> <li><i><a href="/wiki/Sweet_Lavender" title="Sweet Lavender">Sweet Lavender</a></i>: <a href="/wiki/Ambassadors_Theatre_(London)" title="Ambassadors Theatre (London)">Ambassadors Theatre</a>, London, 1922</li> <li><i><a href="/wiki/The_Cabinet_Minister" title="The Cabinet Minister">The Cabinet Minister</a></i>: Royal Exchange, 1987; <a href="/wiki/No%C3%ABl_Coward_Theatre" title="Noël Coward Theatre">Albery Theatre</a>, London, 1991</li> <li><i><a href="/wiki/The_Second_Mrs_Tanqueray" title="The Second Mrs Tanqueray">The Second Mrs Tanqueray</a></i>: <a href="/wiki/Playhouse_Theatre" title="Playhouse Theatre">Playhouse Theatre</a>, London, 1922; Haymarket 1950; National Theatre, 1981</li> <li><i><a href="/wiki/Trelawny_of_the_%27Wells%27" class="mw-redirect" title="Trelawny of the 'Wells'">Trelawny of the 'Wells'</a></i>: Old Vic, 1965; <a href="/wiki/Harold_Pinter_Theatre" title="Harold Pinter Theatre">Comedy Theatre</a>, London, 1992; National Theatre, 1993</li> <li><i><a href="/wiki/The_Gay_Lord_Quex_(play)" title="The Gay Lord Quex (play)">The Gay Lord Quex (play)</a></i>: Albery, 1975</li></ul> <dl><dd><dl><dd>Source: Dawick.<sup id="cite_ref-list_24-14" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup></dd></dl></dd></dl> <p>In 2012 <i>The Times</i> remarked on a revival in interest in Pinero, with new productions of <i><a href="/wiki/The_Second_Mrs_Tanqueray" title="The Second Mrs Tanqueray">The Second Mrs Tanqueray</a></i> at the <a href="/wiki/Rose_Theatre,_Kingston" class="mw-redirect" title="Rose Theatre, Kingston">Rose Theatre</a>, <i>The Magistrate</i> at the National Theatre, starring <a href="/wiki/John_Lithgow" title="John Lithgow">John Lithgow</a> in the title role, <i>Trelawney of the "Wells"</i> at the <a href="/wiki/Donmar_Warehouse" title="Donmar Warehouse">Donmar</a>, and <i>Dandy Dick</i>, with <a href="/wiki/Patricia_Hodge" title="Patricia Hodge">Patricia Hodge</a> and <a href="/wiki/Nicholas_Le_Prevost" title="Nicholas Le Prevost">Nicholas Le Prevost</a>. The paper commented, "Like <a href="/wiki/Terence_Rattigan" title="Terence Rattigan">Terence Rattigan</a> in recent years, Pinero is being dusted down, reappraised and hailed as one of the great British playwrights".<sup id="cite_ref-65" class="reference"><a href="#cite_note-65"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Adaptations">Adaptations</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=12" title="Edit section: Adaptations"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading4"><h4 id="Musicals">Musicals</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=13" title="Edit section: Musicals"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Four of Pinero's plays have been adapted as musicals: <i>The Magistrate</i> as <i><a href="/wiki/The_Boy_(musical)" title="The Boy (musical)">The Boy</a></i> (1917) with words by <a href="/wiki/Fred_Thompson_(writer)" title="Fred Thompson (writer)">Fred Thompson</a>, <a href="/wiki/Percy_Greenbank" title="Percy Greenbank">Percy Greenbank</a> and <a href="/wiki/Adrian_Ross" title="Adrian Ross">Adrian Ross</a> and music by <a href="/wiki/Lionel_Monckton" title="Lionel Monckton">Lionel Monckton</a> and <a href="/wiki/Howard_Talbot" title="Howard Talbot">Howard Talbot</a>; <i>In Chancery</i> as <i>Who's Hooper?</i> (1919) with lyrics by Thompson and music by Talbot and <a href="/wiki/Ivor_Novello" title="Ivor Novello">Ivor Novello</a>;<sup id="cite_ref-list_24-15" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> <i>The Schoolmistress</i> as <i>My Niece</i> (1921) with words by Greenbank and music by Talbot;<sup id="cite_ref-66" class="reference"><a href="#cite_note-66"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup> and <i>Trelawny of the "Wells"</i> as <i>Trelawny</i> (1972), adapted by <a href="/wiki/Aubrey_Woods" title="Aubrey Woods">Aubrey Woods</a>, <a href="/wiki/George_Rowell_(historian)" title="George Rowell (historian)">George Rowell</a> and <a href="/wiki/Julian_Slade" title="Julian Slade">Julian Slade</a>.<sup id="cite_ref-list_24-16" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Cinema">Cinema</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=14" title="Edit section: Cinema"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>The first of Pinero's works to be filmed was <i>The Second Mrs Tanqueray</i>, in an unauthorised American silent version in 1914, which prompted a successful but not very lucrative lawsuit by the author.<sup id="cite_ref-67" class="reference"><a href="#cite_note-67"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> With his approval, eight of his plays were adapted for the silent cinema, an authorised version of <i><a href="/wiki/The_Second_Mrs_Tanqueray_(1916_film)" title="The Second Mrs Tanqueray (1916 film)">The Second Mrs Tanqueray</a></i> (1916) with George Alexander in his first film role, reprising the part he created in 1893; <i><a href="/wiki/Trelawny_of_the_Wells_(film)" title="Trelawny of the Wells (film)">Trelawny of the "Wells"</a></i> (1916); <i>Sweet Lavender</i> (twice: in <a href="/wiki/Sweet_Lavender_(film)" class="mw-redirect" title="Sweet Lavender (film)">1915</a> and <a href="/wiki/Sweet_Lavender_(1920_film)" title="Sweet Lavender (1920 film)">1920</a>); <i>Iris</i> (twice: <a href="/wiki/Iris_(1916_film)" title="Iris (1916 film)">1916</a> and as <i><a href="/wiki/A_Slave_of_Vanity" title="A Slave of Vanity">A Slave of Vanity</a></i>, 1920); <i>The Profligate</i> (1917); <i>The Gay Lord Quex</i> (twice: <a href="/wiki/The_Gay_Lord_Quex_(1917_film)" title="The Gay Lord Quex (1917 film)">1917</a> and <a href="/wiki/The_Gay_Lord_Quex_(1919_film)" title="The Gay Lord Quex (1919 film)">1919</a>); <i><a href="/wiki/Mid-Channel" title="Mid-Channel">Mid-Channel</a></i> (1920); <i><a href="/wiki/His_House_in_Order_(1920_film)" title="His House in Order (1920 film)">His House in Order</a></i> (1920) and <i><a href="/wiki/The_Enchanted_Cottage_(1924_film)" title="The Enchanted Cottage (1924 film)">The Enchanted Cottage</a> (1924).