Page:Dictionary of National Biography, Second Supplement, volume 2.djvu/305

 Birmingham, and he reported the classic Sayers-Heenan fight. Many of his contributions to 'Household Words' and other periodicals he collected in volumes entitled 'Bow Bells' (1859); 'Odd Journeys in and out of London' (1860); 'Rubbing the Gilt off' (1860); 'Underground London' (1862), and 'Rough Diamonds' (1862). He was one of the first contributors to the 'Cornhill Magazine,' which was founded in 1859. When Thackeray, the editor, asked him where he learnt his 'pure style,' he replied 'In the streets, from costermongers and skittle-sharps.'

In 1861, when London suffered from famine, he wrote for the 'Morning Post' 'London Horrors' (republished as 'Ragged London' the same year). He also wrote much in the 'Leader' for his friend, F. J. Tomlin, for the 'London Review,' edited by Charles Mackay, and for 'Good Words,' edited by Norman Macleod. Sir Charles Wentworth Dilke [q. v.], a commissioner of the Great Exhibition of 1862, entrusted him with the 'Historical Introduction to the Catalogue.' From 1863 to 1868 he acted in succession to Yates as dramatic critic to the 'Daily News.' He wrote once or twice for 'Punch' when Shirley Brooks was editor, and in 1880, under Sir F. C. Burnand's editorship, became an occasional contributor. There he pleaded with effective satire for improvements in the government of London, especially attacking the Duke of Bedford, whom he christened the Duke of Mudford, for his mismanagement of his Bloomsbury property. His articles entitled 'Mud Salad (i.e. Covent Garden) Market' and 'The Gates of Gloomsbury' attracted wide attention. Many of his contributions to 'Punch,' in verse and prose, reappeared in his volumes 'Footlights' (1883), 'Plain English' (1888), and 'Niagara Spray' (1890).

Meanwhile he took a spirited part in other public movements. In 1858 he became a member of the committee for the abolition of the paper duty, which was effected in 1861. With Dion Boucicault he agitated in favour of 'Free Trade for Theatres,' and against the licensing regulations. In 1866 and again in 1892 a special committee of the House of Commons reported favourably on his general view, but no action was taken. To his efforts was largely due the Public Entertainments Act in 1875, sanctioning performances before 5 o'clock, which the Act 25 Geo. II c. 36 previously made illegal. In 1873 he led another agitation for the reform of copyright law so as to prevent the dramatisation of novels without the author's sanction. A royal commission reported in 1878 in favour of the novelist From 1860 onwards he fought the closing of the theatres on Ash Wednesday, and in 1886 the restriction was removed by Lord Lathom, then lord chamberlain.

Hollingshead helped to found the Arundel Club and the New Club, Covent Garden (My Lifetime, ii. 209), and joined with zest in Bohemian society. He first turned theatrical manager in 1865. Although he did not abandon journalism, his main interest lay for nearly a quarter of a century in theatrical enterprise. From 1865 to 1868 he was stage director of the Alhambra, where he thoroughly reformed the performances. For acting a pantomimic sketch in contravention of the theatrical licensing law he was fined 240l. or 20l. a performance.

On 21 Dec. 1868 Hollingshead opened as manager the Gaiety Theatre in the Strand, which had been newly built by Charles John Phipps [q. v. Suppl. I] for Lionel Lawson. It was erected on the site once partly occupied by the Strand music-hall. A theatre and restaurant were now first combined in London in one building. At the Gaiety, Hollingshead made many innovations, including the system of 'No fees,' and inaugurated continual Wednesday and Saturday matinees. In August 1878, outside the theatre, he first introduced the electric light into London, and later, he was the first to make use of it upon the stage. He mainly devoted himself to burlesque, which he first produced in three acts. In his own phrase, he kept 'the sacred lamp of burlesque' burning at the Gaiety for eighteen years. His chief successes in burlesque were Reece's 'Forty Thieves,' Hervé's and Alfred Thompson's 'Aladdin,' H. J. Byron's 'Little Dr. Faust' and 'Little Don César de Bazan,' and 'Blue Beard,' 'Ariel,' and other pieces by Sir F. C. Burnand. His actors and actresses included Toole, Edward Terry, Nellie Farren, Fred Leslie, and Kate Vaughan. His scene painters were Grieve, Telbin and Son, Gordon, John O'Connor, and W. Hann, and his musical conductor was Meyer Lütz [q. v. Suppl. II]. Hollingshead did not confine himself to burlesque. He produced serious new plays by T. W. Robertson, W. S. Gilbert, H. J. Byron, Charles Reade, and Dion Boucicault; operas and operettes (in which Charles Santley, Cummings and Emmeline Cole sang) by Hérold, Hervé, Offenbach, Leeocq, and Suppé; while Shakespeare and old and modern English comedy were interpreted by, among others, Phelps, Charles Mathews, and Toole,