#since harlots won't introduce any jewish characters

[nellygwyn]

Hannah Norsa (c. 1712-1784) was the first ever Jewish woman to appear on the English stage. Her father was Issachar Norsa, an Italian Jew from Mantua, who had moved to London in the early 1700s and by 1717, was running the Green Cannister tavern in Covent Garden with his brother, Abraham. Prior to this, he had been the owner of the famous Cocoa Tree Chocolate House in Pall Mall. Later, with his brother, he also became the owner of the Punch-Bowl tavern in Drury Lane and this is where Hannah probably spent most of her later childhood, growing up around the theatre. Her mother, Esther de Aharon de Chaus, was most probably a Londoner, active in London’s thriving Jewish community, and had married Hannah’s father at Bevis St. Mark’s Synagogue (which still stands today) in 1714. Horace Walpole recounted meeting Hannah’s father at a trial of rebel Jacobite lords in 1746 and being thoroughly amused by his wit regarding politics. 

Hannah must have been talent scouted at an early age because, by 1732, she was making her stage debut as Polly Peachum in John Gay’s comedic ballad opera ‘The Beggar’s Opera.’ Polly Peachum was a favourite with 18th century English theatre-goers and Hannah, by all accounts, performed the role with aplomb. She sang and acted beautifully. Her popularity in the part was probably only ever surpassed by Lavinia Fenton who had played Polly in the earliest performances of the play. Following this success, Hannah was sought for both operatic and non-singing parts. Her younger sister, Rachel, and one of her brothers may also have appeared on the stage following Hannah’s success as a ‘Little Miss Norsa’ and ‘Master Norsa’ are listed amongst those who were present at one of Hannah’s benefit performances in 1735, as well as amongst those children (mostly sons, daughters and siblings of the actors in the Drury Lane company) playing ‘Lilliputians’ in a play a few years later. 

Her popularity and frequent appearance in Georgian England’s best plays inevitably put in the path of many rich gentlemen. Amongst the aristocracy, it was de rigeur to take an actress as a lover and mistress. In 1736, Hannah was the lover of Robert Walpole, the eldest son of the elder Robert Walpole, Earl of Orford, Britain’s first Prime Minister and the most powerful man in Britain, under the king, during his lifetime. The younger Robert’s marriage with his wife had broken down and when he inherited the earldom of Orford in 1745, Hannah left the stage and went to live permanently with him as his long-term mistress and partner. They had one child together, a son also called Robert, but he died in infancy. Robert himself died in 1751, in his late 40s, and stipulated in his will that his son and heir (born to him and his official wife) was to take care of Hannah and keep her from harm or debt. Robert himself had been deeply in debt near the end of his life and it is thought that Hannah financially supported him with the considerable amount of money she had made as an actress. 

During their time together, Robert and Hannah had been notably fond of each other, often seen by Horace Walpole, Robert’s younger brother and man-of-letters, together in Vauxhall Pleasure Gardens or at the theatre. Horace referred to Hannah as ‘our Norsa,’ indicating she was, at least in some way (Horace was well aware of her status as his brother’s mistress as he called her ‘my brother’s concubine,” too), part of the Walpole family unit. Hannah was well liked amongst Robert’s friends, too, and Barbara Kerrich, a friend of the family via her husband, wrote of Hannah in 1749:  To tell you ye truth I made Mrs Norsa a vissit first my Lord ask’d me several times very kindly, I believe it was taken well, for she soon return’d it, I wouldn’t tell you of my Vissit because I didn’t know what you wou’d think of it, for I don’t know but it might be cutting a bold stroke, She is a very agreeable Woman, & Nobody ever behav’d better in her Station, She have every body’s good word, and bear great Sway at Houghton, She is every thing but Lady. 

Hannah herself never married and had a long, fairly active life post-Walpole, never returning to the stage but choosing to live amongst actors and those with ties to the theatre. She was admired by later actresses of great renown, such as the late 18th century Anglo-Irish actress, George Anne Bellamy. She died relatively prosperous, in 1784, leaving around £3400 in investments in Treasury stocks. She was successful in a world where Jewish people existed but were merely tolerated, rather than respected or celebrated. The music historian, David Conway, said of Hannah’s success in his book on Jewish involvement in the history of music: Here we have an archetypal tale of how stage stardom might lead to social transformation.