{"1": {"fulltext": "", "height": "3402", "width": "2189", "jp2-path": "famousactorsofda00stra_0001.jp2"}, "2": {"fulltext": "Class J-JLLa ^_\\nCopyrights\\nCOPYRIGHT DEPOS\\nf", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0002.jp2"}, "3": {"fulltext": "", "height": "3306", "width": "2120", "jp2-path": "famousactorsofda00stra_0003.jp2"}, "4": {"fulltext": "", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0004.jp2"}, "5": {"fulltext": "", "height": "3306", "width": "2168", "jp2-path": "famousactorsofda00stra_0005.jp2"}, "6": {"fulltext": "", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0006.jp2"}, "7": {"fulltext": "FAMOUS ACTORS OF THE DAY\\nIN AMERICA", "height": "3302", "width": "2040", "jp2-path": "famousactorsofda00stra_0007.jp2"}, "8": {"fulltext": "Stage Lovers Series\\nFamous Actors of the Day, in America\\nFamous Actresses of the Day, in America\\nL. C PAGE AND COMPANY\\n(Incorporated)\\n2(2 Summer Street, Boston, Mass.", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0008.jp2"}, "9": {"fulltext": "", "height": "3274", "width": "2130", "jp2-path": "famousactorsofda00stra_0009.jp2"}, "10": {"fulltext": "J\\n\u00e2\u0096\u00a0edd^ld^yriy\\n/,a* 0 /z *%ein, J^iMe-", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0010.jp2"}, "11": {"fulltext": "Famous Actors\\nof the Day\\nin America\\nBy\\nLewis C. Strang\\nILLUSTRATED\\nBoston\\nL. C. Page and Company\\n(Incorporated)\\nG\\nL_", "height": "3298", "width": "2118", "jp2-path": "famousactorsofda00stra_0013.jp2"}, "12": {"fulltext": "TWO\\nRegister of Copyright* 1^00\\nCopyright, i8qq\\nBy L. C. Page and Company\\n(incorporated)\\nAll rights reserved\\nFIRST COPY,\\nColonial $resa:\\nElectrotyped and Printed by C, H. Simonds Co.\\nBoston, U. S. A.\\n1 n^ (o", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0014.jp2"}, "13": {"fulltext": "PREFACE.\\nf\\nFamous Actors, as a companion volume\\nto Famous Actresses, follows the general\\nplan of that book. The criticisms and esti-\\nmates of the different players abilities, ex-\\ncept in cases where credit is given, are the\\nauthor s own. The biographical facts, in-\\nterviews, and anecdotes were obtained from\\nvarious sources. They have in all cases\\nbeen carefully verified, and the imaginings\\nof the press agent have been scrupulously\\nruled out. In selecting the list of persons\\nto be considered in the work, those actors\\nmost prominent on the American stage to-\\nday were given the preference, and conse-\\nquently it was found necessary to omit a\\nnumber whose past achievements give them\\nhigh rank in their profession. l. c. s.", "height": "3350", "width": "1909", "jp2-path": "famousactorsofda00stra_0015.jp2"}, "14": {"fulltext": "", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0016.jp2"}, "15": {"fulltext": "CONTENTS.\\nCHAPTER\\nV\\nPAGE\\nPreface ix\\nI.\\nJoseph Jefferson\\nii\\nII.\\nJames A. Herne\\n18\\nIII.\\nRichard Mansfield\\n36\\nIV.\\nE. M. Holland\\n58\\nV.\\nEdward H. Sothern\\n70\\nVI.\\nJohn Drew\\n84\\nVII.\\nWilliam Faversham\\n94\\nVIII.\\nJohn B. Mason\\nno\\nIX.\\nNat C. Goodwin\\n119\\nX.\\nJames O Neill\\n136\\nXI.\\nWilliam H. Crane\\n149\\nXII.\\nWilton Lackaye\\n166\\nXIII.\\nWilliam Gillette\\n174\\nXIV.\\nHenry Miller\\n190\\nXV.\\nJames K. Hackett\\n200", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0017.jp2"}, "16": {"fulltext": "VI\\nContents.\\nCHAPTER\\nPAGE\\nXVI.\\nHenry Jewett\\n211\\nXVII.\\nStuart Robson\\n223\\nXVIII.\\nMelbourne MacDowell\\n238\\nXIX.\\nSol Smith Russell\\n248\\nXX.\\nOtis Skinner\\n260\\nXXI.\\nJ. E. Dodson\\n278\\nXXII.\\nRobert B. Mantell\\n288\\nXXIII.\\nRoland Reed\\n297\\nXXIV.\\nJoseph Haworth\\n311\\nXXV.\\nHerbert Kelcey\\n326", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0018.jp2"}, "17": {"fulltext": "LIST OF ILLUSTRATIONS.\\nPAGE\\nJoseph Jefferson as Rip Van Winkle Frontispiece\\nJames A. Herne as the Rev. Griffith Daven-\\nport 18\\nRichard Mansfield as Dick Dudgeon in The\\nDevil s Disciple\\nE. M. Holland 58\\nEdward H. Sothern as D Artagnan in The\\nKing s Musketeer 70\\nJohn Drew .84\\nWilliam Faversham as Eric Von Rodeck in\\nThe Conquerors .94\\nJohn B. Mason in Shenandoah .110\\nNat C. Goodwin as David Garrick .119\\nJames O Neill as D Artagnan in The Mus-\\nketeers 136\\nWilliam H. Crane as Falstaff .149\\nWilton Lackaye as Svengali in Trilby 166\\nWilliam Gillette in Secret Service 174\\nHenry Miller in Liberty Hall .190\\nJames K. Hackett 200\\n9", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0019.jp2"}, "18": {"fulltext": "io List of Illustrations.\\nPAGE\\nHenry Jewett 211\\nStuart Robson as Bertie in The Henri-\\netta 223\\nMelbourne MacDowell 238\\nSol Smith Russell as Doctor Pangloss in\\nThe Heir at Law 248\\nOtis Skinner as Shylock in The Merchant\\nof Venice 260\\nJ. E. Dodson as John Weathersby in Be-\\ncause She Loved Him So 278\\nRobert B. Mantell in The Corsican Broth-\\ners 288\\nRoland Reed 297\\nJoseph Haworth as Hamlet -311\\nHerbert Kelcey 326", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0020.jp2"}, "19": {"fulltext": "FAMOUS ACTORS OF THE DAY.\\nCHAPTER I.\\nJOSEPH JEFFERSON.\\nBeloved by the public as no American\\nactor ever was before, and what is a far\\ngreater tribute to the man as apart from\\nthe artist honoured and respected as a\\nprivate citizen, Joseph Jefferson is passing\\nthe declining years of his life, surrounded by\\nan affectionate family and loyal friends.\\nNeither shaft of envy nor barb of malice\\nassails him, for such affluence as he enjoys\\nwas won by arduous and conscientious en-\\ndeavour. His life, one of hardships and dis-", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0021.jp2"}, "20": {"fulltext": "12 Famous Actors.\\ncouraging struggles, is crowned with a success\\nfairly and honestly achieved. Greatest bless-\\ning of all, that marvellous art, born of a sym-\\npathetic and lovely character, nurtured by\\nsuffering and humiliation, an art that is\\nnature s godchild, stands to-day as perfect\\nas ever his personality, whose pervading\\nhumour and kindly pathos flash between\\nlaughter and tears, retains all its charm\\nthe twinkling eyes are keen and sparkling,\\nand sweet amiability shines brightly on a\\ncountenance that even with its wrinkles is\\nfresh and youthful. Surely Joseph Jeffer-\\nson s is an ideal old age.\\nAt this late day it is hardly necessary to\\ntell with any elaboration the story of Mr.\\nJefferson s theatrical career, his autobiog-\\nraphy has done that once and for all, and\\nthe few facts that follow are merely land-\\nmarks on his life journey. Born in Philadel-\\nphia on February 20, 1829, the fourth\\nJefferson in direct line from the one that", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0022.jp2"}, "21": {"fulltext": "Joseph Jefferson. 13\\nmade the name famous in the noteworthy\\ndays of the London Drury Lane Theatre, he\\nmade his first appearance on the stage in\\nWashington, at the age of three years, as\\nJim Crow at a benefit given to Dan Rice.\\nHis youth and early manhood were passed\\namid all the poverty and privations endured\\nby a barnstorming theatrical company that\\nwandered here and there throughout the\\nsparsely settled regions of the West and\\nSouth. During the Mexican War he shared\\nthe fortunes of General Taylor s army, acting\\nwherever night found him, and selling coffee\\nand cakes to the soldiers during the day.\\nIn the years that followed he played with all\\nthe great actors of the time, the elder Booth,\\nMcCready, the Wallacks, Murdoch, and\\nEdwin Forrest. In 1856 he made his first\\nvisit to England and France. On his return\\nin 1857, he became principal comedian at\\nLaura Keene s theatre in New York, where\\nhe acted Doctor Pangloss in The Heir-at-", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0023.jp2"}, "22": {"fulltext": "14 Famous Actors.\\nLaw, and created the character of Asa\\nTrenchard in Our American Cousin, in\\nwhich he afterward starred. At Dion Bouci-\\ncault s Winter Garden Theatre, in New York,\\nhe played Caleb Plummer in The Cricket\\non the Hearth, and Salem Scudder in The\\nOctoroon. Mr. Jefferson first became in-\\nterested in his great part of Rip Van Winkle\\nin 1859, when he read Washington Irving s\\nstory. The character immediately formed\\nitself in his mind, and his first version of\\nthe tale was produced that year, but met with\\nno great success. He then went to Austra-\\nlia, and while returning home, by way of\\nEngland, he met in London Dion Boucicault,\\nwho worked over the Rip Van Winkle play\\ninto its present form. Mr. Jefferson first\\npresented the new version in London, where\\nits success was startling. It was accorded a\\nsimilar reception in this country, and since\\nthat time Mr. Jefferson s name has been\\nidentified with the rdle. Since the death of", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0024.jp2"}, "23": {"fulltext": "Joseph Jefferson. 1 5\\nWilliam J. Florence, with whom he was asso-\\nciated in The Rivals and The Heir-at-\\nLaw, Mr. Jefferson has limited his theatrical\\nengagements to a few weeks each season,\\nduring which time he has appeared only in\\nthe most important cities.\\nJoseph Jefferson is a comedian with a rare\\ngift of pathos and an extraordinary talent for\\ncharacter delineation. Although the modern\\nstage knows him in but four parts, Rip\\nVan Winkle, Bob Acres, Doctor Pangloss, and\\nCaleb Plummer, the universality of his gen-\\nius for comedy remains unquestioned and un-\\ndoubted. It is useless to try to analyse his\\nacting, for the spell he weaves about those that\\nsubmit themselves to his enchantment abso-\\nlutely nullifies the critical faculty. The illu-\\nsion created is complete the actor s art seems\\nsimply nature, and no one ever thinks of such\\nthings as conception or method. Indeed, so\\ngreat is his spontaneity that he sometimes\\ndeceives his audience. I remember the first", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0025.jp2"}, "24": {"fulltext": "1 6 Famous Actors.\\ntime I saw him in Rip Van Winkle I was\\ndisappointed. I missed the ear-marks of the\\nacting to which I was accustomed, and I\\ncould not at that time appreciate Mr. Jeffer-\\nson s unfamiliar realism. I thought that he\\nwas faking the part atrociously. Of\\ncourse, I laughed and cried with the rest,\\nbut the impression that he was not using his\\naudience quite fairly stayed with me until I\\nagain saw him act the part. The spontaneity,\\nI found, was there as before, and I was\\namazed to see the same gestures repeated\\nand to hear the same words spoken. So it\\nwas with Bob Acres, in whom, however, I\\nlooked in vain for a suggestion of the vaga-\\nbond Rip and so it was also with Doctor\\nPangloss, whose glowing urbanity I shall\\nnever forget. I know only one regret when\\nI think of Joseph Jefferson. What a gal-\\nlery of artistic creations might have been his\\nhad his professional life in this country been\\npassed in some national institution similar to", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0026.jp2"}, "25": {"fulltext": "Joseph Jefferson. 1 7\\nthe Comedie Franchise Alas, that we\\nshould be so much the loser\\nFrom time immemorial it has been the\\ncustom to give to the tragedian the position\\nof highest rank and of greatest honour in\\nthe theatrical world. His province it is to\\nportray the fierce passions and mighty emo-\\ntions of mankind, passions and emotions\\nwhich, when freed, rush forth an impetuous\\nand ungovernable torrent, crushing, rending,\\nand marring. The tragedian awes by his\\nmagnificence, but we do not love him.