<sup id="cite_ref-list_24-17" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup></i> </p><p>After the days of silent films there were adaptions of <i><a href="/wiki/His_House_in_Order_(1928_film)" title="His House in Order (1928 film)">His House in Order</a></i> (1928) <i>Trelawny of the "Wells"</i> (as <i><a href="/wiki/The_Actress_(1928_film)" title="The Actress (1928 film)">The Actress</a></i>, 1928), <i>The Magistrate</i> (as <i><a href="/wiki/Those_Were_the_Days_(1934_film)" title="Those Were the Days (1934 film)">Those Were the Days</a></i>, 1934), <i><a href="/wiki/Dandy_Dick_(film)" title="Dandy Dick (film)">Dandy Dick</a></i> (1935), <i><a href="/wiki/The_Enchanted_Cottage_(1945_film)" title="The Enchanted Cottage (1945 film)">The Enchanted Cottage</a></i> (1945), and <i><a href="/wiki/The_Second_Mrs_Tanqueray_(1952_film)" title="The Second Mrs Tanqueray (1952 film)">The Second Mrs Tanqueray</a></i> (1952).<sup id="cite_ref-list_24-18" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Television">Television</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=15" title="Edit section: Television"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>There have been many adaptations of Pinero's works for broadcasting. Television versions include <i>The Gay Lord Quex</i> (1946, 1953 and 1983, starring respectively <a href="/wiki/Ronald_Ward_(actor)" title="Ronald Ward (actor)">Ronald Ward</a>, <a href="/wiki/Andr%C3%A9_Morell" title="André Morell">André Morell</a> and <a href="/wiki/Anton_Rogers" class="mw-redirect" title="Anton Rogers">Anton Rogers</a>); <i>The Magistrate</i> (1946, 1951 and 1972, <a href="/wiki/Desmond_Walter-Ellis" title="Desmond Walter-Ellis">Desmond Walter-Ellis</a>, <a href="/wiki/Richard_Goolden" title="Richard Goolden">Richard Goolden</a> and <a href="/wiki/Michael_Hordern" title="Michael Hordern">Michael Hordern</a>); <i>Trelawny of the "Wells"</i> (1949, 1971 and 1985, <a href="/wiki/Bransby_Williams" title="Bransby Williams">Bransby Williams</a>, <a href="/wiki/Roland_Culver" title="Roland Culver">Roland Culver</a>, Michael Hordern); <i>Dandy Dick</i> (1948, directed by <a href="/wiki/Athene_Seyler" title="Athene Seyler">Athene Seyler</a>) and <i>The Second Mrs Tanqueray</i> starring <a href="/wiki/Elizabeth_Sellars" title="Elizabeth Sellars">Elizabeth Sellars</a> (1962).<sup id="cite_ref-68" class="reference"><a href="#cite_note-68"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Reputation">Reputation</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=16" title="Edit section: Reputation"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In 1906, <i>The Times</i> commented: </p> <dl><dd>When Mr. Pinero is at his best we reckon ourselves as close upon the high water mark of theatrical enjoyment. … This or that playwright may show more "heart" than Mr. Pinero or a more delicate subtlety, a third may easily outclass him in intellectual gymnastic, but in his command of the resources of the stage for the legitimate purposes of the stage he is without a rival. As it was said of Euripides that he was τραγικώτατος, the most tragic of the tragic writers, as it might be said of Molière that he was the most comic of comic writers, so it may be said of Mr. Pinero that of all our dramatists to-day he is the most "dramatic". The art of drama is, quintessentially, the art of story-telling, as the sculptors say, "in the round". Mr. Pinero is supreme as a story-teller of that sort. We are always keenly interested in what his people are doing at the moment; we always have the liveliest curiosity about what they are going to do a moment later.<sup id="cite_ref-69" class="reference"><a href="#cite_note-69"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup></dd></dl> <p>By the time of Pinero's death in 1934 the paper had become less enthusiastic. Both <i>The Times</i> and <i><a href="/wiki/The_Daily_Telegraph" title="The Daily Telegraph">The Daily Telegraph</a></i> published polite obituaries that respectfully relegated his works to a bygone era.<sup id="cite_ref-70" class="reference"><a href="#cite_note-70"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup> For twenty years after his death Pinero's reputation remained in what Dawick calls "a state of near-eclipse". From the 1950s onwards interest in his Court farces grew. In a 1972 study of the playwright, Walter Lazenby wrote, "Pinero cannot be outranked as a farceur by any other English writer; not even Shakespeare consistently expended on this form the care and art which went into the Court Theatre farces or achieved such thoroughly satisfying results".<sup id="cite_ref-71" class="reference"><a href="#cite_note-71"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup> Reviewing the book, the academic Robert Ronning agreed that the farces were Pinero's most enduring works: </p> <dl><dd>The fact that students will continue to read <i>The Second Mrs Tanqueray</i> instead of <i>The Magistrate</i> does not mean much except for what they learn about craftsmanship, and this could be learned equally well from the farces. ... While we have seen considerable interest in the field of nineteenth century drama in recent years, one doubts if Pinero's social and problem plays will ever catch on.<sup id="cite_ref-72" class="reference"><a href="#cite_note-72"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup></dd></dl> <p>In 2012 the director <a href="/wiki/Stephen_Unwin_(director)" class="mw-redirect" title="Stephen Unwin (director)">Stephen Unwin</a> wrote: </p> <dl><dd>One of the most heartening developments in recent years has been the critical rehabilitation of the oft-scorned giants of the commercial theatre. Thus Coward has been revealed as an English Chekhov and Rattigan as the supreme explorer of the hidden heart. But neither would have been possible without Pinero, whose surprisingly moving, amazingly theatrical and deeply humane plays still have the power to astonish and delight 100 years after they first created such a stir.