Bibliography:
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Charlotte Charke Bibliography:
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Primary Sources
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Charke, C., Reeve, W., Dodd, A., & Cook, E. (1755). A narrative of the life of Mrs. Charlotte Charke: (youngest daughter of Colley Cibber, Esq;). London: Printed for W. Reeve, in Fleet-Street; : A. Dodd, in the Strand; : and E. Cook, at the Royal-Exchange
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Churchill, Sue. (1997). “I Then Was What I Had Made Myself”: Representation and Charlotte Charke in Biography, vol. 20, no. 1. Hawaii: University of Hawaii Press, pp. 72–94.
"FEMALE ROMEOS." Era,( 20 June 1896). London: British Library Newspapers. https://link.gale.com/apps/doc/BB3202518126/BNCN?u=exeter&sid=BNCN&xid=fd099b5d.
Fisher, Edward. (1758). Colley, Cibber. London: The British Museum. https://www.britishmuseum.org/collection/object/P_1902-1011-2121
Garden, Frances. (1755). An exact Representation of Mrs Charke walking in the Ditch at four Years of Age… London: The British Museum. https://www.britishmuseum.org/collection/object/P_1851-0308-180
Hoare, William. n.d.
Portrait of Mrs. Charlotte Charke, (nee Cibber), wearing a pink dress, edged with lace. Berlin: Artnet. http://www.artnet.com/artists/william-hoare/portrait-of-mrs-charlotte-charke-nee-cibber-IFlALveyOsyo780ZaBZM_A2
the Judgement of the queen o' common sense, address'd to Henry Fielding Esq. (1736). London: The British Museum.
https://www.britishmuseum.org/collection/object/P_1858-0417-587
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Secondary Sources
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Churchill, S. (1997). “I Then Was What I Had Made Myself”: Representation and Charlotte Charke in Biography, vol. 20, no. 1. Hawaii: University of Hawaii Press, pp. 72–94.
DeRitter, J. (1994). “‘Not the Person She Conceived Me’: The Public Identities of Charlotte Charke.” The Embodiment of Characters: The Representation of Physical Experience on Stage and in Print 1728-1749. Philadelphia: University of Pennsylvania Press, pp70-93. www.jstor.org/stable/j.ctv4t80bv.8.
Fawcett, J. (2016). Spectacular Disappearances: Celebrity and Privacy, 1696 - 1801. Michigan: University of Michigan Press.
Higa J. (2017). Charlotte Charke's gun: Queering material culture and gender performance. Tampa: ABO: Interactive Journal for Women in the Arts, 1640-1830. https://uoelibrary.idm.oclc.org/login?url=https://www.proquest.com/docview/2152856359?accountid=10792.
Mackie, E. (1991). “Desperate Measures: The Narratives of the Life of Mrs. Charlotte Charke.” in ELH, vol. 58, no. 4. Baltimore: John Hopkins University Press, pp.841- 865. www.jstor.org/stable/2873284.
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Nussbuam, Felicity. (1989). The Autobiographical Subject; Gender and ideology in Eighteenth-Century England. Baltimore: John Hopkins University Press.
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Siddons & Robinson Bibliography:
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Primary Sources
Beechey, Sir William. (1793). Mrs Siddons with the Emblems of Tragedy. London: The National Portrait Gallery. https://www.npg.org.uk/collections/search/portrait/mw05799/Sarah-Siddons-ne-Kemble-Mrs-Siddons-with-the-Emblems-of-Tragedy?LinkID=mp04109&search=sas&sText=Sarah+siddons&role=sit&rNo=3
Haydon, Samuel. (1876). Mary Robinson (née Darby). London: The National Portrait Gallery. https://www.npg.org.uk/collections/search/portrait/mw201823/Mary-Robinson-ne-Darby?LinkID=mp03827&search=sas&sText=mary+Darby+robinson&role=sit&rNo=11
Jarvis, J. (2020). Performance and Print Culture: Two Eighteenth-Century Actresses and Their Image Control In Pen, Print and Communication in the Eighteenth Century. Edited by Archer-Parré C. & Dick M. Liverpool: Liverpool University Press, pp. 107-122.
Reynolds, Joshua. (1784). Sarah Siddons as the Tragic Muse. London: Encyclopædia Britannica. https://www.britannica.com/biography/Sarah-Siddons
Robinson, M. (1803). Memoirs of the Late Mrs. Robinson Written by Herself, 2: In Two Volumes. London: C. Mercier, R. Phillips.
