William Thomas Moncrieff

Abstract

This article argues for a more sympathetic and indeed admiring evaluation of the adaptations William Moncrieff made for the early nineteenth-century stage from the novels, operas and popular songs of the period. His reputation had been fatally tarnished by the abuse of Charles Dickens, who resented his successful adaptations of Dickens's own work; but I argue, from a reading of Moncrieff's correspondence, his autobiography and the surviving manuscripts of his successful plays, that his practice as an adaptor and playwright – eclectic, wide-ranging, syncretic, serving many different artistic and performance purposes – should be revisited. It may be read as part of a richer genealogy for the modern musical theatre, as well as valued for its own successes, founded upon adaptability as well as adaptation.