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• W320943485 abstract "In history of Victorian stage E. J. Odell (1834-1928) stands out as an actor and comedian unsurpassed for an eccentricity verging on grotesque. (1) Paradoxically however it was his reputation off stage that secured his fame. Of unconventional appearance--black sombrero, green Ulster coat cut wide in skirt, and shoulder-length hair--Odell achieved celebrity status within and outside of his profession well into old age. supreme self-publicist who excelled at imitating himself, he was universally referred to as the last of Bohemians and not only outlived most of his contemporaries but confounded and outwitted them also. His stage career of three decades was unremarkable in its longevity but his life thereafter extended for a further four decades during which he recycled his comedic peculiarities and reinvented himself as an entertainer. In consequence it is only those episodes of his acting career marked by association with notables such as Henry Irving or Bancrofts that are remembered. Odell attracted comments from numerous writers (Mackay 137; Hibbert 55; Watson 1925 283; Chevalier 273; Carter 162-69), Weedon Grossmith best describing him as A thorough bohemian, very proud, poor, and independent, with most original manner conceivable (233). His long-standing association with Savage Club has also left some revealing accounts, those of his Brother Savages Edwin A. Ward passim, Aaron Watson (1907 281-91), and Percy Bradshaw passim being of particular note. (2) As interesting as these are however little is learned about Odell actor before he became Old Odell. This essay reconstructs and analyses Odell's stage career for first time as it progressed from its early provincial beginnings in mid-1850s until its conclusion in mid-1880s. His much-publicised later activities off stage secured his enduring cult status, but it is argued that this image detracts from an earlier significant and little-known acting career for which he deserves to be better remembered. In addition to a list of Odell's performances given at end, this study offers a numerical analysis of his career path. The results expose time-related dynamics of his stage life, and underlying performance trends, affording evidence of a career of mixed fortunes. Clues about Odell's beginnings on stage may be found in an early edition of Illustrated Sporting and Dramatic News (23 June 1877:329). This is of particular value in being only biographical account found on Odell to have been published during his life. It does not reveal why this former harness-maker took to boards on his twenty-second birthday, but it nevertheless affords earliest-known picture portrait of him showing all hallmarks of unconventionality [Plate 1]. After seven years in provinces during which his visibility as an emergent actor is predictably hazy, bulk of Odell's pre-London stage work comprised successive spells in stock companies of Dublin and Edinburgh Theatres Royal during periods 1863-65 and 1865-67 respectively. His two years in Dublin commenced on 29 August 1863 in role of Mr Grace in Edmund Falconer's The Peep o'Day Boys, and concluded on 23 November 1865 in role of Sir Hiccory Heartycheer in Charles Selby's The Bonnie Fishwife. During this period Odell became known as 'The O'Dell'. Although strictly incorrect, his surname was regularly spelt in Irish form. This period in history of Dublin Theatre Royal is scantily documented (Levey and O'Rorke 48-49), a deficiency partly made up for in advertisement pages of Freeman's Journal, Dublin's leading newspaper at that time. Although latter has helped build a partial picture of Odell's early roles in Dublin, performance reviews as such are absent. Similarly, while Provincial Theatricals page of The Era exposes additional roles, Odell's profile is still small, and some role attributions uncertain. …" @default.
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• W320943485 date "2011-06-01" @default.
• W320943485 modified "2023-09-23" @default.
• W320943485 title "Redefining the Grotesque: E. J. Odell, Actor and Comedian" @default.
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