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Secondary Sources
Blair, R. (2018). Why was the perception of the Actress and the Prostitute interchangeable in the Eighteenth century? Historianruby: An Historian’s Miscellany. Wordpress.
Brooks, H. (2014). Theorizing the Woman Performer in The Oxford Handbook of the Georgian Theatre 1737-1832, Edited by Julia Swindells and David Francis Taylor. Oxford: Oxford University Press.
Carradice, P. (2011). Sarah Siddons, Tragic actress in BBC - Wales History. Cardiff: BBC Wales. https://www.bbc.co.uk/blogs/waleshistory/2011/07/sarah_siddons_welsh_actress.html
Civale, S. (2018). Women's Life Writing and Reputation: A Case Study of Mary Darby Robinson in Romanticism, Vol. 24, No. 2. Edinburgh: Edinburgh University Press, pp.191-202.
Cross, A.J. (2001). From Lyrical Ballads to Lyrical Tales: Mary Robinson's reputation and the problem of literary debt In Studies in Romanticism, Vol. 40, No. 4. Boston: Boston University Press, pp. 571- 605.
Forward, S. (2014). The Romantics in The British Library, Discovering Literature: Romantics & Victorians. London: The British Library. https://www.bl.uk/romantics-and-victorians/articles/the-romantics
Highfill, P.H., Burnim, K.A. and Langhans, E.A. (1973). A biographical dictionary of actors, actresses, musicians, dancers, managers & other stage personnel in London, 1660-1800 (Vol. 14). Carobondale: SIU Press.
Jarvis, J. (2020). Performance and Print Culture: Two Eighteenth-Century Actresses and Their Image Control In Pen, Print and Communication in the Eighteenth Century. Edited by Archer-Parré C. & Dick M. Liverpool: Liverpool University Press, pp. 107-122.
Kirk, T. (2016). The First Lady Of Shakespeare in BBC - Shakespeare On Tour. London: BBC. https://www.bbc.co.uk/programmes/articles/1tD6fnSFbfGssNzHDDlNCny/the-first-lady-of-shakespeare
Ylivuori, S. (2018). Women and Politeness in Eighteenth-Century England: Bodies, Identities, and Power. Abbingdon: Taylor & Francis, pp. 308.
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Mrs Patrick Campbell Bibliography:
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Primary Sources
About Mrs Patrick Campbell. (1895). London: The Sketch, 524.
Campbell, P. (1922). My Life And Some Letters, By Mrs. Patrick Campbell. Edited by Beatrice Stella Cornwallis-West. London: Hutchinson.
Dithmar, E. (1901). Some Acting in London: A First Impression of Mrs Patrick Campbell. Pineros “Notorious Mrs. Ebbsmith” Properly Acted. New York: Foreign Correspondences New York Times, New York Times, 7.
Downey, W. and D. (1901). Mrs Patrick Campbell as “Mrs Tanqueray”. The Tatler and Bystander, Vol 2. Iss. 14. London: The Tatler and Bystander, pp. 27. https://www.proquest.com/docview/1794862274/FE3BA2BE00C249D2PQ/4?accountid=10792
Mrs Campbell’s Stage Costumes. (1902). Washington: The Washington Post (1877-1922), 43.
Mrs Campbell’s Beautiful Gowns Worn By The Actress In One Of Her Plays, The Most Fashionable Colour. (1903). Detroit: Detroit Free Press (1858-1922), 1.
Pinero, A. (2016). The Notorious Mrs Ebbsmith. London: Oberon Books.
Public Amusements: Theatre Royal Mrs Patrick Campbell in “The Second Mrs Tanqueray”. (1899). Dublin, Ireland.
Richardson, A.S. (1902). The Real Mrs. "Pat" Campbell. Louisville: Courier-Journal (1869-1922), 1.
Theatre Royal: Mrs Patrick Campbell in “The Second Mrs Tanqueray”. (1903). Manchester.
Thesiger, Ernest. (1912). Mrs Patrick Campbell: The Celebrated Actress. The Bystander Vol 36. Iss 462. London: Illustrated London News, pp.82. https://www.proquest.com/docview/1666619241/FE3BA2BE00C249D2PQ/35?accountid=10792
Town and Country: Mrs. Patrick Campbell. (1902). New York: Hearst Magazine Media Inc.
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Secondary Sources
Davis, TC. (1991). Actresses As Working Women : Their Social Identity in Victorian Culture. London: Taylor & Francis Group.
