Priscilla Horton

Priscilla Horton, later Priscilla German Reed (2 January 1818 – 18 March 1895), was an English singer and actress, known for her role as Ariel in W. C. Macready's production of The Tempest in 1838 and "fairy" burlesques at Covent Garden Theatre. Later, she was known, along with her husband, Thomas German Reed, for establishing and performing in the family-friendly German Reed Entertainments. There, she was a mentor to W. S. Gilbert, and her performances inspired Gilbert to create some of his famous contralto roles.

Life and career

Early years Horton was born in Birmingham. Her parents were Thomas Horton and Barbara, née Westwater. She performed on the stage in London from the age of ten, when she played the Gipsy Girl in Guy Mannering at the Surrey Theatre. The next year, Horton sang at Vauxhall Gardens. In 1830, she appeared at Covent Garden Theatre as Mealey Mouth in Harlequin, Pat, and Bat. In 1834, at the Royal Victorian Theatre, Horton played Julia in a musical adaptation of Guy Mannering, Kate in Sheridan Knowles's melodrama The Beggar's Daughter of Bethnal Green, Romeo, Desdemona in Othello, and Oscar in Gustavus the Third.

Blonde and blue eyed, Horton had sometimes played in "trouser roles", which, by the time Horton entered the profession, had lost much of their risqué aura. She was a favourite of James Planché, Charles Dickens and Madame Vestris and was known for her agile dancing and clear contralto singing voice. The historian Paul Buczkowski wrote of her, "Horton brought a lively intelligence to her roles, and was almost as highly lauded in tragedy (for instance, as Ophelia in Hamlet and the Fool in King Lear) as in comedy. She would appear in most of Planché's later works, substantially enriching them."

From 1840 to 1847, Horton joined Benjamin Nottingham Webster's company at the Haymarket Theatre, where she first played Ophelia in 1840. The Athenaeum wrote: "The only striking novelty in the performance is the Ophelia of Miss P. Horton, which approaches very nearly to the wild pathos of the original in one scene, and is touching and beautiful in all." The same year, she created the role of Georgina Vesey in Edward Bulwer-Lytton's Money. In 1842, she sang the role of Acis in Handel's Acis and Galatea.

Marriage and later years

She married Thomas German Reed in 1844, although a marriage to another man was erroneously reported in the London press the year before: "Miss P. Horton, the Ariel of Drury Lane, and the universal favorite of all playgoers, is no longer Miss Horton. She has given her hand, we learn, to a Mr. Wheatley, a respectable wharfinger" It turned out, though, that Mr. Wheatley, "a lighterman and barge owner at Lambeth," had married a daughter of Thomas Gladstane, lessee of the Adelphi Theatre.

From 1847 to 1854, Horton continued to play roles at the Haymarket, Drury Lane and Olympic theatres as well as in provincial tours. One 1851 role was Hecate in Macready's farewell Macbeth.

The entertainments focused on satire and "clean" comedy, eschewing any hint of the vulgarity that permeated the London stage. Reed himself composed the music for many of these pieces, and often appeared in them, together with Mrs. German Reed. Horton was a mentor to the dramatist W. S. Gilbert, who wrote six short operas for the German Reeds, each with a prominent role for Horton, and these roles became the pattern for his later contralto characters in the Savoy Operas.