\\nOccupying a trifle less prominent niche in\\nthe temple of art, but thrice more firmly\\nestablished in our affections, is the comedian,\\nwho, like Joseph Jefferson, pictures with\\nabsolute fidelity, yet so sympathetically, so\\nidealistically, the sorrows and joys of every-\\nday life, whose cheerfulness and good nature\\ncause humanity to rejoice, and whose tears\\nare like April showers, which pass quickly\\nand leave behind a world cleansed and smiling.", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0027.jp2"}, "26": {"fulltext": "CHAPTER II.\\nJAMES A. HERNE.\\nOn January 16, 1899, James A. Heme\\nproduced in Washington a play which he\\ncalled The Rev. Griffith Davenport, and\\nwhich was a dramatisation of Helen Garde-\\nner s novel, An Unofficial Patriot. The\\nWashington papers could find no good in the\\nwork, and their opinion was reiterated in\\nBaltimore and New York. Then Mr. Heme\\ncame to Boston with his new play, which, by\\nthis time, he had renamed Griffith Daven-\\nport, and there he met a kinder reception.\\nMost of the critics praised the drama as a\\ncourageous and artistic effort, and a few of\\nthem considered it a play that could fairly be\\niS", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0028.jp2"}, "27": {"fulltext": "JAMES A. HERNE\\nAs The Rev. Griffith Davenport.", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0029.jp2"}, "28": {"fulltext": "", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0030.jp2"}, "29": {"fulltext": "James A. Heme. 19\\ntermed great. The public, however, relig-\\niously stayed away from the theatre during\\nMr. Heme s two weeks engagement, though\\nan increased attendance at the last three or\\nfour performances gave a faint promise of\\nawakening interest. Griffith Davenport,\\nfrom the standpoint of the man in the ticket\\noffice, was last season s most disastrous fail-\\nure, for Mr. Heme, who firmly believed in\\nthe worth of his drama, gave it every advan-\\ntage in the way of an elaborate production,\\nbeautiful scenery, unique and appropriate\\ncostumes, and a splendid cast. Yet, in the\\nface of the public verdict so emphatically\\nrendered, I am convinced that Griffith\\nDavenport is not only the strongest and\\nmost artistic drama written by an American\\nplaywright during the past decade, but I\\nwould even go a step farther, and declare that\\nup to the last act it is the greatest American\\nplay ever produced.\\nCertain it is that Griffith Davenport is", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0031.jp2"}, "30": {"fulltext": "20 Famous Actors.\\nby far the most serious and the most sincere\\ndrama that has been inspired by the Civil\\nWar. It is an honest attempt to set forth on\\nthe stage the causes that led to that tremen-\\ndous conflict, to picture without sensational-\\nism the horrors that the struggle brought,\\nespecially to families rent in twain by the\\nwarring convictions of their individual mem-\\nbers, and lastly, to show that even in a nation\\ntorn asunder there could be discerned the\\nelements that made possible the final recon-\\nciliation. The play is as far removed from\\nthe conventional war drama, such as Bronson\\nHoward s Shenandoah, as it is possible to\\nimagine. It is absolutely without a taint of\\ntheatricalism, and the loftiness of Mr. Heme s\\naim is apparent, even to those that believe\\nhis effort misapplied and futile. For one, I\\nknow that for four acts it moved me mightily.\\nMoreover, it brought home to me with start-\\nling vividness the awful tragedy of that\\nperiod of the country s history, and I realised", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0032.jp2"}, "31": {"fulltext": "James A. Heme. 21\\nthe meaning of that war with a force and a\\nconviction never before experienced.\\nMr. Heme s theories of dramatic art are\\nwell known. He believes in literally holding\\nthe mirror up to nature he believes that his\\nmimic life on the stage should be in detail\\nand in effect a reproduction of the real life\\nof the workaday world he does not believe\\nin dramatic climaxes, as the term is con-\\nventionally applied, and he does not believe\\nin manufactured situations. This is realism,\\nas Mr. Heme interprets it. Griffith Dav-\\nenport is written in complete accordance\\nwith its author s theories, and consequently\\nthe dramatist flings the gauntlet full in the\\nface of stage tradition. It was a gloriously\\ndaring experiment, and Mr. Heme surely\\nproved that a drama, devoid of extraneous\\nclimaxes, might be crowded with the most\\nabsorbing dramatic interest and full of the\\nmost thrilling dramatic situations, situations\\nwhose power seemed all the stronger because", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0033.jp2"}, "32": {"fulltext": "22 Famous Actors.\\nthey stood forth naked in their human\\nreality.\\nThe first three acts are in wonderful unity.\\nThey cover the period between April and\\nNovember, i860, and picture with impar-\\ntiality the good and bad sides of the institu-\\ntion of slavery. The atmosphere is almost\\nperfectly sustained, and the scenes among\\nthe slaves, the reproduction of the soft Vir-\\nginian dialect, the picturing of the delicate\\ncourtesy and old-fashioned gentility of the\\nwomen, and the gallantry of the men all show\\nstage art at its best. The central figure is\\nDavenport, circuit-preacher, owner of slaves\\ninherited from his father, and abolitionist by\\nconviction. The implacability of the insti-\\ntution is early indicated when Davenport s\\nkindness of heart and sympathetic nature\\nforce him, against his will and in opposition\\nto his professed principles, to buy a negro,\\nthe husband of one of his own slaves, whom\\nhis master is about to sell to satisfy a gam-", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0034.jp2"}, "33": {"fulltext": "James A. Heme. 23\\nbling debt. The division in Davenport s own\\nhousehold is tragic, a division of honest con-\\nviction, be it understood, and unaccompanied\\nby loss of affection or of mutual respect. On\\none side is the father and the younger son\\non the other, the loving mother and the im-\\npetuous elder brother. The first clash comes\\nwhen Davenport attempts to free his slaves,\\nwho, in their state of childish dependence,\\ncannot comprehend what freedom means, and\\nthe growing animosity to Davenport among\\nhis neighbours culminates on the day Lin-\\ncoln is elected, when the obnoxious abolition-\\nist is forcibly driven from his home. The\\ncurtain of the third act, following Davenport s\\nprayer after receiving the notice of expulsion,\\nand the wonderful realism of the fourth act\\nDavenport s comments on the inaccu-\\nracies in the only map that the Federals\\nhave of the Shenandoah Valley the great\\nimport of Governor Morton s words, when he\\nsaid, referring to the defeat of Bull Run and", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0035.jp2"}, "34": {"fulltext": "24 Famous Actors.\\nDavenport s knowledge of the locality, You\\ncould have prevented that disaster the\\npathos of Davenport s parting with his wife\\nafter he has consented to lead the Union\\narmy through the valleys and over the hills\\nand among the friends that he loves so well,\\nare especially notable features of this\\nremarkable drama.\\nMr. Heme s impersonation of the circuit-\\npreacher is that of a master of the art of\\nsuggestion, and it is a character study of\\nremarkable completeness. Davenport is so\\nessentially human that at times he creates in\\nthe spectator s mind the same irritation that\\none feels toward a public man who seeks to\\ndodge a knotty political problem by quibbling\\nor by begging the question. Davenport, high-\\nminded, sincere, and fearless, but with the\\nspirit of the South strong within him, refuses\\nfor a long time to acknowledge the attitude\\ntoward his old friends and neighbours that\\nlogic and his own sense of right and justice", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0036.jp2"}, "35": {"fulltext": "James A. Heme. 25\\nmust inevitably cause him to assume. After\\nhis attempt to free his slaves he is asked In\\ncase of war between the North and the South,\\nwhat are you going to do I shall be neu-\\ntral, is his reply. Squire Nelson, speaking\\nwith the voice of fate, answers There can\\nbe no neutrality you must be for us or\\nagainst us. But Davenport only shakes his\\nhead. He cannot follow his own reasoning\\nsufficiently far to see himself an enemy to his\\npeople. Nor has he fully realised the inevi-\\ntable two years later, when Governor Morton\\ntells him that he must guide the Army of\\nthe Potomac through his beloved Shenan-\\ndoah Valley. Again Davenport says, I am\\nneutral. Morton throws at him that indict-\\nment regarding Bull Run, and at last Daven-\\nport s eyes are opened, and he takes up the\\nburden of his duty. How true to life is this\\ndevelopment of Davenport s character! In\\ncontrast to Davenport s halting grasp of the\\npart he must play in the conflict is the", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0037.jp2"}, "36": {"fulltext": "26 Famous Actors.\\nfull comprehension vouchsafed Davenport s\\nyounger son, the serious-minded Roy. A\\nboy in years, unfettered by tradition, and less\\nmoved than his father by environment and\\nby consequences, he reaches instinctively the\\nconclusion that his father is so reluctantly\\nforced to admit. When the elder brother,\\nBeverly, declares, without personal animosity\\nand without heroics, that if he should find\\nRoy fighting the South he would shoot him\\nquicker than he would a Yankee, mean-\\ning, of course, that he would look upon the\\nyounger son as a traitor, Roy answers,\\nwith quiet intensity that proclaims the fixity\\nof his purpose I certainly shall have to\\ngive you the chance.\\nThe last act of Griffith Davenport I\\nconsider wholly at variance with the drama\\nas a whole. It is melodramatic in tone, but,\\nworse than that, it is superlatively anticli-\\nmatic and a most serious detriment to the\\neffect of the play. I can follow Mr. Heme s", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0038.jp2"}, "37": {"fulltext": "James A. Heme. 27\\nrealism for a considerable distance, and I can\\nappreciate his efforts to avoid the conven-\\ntional, but I cannot allow that an anticlimax\\nis a virtue. Far better make Davenport a\\nmartyr to the cause than have the curtain fall\\non a sentimental discourse.\\nJames A. Heme was born in Troy, New\\nYork, on February 1, 1840, and has been on\\nthe stage over forty years. His first appear-\\nance was made at the Adelphi Theatre, Troy,\\nin 1859, as George Shelby in Uncle Tom s\\nCabin. He remained in his native city for\\ntwo seasons, and then went to Baltimore,\\nwhere he played in the Holliday Street\\nTheatre for three years. During that time\\nhe delivered the address at the opening of\\nFord s Theatre, Washington, in which Presi-\\ndent Lincoln was afterward assassinated.\\nAfter leaving the Baltimore company he\\ntravelled as leading man with the beautiful\\nSusan Denning, and then went to California,\\nas did all the best Eastern actors, including", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0039.jp2"}, "38": {"fulltext": "28 Famous Actors.\\nEdwin Booth and Lawrence Barrett. As long\\nago as 1869, Mr. Heme managed a theatre in\\nNew York, the Grand Opera House. On\\nJuly 17, 1866, he married Helen Western,\\nand as leading man for his sister-in-law,\\nLucille Western, Mr. Heme succeeded E. L.\\nDavenport, playing Bill Sykes to Miss West-\\nern s Nancy in Oliver Twist, and Francis\\nLevison to her Lady Isabelle. It was while\\nMr. Heme was supporting Miss Western in\\nNew York that a little girl named Katherine\\nCorcoran first saw him as she sat in a cheap\\nseat in the gallery of the theatre, and heartily\\nhated the villainous Bill Sykes, and by deduc-\\ntion the man that acted him. She had no\\nidea at that time that she, too, would one day\\nbe an actress, and she would have been hor-\\nrified if she had known that ten years later\\nshe would become the wife of the man whom\\nfor the moment she so thoroughly detested.