GEORGE VERRALL (1800-1830) AND THE FISHER FAMILY (PART TWO)

My distant cousin George Verrall changed his name to George Vernon when he became an actor. “Mr Vernon,” recalls Henry Dickinson Stone in his 1873 memoir Personal Reminiscences of the Drama, “was one of nature’s noblemen, a gentleman of the old school, highly educated, and a dramatic artist of the very first order.” (George Vernon was the name of a member  of the Lord Chamberlain’s Men, the early seventeenth century theatre company associated with William Shakespeare.)

He emigrated to Albany in New York State in 1827 in the company of the Fisher family, actors all. What a fascinating bunch! Like the Verralls, a Sussex family: two brothers and four sisters, all marinaded in theatre from an early age by a librarian father Frederick George Fisher who was obsessed with Shakespeare.

Jane Merchant Fisher, Mrs Vernon (1796-1869)

Jane Fisher, the eldest, was a tall woman with a slightly pinched but expressive face who became one of America's greatest comediennes, having made her stage debut at London’s Drury Lane Theatre in 1817. She was probably also the reason that William Verrall made the trip – they married soon after their arrival in America.

John, her eldest brother also achieved a reputation as a versatile comic actor. Amelia, who possessed a high order of musical and dramatic ability herself, quite the stage in 1840 to run a dance academy.

Caroline, one feels, had rather been bullied into joining the theatrical profession. She never pursued it in America, opting instead for domestic life as the wife of a newspaper editor. Charles, the second youngest of the family, acted briefly in the US before founding a weekly magazine for sports and the dramatic arts called “Spirit of the Times.” He did marry an actress however, and their daughter, known as Little Clara Fisher, took to the stage with a beautiful voice.

Clara Fisher, later Mrs Maeder (1811-1898)

(not Little Clara Fisher!)

Little Clara was named after her aunt Clara, the youngest of the six children of Frederick Fisher. Aunt Clara had been a child star long before she came to America at the still-young age of 17. After her debut in 1817, aged 6 alongside her older sister Jane at Drury Lane, she was hailed (according to her New York Times obituary) as “the most wonderful child that the stage had known, and her popularity became at once very valuable in a pecuniary sense to her father. George IV went to see her act.”

Starting anew in America she rose to even greater fame in everything from opera to comedy. People named their babies, race horses, hotels, brands of cigar, steamboats … even whole city blocks after her! She made and lost fortunes, and by reinventing herself as a character actress she was able to carry on working until ten years before her death, becoming known as “the oldest actress alive.”

Frederick Fisher’s Library in Eastbourne, c1795

I don’t know whether the Fishers’ father came with them to America. He used to sell books and stationery in Eastbourne and was later an auctioneer in London. An amateur actor himself, he had without doubt pushed his children into the life he wanted for himself. And a little piece of him does exist in the US, as an exhibit in the Rosenbach Museum in Philadelphia – a series of papier mache models of Shakespearean locations in Stratford! Shakespeare's birthplace, the famous mulberry tree and so on. Frederick made them in 1830, perhaps for the Second Royal Gala Shakespeare Festival in Stratford that year.

How his handiwork ended up in Philly I don’t know. Souvenir-buying American tourists were presumably thinner on the ground in Stratford upon Avon in 1830 than they are now! Perhaps he sent it to one of his theatrical children in the States to remind them of their roots and their Shakespearean father. Or perhaps, if he did emigrate himself, he made it in America to remind himself of the roots of his great passion for the bard.

GEORGE VERRALL (1800-1830) AND THE FISHER FAMILY (PART ONE)

George Verrall (1800-1830) is a cousin so distant that it’s hardly worth mentioning the fact. But although he died young he packed a lot into his short life, and it’s a pleasure to remember him here.

George was the son, grandson and great grandson of men called George Verrall, and he even had a half-brother also called George (from his father’s second marriage). His father must have thought that the future of the name was secure, but as fate would have it the half-brother died in 1843 at an even younger age, 21, than the George I’m writing about today. Both died before their father and neither had any children.

One or other of these sons painted portraits of their George Verrall father and grandfather which, just to complete the confusion, were inherited by a nephew of theirs. The nephew’s name was, I’m afraid to say, George Verrall. This last George (1848-1911) also died without children, and the whereabouts of the paintings is, to me at least, unknown.

Shakespeare relaxes with the Lord Chamberlain’s Men,

one of whose names George Verrall took as a stage name in tribute

With so many George Verralls to confuse the historian, I’m rather grateful that the George I started this post with changed his name to George Vernon when he became an actor. “Mr Vernon,” recalls Henry Dickinson Stone in his 1873 memoir Personal Reminiscences of the Drama, “was one of nature’s noblemen, a gentleman of the old school, highly educated, and a dramatic artist of the very first order.”

As George Vernon he emigrated to Albany in New York State in 1827 in the company of the Fisher family, actors all. What a fascinating bunch! Two brothers and four sisters, all marinaded in theatre from an early age by a librarian father Frederick George Fisher who was obsessed with Shakespeare.

South Pearl Street Theater, Albany NY in the 1880s

when it became part of Proctor's chain of vaudeville theatres

Vernon married one of them, Jane, soon after their arrival in Albany. She and her brother John joined him in forming a theatre company when he took over as actor-manager of the struggling South Pearl Street Theatre in the town. He turned its fortunes around over two seasons. He probably also devised the scenery, because elsewhere in the town he demonstrated a flair for architectural design – he worked on Albany Town Hall, and the pulpit of St Paul’s Church in the town. (Proof perhaps that he was the George Verrall who painted those portraits of George Verrall and George Verrall.)

But the strain of holding the reins at the theatre took its toll on George Vernon’s health. He lost his singing voice, and became too ill to act. He bought and retired to Woodstock Farm outside the town (now an animal sanctuary) where he died in 1830 only three years after arriving in America.

Woodstock Farm, south of Albany NY

As Mrs Vernon, his widow achieved considerable success as a comic actress. “Though never noted for her beauty,” reports an 1880 history of Albany theatres, “she possessed an intelligent and expressive face, and a polished manner, that' at once denoted the woman of intellect and refinement. She was tall and till the last possessed a graceful figure. Her education was liberal, and it was said that during her connection with the Park theatre, her opinion, in all passages of disputed readings of the Shakespeare dramas, was considered final.”

It sounds as if she did her father (and her husband) proud, and she wasn’t the only one. More on the rest of the Fisher acting dynasty in my next post.