The variant of _The Fatal Dowry_ in which Macready acted was the work of Sheil, and involved substantial divergences. Romont’s release from prison follows immediately upon Novall Senior’s consent to his pardon, and in consequence, together with his conversation with Rochfort, is transferred from Act II to the close of Act I, while the redemption of Charalois takes place at the funeral of his father, which concludes Act II. For the scene between Beaumelle and her maids is substituted another coloquy of similar import but chastened tone. A brief scene of no especial significance is inserted at the beginning of Act III, in the interval between which and the preceding Act three weeks are supposed to have elapsed; the rest of Act III follows much the same course as the original, save that the application of Romont to Rochfort and his foiling by the stratagem of Beaumelle and Bellapert are omitted. A really notable departure is found in the discovery of the amour by Charalois. According to Sheil, Novall Junior and his mistress attempt to elope, but the note which appoints their rendezvous falls into Charalois’ hands, and he waits for the lovers and surprises them, killing Novall off-stage. The Fifth Act opens with a scene of a few lines only, in which Beaumont bears to Rochfort a request from Charalois to meet him in the church yard. Then follows a lugubrious scene in the dead of night beside the tomb of the hero’s father, to which place are transferred the reconciliation between Charalois and Romont, and the judgment of Rochfort! Beaumelle, however, does not appear during the trial, and upon the paternal sentence of doom, Charalois reveals her body, slain already by his hand. To the father he vindicates his action in much the same words as in Massinger’s last court-room scene, and then, on the appearance of Novall Senior clamoring for vengeance and accompanied by the minions of the law, stabs himself. The version of Sheil follows with but occasional exceptions the language of the original wherever possible. It makes some slight changes in the minor characters. Sheil’s redaction was also presented at Bath on February 18 and 21, Romont being acted by Hamblin, Charalois by Warde, Beaumelle by Miss E. Tree. “Hamblin never appeared to so much advantage--in the scene with Novall he reminded one strongly of John Kemble,” says Genest (_Hist. Dra. and Stage in Eng._, IX, 322). At Sadler’s Wells, Samuel Phelps, who at that time was reviving a number of the old dramas, took the stage in _The Fatal Dowry_ on August 27, 1845. This, however, was Sheil’s version, and not the original play of Massinger and Field, as has been sometimes supposed. It ranked as one of his four chief productions of that year. He, too, chose for himself the part of Romont, which was considered by many his greatest quasi-tragic role. Marston appeared as Charalois, G. Bennett as Rochfort, and Miss Cooper as Beaumelle.