<sup id="cite_ref-73" class="reference"><a href="#cite_note-73"><span class="cite-bracket">[</span>62<span class="cite-bracket">]</span></a></sup></dd></dl> <div class="mw-heading mw-heading2"><h2 id="Notes,_references,_and_sources"><span id="Notes.2C_references.2C_and_sources"></span>Notes, references, and sources</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=17" title="Edit section: Notes, references, and sources"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Notes">Notes</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=18" title="Edit section: Notes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">Pinero made a single later appearance as an actor, in the role of Dolly Spanker in a special performance of <i><a href="/wiki/London_Assurance" title="London Assurance">London Assurance</a></i> to mark the retirement of the Bancrofts from management at the Haymarket in July 1885. Other stars appearing in that programme included <a href="/wiki/Arthur_Cecil" title="Arthur Cecil">Arthur Cecil</a>, <a href="/wiki/Johnston_Forbes-Robertson" title="Johnston Forbes-Robertson">Johnston Forbes-Robertson</a>, <a href="/wiki/John_Hare_(actor)" title="John Hare (actor)">John Hare</a>, <a href="/wiki/Henry_Irving" title="Henry Irving">Henry Irving</a>, <a href="/wiki/David_James_(actor,_born_1839)" title="David James (actor, born 1839)">David James</a>, <a href="/wiki/Madge_Kendal" title="Madge Kendal">Madge Kendal</a>, <a href="/wiki/W._H._Kendal" class="mw-redirect" title="W. H. Kendal">W. H. Kendal</a>, <a href="/wiki/Lillie_Langtry" title="Lillie Langtry">Lillie Langtry</a>, <a href="/wiki/William_Terriss" title="William Terriss">William Terriss</a>, <a href="/wiki/Ellen_Terry" title="Ellen Terry">Ellen Terry</a>, <a href="/wiki/J._L._Toole" class="mw-redirect" title="J. L. Toole">J. L. Toole</a>, <a href="/wiki/Mrs._John_Wood" title="Mrs. John Wood">Mrs John Wood</a> and <a href="/wiki/Charles_Wyndham_(actor)" title="Charles Wyndham (actor)">Charles Wyndham</a>, as well as the Bancrofts themselves.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup></span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">The former was adapted from <a href="/wiki/Georges_Ohnet" title="Georges Ohnet">Georges Ohnet</a>'s <i>Le Maître de forges</i>, and the latter from <a href="/wiki/Victorien_Sardou" title="Victorien Sardou">Victorien Sardou</a>'s <i>Maison neuve</i>.<sup id="cite_ref-who_4-4" class="reference"><a href="#cite_note-who-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup></span> </li> <li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text">Ibsen's <i><a href="/wiki/Ghosts_(play)" title="Ghosts (play)">Ghosts</a></i>, <i><a href="/wiki/Rosmersholm" title="Rosmersholm">Rosmersholm</a></i>, <i><a href="/wiki/The_Lady_from_the_Sea" title="The Lady from the Sea">The Lady from the Sea</a></i> and <i><a href="/wiki/Hedda_Gabler" title="Hedda Gabler">Hedda Gabler</a></i> were all given in London for the first time during 1891 and 1892, mostly at special matinées.<sup id="cite_ref-d169_28-0" class="reference"><a href="#cite_note-d169-28"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup></span> </li> <li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text">According to the Measuring Worth website this equates to £4,300,000 in 2017 values in terms of average earnings.<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup></span> </li> <li id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text">Sullivan already knew both men, having previously written a song for Pinero's <i>The Profligate</i> and incidental music for Carr's medieval drama <i>King Arthur</i> (1895).<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup></span> </li> <li id="cite_note-51"><span class="mw-cite-backlink"><b><a href="#cite_ref-51">^</a></b></span> <span class="reference-text">There have been London revivals in 1902 and 1908, with <a href="/wiki/John_Hare_(actor)" title="John Hare (actor)">Sir John Hare</a> in the title role; 1923, with <a href="/wiki/George_Grossmith_Jr." title="George Grossmith Jr.">George Grossmith Jr.</a>; 1943, with <a href="/wiki/Frith_Banbury" title="Frith Banbury">Frith Banbury</a>; and 1975, with <a href="/wiki/Daniel_Massey_(actor)" title="Daniel Massey (actor)">Daniel Massey</a>, in a production directed by <a href="/wiki/John_Gielgud" title="John Gielgud">Sir John Gielgud</a>.<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup></span> </li> <li id="cite_note-60"><span class="mw-cite-backlink"><b><a href="#cite_ref-60">^</a></b></span> <span class="reference-text">Alternative titles: <i>The Breadwinners</i>, <i>The Captain</i>.<sup id="cite_ref-list_24-7" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup></span> </li> <li id="cite_note-61"><span class="mw-cite-backlink"><b><a href="#cite_ref-61">^</a></b></span> <span class="reference-text"> Adapted from Georges Ohnet's play <i>Le Maître de forges</i>.<sup id="cite_ref-list_24-8" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup></span> </li> <li id="cite_note-62"><span class="mw-cite-backlink"><b><a href="#cite_ref-62">^</a></b></span> <span class="reference-text">Adapted from Sardou's play <i>Maison neuve</i>.<sup id="cite_ref-list_24-9" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup></span> </li> <li id="cite_note-63"><span class="mw-cite-backlink"><b><a href="#cite_ref-63">^</a></b></span> <span class="reference-text">Written with <a href="/wiki/J._Comyns_Carr" title="J. Comyns Carr">J. Comyns Carr</a>; music by <a href="/wiki/Arthur_Sullivan" title="Arthur Sullivan">Arthur Sullivan</a>.<sup id="cite_ref-list_24-10" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup></span> </li> <li id="cite_note-64"><span class="mw-cite-backlink"><b><a href="#cite_ref-64">^</a></b></span> <span class="reference-text">Wordless play with music by <a href="/wiki/Frederic_Cowen" class="mw-redirect" title="Frederic Cowen">Frederic Cowen</a>.