{{Short description|British actor and singer (1855–1935)}} {{Use dmy dates|date=June 2020}} thumb|right|Eric Lewis c. 1890 '''Frederic Lewis Tuffley''' (23 October 1855 – 1 April 1935), better known by his stage name, '''Eric Lewis''', was an English comedian, actor and singer. In a career spanning five decades, he starred in numerous comedies and in a few musical comedy hits, but he is probably best remembered today as the understudy to George Grossmith in the Gilbert & Sullivan comic operas of the 1880s who left the D'Oyly Carte Opera Company just in time to give Henry Lytton his big break.
Lewis began performing in comic musical sketches in Brighton in the 1870s. He made his London performing debut in 1880 and joined the D'Oyly Carte Opera Company in 1882, where he understudied Grossmith until 1887. Lewis then performed in a number of very successful musical comedies and other comedies for the next decade but devoted himself to the non-musical comedy stage, performing mostly in contemporary comedies by Arthur Wing Pinero, Bernard Shaw, J. M. Barrie and R. C. Carton until 1925.
==Biography== Lewis was born in Northampton and raised in Brighton.<ref name=Timesobit>{{Cite news |url=https://link.gale.com/apps/doc/CS203369602/TTDA |title=Death of Mr. Eric Lewis |newspaper=The Times |publication-place=London |issue=47028 |page=12 |date=2 April 1935 |access-date=2024-03-23 |via=The Times Digital Archive}}</ref>
===Early career and D'Oyly Carte years=== Lewis made his first public appearance in comic musical sketches in local concert halls in Brighton in the late 1870s.<ref name=Timesobit/> He appeared at St. James's Hall in Brighton in October 1879 with Arthur Law and his wife Fanny Holland.<ref>{{Cite book |url=https://archive.org/details/cu31924027176100/page/n243/mode/1up |editor-last=Hammerton |editor-first=J. A. |title=The Actor's Art |edition=2nd |publisher=George Redway |place=London |page=232 |date=1897 |access-date=2024-03-23 |via=Internet Archive}}</ref> By 1880, Lewis had begun presenting comic musical sketches at the Royal Polytechnic Institution and St. George's Hall, where he sometimes took the place of the comedian Corney Grain.<ref>{{Cite news |url=https://www.newspapers.com/article/the-times-the-polytechnic/144018461/ |title=The Polytechnic |newspaper=The Times |publication-place=London |issue=30076 |page=4 |date=28 December 1880 |access-date=2024-03-24 |via=Newspapers.com}}</ref> In 1881, he made his London stage debut in Herbert Beerbohm Tree's company at the Haymarket Theatre as Pilate Pump in ''Blue and Buff''. In 1882, he joined the touring Alice Barth Opera Company, playing a number of roles with them.<ref name=Timesobit/>
Lewis joined the D'Oyly Carte Opera Company in December 1882 as the understudy to George Grossmith in the principal comedian roles of the Gilbert and Sullivan operas.<ref name=Timesobit/> Grossmith was rarely ill or absent from the stage, however, and Lewis had very few chances to play the roles. His only substantial opportunity to play one of the principal comedian roles came when he played Ko-Ko in ''The Mikado'' during August and September 1886, during Grossmith's holiday.<ref>{{cite book|last=Gordon | first= J. M. | others= Elizabeth Benney (ed). |title= The Memoirs of J M Gordon 1856–1944: Stage Director D'Oyly Carte Opera Company| place=Tunbridge Wells|publisher= Richard Pitcairn-Knowles|date= 2014|page=43|isbn=978-0-9558591-4-4}}</ref><ref name=Who>Stone, David. [https://www.gsarchive.net/whowaswho/L/LewisEric.htm Eric Lewis] at ''Who Was Who in the D'Oyly Carte Opera Company'', 27 August 2001. Retrieved 9 January 2009</ref>
