[William Farren, leading Georgian actor.] Joint (William & John) Autograph Letters Signed (both 'W. Farren') to George Smith of Yarmouth Theatre & his brother John, encouraging John to work on a play for J. R. Planché at the Olympic Theatre, London.

Farren's entry in the Oxford DNB concludes by describing him as 'a theatrical sophisticate, equally at home in period comedy and modern plays; he was, besides, one of the finest actors of his century'. From around 1821 Farren lived with the actress Mrs Faucit (Harriet Elizabeth Savill, née Diddear, 1789-1857), with whom he had two sons. An excellent item, casting vivid light on the Olympic Theatre of Madame Vestris and J. R. Planché in its late-Georgian heyday. In the second letter, to John [Smith], Farren discusses with great enthusiasm plans for staging a play by the recipient at the Olympic, declaring that he 'will not lose sight of it until it is triumphant!!' (The play would appear to have been titled 'The Sign Manual'. No information about it or the playwright have been discovered.) The two letters are on a single bifolium, and total 3pp, 4to. In fair condition, aged and worn, folded several times, with a number of closed tears to edges of folds. Addressed on reverse of second leaf, with postmark and broken seal in black wax, to 'G. Smith Esqr. | Theatre Yarmouth | Norfolk.' Farren's initials ('W. F.') are at bottom-right of address. The first letter, to 'Dear George', is a brief one, reading: 'I have this Morning received your Letter, and reply at once that I will act with you in Cambridge on Monday the 17th. For three Weeks ending on the Saturday the 23rd. If to the contrary let me hear from you. I returned early last Night from Bristol, where I have been playing the last Week. Southampton I purposed going to, but shall give it up. So much for you, with kind regards to your Father. After you have read this, put the remaining part of this Letter into your Brothers hands. Yours very truly | W. Farren'. The second letter is 41 lines long, covering the two central pages and concluding with a long postscript (again signed with initals) at the head of the first page. It begins: 'Dear John, | Mr. Planché knowing that I was expecting home last night visited me this morning to say – he likes your Piece very much, [last two words both underlined twice] but to suit the Olympic you must make some alterations – which are very easily done' – the speaking Conspirators must be lessened in number, and he wishes the young Man & young Woman made Musical – and – Gen[era]l somebody, whose Name I forget, made a Bass Singer for a Finale. I think Planché's idea altogether excellent but as it would be impossible for you to easily comprehend what he means without your seeing him – my advice to you is put yourself on the Top of the Yarmouth Coach and come up to Town, as soon as you can, and bring everything in the way of Dramatic Composition you have by you, with you. We have stomach for them all!! Planché speaks highly of your dramatic skill – your Adelphi he says was murdered'. He returns to the 'present Work', reporting Planché's opinion that there is 'a little too much Melo Drama in the last Scene – which he wants put into Musical Situation: […] a Song for the young Man by Mr. Manvers, a Song for the Girl by Miss Taylor […] and the Genl. A Bass for Bland'. He concludes in the same enthusiastic tone. The postscript begins: 'Remember I have recommended this Piece – The Sign Manual and I will not lose sight of it until it is triumphant!!' He stresses that the plans for the finale are of 'great importance'.