<sup id="cite_ref-list_24-11" class="reference"><a href="#cite_note-list-24"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup></span> </li> </ol></div></div> <div class="mw-heading mw-heading3"><h3 id="References">References</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=19" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239543626"><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Dawick, pp. 6–12</span> </li> <li id="cite_note-dnb-2"><span class="mw-cite-backlink">^ <a href="#cite_ref-dnb_2-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-dnb_2-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-dnb_2-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-dnb_2-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-dnb_2-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-dnb_2-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-dnb_2-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-dnb_2-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-dnb_2-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-dnb_2-9"><sup><i><b>j</b></i></sup></a> <a href="#cite_ref-dnb_2-10"><sup><i><b>k</b></i></sup></a> <a href="#cite_ref-dnb_2-11"><sup><i><b>l</b></i></sup></a> <a href="#cite_ref-dnb_2-12"><sup><i><b>m</b></i></sup></a></span> <span class="reference-text">Wearing, J. P. (2004) <a rel="nofollow" class="external text" href="http://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-35530">"Pinero, Sir Arthur Wing (1855–1934), playwright"</a>, <i>Oxford Dictionary of National Biography</i>, Oxford University Press. Retrieved 15 November 2019 <span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription or <a rel="nofollow" class="external text" href="https://www.oxforddnb.com/help/subscribe#public">UK public library membership</a> required)</span></span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Dawick, p. 12</span> </li> <li id="cite_note-who-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-who_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-who_4-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-who_4-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-who_4-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-who_4-4"><sup><i><b>e</b></i></sup></a></span> <span class="reference-text">Barker, pp. 741–743</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">"Sir Arthur W. Pinero", <i>The Playgoer and Society Illustrated</i>, February 1911, p. 191</span> </li> <li id="cite_note-d29-6"><span class="mw-cite-backlink">^ <a href="#cite_ref-d29_6-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-d29_6-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Dawick, p. 29</span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">"Provincial Theatricals", <i>The Era</i>, 7 March 1875, p. 4; and 14 March 1875, p. 5</span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">"Miss Gwilt", <i>The Era</i>, 12 December 1875, p. 4</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Dawick, p.</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Dawick, pp. 57–58</span> </li> <li id="cite_note-hdnb-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-hdnb_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-hdnb_11-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Wearing, J. P. <a rel="nofollow" class="external text" href="http://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-33711">"Hare, Sir John (real name John Joseph Fairs) (1844–1921), actor and theatre manager"</a>, <i>Oxford Dictionary of National Biography</i>, Oxford University Press. Retrieved 10 February 2019 <span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription or <a rel="nofollow" class="external text" href="https://www.oxforddnb.com/help/subscribe#public">UK public library membership</a> required)</span></span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Duncan, pp. 193–195</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">"Last Night's Theatricals", <i>Reynolds's Newspaper</i>, 4 May 1884, p. 8; and "Our London Correspondence", <i>The Liverpool Mercury</i>, 5 May 1884, p. 5</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">"Theatres", <i>The Graphic</i>, 10 May 1884, p. 455; and "The London Theatres", <i>The Era</i>, 10 May 1884, p. 6</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">"The Bancroft Farewell", <i>The Era</i>, 25 July 1885, p. 9</span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text">Parker, p. 742</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">Dawick, pp. 129–130</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text">"Court Theatre", <i>The Standard</i>, 22 March 1886, p. 3</span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text">"The Magistrate", <i>The Theatre</i>, May 1892, p. 257</span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text">"The Drama in America", <i>The Era</i>, 24 October 1885, p. 14; and Dawick, p. 130</span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text">Holt, Edgar. "A Dramatist's Jubilee – Arthur Pinero", <i>The Fortnightly Review</i>, March 1928, pp. 323–331</span> </li> <li id="cite_note-list-24"><span class="mw-cite-backlink">^ <a href="#cite_ref-list_24-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-list_24-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-list_24-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-list_24-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-list_24-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-list_24-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-list_24-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-list_24-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-list_24-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-list_24-9"><sup><i><b>j</b></i></sup></a> <a href="#cite_ref-list_24-10"><sup><i><b>k</b></i></sup></a> <a href="#cite_ref-list_24-11"><sup><i><b>l</b></i></sup></a> <a href="#cite_ref-list_24-12"><sup><i><b>m</b></i></sup></a> <a href="#cite_ref-list_24-13"><sup><i><b>n</b></i></sup></a> <a href="#cite_ref-list_24-14"><sup><i><b>o</b></i></sup></a> <a