\\nWhile still in her teens Katherine Corcoran\\nwent with her family to California, and so", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0040.jp2"}, "39": {"fulltext": "James A. Heme. 29\\ncame under the instruction of Miss Julia\\nMelville. One day she was rehearsing Con-\\nstance in The Love Chase, when she was\\nconfounded to see Mr. Heme, then one of\\nthe most popular and influential actors on the\\nPacific Coast, walk on the stage, and quietly\\nseat himself on a convenient box, cross his\\nlegs, and fall to caressing one knee. Her\\nrecollection of that moment is that her ma-\\nchinery seemed suddenly to stop she felt\\nthirsty and could hardly articulate, for that\\ndreadful Mr. Heme was a tyrannical stage-\\nmanager and a merciless critic. It was long\\nafterward that she learned that Miss Melville\\nhad coaxed him to come to hear one of her\\npupils recite. The result was an opportunity\\nto play Peg Woffington. It was on Novem-\\nber 5, 1877, that Katherine Corcoran made\\nher successful debut in San Francisco, and\\nimmediately afterward she was taken by Mr.\\nHeme on a starring trip to Portland, Oregon.\\nA year later the two were married, and since", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0041.jp2"}, "40": {"fulltext": "30 Famous Actors.\\nthat time they have been continuously asso-\\nciated in the productions of Mr. Heme s\\nplays.\\nMr. Heme s first great success was Hearts\\nof Oak, which was brought out in San Fran-\\ncisco in 1878. It had a wonderful vogue for\\nten or twelve years, and earned a fortune\\nfor the author. Mr. Heme described it as\\na melodrama without a villain. His second\\nplay was The Minute Man, produced in\\nPhiladelphia in 1885. He lost money on this,\\nand finally Drifting Apart, a play first pre-\\nsented in New York, from which Mr. Heme\\nexpected much, completely ruined him finan-\\ncially. In 1888 he produced in Chickering\\nHall, in Boston, Margaret Fleming, a seri-\\nous drama, which proved to be the forerunner\\nof the problem plays. The work was a\\nlittle in advance of its time, though it barely\\nmissed being a success. The feature of the\\nproduction was the marvellously realistic act-\\ning of Mrs. Heme, who is said to have been", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0042.jp2"}, "41": {"fulltext": "James A. Heme. 31\\nlargely responsible for the personality and\\nopinions of the heroine.\\nIn 1 89 1 Mr. Heme entered into negotia-\\ntions with the late J. H. McVicker for the\\nproduction of a new play, which Mr. Heme\\ncalled The Hawthornes. Mr. Heme was\\na poor man, disappointed and thoroughly dis-\\nheartened, for he had long been trying to\\nfind some one with money and influence who\\nwould interest himself in this play. Mr.\\nMcVicker wanted a spring attraction for his\\nhouse, and he was charmed with the work.\\nHe rechristened it Shore Acres Subdivi-\\nsion, and under that title it was first pro-\\nduced at McVicker s Theatre, Chicago, on\\nMay 23, 1892. The production attracted\\nbut little attention, and the play was ac-\\ncounted a failure, only one critic predicting\\na great popular success for it. After about a\\nweek of poor business the play was renamed\\na third time, Uncle Nat, but the change\\nof title did not draw any larger audiences,", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0043.jp2"}, "42": {"fulltext": "32 Famous Actors.\\nand at the end of the third week the drama\\nwas withdrawn and other plays in Mr.\\nHeme s repertory substituted.\\nWhen the season closed Mr. Heme came\\nEast and began his struggles over again.\\nEvery prominent manager was either visited\\nor written to, but none would consent to put\\nmoney into a play that had proved a failure.\\nIn the end Mr. Heme had to give it up and\\naccept an engagement in a New York produc-\\ntion. About this time R. M. Field, the man-\\nager of the Boston Museum stock company,\\nneeded a new play, and he sent his stage-\\nmanager, Edward E. Rose, to see Mr. Heme.\\nMr. Rose heard the play read, and his report\\nconvinced Mr. Field of its merits. Accord-\\ningly arrangements were concluded for a\\nBoston production, which took place at the\\nMuseum. The success of Shore Acres\\nwas pronounced, and it scored a run of one\\nhundred and fourteen performances, which\\nwas remarkable for Boston. Mr. Field,", "height": "3306", "width": "2000", "jp2-path": "famousactorsofda00stra_0044.jp2"}, "43": {"fulltext": "James A. Heme. 33\\nbelieving that it was merely a local hit, sold\\nhis interest in the play to Henry C. Miner,\\nof New York, for $1,500, and that astute\\nmanager is known to have cleared $35,000\\nas his share of the following season s profits.\\nShore Acres was acted by Mr. Heme all\\nover the country until he made his production\\nof Griffith Davenport.\\nShore Acres was written before Mar-\\ngaret Fleming, and in the play Mr. Heme\\nhad one cherished moment, which he felt\\nsure would meet the condemnation of every\\nexperienced manager. It was the ending.\\nThe action closed on Christmas Eve. The\\nchildren were sent to bed and were followed\\nshortly after by all the adults, except Na-\\nthaniel Berry, the lovable old bachelor, who\\ntarried a moment to lock up for the night\\nand put things to rights generally. With an\\nineffable smile, unlike that of any other actor\\non earth, the kind old man puttered about,\\nand at last, after extinguishing the last", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0045.jp2"}, "44": {"fulltext": "34 Famous Actors.\\ncandle, in the dim light that shone from the\\nopen damper of the kitchen stove, felt his\\nway to the stairs and slowly climbed to his\\nchamber, the curtain falling as his bent form\\ndisappeared at the head of the stairs. When\\nMr. Heme explained how he purposed to\\nclose the play Mr. McVicker objected.\\nOh, no, my dear Mr. Heme, he said.\\nI fear you have made a mistake. The\\npublic would not wait for that. It is too\\nunconventional. Your story is told when\\nthe young couple have returned from the\\nWest and made up with Helen Berry s\\nfather. Let the curtain fall as soon as\\npossible after the climax is reached, and\\nthe drama was acted that way in Chicago.\\nWhen we came to rehearsal at the Bos-\\nton Museum, Mr. Heme remarked, I\\nexpected that Mr. Field would object to\\nmy ending of the piece. If he had objected\\nI was prepared to urge with all my eloquence\\nmy claim for recognition on that point. But", "height": "3268", "width": "1904", "jp2-path": "famousactorsofda00stra_0046.jp2"}, "45": {"fulltext": "James A. Heme. 35\\nto my delight Mr. Field almost immediately\\ntook my view of it, and so you find in Shore\\nAcres an unconventional ending, and one\\nwhich it seems to my poor judgment has\\nthe merit of a poetic suggestion, if nothing\\nmore.\\nMr. Heme s acting of Nathaniel Berry\\nwas a wonderful comedy achievement. It\\nwas a character part, of course, a realistic\\nstudy of a familiar New England country\\ntype, which Mr. Heme pictured with per-\\nfect truth. Nathaniel Berry lived under his\\ntouch, displaying with a fidelity that so\\nclosely approached nature that one never\\nthought of art or acting all the kindly\\nhumour, the gentle pathos, and innate\\nstrength of character that made Uncle Nat\\nso lovable a member of the human family.", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0047.jp2"}, "46": {"fulltext": "CHAPTER III.\\nRICHARD MANSFIELD.\\nFor a number of years Richard Mansfield\\nhas held a foremost place among American\\nactors, and last season his imposing produc-\\ntion of Edmond Rostand s romantic drama,\\nCyrano de Bergerac, gave him a position\\nin this country very similar to that accorded\\nSir Henry Irving in England. While pro-\\nfessionally Mr. Mansfield leads here as Mr.\\nIrving leads there, it is not likely that the\\nAmerican actor will ever secure that same\\npersonal hold on the people that the British\\nactor has for Mr. Mansfield is sadly defi-\\ncient in suavity and in social tact, qualities\\nthat are especially prominent in Mr. Irving,\\nand which have been important factors in\\n3*", "height": "3268", "width": "1904", "jp2-path": "famousactorsofda00stra_0048.jp2"}, "47": {"fulltext": "RICHARD MANSFIELD\\nAs Dick Dudgeon in The Devil s Disciple.", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0049.jp2"}, "48": {"fulltext": "", "height": "3268", "width": "1904", "jp2-path": "famousactorsofda00stra_0050.jp2"}, "49": {"fulltext": "Richard Mansfield. 3 7\\nadvancing his interests. However, as a\\ndramatic artist, I consider Mr. Mansfield\\ngreatly Mr. Irving s superior, and as an\\nintellectual actor the American is certainly\\nthe Englishman s equal. Mr. Irving s rec-\\nord as an elaborate producer of plays is, of\\ncourse, unequalled, but Mr. Mansfield s is not\\na mean one, and it represents a wealth of grit,\\npluck, and determination in the pursuit of an\\nartistic ambition.\\nMr. Mansfield, like Mr. Irving, is pre-\\neminently a character actor. We have no\\ngreat tragedians these days, and we forget\\nwhat tragedy acting is until some foreigner,\\nlike Tomasso Salvini or Mounet-Sully, in\\nwhom a paternal government has kept the\\ntragic fire always burning, visits us and\\neither thrills or bores us the emotion de-\\npends entirely on the individual by his\\ntremendously powerful and realistic art, as\\nin the case of Salvini, or by the artistic\\ncompleteness of his artificiality, as in the", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0051.jp2"}, "50": {"fulltext": "38 Famous Actors.\\ncase of Moimet-Sully. We have no trage-\\ndians principally because tragedy is not a\\npopular form of dramatic art among a fini-\\ncal people, who have not advanced far enough\\nas a whole to appreciate the poetry of the\\nclassic tragedy, and who are so falsely re-\\nfined that they are shocked by the brutality\\nof suffering and death. The nearest ap-\\nproach to tragedy is found in theatres that\\ndraw their support from the uneducated\\nmasses, and the boisterous acting seen in\\nthese playhouses seems to a person, accus-\\ntomed to the more quiet and more subtle\\nmodern method, a burlesque. He is sur-\\nprised at the influence these actors exercise\\nover their emotional audiences. I once saw\\nOthello played as if it were a melo-\\ndrama, and its effect on the spectators, who\\nfollowed the development of the plot with\\nbreathless interest, was amazing. It is more\\nthan probable that Shakespeare intended that\\nOthello should be presented in just that", "height": "3268", "width": "1904", "jp2-path": "famousactorsofda00stra_0052.jp2"}, "51": {"fulltext": "Richard Mansfield. 39\\nway and to just such people, and he would\\nlikely enough have laughed at our idea of the\\nideally tragic, which has killed the old-fash-\\nioned, ranting tragic actor and developed our\\npresent school of character actors. It may\\nbe stated right here, however, that no more\\nartistic mummer ever lived than he who can\\nunite with the eccentric physical and mental\\ndetails of the character he impersonates\\nemotional strength, pathetic power, and grim\\nhumour.\\nSuch a character is Mr. Mansfield s Cy-\\nrano, a histrionic structure of Titanic pro-\\nportions. One is so amazed at its immensity\\nthat the critical faculty is well-nigh paralysed,\\nand he finds himself pondering on the breadth\\nand intellectual grasp. of the man that con-\\nceived the wealth of elaboration that went\\ninto the portrayal of the character, on the\\ninfinite patience that worked out such a store-\\nhouse of detail, and on the resources of the\\nactor s art that made possible so remarkable", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0053.jp2"}, "52": {"fulltext": "40 Famous Actors.