Lewis was, however, given several roles in the short curtain raisers that often were performed together with the Gilbert and Sullivan operas. In these he played Mr. Wranglesbury in ''Mock Turtles'' from December 1882 to March 1883, Napoleon Fitz-Stubbs in ''A Private Wire'' from March 1883 to January 1884, receiving warm notices,<ref>{{Cite news |url=https://www.newspapers.com/article/the-times-savoy-theatre/144018618/ |title=Savoy Theatre |newspaper=The Times |publication-place=London |issue=30783 |page=7 |date=2 April 1883 |access-date=2024-03-24 |via=Newspapers.com}}</ref> the Counsel to the Plaintiff in ''Trial by Jury'' from October 1884 to March 1885 and Piscator in ''The Carp'' from February 1886 to January 1887.<ref name=Who/> ''The Carp'' enjoyed an unusually long run for a curtain raiser. So long, according to Lewis's colleague Rutland Barrington, that at the end of the piece one night, when Lewis, who played the angler, shouted out his joyful "I've caught it!" a voice from the gallery responded, "About time, too!"<ref>Barrington, Chapter 3</ref> In June 1885, Lewis played together with Barrington in an afternoon "musical dialogue," ''Mad to Act'', with words by Barrington and music by Wilfred Bendall, at the Japanese Village in Knightsbridge.<ref>{{Cite news |url=https://www.newspapers.com/article/the-times-the-female-school-of-art-bazaa/144018757/ |title=The Female School of Art Bazaar |newspaper=The Times |publication-place=London |issue=31484 |page=8 |date=27 June 1885 |access-date=2024-03-24 |via=Newspapers.com}}</ref>
Frustrated by his position as understudy to an actor who had hardly ever taken ill in four years, Lewis resigned from the D'Oyly Carte Opera Company in January 1887.<ref name=Who/> On 29 January 1887, one week after the opening of the new opera, ''Ruddigore'', Grossmith did fall ill, and Henry Lytton, a young actor who was in the right place at the right time,<ref>[https://www.gsarchive.net/books/lytton_secrets/ch2.html Lytton (''Secrets''), chapter 2]. Retrieved 9 January 2009</ref> took Grossmith's role of Robin Oakapple until 18 February.<ref>''The Times'', 18 February 1887, p. 12, col. B.</ref><ref name=chap3>[https://www.gsarchive.net/books/lytton_secrets/ch3.html Lytton (''Secrets''), chapter 3]. Retrieved 9 January 2009</ref> Lytton went on to perform with the D'Oyly Carte Opera Company until 1934, including 25 years as the company's principal comedian.<ref>[http://diamond.boisestate.edu/gas/whowaswho/L/LyttonHenryA.htm Biography of Lytton at the ''Who Was Who in the D'Oyly Carte'' website] {{Webarchive|url=https://web.archive.org/web/20150913082804/http://diamond.boisestate.edu/gas/whowaswho/L/LyttonHenryA.htm |date=13 September 2015 }}. Retrieved 11 May 2008</ref>
===Musicals and first comedies=== thumb|right|Lewis as Mollentrave, 1905 Lewis was soon performing in the West End of London at the Royalty Theatre in April 1887 in ''Ivy'',<ref name=Who/> and in May in a comedy entitled ''A Tragedy''.<ref>{{Cite news |url=https://www.newspapers.com/article/the-observer-at-the-play/144018875/ |title=At the Play |newspaper=The Observer |publication-place=London |page=2 |date=1 May 1887 |access-date=2024-03-24 |via=Newspapers.com}}</ref> In June 1887, Lewis performed in a comedietta by Andrew Longmuir called ''Cleverly Managed''.