href="#cite_ref-list_24-15"><sup><i><b>p</b></i></sup></a> <a href="#cite_ref-list_24-16"><sup><i><b>q</b></i></sup></a> <a href="#cite_ref-list_24-17"><sup><i><b>r</b></i></sup></a> <a href="#cite_ref-list_24-18"><sup><i><b>s</b></i></sup></a></span> <span class="reference-text">Dawick, pp. 404–409</span> </li> <li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text">"Terry's Theatre", <i>The Morning Post</i>, 27 January 1890, p. 2</span> </li> <li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text">"Terry's", <i>The Era</i>, 24 March 1888, p. 14</span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text">Dawick, p. 159</span> </li> <li id="cite_note-d169-28"><span class="mw-cite-backlink">^ <a href="#cite_ref-d169_28-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-d169_28-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text">Dawick, pp. 169 and 173–175</span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text">Dawick, p. 181</span> </li> <li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text">Pearson, p. 74</span> </li> <li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://www.measuringworth.com/calculators/ukcompare/result.php?year_source=1893&amount=10000&year_result=2017">"Five Ways to Compute the Relative Value of a U.K. Pound Amount, 1270 to Present"</a>, Measuring Worth. Retrieved 17 February 2019</span> </li> <li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text">Dawick, p. 200</span> </li> <li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text">Spencer, Charles. <a rel="nofollow" class="external text" href="https://www.telegraph.co.uk/culture/theatre/theatre-reviews/9895675/Trelawny-of-the-Wells-Donmar-Warehouse-review.html">"Trelawny of the Wells"</a>, <i>The Telegraph</i>, 22 February 2013</span> </li> <li id="cite_note-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-36">^</a></b></span> <span class="reference-text">Durbach, Errol. <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/320589">"Remembering Tom Robertson (1829–1871)"</a>, <i>Educational Theatre Journal</i>, October 1972, pp. 284–288 <span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription required)</span></span> </li> <li id="cite_note-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-37">^</a></b></span> <span class="reference-text">Dawick, p. 240</span> </li> <li id="cite_note-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-38">^</a></b></span> <span class="reference-text">Parry (2013), p. 20</span> </li> <li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text">Dawick, p. 158; and Esposito, Anthony (2004). <a rel="nofollow" class="external text" href="http://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-46761">"Carr, Joseph William Comyns (1849–1916), author, gallery director, and theatre manager"</a>. <i>Oxford Dictionary of National Biography</i>, Oxford University Press. Retrieved 16 February 2019 <span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription or <a rel="nofollow" class="external text" href="https://www.oxforddnb.com/help/subscribe#public">UK public library membership</a> required)</span></span> </li> <li id="cite_note-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-41">^</a></b></span> <span class="reference-text">Sullivan, p. 245</span> </li> <li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text">Sullivan, p, 246</span> </li> <li id="cite_note-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-43">^</a></b></span> <span class="reference-text">Parry (2009), p. 31</span> </li> <li id="cite_note-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-44">^</a></b></span> <span class="reference-text">Parry 2013, p. 24</span> </li> <li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text">Beerbohm, Max.<a rel="nofollow" class="external text" href="https://www.gsarchive.net/sullivan/beauty_stone/reviews/sat_rev.html">"The Beauty Stone"</a>, <i>The Saturday Review</i>, 4 June 1898; <a rel="nofollow" class="external text" href="https://www.gsarchive.net/sullivan/beauty_stone/reviews/academy.html">"The Beauty Stone at the Savoy"</a>, <i>The Academy</i>, 4 June 1898; <a rel="nofollow" class="external text" href="https://www.gsarchive.net/sullivan/beauty_stone/reviews/observer.html">"The Beauty Stone" at the Savoy"</a> <i>The Observer</i>, 29 May 1898; and <a rel="nofollow" class="external text" href="https://www.gsarchive.net/sullivan/beauty_stone/reviews/lute.html">"The Beauty Stone"</a>, <i>The Lute</i>, 4 June 1898</span> </li> <li id="cite_note-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-46">^</a></b></span> <span class="reference-text">Parry (2013), p. 25</span> </li> <li id="cite_note-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-47">^</a></b></span> <span class="reference-text">Rollins and Witts, pp. 1 and 17</span> </li> <li id="cite_note-48"><span class="mw-cite-backlink"><b><a href="#cite_ref-48">^</a></b></span> <span class="reference-text">"The Gay Lord Quex", <i>The Times</i>, 4 April 1923, p.8</span> </li> <li id="cite_note-49"><span class="mw-cite-backlink"><b><a href="#cite_ref-49">^</a></b></span> <span class="reference-text">Parker, p. 1204</span> </li> <li id="cite_note-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-50">^</a></b></span> <span class="reference-text">"Duke of York's Theatre", <i>The Times</i>, 7 May 1902, p.10; "The Gay Lord Quex", <i>The Observer</i>, 3 May 3, 1908, p. 5; "The Gay Lord Quex", <i>The Manchester Guardian</i>, 4 April 1923, p. 8; "Our London Correspondence", <i>The Manchester Guardian</i>, 4 February 1943, p. 4; and Billington, Michael. "The Gay Lord Quex", <i>The Guardian</i>, 17 June 1975, p. 10</span> </li> <li id="cite_note-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-52">^</a></b></span> <span class="reference-text">"St. James's Theatre", <i>The Times</i>, 2 February 1906, p. 4</span> </li> <li id="cite_note-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-53">^</a></b></span> <span class="reference-text">Griffin, p. 14</span> </li> <li