Fensham, R. (2003). Mrs Patrick Campbell as 'hell cat': Reading the Surface Histories of a Female Body in Nineteenth Century Theatre and Film, 33-IX. London: Sage Journals.
Norwood, J. (2020). “Offstage: Family and Personal Life” Victorian Touring Actresses: Crossing Boundaries and Negotiating the Cultural Landscape, 1st ed. Manchester: Manchester University Press, pp. 196–220.
Peters, M. (1984). Mrs Pat, The Biography Of Mrs Patrick Campbell. London: Bodley Head.
Littlewood & Featherstone section Bibliography:
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Primary Sources
Day of Action: Rules of Engagement For The Day. (2017). London: Royal Court Theatre.
https://royalcourttheatre.com/rules-engagement-day/
Preventing Sexual Harassment and Abuses of Power: A Code of Conduct. (2017). London: Royal Court Theatre.
Vicky Featherstone releases industry Code of Behaviour to prevent sexual harassment and abuses of power. (2017). London: Royal Court Theatre.
TheatreCloud. (2015). Oh What a Lovely War: A Tribute to Joan Littlewood. London: TheatreCloud. https://www.youtube.com/watch?v=MmYjh-q-yZs
Stratford East. About Us History - 1953 - 1979. London: Theatre Royal Stratford East. https://stratfordeast.com/about-us/history/1953-1979/
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Secondary Sources
Brown, Jane. n.d. Joan Littlewood for the Observer. London: The Guardian (2014).
https://www.theguardian.com/stage/2014/nov/11/joan-littlewood-biography-by-peter-rankin-extract
Lentai, Alex. (2019). Owning The Narrative: Vicky Featherstone. London: The Evening Standard.
Schafer, Liz. n.d. Stage Whispers: Joan Littlewood. London: Time Higher Eduction. https://www.timeshighereducation.com/features/culture/stage-whispers-joan-littlewood/2015209.article
Harker Ben. (2008). Missing Dates: Theatre Workshop in History in History Workshop Journal, Volume 66, Issue 1. Oxford: Oxford University Press, 272–279. https://doi.org/10.1093/hwj/dbn032
Bonet Miro, Ana. (2018). On Playgrounds and the Archive: Joan Littlewood’s Stratford Fair 1967–1975 in Architecture and Culture, 6:3. London: Taylor and Francis, pp. 387-398. DOI: 10.1080/20507828.2018.1525114
Grainger, Roger. (2013). “Joan Littlewood and the De-Mystification of Acting” Theatre Notebook 67. London: Society for Theatre Research, pp.36 - 43.
Hawthorne, Nigel. (2002). ‘Straight Face’. London: Hodder & Stoughton.
Leach, Robert. (2015) “Theatre Workshop”. Exeter: University of Exeter Press. http://ebookcentral.proquest.com/lib/exeter/detail.action?docID=1982407.
Rufford, Juliet. (2011). ‘What Have We Got to Do with Fun?’ : Littlewood, Price, and the Policy Makers in New Theatre Quarterly, 27(4). Cambridge: Cambridge University Press, pp. 313-328. doi:10.1017/S0266464X11000649
Taylor, Millie. (2020). 'Miss Littlewood and me: Performing Ethnography', in Studies in Musical Theatre, vol. 14, no. 1. Bristol: Intellect Books, pp. 65-76. https://doi.org/10.1386/smt_00019_1
Tynan, Kenneth. (2014) “Kenneth Tynan on oh what a lovely war.” London: The Guardian [Online] . https://www.theguardian.com/stage/2014/jan/31/kenneth-tynan-on-oh-what-a-lovely-war (Originally published in the Observer on 24 March 1963.)
