of the season 1815-16 Mrs. Siddons, who had retired, reappeared. On 6 Jan. Murray played Sebastian to his sister's Viola in 'Twelfth Night.' Engagements of Kemble and Charles Mathews followed, and were succeeded by the appearance of Kean. Murray's own parts, which were subordinate, included Osric and Dirk Hatterick in the production, 25 Feb. 1817, of Terry's adaptation of 'Guy Mannering,' the first of the Waverley dramas given in Edinburgh. Murray played, on the last night of Kemble's appearance in Edinburgh, Rosse to Kemble's Macbeth, and, for his own benefit, Tony Lumpkin. After taking his company to Glasgow he enacted the Manager in the 'Actor of All Work' and Charles in the 'Jealous Wife.' Yates and many good actors had been seen, but the fortunes of the house continued to decline until 15 Feb. 1819, when 'Rob Roy MacGregor, or Auld Langsyne,' was produced, and proved the greatest and most enduring success probably ever known in Scotland. Murray was Captain Thornton. The great feature in the cast was the Bailie Nicol Jarvie of Mackay, then a recent acquisition to the theatre. Scott, through the Ballantynes, under the signature 'Jedediah Cleishbotham,' sent Mackay a letter of thanks and advice. The piece ran forty-one consecutive nights, and even yet, when revived, draws well. Murray was then seen as Flutter in the 'Belle's Stratagem,' Horatio, one of the Dromios, and other parts. He also directed the pantomime, and showed ability as a pantomimist. In the 'Heart of Midlothian' (February 1820), another success, Murray was Black Frank and his wife Effie Deans. In the production of the 'Antiquary' (December 1820), Murray was Jonathan Oldbuck, and was Craigengelt in the 'Bride of Lammermoor' (May 1822). On the famous visit of George IV to the Edinburgh Theatre, 27 Aug. 1822, he resumed his part of Captain Thornton. Murray was George Heriot in the 'Fortunes of Nigel,' and Lance Outram in 'Peveril of the Peak.' He was Wamba in a version of 'Ivanhoe' compiled by himself, and produced 24 Nov. 1823, and the Laird of Balmawhapple in a version of 'Waverley' (May 1824). In Planche's adaptation of ' St. Ronan's Well ' Murray was Peregrine Touchwood. He played Figaro in the 'Barber of Seville,' was Old Adam of Teviot in the ' Rose of Ettrick Dale,' Joshua Geddes in a version of 'Redgauntlet' attributed to himself, Sir Kenneth of Scotland in the 'Talisman,' and Roland in 'Mary Stuart,' his own adaptation of the ' Abbot.' In the season of 1825-6 he played Zabouc in Abou Hassan, and made a great hit as Paul Pry (November 1825). In 'Woodstock, or the Cavalier,' 17 June 1826, Murray was Colonel Everard. His farce 'No,' produced 10 Feb. 1827, had much success, and was followed, 25 June, by his drama of 'Gilderoy.' In 'Charles Edward, or the Last of the Stuarts,' he was Lieutenant Standard. In Planche's 'Charles XII' he played Liston's part of Adam Brock (6 Feb. 1829). A piece of unpardonable sharp practice in obtaining a manuscript copy of this piece is commented on by Planché in 'Recollections and Reflections,' i. 148, and led to the passing of the first Dramatic Authors' Act. Scott's 'House of Aspen' was produced on 17 Dec. 1829. On the expiration of the patent of H. Siddons the theatre became the property of Mrs. Siddons, who had paid up the purchase-money, 42,000l. In course of a dispute with the 'Edinburgh Dramatic Review' it came out that Murray's salary had been 46l. a week, with 100l. annually for his expenses as manager.
Refusing an offer to act at Covent Garden, Murray remained at Edinburgh, and secured the lease not only of the Theatre Royal, but also, in conjunction with Yates, of the playhouse in Leith Walk which had been known during the previous ten years as the Pantheon and latterly as the Caledonian, but was now renamed the Adelphi. The partnership with Yates lasted only one year. The Theatre Royal opened for the first time under Murray's direct management 17 Nov. 1830, with the ' Honeymoon,' in which Murray played Jaques. Among other parts in which Murray was seen were Modus in the 'Hunchback,' Sir Benjamin Backbite, Bob Acres, Caliban, Falstaff, Figaro, and Dick Luckless in the 'Highland Widow,' taken from Scott's 'Chronicles of the Canongate.' A version of Harrison Ainsworth's 'Jack Sheppard' is attributed to Murray, who appeared in it as Hogarth. Newman Noggs in 'Nicholas Nickleby' and Bumble in 'Oliver Twist' belong to this period. For his benefit, 29 May 1843, he played Shylock. On 2 Nov. 1844 Murray had to deplore the death of his sister, Mrs. H. Siddons, long a mainstay of the theatre. His management of both the Theatre Royal and the Adelphi had been an unbroken success. On 17 July 1845, at the Adelphi, he played Goldthumb in 'Time Works wonders,' and 31 July Caudle in 'Mr. and Mrs. Caudle.' Caleb Plummer in the 'Cricket on the Hearth' followed at the other house. Cox in 'Box and Cox' was another favourite part.
In 1848, through age, he resigned his function of stage manager. He still played some new parts, including Christopher Sly. On 22 Oct. 1851, at the Adelphi, Murray, as Sir Anthony Absolute, made, for his benefit, his