id="cite_note-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-54">^</a></b></span> <span class="reference-text">Dawick, pp. 303–307</span> </li> <li id="cite_note-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-55">^</a></b></span> <span class="reference-text">Pinero, Arthur. "Where Protest is Due", <i>The Times</i>, 11 May 1915, p. 9</span> </li> <li id="cite_note-56"><span class="mw-cite-backlink"><b><a href="#cite_ref-56">^</a></b></span> <span class="reference-text">Meyer, Carl. "Barbaric Warfare" <i>The Times</i>, 12 May 1915, p. 9; Schuster, Felix. "Barbaric Warfare", The Times, 13 May 1915, p. 9; Henschel, George. "Naturalized Citizens", <i>The Times</i>, 15 May, p. 10; Cassel, Ernest. "Sir E Cassel's Declaration", <i>The Times</i> 20 May 1915, p. 9</span> </li> <li id="cite_note-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-57">^</a></b></span> <span class="reference-text">Dawick, pp. 342–343</span> </li> <li id="cite_note-58"><span class="mw-cite-backlink"><b><a href="#cite_ref-58">^</a></b></span> <span class="reference-text">"Deaths", <i>The Times</i>, 26 November 1934, p. 1</span> </li> <li id="cite_note-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-59">^</a></b></span> <span class="reference-text">"Memorial Service: Sir Arthur Pinero", <i>The Times</i>, 30 November 1934, p. 21</span> </li> <li id="cite_note-65"><span class="mw-cite-backlink"><b><a href="#cite_ref-65">^</a></b></span> <span class="reference-text">Hoyle, Ben. "Forgotten master of comic melodrama is centre stage again a hundred years on", <i>The Times</i>, 25 September 2012, p. 11</span> </li> <li id="cite_note-66"><span class="mw-cite-backlink"><b><a href="#cite_ref-66">^</a></b></span> <span class="reference-text">"Plays of the Month", <i>The Play Pictorial</i>, August 1921, p. 63</span> </li> <li id="cite_note-67"><span class="mw-cite-backlink"><b><a href="#cite_ref-67">^</a></b></span> <span class="reference-text">Dawick, pp. 345–346</span> </li> <li id="cite_note-68"><span class="mw-cite-backlink"><b><a href="#cite_ref-68">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="https://genome.ch.bbc.co.uk/search/0/20?adv=1&media=tv&q=Pinero#search">"Pinero"</a>, BBC Genome. Retrieved 17 February 2019</span> </li> <li id="cite_note-69"><span class="mw-cite-backlink"><b><a href="#cite_ref-69">^</a></b></span> <span class="reference-text">"St James's Theatre, <i>The Times</i>, 2 February 1906, p. 4</span> </li> <li id="cite_note-70"><span class="mw-cite-backlink"><b><a href="#cite_ref-70">^</a></b></span> <span class="reference-text">Dawick, p. 374</span> </li> <li id="cite_note-71"><span class="mw-cite-backlink"><b><a href="#cite_ref-71">^</a></b></span> <span class="reference-text">Lazenby, p. 155</span> </li> <li id="cite_note-72"><span class="mw-cite-backlink"><b><a href="#cite_ref-72">^</a></b></span> <span class="reference-text">Ronning, Robert. <a rel="nofollow" class="external text" href="https://www.jstor.org/stable/3206101">"Arthur Wing Pinero by Walter Lazenby</a>, <i>Educational Theatre Journal</i>, October 1974, pp. 415–416 <span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription required)</span></span> </li> <li id="cite_note-73"><span class="mw-cite-backlink"><b><a href="#cite_ref-73">^</a></b></span> <span class="reference-text">Unwin, Stephen. <a rel="nofollow" class="external text" href="https://infoweb.newsbank.com/apps/news/document-view?p=AWNB&docref=news/1416320009D03CD0">"Pinero: forgotten funnyman of the Victorian theatre</a>", <i>The Independent</i> 18 September 2012 <span style="font-size:0.95em; font-size:95%; color: var( --color-subtle, #555 )">(subscription required)</span></span> </li> </ol></div></div> <div class="mw-heading mw-heading3"><h3 id="Sources">Sources</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=20" title="Edit section: Sources"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFDawick1993" class="citation book cs1">Dawick, John (1993). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/pinerotheatrical00dawi_0"><i>Pinero: A Theatrical Life</i></a></span>. Niwot: University of Colorado Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-87081-302-3" title="Special:BookSources/978-0-87081-302-3"><bdi>978-0-87081-302-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Pinero%3A+A+Theatrical+Life&rft.place=Niwot&rft.pub=University+of+Colorado+Press&rft.date=1993&rft.isbn=978-0-87081-302-3&rft.aulast=Dawick&rft.aufirst=John&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fpinerotheatrical00dawi_0&rfr_id=info%3Asid%2Fen.wikipedia.org%3AArthur+Wing+Pinero" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFDuncan1964" class="citation book cs1">Duncan, Barry (1964). <i>St James's Theatre, Its Strange and Complete History, 1835–1857</i>. London: Barrie and Rockliff. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/979694996">979694996</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=St+James%27s+Theatre%2C+Its+Strange+and+Complete+History%2C+1835%E2%80%931857&rft.place=London&rft.pub=Barrie+and+Rockliff&rft.date=1964&rft_id=info%3Aoclcnum%2F979694996&rft.aulast=Duncan&rft.aufirst=Barry&rfr_id=info%3Asid%2Fen.wikipedia.org%3AArthur+Wing+Pinero" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGriffin1991" class="citation book cs1">Griffin, Penny (1991). <i>Arthur Wing Pinero and Henry Arthur Jones</i>. Basingstoke: Macmillan. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/551340352">551340352</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Arthur+Wing+Pinero+and+Henry+Arthur+Jones&rft.place=Basingstoke&rft.pub=Macmillan&rft.date=1991&rft_id=info%3Aoclcnum%2F551340352&rft.aulast=Griffin&rft.aufirst=Penny&rfr_id=info%3Asid%2Fen.wikipedia.org%3AArthur+Wing+Pinero" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLazenby1972" class="citation book cs1">Lazenby, Walter (1972). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/arthurwingpinero00laze"><i>Arthur Wing Pinero</i></a></span>. New York: Twayne. