George Vincent in Tom Taylor’s drama, The Ticket-of-Leave Man, Olympic Theatre, London, 1863

George Vincent (died 1876), English actor, as Melter Moss in the first production of Tom Taylor’s drama, The Ticket-of-Leave Man at the Olympic Theatre, London, 27 May 1863.
(photo: The London Stereoscopic & Photographic Co Ltd, London, 1863-1866)

‘Death of Mr G. Vincent.
‘We have regretfully to record the death, on Monday night [24 January 1876], of Mr George Vincent, the well-known actor, so long identified by playgoers with the representation of Melter Moss, in the drama of The Ticket-of-Leave Man, produced at the Olympic Theatre, in May, 1863. After running the usual course of Provincial probation Mr G. Vincent appeared at the Surrey and other Theatres, and made his first entry on the Olympic stage under the management of Messrs. Robson and Emden, in October, 1862, when he performed the part of Sir Arthur Lassell, in All That Glitters is Not Gold. For some time Mr Vincent was in failing health, and his last engagement was at the Holborn Theatre, under Mr Horace Wigan’s management, which terminated only a few weeks ago.’
(The Era, London, Sunday, 30 January 1876, p. 10d)

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Miss Raynham

a carte de visite photograph of Miss Raynham (1844?-1871), English actress, as Sam in Tom Taylor’s drama The Ticket-of-Leave Man, produced at the Olympic Theatre, London, on 27 May 1863
(photo: W. Rowland Holyoake, 23 Great Coram Street, Russell Square, London, W.C., probably 1863)

The Ticket-of-Leave Man was revived many times, as on 25 May 1885 when Sam was played by Nellie Farren

‘The Olympic [Theatre, London] entertainments comprise the comedy of Taming a Truant, in which Mr. Robert Soutar, from the Brighton Theatre, now sustains the part of Captain Pertinax, and gives promise of being a valuable acquisition to the London boards; followed by an extravaganza, called Acis and Galatea [Acis and Galatea; or, The Nimble Nymph and the Terrible Troglodyte, produced at the Olympic, 6 April 1863], written by Mr. Burnand, and which may be pronounced to be the best and most successful of the Easter novelties. It is superior in refinement and language than these pieces generally are, and is admirably acted as well as elegantly put on the stage. One of the leading features in it is a clever imitation of Mr. Fechter by Miss Raynham.’
(The Sporting Gazette, London, Saturday, 11 April 1863, p. 383b)

Olympic Theatre, London
‘Mr Tom Taylor’s new drama is a success, though he has departed from his accustomed style of writing, and given us a piece more after the fashion of the Adelphi or Surrey dramas. It is called The Ticket-of-Leave Man, and is the history of the endeavours of one Brierly (Mr Neville) to free himself from the consequences to which he has become exposed owing to the villainy of a fellow named Dalton (Mr Atkins). Exiled from his native land, he returns to find all occupation denied to him as soon as it is known that he is the bearer of the fatal document called a ticket of leave. But, after many trials and troubles, he contrives to foil the schemes of Dalton, and to become restored to the paths of rectitude one more. In these honest intentions he is aided by Mary (Miss Kate Saville), to whom he is ultimately married. There are other characters in the piece which was admirably played by all the dramatis personae – a gamin of the English type being capitally played by Miss Raynham, and a professional vocalist being as admirably sustained by Miss Hughes, who sang twice during the progress of the drama. Miss Kate Saville was expressive and pathetic, and Mr Neville, whose rising qualities as an actor are being more apparently every day, took the leading business of the evening with the greatest success. The drama was most favourably received, and will doubtless have a long run.’
(Bell’s Life in London and Sporting Chronicle, London, Sunday, 31 May 1863, p. 3b). The cast of the original production of The Ticket-of-Leave Man also included George Vincent

‘DEATHS OF ARTISTES. – The theatrical world has been much shocked by the self-imposed death of Mr Walter Montgomery, who so lately played at the Gaiety. It is supposed he had overworked himself in dramatic study. Miss Raynham, the original representative of Sam Willoughby, in the Ticket of Leave Man, at the Olympic, has died recently at Homburg. Mr St Auby has also died of consumption at the Charing-cross Hospital.’
(Bell’s Life in London and Sporting Chronicle, London, Saturday, 9 September 1871, p. 11a)

Kate Terry

a carte de visite photograph of Kate Terry as the Countess de Mauléon and Henry Neville as the serf, in Tom Taylor’s drama The Serf; or, Love Levels All, Olympic Theatre, London, 30 June 1865
(photo: The London Stereoscopic & Photographic Co Ltd, London, 1865)

‘Miss Kate Terry, with that bright intelligence which illumines every character she undertakes, played the proud but devotedly-loving countess, and exhibited a grace of expression and an intensity of feeling which deservedly elicited the warmest recognitions of a thoroughly sympathetic audience.’
(Daily Telegraph, London, 3 July 1865)

Jessie Vokes dead, 1884

Jessie Vokes (1851-1884), Victoria Vokes (1853-1894)
and Rosina Vokes (1854-1894), English actresses and dancers
(photo: Mora, New York, circa 1880)

‘JESSIE VOKES DEAD.
‘THE FIRST ONE TO DIE OF THE FAMOUS FAMILY OF COMEDIANS.
‘Miss Jessie Vokes, the actress, a member of the well-known Vokes family, died yesterday in London. She was educated to the stage from a tender age, and when only 4 years old appeared at the Surrey Theatre, where she played in children’s characters. In the early part of her career she played Mamillius in The Winter’s Tale; Prince Arthur in King John, and the Prince of Wales in Richard III. She attracted special notice first as one of the children in [Charles Reade and Tom Taylor’s comedy] Masks and Faces, dancing, with her sister, a jig, when old Benjamin Webster played Triplet at the London Standard Theatre. With her brothers and sisters, Fred and Fawdon and Victoria and Rosina, she began began her career as ”The Vokes Children,” which was afterward changed to ”The Vokes Family,” at the Operetta House in Edinburgh. Their success was pronounced and continuous. Their debut was made in London at the Lyceum Theatre on Dec. 26, 1868, in the pantomime of Humpty Dumpty, and they traveled through a great part of the civilized world. Jessie Vokes, the eldest of the sisters, was educated in the ”business” of the stage by Mr. Cheswick, and in dancing, in which she excelled, by Mr. Flexmore. The piece that most successfully carried an audience by storm was The Belles of the Kitchen, in which the ”family” made its debut in this country at the Union-Square Theatre on April 15, 1872. Jessie’s clever recitations and dancing were appreciated, but she was not so prominent in the cast as Victoria and Fred, who were especially happy in their rendering of the tower scene from Il Trovatore, or as Miss Rosina, who was regarded by the young men as the flower of the family.’
(The New York Times, New York, Friday, 8 August 1884, p. 5b)