Bowie-Sell, Daisy. (2017). ‘Royal Court releases Code of Behaviour to prevent sexual harassment in theatre’. London: Whats On Stage. [Online] [First Accessed 19/10/2020]
Brown, Mark. (2018). ‘Vicky Featherstone names most influential person in British theatre’. London: The Guardian. [Online] [First Accessed 21/10/2020] https://www.theguardian.com/stage/2018/jan/04/vicky-featherstone-named-most-influential-person-in-british-theatre
Crompton, Sarah. (2017). ‘Should the Royal Court have cancelled Rita, Sue and Bob Too?’. London: Whats On Stage. [Online] [First Accessed 22/10/2020] Available from:
https://www.whatsonstage.com/bath-theatre/news/rita-sue-bob-too-royal-court-cancelled_45386.html
Ferguson, Brain. (2012). 'Exiting theatre boss Vicky Featherstone 'suffered at hands of anti-English bullies''. Edinburgh: The Scotsman. [Online] [First Accessed 23/10/2020] Available from: https://www.scotsman.com/news/exiting-theatre-boss-vicky-featherstone-suffered-hands-anti-english-bullies-1596671
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Jones, Alice. (2020). ‘Vicky Featherstone: “This time last year it felt like change was about to happen… Now there’s frustration’’. London: The i. [Online] [First Accessed 22/10/2020] Available from:
https://inews.co.uk/culture/vicky-featherstone-interview-the-cane-royal-court-me-too-233949
Press Association. (2017). ‘Royal Court reverses decision to cancel Rita, Sue and Bob Too’. London: The Guardian. [Online] [First Accessed 21/10/2020] Available from:
Swain, Mariankia. (2020). ‘Theatre in crisis: ‘British culture is world beating - why leave us behind?’. London: The Telegraph.’ [Online] [First Accessed 21/10/2020] Available from:
Wood, Alex. (2020). ‘Vicky Featherstone: '34 million people go to the theatre every year – twice the number of the Premier League'.’ London: Whats On Stage. [Online] [First Accessed 21/10/2020] Available from: https://www.whatsonstage.com/london-theatre/news/vicky-featherstone-34-million-people-covid-arts_51637.html
'Gallery' Bibliography:
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Primary Sources
Arena Stage. (Circa 1950). Architect Harry Weese with Zelda Fichandler and the model for the original Arena Stage. American Theatre: A Publication of Theatre Communications Group. https://www.americantheatre.org/2016/08/05/zelda-fichandler-valiant-striver-in-the-arena/
Barraud, Herbert Rose. (1885). Marie Effie (née Wilton), Lady Bancroft; Sir Squire Bancroft (né Butterfield). London: National Portrait Gallery. https://www.npg.org.uk/collections/search/portrait/mw144636/Marie-Effie-ne-Wilton-Lady-Bancroft-Sir-Squire-Bancroft-n-Butterfield?LinkID=mp00235&role=sit&rNo=19
Briggs Henry Perronet. (1830). Sarah Siddons and Fanny Kemble. Boston. Boston: The Boston Athenaeum. In “Siddons, Celebrity and Regality: Portraiture and the Body of the Ageing Actress by Shearer West” Theatre and Celebrity in Britain 1660-2000. (2005). Edited by M Luckhurst, and J Moody. London: Palgrave Macmillan, p201.
Coster, Howard. (1934). Clemence Dane. London: National Portrait Gallery. https://www.npg.org.uk/collections/search/portrait/mw44579/Clemence-Dane?LinkID=mp01182&search=sas&sText=clemence+dane&role=sit&rNo=6
Coster, Howard. (1936). Flora Robson as Queen Elizabeth in 'Fire over England'. London: National Portrait Gallery. https://www.npg.org.uk/collections/search/portrait/mw48444/Flora-Robson-as-Queen-Elizabeth-in-Fire-over-England?LinkID=mp05711&search=sas&sText=dame+flora+robson&role=sit&rNo=6
The Dublin Satirist, A Palpable Hit!!! (1810). Houghton Library: Harvard Theatre Collection. Stage mothers: women, work, and the theater, 1660-1830. (2014). Laura Engel. London: Rowman and Littlefield, p. 98.
Ellen Terry as Lady Macbeth in “Macbeth”. (1888). London: Victoria and Albert Museum. https://www.vam.ac.uk/archives/unit/ARC73942
Evans, William. (1807). Ann Catley. London: The National Portrait Gallery. https://www.npg.org.uk/collections/search/portrait/mw65563/Ann-Catley?LinkID=mp50363&role=sit&rNo=2
Featherstone, Vicky. n.d. Profile Photo. Twitter. https://twitter.com/vicfeatherstone/photo
Featherstone, Vicky. (2013). “We’re off. Spot posters behind us. #ontheshouldersofgiants #wecanseeveryfarfromhere ‘@LucyADavies: Day 1 @royalcourt’” 8:03PM, 22 April 2013. Twitter. https://twitter.com/vicfeatherstone/status/326411017099829248
Featherstone, Vicky. (2019). “Errrr… that gif thing! This one. Smash the fucking system.”, 10:33PM, 6 June. Twitter. https://twitter.com/vicfeatherstone/status/1136747997231030276
Fradelle & Young. (1875). Ellen Terry as Portia in “The Merchant of Venice”. London: Victoria and Albert Museum. https://www.vam.ac.uk/articles/the-story-of-theatre
Gainsborough, Thomas. (1781). Mary Darby, Mrs Thomas Robinson, “Perdita”. London: The Wallace Collection. In Stage mothers: women, work, and the theater, 1660-1830. (2014). Laura Engel. London: Rowman and Littlefield, p. 93.