<ref>{{Cite news |url=https://www.newspapers.com/article/the-times-church-temperance-bazaar/144019040/ |title=Church Temperance Bazaar |newspaper=The Times |publication-place=London |issue=32111 |page=9 |date=29 June 1887 |access-date=2024-03-24 |via=Newspapers.com}}</ref> In July 1888, he starred in another comedietta, entitled ''Caught Out'', by Florence Bright at St George's Hall<ref>{{Cite news |url=https://www.newspapers.com/article/the-times-st-georges-hall/144019161/ |title=St. George's Hall |newspaper=The Times |publication-place=London |issue=32441 |page=12 |date=18 July 1888 |access-date=2024-03-24 |via=Newspapers.com}}</ref> In September of that year, he helped open the relocated New Court Theatre with a play by Sydney Grundy called ''Mamma'', starring Mrs. John Wood and also featuring Arthur Cecil.<ref>{{Cite news |url=https://www.newspapers.com/article/the-times-new-court-theatre/144019267/ |title=New Court Theatre |newspaper=The Times |publication-place=London |issue=32500 |page=9 |date=25 September 1888 |access-date=2024-03-24 |via=Newspapers.com}}</ref> In January 1889, he starred in ''The Begum's Diamonds'' by J. P. Hurst at the Avenue Theatre.<ref>{{Cite news |url=https://www.newspapers.com/article/the-times-avenue-theatre/144019363/ |title=Avenue Theatre |newspaper=The Times |issue=32603 |page=8 |date=23 January 1889 |access-date=2024-03-24 |via=Newspapers.com}}</ref> In July of that year, he was back at the Court Theatre starring with Mrs. John Wood, Cecil and Weedon Grossmith in ''Aunt Jack'', a farce by Ralph Lumley.<ref>{{Cite news |url=https://www.newspapers.com/article/the-times-court-theatre/144019464/ |title=Court Theatre |newspaper=The Times |publication-place=London |issue=32751 |page=7 |date=15 July 1889 |access-date=2024-03-24 |via=Newspapers.com}}</ref> The next year, he had his first big musical comedy success as the foppish Duke of Fayensburg in the successful operetta ''La Cigale'', composed by Edmond Audran, at the Lyric Theatre.<ref>{{Cite news |url=https://www.newspapers.com/article/the-times-lyric-theatre/144019600/ |title=Lyric Theatre |newspaper=The Times |publication-place=London |issue=33139 |page=7 |date=10 October 1890 |access-date=2024-03-24 |via=Newspapers.com}}</ref> This ran from October 1890 to December 1891.<ref name=Who/> The Duke was one of his finest roles, and the success of the piece owed much to his performance.<ref name=Timesobit/>
In 1892, he starred in A. G. Bagot's comedy ''The Widow'' at the Comedy Theatre.<ref>"Comedy Theatre", ''The Times'', 22 April 1892. p. 4</ref> Later that year, he was well received in the role of the Duke in the early George Edwardes musical comedy ''In Town''.<ref>"Prince of Wales's Theatre", ''The Times'', 17 October 1892, p. 13</ref> Beginning in the next year, he starred as the ridiculed judge in the hit musical ''A Gaiety Girl''.<ref>"Prince of Wales's Theatre", ''The Times'', 16 October 1893, p. 14</ref> After the long run of that piece, in 1885 he was featured in another hit Edwardes musical, ''An Artist's Model''.<ref>"Daly's Theatre", ''The Times'', 4 February 1895, p. 8</ref> In 1896, he was in F. C. Burnand's ''Mrs Ponderbury'' at the Court Theatre with Mrs. John Wood, Charles Hawtrey and Brandon Thomas.<ref>''The Observer'', 1 March 1896, p. 4</ref> Later in that year he appeared in ''A White Elephant'', a farce by R. C. Carton at the Comedy Theatre<ref>"Comedy Theatre", ''The Times'', 20 November 1896, p. 6</ref> and another musical, ''Monte Carlo'', at the Avenue Theatre. In 1897, he received praise in another long-running musical role in ''A French Maid''.<ref>"Terry's Theatre", ''The Times'', 26 April 1897, p. 13</ref> The same year, during the run of ''A French Maid'' at Terry's Theatre, he played in a series of matinees consisting of short musicals for children by Basil Hood and Walter Slaughter.<ref>{{Cite news |url=https://www.newspapers.com/article/the-new-york-times-the-new-plays-in-lond/144019792/ |title='The Happy Life,' by Louis N. Parker, to be Produced at the Duke of York's Theatre |newspaper=The New York Times |place=London |page=7 |publication-date=5 December 1897 |date=1897-12-04 |access-date=2024-03-24 |via=Newspapers.com}}</ref><ref>"Terry's Theatre", ''The Times'', 24 December 1897, p. 6</ref> After this, Lewis devoted himself to the legitimate stage for nearly the remainder of his long career.<ref name=Who/>
