James Sheridan Knowles, despite initial attempts at being conventional, did something remarkable. He made a life out of being himself. And ‘himself’ was different. And he was just that whenever the fancy took him. In a life almost totally forgotten, he made a life less ordinary, as a soldier, doctor, writer and actor. He even found God. If he’d been Catholic, he’d probably have become Pope.
James Sheridan Knowles, born in 1784, was a Corkman. As if that wasn’t enough for him to want to set himself apart, he was also the son of James Knowles Sr, lexicographer, teacher of ‘high reputation’ of elocution and a cousin of Richard Brinsley Sheridan, doyen of Georgian London’s theatre world. James Sr was a free thinker himself, and in 1793, the family were forced to move lock, stock to London, following the backlash he received for his support for Catholic Emancipation. The move proved fruitful, however, for young James. Aged a mere 14 years, he penned a hit ballad, ‘The Welsh Harper’, which opened the door to a social circle which included leading cultural lights such as William Hazlitt, Charles Lamb and Samuel Taylor Coleridge. Inexplicable, and fascinating, then, was his next career move.
When he finished his schooling, he took up a commission in the militia of Wiltshire and later Tower Hamlets (no doubt a tougher station today). He then left it to study medicine under Dr Robert Willan to obtain a qualification as an MD. Not one to be tied down to the respectable life, and still exuding the creative panache of his youth, Knowles, as the biographical note to his play ‘The Hunchback’ neatly states, ‘gave it all up for the theatre’ and returned to Ireland, where Crow Street Theatre beckoned by way of Bath for his debut as an actor in the early 1800’s. He lived with his relations, the LeFanus, before touring with Edmund Keane across the regional theatres of Ireland, performing in Waterford and publishing a volume of his poetry. In 1809, he married Maria Charteris, a fellow treader of the boards from Scotland, with whom he acted during his time touring. With Edmund Keane, meanwhile, top actor in his time, Knowles Sheridan truck up a fruitful relationship as writer and collaborator. Sheridan Knowles the A-list playwright emerged out of this partnership, as he once again successfully avoided complacency and Keane starred in his play ‘Leo’ in 1810. His success stalled however, and Knowles Sheridan taught to support himself – not unlike the activities of his father – elocution, this time in Belfast. By 1820, he was the father of a son, and again showed his ability to get on with the right people. William Macready, another leading actor of his day, a man who had since his teens been beguiling audiences across England, readily championed him and by 1825, Macready, starred in a production of Sheridan Knowles’ version of ‘William Tell’ at the Drury Lane Theatre. ‘William Tell’ was the breakthrough. From then on in, he was one of the renowned playwrights of his age. In 1834, he returned to Cork, was received like a hero.
It’s hard to understand how his work alone would have made him famous. If you read over his plays, a glance suggests dated, laboured language. They are described by one source as ‘workmanlike’ and ‘professional’. High praise indeed! However, he clearly gave the punters what they wanted, and he gave him hit after hit. From ‘Virginius’ in 1820, to ‘William Tell’ (1825) to ‘The Hunchback’ (1832) to ‘The Beggar of Bethnal Green’ (1834), his plays were performed to a grateful, loyal public. What the texts can’t possibly show is his apparent ability to attract people to him. Macready’s championing of Knowles Sheridan’s work is only one example. He was, it seems ‘warm of heart’. On his feted return to his native Cork, he sought out his old nurse from his young years, and ensured she got the best seat in the best box in the house for his appearance in a local theatre.
Knowles the performer, never faded, though his health did. He took to lecturing on oratory and drama, the fall-back of his youth. In 1841 his wife died. He would remarry two years later to a former pupil, Emma Elphinstone. Like a true iconoclast might, he changed his life’s path and replaced one form of performance with another. He gave up on the theatre and embraced theology and preaching. He even collaborated with another leading light if his time, Cardinal Wiseman, authoring a text together on Transubstantiation in 1851. A truly ecumenical matter, given that in 1845 he became a Baptist minister.
James Knowles Sheridan. Actor, performer, teacher, theologian and minister, died aged 78 in 1862. His esteem never faded. For the last years of his life, his services to the arts were rewarded with a pension of £200 a year by Sir Robert Peel, from the funds of the Civil List.
Ask most people today and this man means nothing. Zip. He is, tragically, totally forgotten, which is a pity, whatever about his prose. He is a likable figure not for what he produced, but for the fact that whilst today so many of us will throw our hands up and say we’re fecked, from his teens he got on by being himself, whatever that was at a particular time. He had that unnatural gift to do well with what he was involved. Unfortunately, in a world of doozers and beancounters, it’s not your bonhomie which counts as your productivity. Knowles had the guts never to be pigeonholed, no matter what, and how refreshing is that.