\\na creation. The most impressive feature of\\nthe Mansfield Cyrano, when the actor inter-\\npreted the character with fullest power, was\\nnot the great intellectuality of his concep-\\ntion nor the masterly resourcefulness of his\\nimpersonation, but it was the marvellous\\nsympathy and pathos which pervaded both\\nconception and exposition. The tragedy of\\nCyrano de Bergerac seemed the summing\\nup of the tragedy of human existence, the\\ncommon story of the many men who have\\nstarted forth in life girded with honesty and\\nnobility of purpose, with their ideals firmly\\nfixed, and who have failed miserably to\\nkeep their souls pure. Few, indeed, fight\\nas did Cyrano, to the bitter end few die\\nwithout a compromise, with their crests\\nsnow-white. A moment ago I said the trag-\\nedy of Cyrano. It is not true. Theirs the\\ntragedy who fall by the wayside his the\\ngreat victory\\nIt was this thoroughly real, this wonder-", "height": "3268", "width": "1904", "jp2-path": "famousactorsofda00stra_0054.jp2"}, "53": {"fulltext": "Richard Mansfield. 41\\nfully human quality in Mr. Mansfield s acting\\nthat seized one. He embodied Cyrano com-\\npletely, not as an individual, fighting for\\nfreedom and independence, but as the living\\nrepresentative of every man who cherishes\\nunsordid ambition, unworldliness, and personal\\nself-respect as greater than material honours\\nwon by bowing the knee or gainsaying the\\ntruth.\\nThe Mansfield Cyrano was a complete\\ntext-book in the art of acting, and it af-\\nforded a splendid opportunity to study an\\nartist s conception and exposition of a great\\ncharacter. It is no exaggeration to say that\\nthere was not a turn of a phrase, nor a move-\\nment of the body, that did not bear testi-\\nmony to the actor s deep delving into details.\\nCyrano s mind and soul were probed to their\\ninnermost recesses, and the actor dragged\\nforth every motive, however hidden, and\\nhowever subtle, that in any way influenced\\nthe man in his attitude toward the world.", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0055.jp2"}, "54": {"fulltext": "42 Famous Actors.\\nAnd there were depths to probe in the char-\\nacter imagined by Rostand.\\nThere have been apologists for Cyrano s\\nbraggadocio and swaggering; they feared that\\nsome one might be shocked by them out\\nof sympathy with the character. Mr. Mans-\\nfield made it very clear that this spirit of\\nbullying and boasting was but the cloak that\\nhid from prying scoffers the tender, sen-\\nsitive, exquisitely chivalrous nature of the\\nreal Cyrano. They were the assumed gar-\\nment of the man, whom none except Le\\nBret and the generous Ragueneau ever in\\nthe least understood, whose complete self-\\nsacrifice Christian perceived but dimly, and\\nwhose great, pure love Roxane realised only\\nwhen it was unmasked by the weakness of\\napproaching death. Those boastings and\\nfloutings were the master strokes of a pa-\\nthos that reached its climax at the very\\nend of the drama, when Cyrano, bruised and\\nwounded unto death by the foul blow of a", "height": "3268", "width": "1904", "jp2-path": "famousactorsofda00stra_0056.jp2"}, "55": {"fulltext": "Richard Mansfield. 43\\ncowardly assassin, strove with ghastly in-\\ntensity to play the part that had been his\\nlife study.\\nWhile Mr. Mansfield may not have ex-\\npressed to the full the rich sixteenth century\\nhumour of the first two acts, his mastery of\\nthe picturesque and tragic scenes of the last\\nthree acts was thorough. The famous bal-\\ncony scene of the third act was marvellously\\nplayed, and the effect produced was largely\\none of voice, for the scene was acted in\\ndarkness save for the light on Roxane\\nthat hid completely the features and all save\\nthe most pronounced gestures of Cyrano and\\nChristian. Mr. Mansfield introduced a dar-\\ning bit of novelty by singing the moon\\nverses that delayed the Comte de Guiche\\nwhile Roxane and Christian were married.\\nStrikingly original in treatment, also, was\\nthe duel scene in the first act. Mr. Mans-\\nfield perhaps because he knew that where\\nCyrano was, there the dramatic interest set-", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0057.jp2"}, "56": {"fulltext": "44 Famous Actors.\\ntied, perhaps (and we prefer to think this)\\nbecause he followed his artistic sense\\nnever hesitated to sacrifice his claim to the\\ncentre of the stage for the purpose of\\nheightening the picturesqueness of the action\\nor of adding to its force. The duel was not\\nfought in the open, with the stage crowd\\ngrouped in the background, and the two\\nleaders in the action in unobstructed view\\nof the audience. Instead, the crowd formed\\na complete circle about the fencers and fol-\\nlowed them around the stage, as Cyrano\\npursued his continually retreating antagonist.\\nWe caught only occasional glimpses of the\\nduellists, and above the murmuring of the\\ncrowd we heard the voice of Cyrano reciting\\nhis verses. The effect of it all was very\\nrealistic. Unconventional, too, was the cli-\\nmax of the battle scene. Cyrano was well\\nto the rear of the stage, half-way up the\\nslope, when the victorious Spaniards forced\\nthe redoubt and burst into view. Wounded,", "height": "3268", "width": "1904", "jp2-path": "famousactorsofda00stra_0058.jp2"}, "57": {"fulltext": "Richard Mansfield. 45\\nhe sank to his knees, and in this posture\\nshouted: These are the Gascon Cadets\\nThen he fell, and lay stretched out on the\\nembankment, only one of many.\\nThe gentle courtesy to the orange-girl in\\nthe first act, the snarling, rasping, tigerish\\nrecitation of the ballad of the Cadets, and\\nthe bound-down rage at Christian s interrup-\\ntions in the second act, the convincing elocu-\\ntion in the balcony scene in the third act,\\nthe delicate sentiment in the bearing toward\\nRoxane in the fourth act, the pathos and\\ntragic power of the difficult death scene,\\nhow incomparable was Mr. Mansfield in all\\nof them\\nIn 1890, Richard Mansfield, in order to\\nexpose an impostor who claimed to be his\\nbrother, sent the following note to a Cleve-\\nland lawyer: I have no relatives in this\\ncountry. My father, whose name was Mau-\\nrice Mansfield, is dead, as is my mother,\\nwhose maiden name was Emma Rudersdorff.", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0059.jp2"}, "58": {"fulltext": "46 Famous Actors.\\nThe family comprises now only my two\\nbrothers, my sister, and myself. My brother\\nFelix, the eldest, resides with his family in\\nClifton, near Bristol, England. My sister\\nMargaret is married and lives in France. My\\nyounger brother is also married, and lives\\nin Milan, Italy. Mr. Mansfield was born\\non the island of Heligoland, one of the\\nFrisian group in the North Sea, in 1857.\\nMadame Rudersdorff was a famous opera\\nsinger, and Richard s youth was a migratory\\none. When most boys are still in the school-\\nroom, he was travelling all over the Conti-\\nnent and England. When he was ten years\\nold he was sent to school in Germany. One\\nday he amused himself by painting the school-\\nroom door a vivid green, and he was so\\npleased with his work that he signed his\\nname to the decorated panel. Great was the\\nwrath of the ancient pedagogue, and Richard\\nwas summoned to the professor s study for\\nan accounting, while the remainder of the", "height": "3268", "width": "1904", "jp2-path": "famousactorsofda00stra_0060.jp2"}, "59": {"fulltext": "Richard Mansfield. 47\\npupils assembled beneath the window to\\nprofit by his agony. Days at the Derby\\nSchool under the tutelage of the Rev. Walter\\nClark followed, and it was here that he made\\nhis first appearance in Shakespearian drama.\\nThe occasion was a class day exhibition, and\\nRichard played Shylock. It was after this\\nproduction that Doctor Selwyn, the late\\nBishop of Lichfield, turning to the young\\nThespian and grasping his hand, said, fer-\\nvently Heaven forbid that I should en-\\ncourage you to become an actor, but should\\nyou, if I mistake not, you will be a great\\none.\\nIn 1869, while Richard Mansfield was\\nstudying at Yverdon, on the Lac de Neu-\\nchatel in Switzerland, his mother came to\\nthis country, and in 1872 she was one of\\nthe most popular vocalists at the Boston\\nPeace Jubilee. She was so pleased at her\\nreception in that city that she decided to\\nsettle there, and Richard was sent for. He", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0061.jp2"}, "60": {"fulltext": "48 Famous Actors.\\nwent to work in the large dry goods store of\\nJordan, Marsh Company. He wrote the\\nadvertisements for the firm. He was also\\nfor a year the musical critic of the Boston\\nGlobe. A business life, however, had no at-\\ntractions for him, and he decided to try his\\nhand at painting. In 1875 he journeyed to\\nEngland, where he hoped to sell enough pic-\\ntures to gain the means wherewith to pursue\\nhis studies but the pictures would not sell,\\nand he soon found himself stranded, penni-\\nless and almost starving. Too proud to send\\nhome for assistance or to ask it from his\\nacquaintances in London, hungry and home-\\nless, he walked the streets day and night,\\nrejoicing that the polished uppers of his\\nsoleless shoes, and the one tidy looking\\nsuit of clothes that he possessed concealed\\nhis poverty. Occasionally he accepted in-\\nvitations to dinner or to country houses,\\nand he satisfied his independence by the\\nthought that he paid for his meals by the", "height": "3268", "width": "1904", "jp2-path": "famousactorsofda00stra_0062.jp2"}, "61": {"fulltext": "Richard Mansfield. 49\\ndelightful parlour entertainments that he\\ngave.\\nNone but a young, strong man could\\nhave subsisted upon the little I ate, said Mr.\\nMansfield. For nearly three years I wan-\\ndered about the streets of London a starving\\nman, shunning former friends for fear that my\\nnecessitous condition would become known\\nto them. Often, footsore and faint with hun-\\nger, I would gaze into the windows of restau-\\nrants, bakers and fruit stores, thinking the\\nfood displayed in them the most tempting\\nand beautiful sight in the world. D Oyly\\nCarte then kept a registry for actors, and\\none day, having received a guinea for an arti-\\ncle I had written, I paid him five shillings to\\nput my name on his books. We had been\\nfriends before I had begun to avoid my\\nfriends, therefore he took an interest in me\\nand soon obtained for me a situation with Ger-\\nman Reed. I was to take the place of Corney\\nGrain, the great drawing-room entertainer of", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0063.jp2"}, "62": {"fulltext": "50 Famous Actors\\nEngland, and to receive forty dollars a week.\\nTo me the prospect of earning this sum\\nappeared as if Eldorado had suddenly show-\\nered its riches upon me.\\nGerald Dixon, son of Hepworth Dixon,\\nhelped me to write a little sketch for my\\ndebut. It was a description, with imitations,\\nof a party of actors supposed to be crossing\\nthe ocean. The usual charity concert was\\nto be given, in which the fog-horn played a\\nprominent part. There was to be an amus-\\ning imitation of the Italian baritone, who\\nsings, as he always does, La ci Varem, in\\nthe middle of which he leaves in haste to\\npay tribute to the mighty monarch, ocean.