In 1899, Lewis was back at the Court theatre in another Carton comedy, ''Wheels within Wheels''.<ref>"Court Theatre", ''The Times'', 24 May 1899, p. 8</ref> Later that year, still at the Court Theatre, he was praised for his performance in ''A Royal Family'', written by Captain Marshall.<ref>"Court Theatre", ''The Times'', 16 October 1899, p. 2</ref> In the new century, Lewis continued to be as busy as ever. ''The Times'' described him as "well-nigh indispensable to light comedy for the role of the elderly gentleman of breeding, with a streak of affable eccentricity in his nature." The paper remembered Lewis as follows: {{quote|Only to think of Eric Lewis in an Eric Lewis part is to chuckle. His comfortable physique, his lovable mannerisms, his worried look, his affectation of aggrieved pomposity, his ludicrous vocal shades ranging from mellow nonchalance to shrill querulousness, above all, his wonderful rolling eyes – all these characteristics exuded unctuousness, and even in the recesses of memory provoke the thoughts to laughter.... His quaint personality was as familiar as it was welcome.<ref name=Timesobit/>|}}
Lewis was praised for his performances at the Criterion Theatre in the revival of another Marshall play, ''His Excellency the Governor'',<ref>"Criterion Theatre", ''The Times'', 15 February 1900, p. 5</ref> and in Carton's ''Lady Huntworth's Experiment''.<ref>"Criterion Theatre", ''The Times'', 27 April 1900, p. 4</ref> In 1905, at St. James's Theatre, Lewis received more good notices as a cynical old busybody in the title role of ''Mollentrave on Women'' by Alfred Sutro.<ref>"St. James's Theatre", ''The Times'', 14 February 1905, p. 6</ref> Looking back on this production almost 30 years later, ''The Times'' called Lewis's performance "perfect".<ref>"Mr. Alfred Sutro" (obituary), ''The Times'', 13 September 1933, p. 12</ref> The same year, he starred in George Bernard Shaw's ''Passion, Poison, and Petrifaction''.<ref>"The Actors' Orphanage Fund", ''The Times'', 15 July 1905, p. 8</ref> Later that year at the Haymarket Theatre, he starred in ''On the Love Path'' by C. M. S. McLellan.<ref>"Haymarket Theatre", ''The Times'', 7 September 1905, p. 4</ref> The next year saw him in at the Duke of York's Theatre in ''All-Of-A-Sudden Peggy'' by Ernest Denny.<ref>"Duke of York's Theatre; ''All-Of-A-Sudden Peggy''", ''The Times'', 28 February 1906, p. 8</ref> and a revival of ''The Marriage of Kitty'', both with Marie Tempest, with whom he appeared in many plays throughout his post-D'Oyly Carte career.<ref>''The Times'', 11 June 1906, p. 10</ref> At the Criterion later in 1906, he took the title role in W. Kingsley Tarpey's ''The Amateur Socialist''. ''The Times'' observed that Lewis "has a recipe all his own for serving up folly with elegance; and he kept the audience in an almost continuous chuckle of delight."<ref>''The Times'', 15 October 1906, p. 9</ref> His last role that year was the fashionable Sir Ralph Bloomfield Bonington in ''The Doctor's Dilemma'' at the Royal Court Theatre.<ref>{{Cite web |url=https://www.irishplayography.com/search/play.asp?play_id=2227 |title=Irish Playography |access-date=10 January 2009 |archive-url=https://web.archive.org/web/20070502064748/http://www.irishplayography.com/search/play.asp?play_ID=2227 |archive-date=2 May 2007 |url-status=dead}}</ref> ''The Times'' later called this one of his best roles.<ref name=Timesobit/>