Gillray, James. (1791). Lubber's-hole, -alias- the crack'd Jordan. London: The British Museum. https://www.britishmuseum.org/collection/object/P_1851-0901-552
Hoppner, John. (1791). Dorothy Jordan as Hypolita in “She Would and She Would Not”. London: Tate. The National Portrait Gallery. https://www.npg.org.uk/whatson/the-first-actresses/first_actresses_exhibition/first-actresses-explore
Judkins, Elizabeth. After Sir Joshua Reynolds. (1772). Mrs Abington. Yale University: Paul Mellon Centre. https://www.paul-mellon-centre.ac.uk/about/news/a-theatrical-quartet/news-category/research/page/3
Lely, Sir Peter. (circa 1670s). Portrait of Courtesan or Nell Gwyne. Historical Portraits Image Library. http://www.historicalportraits.co.uk/Gallery.asp?Page=Item&ItemID=1248&Desc=A-lady-called-Nell-Gwynn-%7C-Sir-Peter-Lely,-Studio-of
Marie Wilton as Nan in “Good For Nothing” at the Prince of Wales Theatre. (1879). London: Victoria and Albert Museum. https://www.vam.ac.uk/articles/the-story-of-theatre
Margo, Surrounded By Scripts. (circa 1947). Courtesy of Richard C. and Judy J. Jones. Sweet Tornado: Margo Jones and American Theatre. Helen Sheehy. Dallas: SMU Press, http://sweettornado.org/who-was-margo-jones/
Reynolds, Sir Joshua. (1782). Mrs Mary Robinson. Waddesdon Manor: The National Trust. In Stage mothers: women, work, and the theater, 1660-1830. (2014). Laura Engel. London: Rowman and Littlefield, p. 81.
Reynolds, Sir Joshua. (1784). Sarah Siddons as the Tragic Muse. Hatchlands Park: Cobbe Collection. London: The National Portrait Gallery, https://www.npg.org.uk/whatson/the-first-actresses/first_actresses_exhibition/first-actresses-explore
Tanqueray, Paul. (early 20th century). Gertrude Lawrence. London: Victoria and Albert Museum. http://collections.vam.ac.uk/item/O1317902/gertrude-lawrence-photograph-tanqueray-paul/
Verelst, Simon. (Circa 1800). Nell Gwyn. London: The National Portrait Gallery. https://www.npg.org.uk/collections/search/portrait/mw02796/Eleanor-Nell-Gwyn?LinkID=mp01957&search=sas&sText=nell+gwyn&role=sit&rNo=1
Vincent, George De. (1970). Zelda Fichandler, with her husband, Thomas, at a second theater being built for Arena Stage. In “Zelda Fichandler, a Matriarch of Regional Theater, Dies at 91”. (29 July 2016). New York: The New York Times. https://www.nytimes.com/2016/07/30/arts/zelda-fichandler-a-matriarch-of-regional-theater-dies-at-91.html
Walery. (1889). Marie Effie (née Wilton), Lady Bancroft. London: National Portrait Gallery. https://www.npg.org.uk/collections/search/portrait/mw178208/Marie-Effie-ne-Wilton-Lady-Bancroft?LinkID=mp00235&wPage=1&role=sit&rNo=24
Watson, James. After Joshua Reynolds. (1769). Mrs Abington as the Comic Muse. Yale University: Paul Mellon Centre. https://www.paul-mellon-centre.ac.uk/about/news/a-theatrical-quartet/news-category/research/page/3
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Secondary Sources
Blair, Ruth. (2018). “History of Early Actresses” HistorianRuby: An Historian's Miscellany. Wordpress. https://historianruby.com/2018/04/15/history-of-early-actresses/
Brown, Mark. (2011). Portrait of Nell Gwyn Uncovered. London: The Guardian. https://www.theguardian.com/artanddesign/2011/oct/18/nell-gwyn-first-actresses-exhibition
Cohen, Phillip. (2013). How Celebrities Use Social Media to Build Their Brand. New York: Social Media Today. https://www.socialmediatoday.com/content/how-celebrities-use-social-media-build-their-brand
Compton, Tamara L. (1985). The Rise of the Woman Director On Broadway, 1920-1950. Manhattan: Kansas State University.