\\nWell, the eventful night came which was to\\nmake or mar me. I sat down at the piano\\nand struck a chord, one chord only, and\\nfell back. I was taken off the stage, having\\nsuccumbed to stage fright, as they thought,\\nbut the truth was that I was so weak from\\nhunger and privation that I fainted. I was", "height": "3268", "width": "1904", "jp2-path": "famousactorsofda00stra_0064.jp2"}, "63": {"fulltext": "Richard Mansfield. 5 1\\nphysically too exhausted from continued fast-\\ning to get through such an entertainment as\\nI had undertaken.\\nI was discharged the next day, receiving\\none week s salary. When that was gone\\nthere ensued another and worse period of\\nstarvation. Having no means to procure\\nshelter, I walked about the streets of London\\nall night long. Just as I thought I must\\nsurely perish from want of food and exposure\\nI met W. S. Gilbert. He had been much\\nstruck by my efforts to amuse our mutual\\nfriends of former days in their drawing-\\nrooms. He was about sending a company\\ninto the provinces to play Pinafore/ and\\nengaged me on the spot to take the role of\\nSir Joseph Porter at a salary of ^3 a week.\\nSmall as the sum was, it sufficed to end my\\nstarvation, and to give me a chance to begin\\nmy professional career. I remained three\\nyears with Gilbert, at the end of which\\ntime I struck for a little more pay. It", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0065.jp2"}, "64": {"fulltext": "52 Famous Actors.\\nwas refused, and I left him and went to\\nLondon.\\nAlexander Henderson, the husband of\\nLydia Thompson, gave Mr. Mansfield an\\nengagement at the Globe Theatre, where he\\nmade an instant hit in La Boulangere and\\nother comic operas. Then D Oyly Carte\\nmade him an offer to go to the United\\nStates, and he made his debut, September\\n26, 1882, in this country as Dromez in\\nLes Manteaux Noirs, at the old Standard\\nTheatre in New York. Other comic opera\\nroles, such as Nick Vedder in Rip Van\\nWinkle, and the Lord Chancellor in Iolan-\\nthe, followed, and then he became a member\\nof A. M. Palmer s Union Theatre Company.\\nAfter a round of minor parts he was finally\\ncast for the small part of Tirindal, the\\nblase youth in A Parisian Romance. He\\nwas very despondent over this role, but soon\\nhis chance came. Less than a week before\\nthe play was produced, J. H. Stoddard, who", "height": "3268", "width": "1904", "jp2-path": "famousactorsofda00stra_0066.jp2"}, "65": {"fulltext": "Richard Mansfield. 53\\nwas cast for the Baron Chevrial, threw up\\nthe character in disgust, saying that he could\\ndo nothing with it, and it was given to Mans-\\nfield. On the eventful first night, January\\n10, 1883, his earlier efforts were received\\nwith critical coldness, but after the great\\nsupper scene, as the amazed surprise of the\\naudience gave place to unbridled enthusiasm,\\nsuch a reception awaited him as even this\\ntheatre of successes had never before wit-\\nnessed.\\nMr. Mansfield went on the road with Mr.\\nPalmer s company during the spring and\\nsummer, and in San Francisco he made a\\nhit as the irate French tenor in French\\nFlats. The next few years were a constant\\nstruggle to maintain his individuality and to\\ngain recognition. He was in Alpine Roses\\nat the Madison Square, and acted the Ger-\\nman baron in La Vie Parisienne at the\\nBijou, and Nasoni in Gasparone at the\\nStandard. He then starred as Baron Che-", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0067.jp2"}, "66": {"fulltext": "54 Famous Actors.\\nvrial. In support of Minnie Maddern he\\nplayed at the Lyceum Theatre Herr Kraft in\\nIn Spite of All, Steele Mackaye s version of\\nSardou s Andrea. In Boston he was Koko\\nin The Mikado, in John Stetson s com-\\npany. Then he received the manuscript of\\nPrince Karl from A. C. Gunter, and pro-\\nduced that bright little play at the Boston\\nMuseum in April, 1886. Later he took the\\nplay to New York, where it had a successful\\nsummer run, and in the fall, supported by\\nhis own company, Mr. Mansfield went on a\\ntour, presenting Prince Karl and A Paris-\\nian Romance. Later he brought out in\\nBoston his hideous, but strangely fascinating,\\nDr. Jekyll and Mr. Hyde, and after that\\nhis own delicate play, Monsieur, in which\\nhe acted Andre Jadot.\\nIn the summer of 1889 Mr. Mansfield ac-\\ncepted Henry Irving s invitation to occupy\\nthe Lyceum Theatre. During the engage-\\nment, Dr. Jekyll and Mr. Hyde, A", "height": "3268", "width": "1904", "jp2-path": "famousactorsofda00stra_0068.jp2"}, "67": {"fulltext": "Richard Mansfield. 55\\nParisian Romance, Prince Karl, and\\nLesbia, a one-act play, in which Beatrice\\nCameron, now Mrs. Mansfield, appeared,\\nwere presented but Mr. Mansfield cannot\\nbe said to have made any lasting impression\\nuntil his magnificent production of Shake-\\nspeare s Richard III., which took place at\\nthe Globe Theatre. That had a run of\\neighty-nine performances, the longest the\\nplay had ever known in London, and it was\\nstill drawing well when hot weather put an\\nend to the season. In the fall Mr. Mansfield\\nbrought his Richard III. to this country,\\nand presented it first in Boston and then in\\nNew York. The public support was good\\nbut not great, and the play, being acted and\\nstaged on such an elaborate scale that noth-\\ning but crowded houses were profitable, was\\nwithdrawn after a month s run in New\\nYork.\\nMr. Mansfield s next production was Clyde\\nFitch s Beau Brummel, which was followed", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0069.jp2"}, "68": {"fulltext": "56 Famous Actors.\\nby Don Juan, of which Mr. Mansfield him-\\nself was the author. The fall of 1891 saw\\nT. Russell Sullivan s Nero, which was\\nonly moderately successful. In February,\\n1892, Mr. Mansfield produced Ten Thou-\\nsand a Year, a failure, and after that his\\nown dramatisation of Hawthorne s A\\nScarlet Letter. October, 1893, was marked\\nby a revival of The Merchant of Venice.\\nSince that time Mr. Mansfield has been\\nidentified with George Bernard Shaw s\\nArms and the Man Lorimer Stoddard s\\nScenes from the Life of Napoleon Bona-\\nparte, The King of Peru, The Story of\\nRodion the Student, The First Violin,\\nCastle Sombras, The Devil s Disciple,\\nand Cyrano de Bergerac.\\nIn the spring of 1895 Mr. Mansfield se-\\ncured possession of Harrigan s old theatre\\non Thirty-fifth Street, New York, which he\\nopened auspiciously on April 2 2d, as the\\nGarrick, and attempted to run on the actor-", "height": "3268", "width": "1904", "jp2-path": "famousactorsofda00stra_0070.jp2"}, "69": {"fulltext": "Richard Mansfield. 57\\nmanager plan so popular in London. A\\nserious illness dashed his hopes, however,\\nand the next fall he was obliged to give up\\nthe enterprise.", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0071.jp2"}, "70": {"fulltext": "CHAPTER IV.\\nE. M. HOLLAND.\\nEdmund Milton Holland s career as an\\nactor is a remarkable record of constancy.\\nHe made his professional debut in 1866, and\\na year later he became a member of Lester\\nWallack s famous New York company, with\\nwhich he remained until 1880. Then, after\\na visit to England with McKee Rankin, and\\nafter a few engagements in New York, he\\njoined the Madison Square Theatre Company,\\nfirst under the Mallorys and Daniel Froh-\\nman and then under A. M. Palmer, who was\\nhis manager until 1895, when Edmund Hol-\\nland and his brother Joseph began their\\nstarring tour. Next Mr. Holland joined\\n58", "height": "3253", "width": "2014", "jp2-path": "famousactorsofda00stra_0072.jp2"}, "71": {"fulltext": "E. M. HOLLAND.", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0073.jp2"}, "72": {"fulltext": "", "height": "3253", "width": "2014", "jp2-path": "famousactorsofda00stra_0074.jp2"}, "73": {"fulltext": "E. M. Holland. 59\\nCharles Frohman s forces, and there he bids\\nfair to remain for some time.\\nLast season Mr. Holland was the chief\\nfeature of Alexandre Bisson s farce, On and\\nOff. It is not often that one finds a farce\\nthat is good all the way through, a farce that\\nis without a stumbling opening, that does not\\ntake half an act to get going, that does not\\nhalt or limp somewhere in the second act, or\\nthat does not end in a palpably nonsensical\\nfashion. On and Off was almost unique\\nin that its fun started at once fast and furi-\\nous, and never stopped for an instant until\\nthe curtain fell on the last act.\\nBut if the farce itself was good, the acting\\nwas better, and this was as it should have\\nbeen. No farce was ever written that could\\nnot be ruined by poor acting, and it is equally\\ntrue that many a poor farce has been pulled\\nthrough by the strenuous efforts of the mum-\\nmers. The farcical ratio under the most\\nfavourable circumstances is something like", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0075.jp2"}, "74": {"fulltext": "62 Famous Actors.\\nvalet, Jenkins Hanby, in A Social Highway-\\nman, the play in which Edmund and Joseph\\nHolland starred. That was a character study\\npure and simple, and an exceedingly difficult\\none for the actor did not rely, but to a very\\nslight degree, on make-up to aid in the ex-\\nposition of the character. He seemed rather\\nto assume mentally the moral peculiarities of\\nthe jailbird and servant, and then to let them\\nshow forth in suggestive physical mannerisms.\\nThere was a suspicion of the criminal in the\\nway he bore himself, in the hang of his head,\\nin the stoop of his shoulders, in his stealthy\\nstep and furtive glances. The face was\\nclean-shaven, and the dress was without\\neccentricity. Yet Mr. Holland completely\\nindividualised the character from any other\\nthat he had ever played.\\nThe ability to sink one s personality even\\nmomentarily in a character is a rare gift,\\nbut rarer still is the power to sustain the\\ndeception for any length of time. This", "height": "3253", "width": "2014", "jp2-path": "famousactorsofda00stra_0076.jp2"}, "75": {"fulltext": "E. M. Holland. 63\\nlatter Mr. Holland can do with remarkable\\nsuccess. Take half a dozen of his best known\\nroles, his Captain Redwood in Jim the\\nPenman, his Mr. Gardner in Captain\\nSwift, his Berkeley Bruce in Aunt Jack,\\nhis Colonel Moberly in Alabama, his\\nJenkins Hanby in A Social Highwayman,\\nand his George Godfray in On and Off,\\ntry to figure out from them what manner of\\nman E. M. Holland is, try to imagine what\\nhe looks like even. You will find yourself\\nat first puzzled and in the end defeated.\\nMr. Holland is the second son of George\\nHolland, who was himself a popular light\\ncomedy actor, and who died in 1870. It\\nwas an incident connected with George\\nHolland s funeral that stirred up much\\nfeeling in theatrical circles against the\\nRev. Dr. Sabine, of New York, and led to\\nthe rechristening of the Church of the Trans-\\nfiguration in that city. Doctor Sabine de-\\nclined to officiate at George Holland s funeral", "height": "3256", "width": "1878", "jp2-path": "famousactorsofda00stra_0077.jp2"}, "76": {"fulltext": "64 Famous Actors.\\nservices, because of Mr. Holland s connection\\nwith the stage, and remarked that there was\\na little church around the corner where\\nthings of that kind were done. Whereupon\\nJoseph Jefferson exclaimed: God bless the\\nlittle church around the corner Ever\\nsince that time actors have regarded with\\nespecial affection The Little Church\\nAround the Corner.\\nE. M. Holland was born in New York, on\\nSeptember 7, 1848. His first public appear-\\nance was made when, as a baby, he was car-\\nried on the stage in the play, To Parents\\nand Guardians, in which his father was ap-\\npearing. Later, when about six years old,\\nhe appeared in The Day after the Fair.\\nHe went to school in New York until he was\\nfifteen years old, when he became call-boy in\\nMrs. John Wood s Olympic Theatre, which\\nhad formerly been Laura Keene s Theatre.