===Later years=== [[File:Eric lewis as Canton.jpg|thumb|left|upright|Lewis as Canton in ''The Clandestine Marriage'', a role he played at charity matinées]] In 1907, he played in Shaw's ''The Philanderer'' at the Court Theatre<ref>''The Times'', 17 January 1907, p. 8</ref> and in Sutro's ''The Wails of Jericho'' at the Garrick Theatre.<ref>"Garrick Theatre. ''The Wails of Jericho''", ''The Times'' 5 June 1907, p. 12</ref> The same year, at the St. James's, he starred in ''The 18th Century''<ref>"St. James's Theatre. ''The 18th Century''", ''The Times'', 30 July 1907, p. 10</ref> and Richard Brinsley Sheridan's ''The School for Scandal''.<ref>"St. James's Theatre. ''The School For Scandal''", ''The Times'', 16 September 1907, p. 10</ref> That year he was invited to play in a royal command performance.<ref>''The Times'', 29 October 1907, p. 10</ref> In 1908, he continued to receive praise, starring in ''The Admirable Crichton'' at the Duke of York's Theatre<ref>"Duke of York's Theatre. ''The Admirable Crichton''", ''The Times'', 3 March 1908, p. 10</ref> and again as a judge in ''Lady Epping's Lawsuit'' at the Criterion.<ref>"Criterion Theatre. ''Lady Epping's Lawsuit''", ''The Times'', 13 October 1908, p. 11</ref> 1909 opened with Lewis and Tempest in ''Penelope'' by Somerset Maugham at the Comedy Theatre.<ref>"Theatrical Arrangements", ''The Times'', 24 December 1908, p. 6</ref> The following year, he appeared in ''The Naked Truth'' by George Paston and W. B. Maxwell at Wyndham's Theatre.<ref>"Wyndham's Theatre. ''The Naked Truth''", ''The Times'', 15 April 1910, p. 12</ref> In 1911, he played in ''Lady Patricia'' by Rudolf Bessier at the Haymarket<ref>''The Times'', 13 March 1911, p. 10</ref> and ''Lady Windermere's Fan'' (together with Marion Terry) at the St. James's.<ref>''The Times'', 10 October 1911, p. 6</ref> The next year, Lewis appeared in Charles Brookfield's ''Dear Old Charlie'' at the Prince of Wales's Theatre<ref>''The Times'', 19 February 1912, p. 12</ref> and ''Mrs. Dane's Defence'', by Henry Arthur Jones, at the New Theatre,<ref>"New Theatre. ''Mrs. Dane's Defence.''", ''The Times'', 17 May 1912, p. 10</ref> In 1913, Lewis starred in H. V. Esmond's ''Eliza comes to Stay'' at the Criterion.<ref>''The Times'', 10 February 1913, p. 10</ref> Also, at the Duke of York's he played in J. M. Barrie's ''The Adored One''<ref>''The Times'', 10 September 1913, p. 8</ref> and at the Royalty Theatre, C. B. Furnald's ''The Pursuit of Pamela''.<ref>''The Times'', 5 November 1913, p. 10</ref> The following year, he starred in ''The Blue Mouse'' by Alexander Engel and Julian Horst at the Criterion.<ref>"''The Blue Mouse''", ''The Times'', 13 May 1914, p. 10</ref> a revival of ''Eliza Comes to Stay'' at the Vaudeville Theatre<ref>''The Times'', 8 July 1914, p. 5</ref> and ''Sir Richard's Biography'' by Wilfred T. Coleby at the Criterion. By this part of his career, reviewers were calling the parts that he played "Lewisian".<ref>"New Comedy at the Criterion", ''The Times'', 2 October 1914, p. 11</ref>
