Samuel Phelps
- Born:
- February 13, 1804, Plymouth Dock [now Devonport], Devon, England
- Died:
- November 6, 1878, Anson’s Farm, Coopersale, near Epping, Essex
Samuel Phelps (born February 13, 1804, Plymouth Dock [now Devonport], Devon, England—died November 6, 1878, Anson’s Farm, Coopersale, near Epping, Essex) was a British actor and manager, one of the most famous actors of the 19th century.
Early in life he worked in various newspaper offices and then, shortly after marrying (1826), accepted a theatrical engagement in the York circuit. He afterward appeared in southern English towns in prominent tragic roles, attracting sufficient attention to be spoken of as a rival to Edmund Kean. He made his first London appearance on August 28, 1837, as Shylock in William Shakespeare’s The Merchant of Venice at the Haymarket Theatre. After a short season there, he spent six years at Covent Garden, the Haymarket, and Drury Lane successively.
In May 1844 he became co-lessee of the Sadler’s Wells Theatre with Thomas L. Greenwood and Mary Amelia Warner. Greenwood supplied the business capacity, Phelps was the theatrical manager, and Mrs. Warner (as she was known) was the leading lady. In this position Phelps remained for 20 years, raising the Sadler’s Wells house to an important position and appearing himself in an extensive and varied repertory. Thirty-four of Shakespeare’s plays were presented there under his direction. In 1861 Greenwood retired from the partnership, and Phelps, unable to cope with the business of management, retired from it in the following year. For the next 15 years he acted under various managements, achieving considerable success in dramatic versions of Sir Walter Scott’s novels, such as The Fortunes of Nigel and Ivanhoe. He made his last appearance in 1878 as Cardinal Wolsey in Shakespeare’s Henry VIII.
Phelps was a sound and capable actor rather than one of genius, and, in spite of his predilection for tragedy, was most successful in comic characters that called for dry humour. Perhaps Sir Pertinax Macsycophant in Charles Macklin’s The Man of the World was his finest impersonation. As a director, his handling of Shakespearean plays had a great educational effect both on the public and on players. He published an annotated edition of Shakespeare’s plays in two volumes (1852–54).