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/1014871178">1014871178</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Arthur+Wing+Pinero&rft.place=New+York&rft.pub=Twayne&rft.date=1972&rft_id=info%3Aoclcnum%2F1014871178&rft.aulast=Lazenby&rft.aufirst=Walter&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Farthurwingpinero00laze&rfr_id=info%3Asid%2Fen.wikipedia.org%3AArthur+Wing+Pinero" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFParker1925" class="citation book cs1">Parker, John, ed. (1925). <i>Who's Who in the Theatre</i> (fifth ed.). London: Sir Isaac Pitman and Sons. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/10013159">10013159</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Who%27s+Who+in+the+Theatre&rft.place=London&rft.edition=fifth&rft.pub=Sir+Isaac+Pitman+and+Sons&rft.date=1925&rft_id=info%3Aoclcnum%2F10013159&rfr_id=info%3Asid%2Fen.wikipedia.org%3AArthur+Wing+Pinero" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFParry2009" class="citation book cs1">Parry, William (2009). "Identity crisis and the search for English opera: the Savoy Theatre in the 1890s". In David Eden; Meinhard Saremba (eds.). <i>The Cambridge Companion to Gilbert and Sullivan</i>. Cambridge: Cambridge University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-521-88849-3" title="Special:BookSources/978-0-521-88849-3"><bdi>978-0-521-88849-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Identity+crisis+and+the+search+for+English+opera%3A+the+Savoy+Theatre+in+the+1890s&rft.btitle=The+Cambridge+Companion+to+Gilbert+and+Sullivan&rft.place=Cambridge&rft.pub=Cambridge+University+Press&rft.date=2009&rft.isbn=978-0-521-88849-3&rft.aulast=Parry&rft.aufirst=William&rfr_id=info%3Asid%2Fen.wikipedia.org%3AArthur+Wing+Pinero" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFParry2013" class="citation book cs1">Parry, William (2013). <i>The Beauty Stone</i>. Colchester: Chandos Records. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/887469787">887469787</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Beauty+Stone&rft.place=Colchester&rft.pub=Chandos+Records&rft.date=2013&rft_id=info%3Aoclcnum%2F887469787&rft.aulast=Parry&rft.aufirst=William&rfr_id=info%3Asid%2Fen.wikipedia.org%3AArthur+Wing+Pinero" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPearson1922" class="citation book cs1"><a href="/wiki/Hesketh_Pearson" title="Hesketh Pearson">Pearson, Hesketh</a> (1922). <a rel="nofollow" class="external text" href="https://archive.org/details/modernmenmummers00peariala/page/74"><i>Modern Men and Mummers</i></a>. New York: Harcourt, Brace. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/474214741">474214741</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Modern+Men+and+Mummers&rft.place=New+York&rft.pub=Harcourt%2C+Brace&rft.date=1922&rft_id=info%3Aoclcnum%2F474214741&rft.aulast=Pearson&rft.aufirst=Hesketh&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fmodernmenmummers00peariala%2Fpage%2F74&rfr_id=info%3Asid%2Fen.wikipedia.org%3AArthur+Wing+Pinero" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFRollinsR._John_Witts1962" class="citation book cs1">Rollins, Cyril; R. John Witts (1962). <i>The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961</i>. London: Michael Joseph. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/504581419">504581419</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+D%27Oyly+Carte+Opera+Company+in+Gilbert+and+Sullivan+Operas%3A+A+Record+of+Productions%2C+1875%E2%80%931961&rft.place=London&rft.pub=Michael+Joseph&rft.date=1962&rft_id=info%3Aoclcnum%2F504581419&rft.aulast=Rollins&rft.aufirst=Cyril&rft.au=R.+John+Witts&rfr_id=info%3Asid%2Fen.wikipedia.org%3AArthur+Wing+Pinero" class="Z3988"></span></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSullivan1950" class="citation book cs1">Sullivan, Arthur (1950). Herbert Sullivan; Newman Flower (eds.). <i>Sir Arthur Sullivan: His Life, Letters and Diaries</i> (second ed.). London: Cassell. <a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/1269235">1269235</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Sir+Arthur+Sullivan%3A+His+Life%2C+Letters+and+Diaries&rft.place=London&rft.edition=second&rft.pub=Cassell&rft.date=1950&rft_id=info%3Aoclcnum%2F1269235&rft.aulast=Sullivan&rft.aufirst=Arthur&rfr_id=info%3Asid%2Fen.wikipedia.org%3AArthur+Wing+Pinero" class="Z3988"></span></li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Arthur_Wing_Pinero&action=edit&section=21" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style 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plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409"> <div class="side-box-flex"> <div class="side-box-image"><span class="noviewer" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/30px-Commons-logo.svg.png" decoding="async" width="30" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/45px-Commons-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/59px-Commons-logo.svg.png 2x" data-file-width="1024" data-file-height="1376" /></span></span></div> <div class="side-box-text plainlist">Wikimedia Commons has media related to <span style="font-weight: bold; font-style: italic;"><a href="https://commons.wikimedia.org/wiki/Category:Arthur_Wing_Pinero" class="extiw" title="commons:Category:Arthur Wing Pinero">Arthur Wing Pinero</a></span>.