\\nHere, in addition to his other duties, he was\\noccasionally used on the stage in some emer-", "height": "3253", "width": "2014", "jp2-path": "famousactorsofda00stra_0078.jp2"}, "77": {"fulltext": "E. M. Holland. 65\\ngency, but he did not completely evolve into\\nan actor until 1 866, when he was engaged to\\nplay small parts at Barnum s Museum, on the\\ncorner of Broadway and Spring Street. At\\nthis time, and even after he joined Wallack s\\ncompany, Mr. Holland was known as E.\\nMilton.\\nAfter leaving Barnum s Museum, Mr. Hol-\\nland appeared with Joseph Jefferson in the\\noriginal production in New York of Dion\\nBoucicault s version of Rip Van Winkle,\\nand immediately after that he began his long\\nconnection with Lester Wallack s house, ap-\\npearing first in A New Way to Pay Old\\nDebts, in which E. L. Davenport starred.\\nMr. Holland s greatest success at this the-\\natre was Silky in The Road to Ruin, and\\nwell liked, too, were his Beau Farintosh\\nin Caste, and his Samuel Gerridge in\\nSchool. Among the players with whom\\nhe acted were Charles Mathews, John Gil-\\nbert, George Honey, Charles Fisher, Ada", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0079.jp2"}, "78": {"fulltext": "66 Famous Actors.\\nDyas, Madame Ponisi, J. H. Stoddart,\\nCharles Stevenson, and Dion Boucicault.\\nJust after leaving Wallack s, in 1880, Mr.\\nHolland appeared as Riffidini in French\\nFlats, under A. M. Palmer s management,\\nand then went to London with McKee Ran-\\nkin, where he acted the Judge in The\\nDanites at Sadler s Wells Theatre. A\\ntour of England, Scotland, and Ireland\\nfollowed, after which Mr. Holland returned\\nto New York.\\nIn Henry E. Abbey s company, at the\\nPark Theatre, he created the character of\\nMajor McTurtle in Mother-in-law, and also\\nappeared as the Deacon in After the Ball.\\nHis connection with the Madison Square\\nTheatre began in 1882, when the Mallorys\\nengaged him to act Pittacus Green in\\nHazel Kirke, with one of the travelling\\ncompanies. Then Daniel Frohman took the\\ntheatre, and during the two years that he was\\nin charge Mr. Holland appeared as the Tailor", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0080.jp2"}, "79": {"fulltext": "E. M. Holland. 67\\nin The Private Secretary, and on the road\\nas the Lawyer in Young Mrs. Winthrop,\\nand Old Rogers in Esmeralda. When\\nMr. Palmer succeeded Mr. Frohman, Mr.\\nHolland became a prominent member of\\nPalmer s Madison Square Theatre Company.\\nHis characters included Gawain in Elaine,\\nthe unctuous Lot Burden in Saints and\\nSinners, the suave Captain Redwood in\\nJim the Penman, Pichot in The Martyr,\\nthe elegant Mr. Gardner in Captain Swift,\\nDoctor Chetell in Heart of Hearts,\\nBerkeley Bruce in Aunt Jack, Mr. Belair\\nin Partners, Uncle Gregory in A Pair\\nof Spectacles, and Colonel Moberly in Ala-\\nbama. In The Rajah he first played Jekyl\\nand then Jocelyn. He was also in the casts\\nof Sealed Instructions, Dinner at Eight,\\nand Sunlight and Shadow.\\nAfter the stock company was transferred\\nto Palmer s Theatre, Mr. Holland appeared\\nas Colonel Carter in Colonel Carter of\\n.\u00e2\u0080\u00a2to\u00e2\u0080\u0094", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0081.jp2"}, "80": {"fulltext": "68 Famous Actors.\\nCartersville, Lord August Lorton in Lady\\nWindermere s Fan, Cortland Crandall in\\nNew Blood, and Colonel Cazenove in\\nThe New Woman. In the double bill\\nof Twilight and Two Old Boys, he as-\\nsumed the part of a young man in the first\\nplay, and he and James H. Stoddart were\\nthe old boys, in the second. He sup-\\nported Olga Nethersole at Palmer s Theatre\\non her first visit to this country, and during\\nthe season of 1893-94 he played a long en-\\ngagement in San Francisco. Just before his\\nventure as a star he acted in The Found-\\nling at Hoyt s Theatre, New York.\\nThe Holland brothers made their debuts\\nas stars in the Garrick Theatre, New York,\\non September 2, 1895, in A Man with a\\nPast. They were under the management\\nof Richard Mansfield, and when he was taken\\nill they were given the privilege of bringing\\nout A Social Highwayman, in which Mr.\\nMansfield had intended to appear himself.", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0082.jp2"}, "81": {"fulltext": "E. M. Holland. 69\\nA Social Highwayman was dramatised by\\nMurray A. Stone from a novel by Elizabeth\\nPhipps Train. Although the Hollands met\\nwith gratifying success in the larger cities,\\nthey were unable firmly to establish them-\\nselves as stellar attractions.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0083.jp2"}, "82": {"fulltext": "CHAPTER V.\\nEDWARD H. SOTHERN.\\nEdward H. Sothern, the second son of\\nE. A. Sothern, the famous English comedian\\nand creator of Lord Dundreary, was born in\\nNew Orleans, Louisiana, on December 6,\\n1859, as the following laconic entry in his\\nfather s memorandum book under that date\\nconclusively shows Boy born at 79 Bien-\\nville Street at 7 a. m. Named Edward. E.\\nA. Sothern had three sons Lytton, the old-\\nest, now dead Edward, and Sam, also an\\nactor and at present in England. When E.\\nA. Sothern returned home in 1864 to show\\nLondoners his great character of Dundreary,\\nhe took his family with him. The father\\n70", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0084.jp2"}, "83": {"fulltext": "EDWARD H. SOTHERN\\nAs D Artagnan in The King s Musketeer.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0085.jp2"}, "84": {"fulltext": "", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0086.jp2"}, "85": {"fulltext": "Edward H. Sothern. 7 1\\nintended that Edward should be a painter,\\nand with that end in view Edward studied\\ndrawing in England. In 1875 the boy re-\\nturned to America with his father on a\\nholiday visit, and four years later, when\\nE. A. Sothern was about to leave England\\nto fill a theatrical engagement in the United\\nStates, Eddie, as he was called to dis-\\ntinguish him from his father, announced his\\nintention of going, too, with the ulterior pur-\\npose of becoming an actor. E. A. Sothern\\nobjected, but the youth s mind was fixed,\\nand he made his debut at Abbey s Park\\nTheatre, Broadway, New York, in Septem-\\nber, 1879, as tne cabman in Sam. He\\namusingly described this experience in Kate\\nField s Washington:\\nAll I had to do was to appear, carry my\\nhand to my head and say, Half a crown,\\nyour honour I think you won t object.\\nNot much, surely, but the business so ab-\\nsorbed my agitated brain that I forgot the", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0087.jp2"}, "86": {"fulltext": "J 2 Famous Actors.\\nwords and stood staring at my father, who\\nkept saying, Go on, go on His talking\\nto me when I thought he ought to be talking\\nto the public upset me still more, and, instead\\nof going on, I went off. Father was very\\nangry and wouldn t give me another chance.\\nPoor Eddie, he wrote to dear old Mrs.\\nVincent of the Boston Museum, is a nice,\\nlovable boy, but he will never make an\\nactor.\\nThe boy s next experience was at the Bos-\\nton Museum, where he appeared in October,\\nand, according to Miss Mary Shaw, who made\\nher professional debut at the same time, his\\nfirst attempt there ended similarly to his\\nNew York one. At the Museum, however,\\nhe got a chance to redeem himself, and was\\nreally quite a favourite when his three or four\\nmonths engagement ended. The following\\nseason he played low comedy parts in John\\nMcCullough s company, with which he re-\\nmained until his father s death in 1881.", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0088.jp2"}, "87": {"fulltext": "Edward H. Sothern. 73\\nWith McCullough, the tragedian, Ge-\\nnial John, as he was known to all his friends,\\nI played only the smallest parts, said Mr.\\nSothern, sometimes much more pedestrian\\nthan elocutionary. I remember a laughable\\noccurrence at a small town where he and\\nLawrence Barrett were appearing together\\nin Richard III. Supers were very\\nscarce, and when the evening arrived, it\\nwas discovered that we must depend upon\\nour own resources for the armies of the con-\\ntending powers. This meant that I, as the\\nyoungest and most inexperienced member of\\nthe company, should alone go on, first as the\\narmy of the crooked-backed tyrant, and later,\\nwith a slight change of costume, as the con-\\nquering forces of the outraged and heroic\\nRichmond.\\nMost of our auditors were miners, and\\ntheir comments on the play were forcible\\nand pointed as the action proceeded. What\\nthey would say or do when they saw the", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0089.jp2"}, "88": {"fulltext": "74 Famous Actors.\\nwonderfully similar opposing armies was\\nthe constant surmise of the company dur-\\ning the evening, and my natural nervousness\\nwas not much calmed by the suggestions of\\nmy associates how best to dodge when the\\naudience began to throw things. The effect\\nupon Mr. Barrett was to raise him to more\\nthan his usual tension, while with Mr. Mc-\\nCullough it seemed to be a huge joke and\\nbrought forward his propensities for guying.\\nWhen Richard and his army entered the\\ntrouble began, and poor Mr. Barrett had\\ngreat difficulty in finishing his speech to his\\nshivering, almost fainting, soldier. When\\nMr. McCullough entered, I followed as\\nthough going to my death. Great was my\\nsurprise, however, when Mr. McCullough\\nturned toward me, and, with the full strength\\nof his thundering voice, said, instead of the\\nlines of the scene Come on, my solitary\\ncuss, and, hang me, if we don t lick all Eng-\\nland. The house was as still as death for", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0090.jp2"}, "89": {"fulltext": "Edward H. Sot hern. 75\\nan instant, and then broke forth into vocifer-\\nous cheering. From that moment McCul-\\nlough had them, and when late in the\\ncombat scene he shouted to his antagonist,\\n1 If Barrett s fit to live, then let McCullough\\ndie, the applause was deafening. It was a\\nscene long to be remembered, and nothing\\nbut Barrett and McCullough in Richard\\nIII. was talked of in that town for years\\nafterward, when theatrical subjects were\\nalluded to.\\nAfter his father died, Mr. Sothern went to\\nEngland and remained with his mother until\\nshe passed away a year later. Then he\\ntravelled through the British provinces with\\nhis brother Lytton, who was playing his\\nfather s character of Dundreary and also\\nDavid Garrick. Late in the summer of\\n1883, Edward returned to the United\\nStates, poor as poverty, and after much\\ndiscouragement was compelled to take a\\nsecond engagement with McCullough to act", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0091.jp2"}, "90": {"fulltext": "7 6 Famous Actors.\\njust the same parts that he had assumed two\\nyears before. This proved to be McCul-\\nlough s last season on the stage, and when\\nit reached its tragic end, Mr. Sothern was\\nagain thrown on his own resources. Then\\ncame his amusing adventures with the farce,\\nWhose Are They? of which he was the\\nauthor. Mr. Sothern tells the story as\\nfollows\\nI pursued managers until I got some of\\nthem to hear me read my mad farce. Dur-\\ning the reading I did all sorts of absurd\\nthings, and several that heard it were really\\nquite taken with it. While I was cogitating\\non the way to get it before the public, an\\nagent wanted some attraction for a benefit\\nto be given in Baltimore for the police. I ll\\ngo, I said. There were seven dramatis per-\\nsona in the piece, and the management\\noffered me $300. Four weeks I rehearsed\\nthose actors, and when the night came the\\nfarce went uproariously. I thought my for-", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0092.jp2"}, "91": {"fulltext": "Edward H. Sothern. J J\\ntune secure, and with the remnants of my\\n$300 I gave a supper to my company. I\\ntried Brooklyn. Result, fine notices and\\n$400. My next ambition was to feel the\\npulse of New York, and I accepted ruinous\\nterms for two weeks at the Star Theatre.