In 1915, Lewis briefly returned to song and dance, supporting Gaby Deslys in a revue written for her by J. M. Barrie, ''Rosy Rapture'' at the Duke of York's.<ref>"The Barrie Revue", ''The Times'', 23 March 1915, p. 7</ref> 1916 saw Lewis in ''Please Help Emily'' by H. M. Harwood at the Playhouse Theatre<ref>"''Please Help Emily''", ''The Times'', 28 January 1916, p. 11</ref> and ''The Hawk'' by Edward Knoblock at the Royalty Theatre.<ref>"''The Hawk''", ''The Times'', 19 September 1916, p. 11</ref> In 1917, he was featured in ''The Double Event'' by Sydney Blow and Douglas Hoare at The Queen's Theatre<ref>''The Times'', 21 February 1917, p. 9</ref> and H. V. Esmond's ''Salad Days'' at the London Pavilion.<ref>''The Times'', 20 September 1917, p. 3</ref> The next year, he played in ''Monica's Blue Boy'' by Arthur Wing Pinero at the New Theatre<ref>''The Times'', 9 April 1918, p. 9</ref> and ''The Man from Toronto'' by Douglas Murray at the Royalty. Even so, late in Lewis's career, ''The Times'' commented (in the midst of a very favourable review of the play), that Lewis "is always sure of himself, always sound, suave, brightly polished. [His episodes] are more entertaining than the main story."<ref>"''The Man From Toronto''", ''The Times'', 31 May 1918, p. 9</ref> In 1919, he appeared in ''Kiddies'' by John L. Hobble at the Royalty.<ref>''The Times'', 14 August 1919, p. 8</ref>
In 1920, he was back in a musical comedy, ''The Little Whopper'' by George Grossmith, Jr. at the Shaftesbury Theatre. ''The Times'' wrote that "Lewis, sterling actor that he is, gave the impression last night that he had been playing in musical comedy all his life. He sang with the best, and he gave a perfect little study".<ref>"''The Little Whopper''", ''The Times'', 21 April 1920, p. 14</ref> Later that year, he played in ''Brown Sugar'' by Lady Lever at The Duke of York's.<ref>"''Brown Sugar''", ''The Times'', 8 July 1920, p. 12</ref> In 1921, he was seen in ''The Trump Card'' by Arthur Wimperis at the Strand Theatre.<ref>''The Times'', 8 August 1921, p. 6</ref> The following year, at the Aldwych Theatre, he was seen in ''Money Doesn't Matter'' by Gertrude Jennings<ref>"''Money Doesn't Matter''", ''The Times'', 1 February 1922, p. 8</ref> and the farce ''Double-Or Quit!'' by Theophilus Charlton.<ref>"''Double-Or Quit!''", ''The Times'', 5 September 1922, p. 8</ref> In 1923, he played in another farce, ''Three's a Crowd'', by Earl Derr Biggers at the Court<ref>"''Three's A Crowd''", ''The Times'', 31 January 1923, p. 8</ref> and Frederick Lonsdale's ''Aren't We All?'' at the Globe Theatre.<ref>"Globe Theatre. ''Aren't We All?''", ''The Times'', 11 April 1923, p. 10</ref> In 1924 Lewis appeared in ''Kate'' at the Kingsway Theatre, together with Nellie Briercliffe,<ref>''The Times'', 14 February 1924, p. 10</ref> and starred in ''The Other Mr. Gibbs'', by Will Evans and Guy Reeves, at the Garrick.<ref>''The Times'', 16 June 1924, p. 10</ref>
Lewis continued to perform until 1925, appearing in the films ''Brown Sugar'' (1922) as the Earl of Knightsbridge, and as Sir Anthony Fenwick in ''The Happy Ending'' (1925), which starred Fay Compton and Jack Buchanan.<ref name=Who/> He also wrote sketch comedies and short plays.<ref>''The Times'', 14 June 1907, p. 5</ref><ref>''The Times'', 27 November 1907, p. 8</ref>
Lewis died in Margate, Kent, in 1935 at the age of 79.<ref name=Timesobit/>
==Notes== {{Reflist}}
==References== *{{cite book|last=Lytton|first=Henry|year=1922|title=Secrets of a Savoyard|location=London|url=https://www.gsarchive.net/books/lytton_secrets/index.html |publisher=Jarrolds}} *{{cite book|last=Barrington|first=Rutland|year=1908|title=Rutland Barrington: A Record of 35 Years' Experience on the English Stage|location=London|publisher=G. Richards|url=https://archive.org/details/rutlandbarringto00barrrich}} Preface by W. S. Gilbert. Retrieved 9 March 2008
==External links== *{{IMDb name}}
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{{DEFAULTSORT:Lewis, Eric}} Category:1855 births Category:1935 deaths Category:English male musical theatre actors