Colin Henry Hazlewood
Encyclopedia
Colin Henry Hazlewood was an English
playwright
.
Hazlewood was born in 1823, and became a low comedian on the Lincoln
, York
, and western circuits. In 1850 he wrote and produced at the City of London Theatre a farce entitled ‘Who's the Victim?’ which was received with favour, and he commenced writing stories for the penny weekly publications. In 1851 he was engaged at the Surrey Theatre, appearing as Bob Blackberry in the ‘Rover's Bride,’ and was next engaged by Nelson Lee and Johnson for the City of London Theatre as low comedian. Here he remained ten years, producing numerous dramas, farces, and burlesques, among his successes being ‘The Bonnet Builders' Tea Party’ at the Strand Theatre; ‘Jenny Foster, the Sailor's Child,’ and ‘Jessie Vere, or the Return of the Wanderer,’ two dramas each in two acts, produced in 1854 and 1856 at the Britannia Saloon, where they had long runs; and ‘Waiting for the Verdict,’ first given at the City of London Theatre. Hazlewood wrote mainly for the Britannia and Pavilion Theatres, and is said to have been paid at the rate of about fifty shillings an act, with something extra for a very successful piece. He died at 44 Huntingdon Street, Haggerston, London, on 31 May 1875, aged 52, leaving two children, a son, Henry Colin Hazlewood (lessee and manager of the Star Theatre, Wolverhampton), and a daughter.
The following pieces by Hazlewood were printed in T. H. Lacy's ‘Acting Edition of Plays:’ No. 161, ‘Going to Chobham. A Farce,’ City of London Theatre, 1853; No. 371, ‘Jessie Vere,’ 1856; No. 467, ‘Jenny Foster,’ 1855; No. 479, ‘The Marble Bride,’ magical drama, Britannia Saloon; No. 620, ‘The Chevalier of the Maison Rouge,’ drama, 1859; No. 744, ‘The House on the Bridge of Notre Dame,’ drama, Marylebone Theatre, 1861; No. 822, ‘The Harvest Storm,’ drama, Britannia Theatre, 1862; No. 850, ‘The Heart of Midlothian,’ drama, adjusted by C. Hazlewood, 1863; No. 856, ‘Aurora Floyd,’ drama, Britannia Theatre, 1863; No. 954, ‘The Mother's Dying Child,’ drama, Britannia Theatre, 1863; No. 1039, ‘Clock on the Stairs,’ drama, Britannia Theatre, 1862; No. 1047, ‘Capitola, or the Masked Mother and the Hidden Hand,’ drama, City of London Theatre, 1860; No. 1145, ‘Poul a Dhoil, or the Fairy Man,’ drama, Britannia Theatre, 1865; No. 1268, ‘Hop Pickers and Gipsies,’ drama, Britannia Theatre, 1869; No. 1300, ‘Lizzie Lyle, or the Flower Makers of Finsbury,’ drama, Grecian Theatre, 1869; No. 1381, ‘The Lost Wife, or a Husband's Confession,’ drama, Britannia Theatre, 1871; No. 1437, ‘Leave it to Me,’ a farce, with Arthur Williams, Surrey Theatre, 1870; No. 1473, ‘Waiting for the Verdict, or Falsely Accused,’ drama, City of London Theatre, 1859; No. 1543, ‘Mary Edmondstone,’ drama, Britannia Theatre, 1862; No. 1557, ‘The Staff of Diamonds,’ drama, Surrey Theatre, 1861; No. 1575, ‘The Stolen Jewess,’ drama, Britannia Theatre, 1872; No. 1583, ‘Ashore and Afloat,’ drama, Surrey Theatre, 1864; No. 1588, ‘Taking the Veil, or the Harsh Stepfather,’ drama, Britannia Theatre, 1870; No. 1591, ‘The Bridal Wreath,’ drama, City of London Theatre, 1861; No. 1601, ‘The Bitter Reckoning,’ drama, Britannia Theatre, 1871; No. 1603, ‘The Headless Horseman,’ drama, Britannia Theatre, 1865; No. 1611, ‘For Honour's Sake,’ drama, Britannia Theatre, 1873; No. 1633, ‘Jessamy's Courtship,’ a farce, Philharmonic Theatre, 1875; Supplement No. 3, ‘Lady Audley's Secret,’ drama, Victoria Theatre, 1863; Supplement No. 16, ‘Never too Late to Mend,’ drama, Marylebone Theatre, 1859.
Other of his pieces had considerable popularity, viz.: ‘Mary Price,’ ‘Phillis Thorpe,’ ‘Jerry Abershaw,’ ‘Lilla, the Lost One,’ ‘Our Tea Party,’ ‘The Black Gondola,’ ‘Trials of Poverty,’ ‘Blanche and Perrinette,’ ‘The Eagle's Nest,’ ‘Lost Evidence,’ ‘The Jewess of the Temple,’ ‘The Traitor's Track,’ ‘Life for a Life,’ ‘The Forlorn Hope,’ ‘Happiness at Home,’ ‘Cast Aside,’ ‘Aileen Asthore,’ ‘The Lightning Flash,’ ‘A French Girl's Love,’ and ‘Inez Danton.’
England
England is a country that is part of the United Kingdom. It shares land borders with Scotland to the north and Wales to the west; the Irish Sea is to the north west, the Celtic Sea to the south west, with the North Sea to the east and the English Channel to the south separating it from continental...
playwright
Playwright
A playwright, also called a dramatist, is a person who writes plays.The term is not a variant spelling of "playwrite", but something quite distinct: the word wright is an archaic English term for a craftsman or builder...