\\nThe first week was all right financially the\\nsecond week swept everything away. Yet,\\nbuoyed up by the hope that springs eternal\\nin the human breast, I took out a company\\nfor ten weeks, and we went to pieces in\\nChicago. I left my luggage to secure my\\nbills, and returned to New York, where I\\nonce more read my farce to various mana-\\ngers. Harrison and Gourley were delighted\\nwith it. They proved their faith by paying\\nme $500 down for immediate possession, and\\npromising me $1,500 more, if, after a week s\\ntrial, the piece was a go. Gourley went so\\nfar as to exclaim, Why do you want to act\\nwhen you can write plays like this Calling\\nthe farce Domestic Earthquakes, these", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0093.jp2"}, "92": {"fulltext": "7 8 Famous Actors.\\nmanagers produced it in Boston with dire\\nresults. Veal and green peas, said the\\npress. I did not receive the expected\\n$1,500, and I ve never looked at Domestic\\nEarthquakes since.\\nNext Mr. Sothern was engaged by Charles\\nFrohman for Nita s First, and subsequently\\nplayed in Three Wives to One Husband.\\nLater he supported Estelle Clayton in Fa-\\nvette in New York and on tour. In 1884\\nhe appeared with Helen Dauvray in Mona,\\ncontinuing with her through two seasons,\\nduring which time he played Prosper Coura-\\nmont in A Scrap of Paper, Doctor Lee in\\nMet by Chance, Ernest Vane in Peg\\nWoffington, Wildrake in The Love Chase,\\nAndre in Walda Lamar, and Captain Greg-\\nory in One of Our Girls, This last charac-\\nter he acted in 1886, and from that moment\\nhis fortunes took an upward turn. In the\\nspring of 1887 Daniel Frohman gave him a\\nchance to appear as Jack Hammerton in", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0094.jp2"}, "93": {"fulltext": "Edward H. Sothern. 79\\nThe Highest Bidder, and his success was\\nso great that he began his starring career in\\nthat play the following fall.\\nThe Highest Bidder was a light comedy\\nby John Madison Morton, the author of Box\\nand Cox and a number of other English\\nfarces, and Robert Reece. It was found\\namong the effects of the elder Sothern,\\nwho had named it Trade. Edward Sothern\\ntouched it up, rewrote parts of it, and gave\\nit its new title.\\nDuring the season of 1887-88, while star-\\nring in The Highest Bidder, Mr. Sothern\\nbrought out Editha s Burglar, in which he\\nplayed Bill Lewis, the burglar, the best part\\nhe had had up to that time. This produc-\\ntion also introduced to the public the child\\nactress, Elsie Leslie, later one of the most\\nfamous of the little Lord \u00c2\u00bbFauntleroys, and\\nlast season a member of the Joseph Jefferson\\ncompany. Lord Chumley, which Belasco\\nand DeMille wrote for Mr. Sothern, was", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0095.jp2"}, "94": {"fulltext": "80 Famous Actors.\\nfirst acted in the fall of 1888, and proved\\na great success. Mr. Sothern hesitated a\\nlong time before he decided to try this char-\\nacter, as he feared that it had qualities that\\nmight bring him into too direct comparison\\nwith his father as Dundreary. His fears\\nwere groundless, however, for his treatment\\nof the part was original throughout. Mr.\\nSothern had now become a recognised fac-\\ntor in the American theatre, and his new\\ncharacters, each one showing a decided ad-\\nvance in authority and artistic ease, added\\nconstantly to his reputation as a come-\\ndian.\\nCaptain Lettarblair and The Maister\\nof Woodbarrow followed Lord Chumley,\\nand then came The Dancing Girl, which\\nafforded Mr. Sothern a character of remark-\\nable subtlety. It was a strong bit of acting,\\nexcelling in finesse and suggestive repose.\\nThe Victoria Cross, a melodramatic play,\\ndealing with the mutiny in India, was not", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0096.jp2"}, "95": {"fulltext": "Edward H. Sothern. 8 1\\na success, but its successor, The Way to\\nWin a Woman, by Jerome K. Jerome, first\\nplayed at the Hollis Street Theatre, Boston,\\nin 1894, gave further evidence of the in-\\ncreased power of the actor. Paul Potter s\\ncostume play, Sheridan, or the Maid of\\nBath, an ingenuous compilation from Rich-\\nard Brinsley Sheridan s comedies, preceded\\nThe Prisoner of Zenda, which ushered in\\nthe third period of Mr. Sothern s develop-\\nment. He now became recognised as a\\nromantic actor, and An Enemy to the\\nKing was a natural sequence. Change\\nAlley, Mr. Sothern s next venture, proved\\nto be a very bad play, and The Lady of\\nLyons was substituted, with the star as\\nClaude Melnotte. Sir George, in Anthony\\nHope s The Adventure of Lady Ursula,\\nfollowed, but this character made no extra-\\nordinary demand on the actor s art. Last\\nseason he was seen in A Colonial Girl,\\na drama of Revolutionary times, by Grace", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0097.jp2"}, "96": {"fulltext": "82 Famous Actors.\\nLivingston Furniss and Abby Sage Richard-\\nson, and The King s Musketeer, Henry\\nHamilton s version of Dumas s The Three\\nMusketeers.\\nThe King s Musketeer was an elabo-\\nrately staged affair, and a tremendous popu-\\nlar success. That is about all the good that\\ncan be said of it, for such a frankly theat-\\nrical play never was seen before. To the\\ncharacter of D Artagnan Mr. Sothern gave\\nthe proper amount of dash and spirit and\\nunconscious humour. His naivete in the\\nopening scenes was capital, and particularly\\nattractive were those sharp, wide-open eyes\\nthat so well expressed wonder, curiosity, and\\nnative shrewdness. Aside from its super-\\nficial swagger, which comes as a sort of\\nsecond nature to the actor skilled in roman-\\ntic parts, and the necessary prominence of\\nthe character, there was nothing in the role\\nthat appealed to the actor, no imagination, no\\ndepth of motive, no heart.", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0098.jp2"}, "97": {"fulltext": "Edward H. Sot hern. 8 3\\nTo complete the story of Mr. Sothern s\\nprivate life it is but necessary to add that\\nin 1896 he married Virginia Harned, who\\nfor several seasons had been his leading\\nlady.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0099.jp2"}, "98": {"fulltext": "CHAPTER VI.\\nJOHN DREW.\\nJohn Drew s theatrical career naturally\\ndivides itself into three periods From 1873,\\nthe time he made his debut in the Arch\\nStreet Theatre, Philadelphia, which was then\\nunder the management of his mother, until\\n1879, when he became leading man of Au-\\ngustin Daly s New York company from\\n1879 till 1892, when he became a star;\\nand from 1892 until the present time. A\\nkeen estimate of Mr. Drew was that of\\nWilliam Winter, who had been familiar with\\nthe actor s work for years. The criticism\\nappeared in the New York Tribune of\\nOctober 4, 1892, the morning after Mr.\\n84", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0100.jp2"}, "99": {"fulltext": "JOHN DREW.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0101.jp2"}, "100": {"fulltext": "", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0102.jp2"}, "101": {"fulltext": "John Drew. 85\\nDrew s first appearance as a star in The\\nMasked Ball. Mr. Winter said\\nMr. Drew is especially welcome because\\nhe represents, in the art of comedy, the\\nspirit of youth and hope and joy. In our\\nutilitarian civilisation there is need of the\\njoyous element, and men and women by\\nwhom it is imported are public benefactors.\\nThe ministration of mere hilarity, indeed, is\\nan influence that has been pushed to excess,\\nand it ought to be repressed rather than\\ninvigorated for it promotes vacuity of\\nmind, pertness, slang, and a coarse and com-\\nmon strain of manners. The ministration of\\njoy, on the contrary, is a sweet and gentle\\ninfluence, diffusing refinement, humour, and\\nkindness, and its augmented prosperity must\\never be deemed a public benefit. In each\\nsuccessive theatrical generation this spirit has\\nhad its representatives, actors who have\\ngained the affection as well as the admiration\\nof the people by contributing to make them", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0103.jp2"}, "102": {"fulltext": "86 Famous Actors.\\nhappy. Estcourt and Wilks and Lee Lewis\\nand Bannister, the late Charles Mathews,\\nand the late Lester Wallack, were artists of\\nthat kind, and John Drew comes of that\\nlineage, and surely has earned a rank in that\\nhonourable company.\\nThe American audience of to-day is not\\nprone to precipitate recognition of fine abili-\\nties in persons who do not claim preeminence.\\nAmid the strife and din of the passing hour\\nyou must blow a trumpet if you wish to be\\nheard. The actor who has proved his right\\nshould not be hastily censured for wishing to\\nsee his name printed in capital letters at the\\nhead of the bill. Many spectators will discern\\nvirtues in him, when that is done, which they\\nnever perceived before. It is the way of the\\nworld. And yet, in the case of Mr. Drew, a\\nliberal measure of popular appreciation might\\nwell be assumed. His presence for years\\nhas been delightfully familiar. He is an\\nimage of grace. He possesses repose, indi-", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0104.jp2"}, "103": {"fulltext": "John Drew. 87\\nviduality, coolness, drollery, the talent of\\napparent spontaneity, and the faculty of\\ncrisp emotion, his countenance is not mobile\\nhis style is not distinctly flexible and he has\\nnever yet shown the impetuosity, the over-\\nwhelming brilliance, the gig of such fine old\\ncomedy actors as Frederick and Murdock and\\nMathews and Wallack, at their best. He\\nnotably fell short of their standard, for in-\\nstance, in Mirabel he has yet to win their\\nlaurels in such characters as Harry Dornton\\nand Doricourt and Don Felix.\\nOn the other hand, he gained an admira-\\nble eminence as Charles Surface, and he has\\nsurpassed all the young actors of his day as\\nthe gay cavalier and the bantering farceur of\\nthe drawing-room drama of modern social\\nlife. His grace, person, and temperament are\\nadmirably harmonious with characters of the\\nstrain denoted by Sir Charles Coldstream\\nand by Jasper, opposites, yet participants\\nin the same elemental qualities. His vein of", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0105.jp2"}, "104": {"fulltext": "88 Famous Actors.\\nquizzical wonder is natural, and it is uncom-\\nmonly rich and deep. He can alternate bland\\ncomposure with playful celerity, and he can\\ncreate effects of mirth with both. He speaks\\nthe language clearly, sweetly, and with fine\\nprecision. He knows the full value of the\\npause, the glance, the inflection, the sapient\\nlook, and the demure manner. He is delight-\\nful in the vein of equivoke, and has an abso-\\nlute command of it. He is thoroughly in\\nearnest, and his attitude toward his art is that\\nof intellectual purpose and authority. Mr.\\nDrew s acting, furthermore, is illumined with\\nthe lustre of high principle, personal purity,\\nand a life of thought and refinement. Noble-\\nness and grace in art are absolutely depend-\\nent on nobleness and grace in life no actor\\nreaches the distinction to which Mr. Drew\\nhas attained without deserving it.