Droney, Lorraine Michelle. (2014). The Eighteenth-Century Actress: Gender and Agency. Hull: University of Hull. https://hydra.hull.ac.uk/assets/hull:10544a/content
Eliza. (2018). Shady Actresses of the 18th Century. Silk and Sass, Wordpress. https://silkandsass1776.wordpress.com/2018/03/06/shady-actresses-of-the-18th-century/
Gale, Maggie B. (2005). “The Many Masks of Clemence Dane” Theatre and Celebrity in Britain, 1660-2000. Edited by M. Luckhurst and J. Moody. Basingstoke: Palgrave Macmillan UK, pp.48-61.
Greenberg, Shoshanna. (2016). 7 Women of Theatre History You Should Know. New York: The Interval NY.
https://www.theintervalny.com/features/2016/03/7-women-of-theatre-history-you-should-know/
Hallet, Mark. (2015). A Theatrical Quartet. Yale University: Paul Mellon Centre. https://www.paul-mellon-centre.ac.uk/about/news/a-theatrical-quartet/news-category/research/page/3
Historical Portraits Gallery. n.d. A Lady Called Nell Gwynn. London: Phillip Mould.
http://www.calmview2.eu/BristolTheatreArchive/CalmView/Record.aspx?src=CalmView.Catalog&id=BTC85
Ledoux, Ellen Malenas. (2014). “Working Mothers On The Romantic Stage: Sarah Siddons and Mary Robinson” Stage Mothers: Women, Work, and the Theater, 1660-1830. Lewisburg: Bucknell University Press, pp. 79-102. https://www.vlebooks.com/Vleweb/Product/Index/476475?page=0
Luckhurst, Mary. and Moody, Jane. (2005). “Introduction: The Singularity of Theatrical Celebrity” Theatre And Celebrity In Britain, 1660- 2000. Basingstoke: Palgrave Macmillan UK, pp.1-11.
National Portrait Gallery. n.d. Marie Effie (Née Wilton), Lady Bancroft. London: National Portrait Gallery. https://www.npg.org.uk/collections/search/person/mp00235/marie-effie-nee-wilton-lady-bancroft
Norwood, Janeice. (2020). “Management” Victorian Touring Actresses: Crossing Boundaries and Negotiating the Cultural Landscape. Manchester: Manchester University Press. https://www.jstor.org/stable/j.ctv15kxgq7.12
Nussbaum, Felicity. (2005). “Actresses and the Economics of Celebrity, 1700-1800” Theatre and Celebrity in Britain, 1660-2000. Edited by M. Luckhurst and J. Moody. Basingstoke: Palgrave Macmillan UK, pp.148-168.
Nussbaum, Felicity. (2010). “The Actress and Material Femininity: Frances Abington” Rival Queens: Actresses, Performance, and the Eighteenth-Century British Theater.
Philadelphia: University of Pennsylvania Press, pp. 226-264. https://www.jstor.org/stable/j.ctt3fj010.10
Sheehy, Helen. (1989). Margo: The Life and Theatre of Margo Jones. Dallas: SMU Press. http://sweettornado.org/about/
Smith, Jenna. (2020). 7 Skills You Need To Succeed In Performing Arts. Manchester: Prospects. https://www.prospects.ac.uk/jobs-and-work-experience/job-sectors/creative-arts-and-design/7-skills-you-need-to-succeed-in-performing-arts
Victoria and Albert Museum. n.d. V&A · The Story Of Theatre. London: Victoria and Albert Museum. https://www.vam.ac.uk/articles/the-story-of-theatre
Watts, Professor Ruth. Review of “Gender, Work and Education in Britain in the 1950s” (review no.689). Stephanie Spencer. (2005). Basingstoke: Palgrave Macmillan. https://reviews.history.ac.uk/review/689
West, Shearer. (2004.) Portraiture. Oxford: Oxford University Press.
West, Shearer. (2005). “Siddons, Celebrity and Regality: Portraiture and the Body of the Ageing Actress” Theatre and Celebrity in Britain, 1660-2000. Edited by M. Luckhurst and J. Moody. Basingstoke: Palgrave Macmillan UK, pp.191-208.