.
Hazlewood was born in 1823, and became a low comedian on the Lincoln
Lincoln, Lincolnshire
Lincoln is a cathedral city and county town of Lincolnshire, England.The non-metropolitan district of Lincoln has a population of 85,595; the 2001 census gave the entire area of Lincoln a population of 120,779....
, York
York
York is a walled city, situated at the confluence of the Rivers Ouse and Foss in North Yorkshire, England. The city has a rich heritage and has provided the backdrop to major political events throughout much of its two millennia of existence...
, and western circuits. In 1850 he wrote and produced at the City of London Theatre a farce entitled ‘Who's the Victim?’ which was received with favour, and he commenced writing stories for the penny weekly publications. In 1851 he was engaged at the Surrey Theatre, appearing as Bob Blackberry in the ‘Rover's Bride,’ and was next engaged by Nelson Lee and Johnson for the City of London Theatre as low comedian. Here he remained ten years, producing numerous dramas, farces, and burlesques, among his successes being ‘The Bonnet Builders' Tea Party’ at the Strand Theatre; ‘Jenny Foster, the Sailor's Child,’ and ‘Jessie Vere, or the Return of the Wanderer,’ two dramas each in two acts, produced in 1854 and 1856 at the Britannia Saloon, where they had long runs; and ‘Waiting for the Verdict,’ first given at the City of London Theatre. Hazlewood wrote mainly for the Britannia and Pavilion Theatres, and is said to have been paid at the rate of about fifty shillings an act, with something extra for a very successful piece. He died at 44 Huntingdon Street, Haggerston, London, on 31 May 1875, aged 52, leaving two children, a son, Henry Colin Hazlewood (lessee and manager of the Star Theatre, Wolverhampton), and a daughter.
The following pieces by Hazlewood were printed in T. H. Lacy's ‘Acting Edition of Plays:’ No. 161, ‘Going to Chobham. A Farce,’ City of London Theatre, 1853; No. 371, ‘Jessie Vere,’ 1856; No. 467, ‘Jenny Foster,’ 1855; No. 479, ‘The Marble Bride,’ magical drama, Britannia Saloon; No. 620, ‘The Chevalier of the Maison Rouge,’ drama, 1859; No. 744, ‘The House on the Bridge of Notre Dame,’ drama, Marylebone Theatre, 1861; No. 822, ‘The Harvest Storm,’ drama, Britannia Theatre, 1862; No. 850, ‘The Heart of Midlothian,’ drama, adjusted by C. Hazlewood, 1863; No. 856, ‘Aurora Floyd,’ drama, Britannia Theatre, 1863; No. 954, ‘The Mother's Dying Child,’ drama, Britannia Theatre, 1863; No. 1039, ‘Clock on the Stairs,’ drama, Britannia Theatre, 1862; No. 1047, ‘Capitola, or the Masked Mother and the Hidden Hand,’ drama, City of London Theatre, 1860; No. 1145, ‘Poul a Dhoil, or the Fairy Man,’ drama, Britannia Theatre, 1865; No. 1268, ‘Hop Pickers and Gipsies,’ drama, Britannia Theatre, 1869; No. 1300, ‘Lizzie Lyle, or the Flower Makers of Finsbury,’ drama, Grecian Theatre, 1869; No. 1381, ‘The Lost Wife, or a Husband's Confession,’ drama, Britannia Theatre, 1871; No. 1437, ‘Leave it to Me,’ a farce, with Arthur Williams, Surrey Theatre, 1870; No. 1473, ‘Waiting for the Verdict, or Falsely Accused,’ drama, City of London Theatre, 1859; No. 1543, ‘Mary Edmondstone,’ drama, Britannia Theatre, 1862; No. 1557, ‘The Staff of Diamonds,’ drama, Surrey Theatre, 1861; No. 1575, ‘The Stolen Jewess,’ drama, Britannia Theatre, 1872; No. 1583, ‘Ashore and Afloat,’ drama, Surrey Theatre, 1864; No. 1588, ‘Taking the Veil, or the Harsh Stepfather,’ drama, Britannia Theatre, 1870; No. 1591, ‘The Bridal Wreath,’ drama, City of London Theatre, 1861; No. 1601, ‘The Bitter Reckoning,’ drama, Britannia Theatre, 1871; No. 1603, ‘The Headless Horseman,’ drama, Britannia Theatre, 1865; No. 1611, ‘For Honour's Sake,’ drama, Britannia Theatre, 1873; No. 1633, ‘Jessamy's Courtship,’ a farce, Philharmonic Theatre, 1875; Supplement No. 3, ‘Lady Audley's Secret,’ drama, Victoria Theatre, 1863; Supplement No. 16, ‘Never too Late to Mend,’ drama, Marylebone Theatre, 1859.
Other of his pieces had considerable popularity, viz.: ‘Mary Price,’ ‘Phillis Thorpe,’ ‘Jerry Abershaw,’ ‘Lilla, the Lost One,’ ‘Our Tea Party,’ ‘The Black Gondola,’ ‘Trials of Poverty,’ ‘Blanche and Perrinette,’ ‘The Eagle's Nest,’ ‘Lost Evidence,’ ‘The Jewess of the Temple,’ ‘The Traitor's Track,’ ‘Life for a Life,’ ‘The Forlorn Hope,’ ‘Happiness at Home,’ ‘Cast Aside,’ ‘Aileen Asthore,’ ‘The Lightning Flash,’ ‘A French Girl's Love,’ and ‘Inez Danton.’