</div></div> </div> <ul><li><a rel="nofollow" class="external text" href="https://standardebooks.org/ebooks/arthur-w-pinero">Works by Arthur Wing Pinero in eBook form</a> at <a href="/wiki/Standard_Ebooks" title="Standard Ebooks">Standard Ebooks</a></li> <li><a rel="nofollow" class="external text" href="https://www.gutenberg.org/ebooks/author/6013">Works by Arthur Wing Pinero</a> at <a href="/wiki/Project_Gutenberg" title="Project Gutenberg">Project Gutenberg</a></li> <li><a rel="nofollow" class="external text" href="https://archive.org/search.php?query=%28%28subject%3A%22Pinero%2C%20Arthur%20Wing%22%20OR%20subject%3A%22Pinero%2C%20Arthur%20W%2E%22%20OR%20subject%3A%22Pinero%2C%20A%2E%20W%2E%22%20OR%20subject%3A%22Arthur%20Wing%20Pinero%22%20OR%20subject%3A%22Arthur%20W%2E%20Pinero%22%20OR%20subject%3A%22A%2E%20W%2E%20Pinero%22%20OR%20subject%3A%22Pinero%2C%20Arthur%22%20OR%20subject%3A%22Arthur%20Pinero%22%20OR%20creator%3A%22Arthur%20Wing%20Pinero%22%20OR%20creator%3A%22Arthur%20W%2E%20Pinero%22%20OR%20creator%3A%22A%2E%20W%2E%20Pinero%22%20OR%20creator%3A%22A%2E%20Wing%20Pinero%22%20OR%20creator%3A%22Pinero%2C%20Arthur%20Wing%22%20OR%20creator%3A%22Pinero%2C%20Arthur%20W%2E%22%20OR%20creator%3A%22Pinero%2C%20A%2E%20W%2E%22%20OR%20creator%3A%22Pinero%2C%20A%2E%20Wing%22%20OR%20creator%3A%22Arthur%20Pinero%22%20OR%20creator%3A%22Pinero%2C%20Arthur%22%20OR%20title%3A%22Arthur%20Wing%20Pinero%22%20OR%20title%3A%22Arthur%20W%2E%20Pinero%22%20OR%20title%3A%22A%2E%20W%2E%20Pinero%22%20OR%20title%3A%22Arthur%20Pinero%22%20OR%20description%3A%22Arthur%20Wing%20Pinero%22%20OR%20description%3A%22Arthur%20W%2E%20Pinero%22%20OR%20description%3A%22A%2E%20W%2E%20Pinero%22%20OR%20description%3A%22Pinero%2C%20Arthur%20Wing%22%20OR%20description%3A%22Pinero%2C%20Arthur%20W%2E%22%20OR%20description%3A%22Arthur%20Pinero%22%20OR%20description%3A%22Pinero%2C%20Arthur%22%29%20OR%20%28%221855-1934%22%20AND%20Pinero%29%29%20AND%20%28-mediatype:software%29">Works by or about Arthur Wing Pinero</a> at the <a href="/wiki/Internet_Archive" title="Internet Archive">Internet Archive</a></li> <li><a rel="nofollow" class="external text" href="https://librivox.org/author/2379">Works by Arthur Wing Pinero</a> at <a href="/wiki/LibriVox" title="LibriVox">LibriVox</a> (public domain audiobooks) <span typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/15px-Speaker_Icon.svg.png" decoding="async" width="15" height="15" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/23px-Speaker_Icon.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/30px-Speaker_Icon.svg.png 2x" data-file-width="500" data-file-height="500" /></span></span></li> <li><a rel="nofollow" class="external text" href="https://www.greatwartheatre.org.uk/db/person/497/">Plays by Arthur Wing Pinero at Great War Theatre</a></li> <li class="mw-empty-elt"></li> <li><style data-mw-deduplicate="TemplateStyles:r1041539562">.mw-parser-output .citation{word-wrap:break-word}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}</style><span class="citation gutenberg"> <i><a rel="nofollow" class="external text" href="https://gutenberg.org/ebooks/18422">Modern Eloquence: Vol III, After-Dinner Speeches P-Z</a></i> at <a href="/wiki/Project_Gutenberg" title="Project Gutenberg">Project Gutenberg</a></span>, contains a speech by Pinero on <i>The Drama</i></li> <li><a rel="nofollow" class="external text" href="https://www.lib.uchicago.edu/e/scrc/findingaids/view.php?eadid=ICU.SPCL.PINEROAW">Guide to the Arthur Wing Pinero Collection 1885–1892</a> at the <a rel="nofollow" class="external text" href="https://www.lib.uchicago.edu/scrc/">University of Chicago Special Collections Research Center</a></li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output 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href="https://id.oclc.org/worldcat/entity/E39PBJh4xgFctcRQvB4FPDRYfq">WorldCat</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/118792253">Germany</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/n50043691">United States</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://catalogue.bnf.fr/ark:/12148/cb12819161p">France</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://data.bnf.fr/ark:/12148/cb12819161p">BnF data</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://id.ndl.go.jp/auth/ndlna/00621296">Japan</a></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Pinero, Arthur Wing <1855-1934>"><a rel="nofollow" class="external text" href="https://opac.sbn.it/nome/DDSV130708">Italy</a></span></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://nla.gov.au/anbd.aut-an35423667">Australia</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=xx0226591&CON_LNG=ENG">Czech Republic</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://catalogo.bne.es/uhtbin/authoritybrowse.cgi?action=display&authority_id=XX1400764">Spain</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://data.bibliotheken.nl/id/thes/p072533633">Netherlands</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://authority.bibsys.no/authority/rest/authorities/html/90125011">Norway</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://kopkatalogs.lv/F?func=direct&local_base=lnc10&doc_number=000093349&P_CON_LNG=ENG">Latvia</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://catalogue.nlg.gr/cgi-bin/koha/opac-authoritiesdetail.pl?authid=132130">Greece</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://lod.nl.go.kr/resource/KAC200604988">Korea</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://dbn.bn.org.pl/descriptor-details/9810647421905606">Poland</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007274854305171">Israel</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Academics</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://ci.nii.ac.jp/author/DA02897972?l=en">CiNii</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Artists</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://adp.library.ucsb.edu/names/102064">Discography of American Historical Recordings</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">People</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://trove.nla.gov.au/people/947546">Trove</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.deutsche-biographie.de/pnd118792253.html?language=en">Deutsche Biographie</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.idref.fr/08610344X">IdRef</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://snaccooperative.org/ark:/99166/w6qc03h3">SNAC</a></span></li></ul></div></td></tr></tbody></table></div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1&useformat=desktop" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" 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