\\nMr. Drew was born in Philadelphia, in\\nNovember, 1853. He was the son of John\\nDrew, one of the best all-round comedians", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0106.jp2"}, "105": {"fulltext": "John Drew. 89\\nand Irish character actors that this country\\nhas ever known, and Mrs. John Drew, best\\nknown to the latter generation as Mrs. Mala-\\nprop in the Joseph Jefferson productions of\\nThe Rivals. John Drew, Sr., died in 1862,\\nwhile he was manager of the Arch Street\\nTheatre, and after his death, Mrs. Drew took\\ncharge of the theatre and maintained a stock\\ncompany there until the fall of 1877. Mrs.\\nDrew died on August 31, 1897, at the ad-\\nvanced age of seventy-seven years.\\nJohn Drew made his first appearance on\\nthe stage in his mother s theatre on March\\n23, 1873, as Plumber in Charles Mathews s\\nfarce, Cool as a Cucumber. His second\\npart was Hornblower in The Laughing\\nHyena, and others of his characters were\\nAdolph de Courtroy in The Captain of the\\nWatch, Cummy in Betsy Baker, Captain\\nCrosstree in Black-eyed Susan, Dolly\\nSpanker in London Assurance, Gaspar\\nin The Lady of Lyons, and Modas in", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0107.jp2"}, "106": {"fulltext": "90 Famous Actors.\\nThe Hunchback. Mr. Drew remained\\nin Philadelphia two years, without, as he\\nexpressed it, playing roles that made a\\nparticular impression with the audience or\\nmyself.\\nAugustin Daly first saw Mr. Drew act in\\n1875. The character was Major Alfred\\nSteele, in a comedy called Women of the\\nDay. Mr. Daly bought the play and pro-\\nduced it at his New York theatre with James\\nLewis in the leading part. A few weeks\\nlater he made Mr. Drew an offer, which was\\naccepted, and in February, 1875, Mr. Drew\\nappeared with the Daly company as Bob\\nRuggles in The Big Bonanza. In 1876\\nhe played his first Shakespearian role, Rosen-\\ncranz in Hamlet, when Edwin Booth was\\noccupying Daly s theatre by special arrange-\\nment. He also acted Exton in Richard II.,\\nFrancois in Richelieu, Francis in The\\nStranger, Glavis in The Lady of Lyons,\\nand Hortensio in The Taming of the", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0108.jp2"}, "107": {"fulltext": "John Drew. 91\\nShrew. Two seasons were spent touring\\nthe country with Fanny Davenport, whose\\nrepertory included As You Like It and a\\nnumber of the Daly plays, one of them\\nPique. After Mr. Daly gave up the\\nFifth Avenue Theatre, Mr. Drew acted one\\nseason with Frederick Warde and Maurice\\nBarrymore, who were starring in Diplo-\\nmacy.\\nWhen Mr. Daly established his new thea-\\ntre in 1879, Mr. Drew became the leading\\nman of the company, of which Ada Rehan\\nwas the leading lady, and this position Mr.\\nDrew retained until 1892. Among the\\nShakespearian plays in which he appeared\\nwere The Taming of the Shrew, As You\\nLike It, A Midsummer Night s Dream,\\nLove s Labours Lost, and The Merry\\nWives of Windsor. He also acted in the\\nvarious revivals of old comedies such as\\nThe Inconstant, She Would and She\\nWouldn t, The Country Girl, and The", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0109.jp2"}, "108": {"fulltext": "92 Famous Actors.\\nSchool for Scandal. It would make a long\\nlist to cite all the plays produced at Daly s in\\nwhich he acted light comedy roles. They\\nincluded all of Mr. Daly s adaptations, such\\nas The Lottery of Love, The Railroad of\\nLove, Dollars and Sense, A Night\\nOff, Seven-Twenty-Eight, Nancy and\\nCo., The Last Word, and Love in\\nTandem. Mr. Drew went to London with\\nthe Daly company in 1884, 1886, 1888, and\\n1890.\\nSince he became a star, Mr. Drew has\\nacted, besides his first play, The Masked\\nBall, Frederick Ossian in Henry Guy Carle-\\nton s The Butterflies, Christopher, Jr.,\\nby Madeline Lucette Riley, The Bauble\\nShop, by Henry Arthur Jones, Sir Jasper\\nThorndyke in Rosemary, A Marriage of\\nConvenience, Major Dick Rudyard in One\\nSummer s Day, by Henry V. Esmond, and\\nSir Christopher Deering in The Liars, by\\nHenry Arthur Jones.", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0110.jp2"}, "109": {"fulltext": "John Drew. 93\\nThe Liars was a typical Henry Arthur\\nJones drama, brilliantly witty, keenly satiri-\\ncal, frankly cynical, and absolutely artificial.\\nThere was just enough truth in the play to\\ndrive home the satire, and consequently the\\ncomedy was very amusing, it is always fun\\nto have the other fellow hit, and Mr. Jones\\nhit him hard and often. Mr. Drew had a\\ncharacter whose chief duty was to meddle\\nadroitly in everybody else s business, and he\\nacted it with that easy, nonchalant, man-of-\\nthe-world air of which he is a complete mas-\\nter. There was a bit of honest human nature\\nin the last act, and Mr. Drew was convinc-\\ningly sincere when he placed before the\\nerring Lady Jessica Mr. Jones s worldly-wise\\nargument about a married woman s duty to\\nherself, her family, and society. Mr. Jones,\\ntoo, was thoroughly in earnest when he wrote\\nthe argument, the only one that would have\\nmoved the pretty, deceitful, selfish, and nar-\\nrow-minded butterfly of fashion.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0111.jp2"}, "110": {"fulltext": "CHAPTER VII.\\nWILLIAM FAVERSHAM.\\nWilliam Faversham is what is called, in\\nthe gush columns of the Sunday news-\\npapers, a matinee girl s ideal, but in addi-\\ntion to that he is a very good actor. For\\nthree seasons Mr. Faversham has held the\\nposition of leading man in Charles Frohman s\\nEmpire Theatre Company, certainly as good\\nan organisation as we have in the country,\\nand his work during that time has always\\nbeen excellent and occasionally more than\\nthat. Still, while recognising the adequacy of\\nhis technique and the general sufficiency of\\nhis art, one might wish for more spontaneity,\\nmore frankness, and more positiveness in his\\nacting. A little less artificiality and a little\\n94", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0112.jp2"}, "111": {"fulltext": "WILLIAM FAVERSHAM\\nAs Eric Von Rodeck in The Conquerors.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0113.jp2"}, "112": {"fulltext": "", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0114.jp2"}, "113": {"fulltext": "William Faversham. 95\\nmore nature would add wonderfully to the\\neffectiveness of Mr. Faversham s work on\\nthe stage.\\nPhysically, he is a handsome fellow, tall,\\nbroad-shouldered, and manly-looking. He\\nsuggests the masculine he looks muscular,\\nvigorous and healthy. He is a modern\\nyoung man, under all circumstances, with an\\nindescribable up-to-dateness even when ar-\\nrayed as Romeo in sixteenth century gar-\\nments. Mr. Faversham is at his best in\\ncharacters requiring buoyancy and vivacity of\\nspirits and rapid and energetic action, ac-\\ntion, moreover, that is open, and above board\\nwithout subtilty or ingenuousness. For this\\nreason, while he makes a splendid lover during\\nheroic moments, when there is danger to be\\novercome or enemies to be conquered, he is\\nnot so successful in the role of the sentimental\\nlover. He does not propose well. This\\nmay seem a trivial and foolish point, but it\\nreally is not to the actor who holds the posi-", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0115.jp2"}, "114": {"fulltext": "96 Famous Actors.\\ntion of leading man in a prominent company.\\nHe may act ten or a dozen different charac-\\nters in a season, yet always he is in love, and\\nnine times out of ten he has to propose.\\nSome players seem to have the knack of\\nP\u00c2\u00b0ppi n g the question prettily born in them\\nand apparently make love by instinct. John\\nMason, who used to be leading man at the Bos-\\nton Museum Stock Company, was such a one,\\nand his wooing set every susceptible heart\\nin the theatre to fluttering. Others acquire\\nthe art, and still others seem never to be\\nable to act the part of the lover. It was so\\nwith Edwin Booth.\\nMr. Faversham apparently is not a natural\\nlover, but there surely is no reason why he\\nshould not be educated into one. Judging,\\nnot by the sad and sorrowful expression of\\nhis countenance when he folds in his arms a\\nyoung woman who warrants a smile at least,\\nbut by the sympathetic atmosphere which he\\nunquestionably does create at such a moment,", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0116.jp2"}, "115": {"fulltext": "William Faversham. 97\\nMr. Faversham is not altogether in ignorance\\nof the emotion that he is trying to convey.\\nIf the theory be true that he has the concep-\\ntion all right, but fails fully to express it, he\\nshould be able without much difficulty to\\nremedy this fault.\\nIn Erie Von Rosdeck, the Babe in\\nThe Conquerors, Paul Potter s audacious\\ndrama, whose immorality was not half so\\nstartling as one might think after reading\\nwhat the critics said about it, Mr. Faver-\\nsham had a character very much in his line.\\nThere was action, plenty of it, and often\\nbrutally pointed. There were to be por-\\ntrayed the masculine vices and one or two\\npossibly only one of the masculine virtues.\\nThere were military uniforms to be worn,\\nand there was no love-making of the nice,\\ngenteel sort I mean. Mr. Faversham s Lord\\nWheatley, in Phroso, was another capital\\nimpersonation, attractive as a personality, full\\nof life and virility, and interesting as a char-", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0117.jp2"}, "116": {"fulltext": "98 Famous Actors.\\nacterisation. Unfortunately, the play itself\\nwas a melodrama in which coherency had\\nbeen sacrificed to make room for situations.\\nPhroso made no great impression in either\\nBoston or New York, the only two cities\\nin which it was represented, and did not\\nlast any length of time. Mr. Faversham s\\nimpersonation of Romeo at the end of last\\nseason was on the whole a successful one.\\nHe was very modern, to be sure, but that was\\na fault which he shared with nearly every\\nyoung actor of the present time who has tried\\nShakespearian roles. The early scenes of the\\ntragedy he played with admirable lightness\\nand deftness, though without the touch of\\nmelancholy and largely without the reserve\\nthat the text indicates. There was evidence\\nof passion in the balcony scene. The dig-\\nnity of the first part of the scene with Tybalt\\nwas marked, and the duel was fought with re-\\nalistic ferocity. The showing of grief when\\nthe decree of banishment was learned was not", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0118.jp2"}, "117": {"fulltext": "William Faversham. 99\\nweakened by overacting, and the death scene\\nwas really tragic.\\nWilliam Faversham is an Englishman. He\\nwas born in 1868 and was educated for the\\narmy. He attended the grammar school\\nat Chigwell, one of the preparatory schools\\nfor Harrow. Charles Dickens s Barnaby\\nRudge is placed at Chigwell, and it was in\\nthe midst of the scenes depicted in that novel\\nthat Mr. Faversham passed his boyhood. He\\nwent next to Harrow, and when he finished\\nhis schooling there, the opportunity came to\\nsend a number of youngsters to India to join\\nthe English forces in that country. Mr.\\nFaversham had two brothers in the Fif-\\nteenth Hussars, and when he was sixteen\\nyears old he went to Bombay to join that\\nregiment as a petty officer.\\nMarie de Gray, an actress, was touring\\nIndia at the time, and with her was an actor\\nnamed Piffard, with whom Mr. Faversham\\nbecame acquainted. The soldier soon grew", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0119.jp2"}, "118": {"fulltext": "ioo Famous Actors.\\nto feel more interest in the stage than he\\ndid in the barracks. I enjoyed the military\\nschools, especially the riding school, but I\\ndid not care for army life, said Mr. Faver-\\nsham. It was his friend Piffard that finally\\nadvised him to quit soldiering and turn\\nplayer.\\nThe Afghan war broke out while the ques-\\ntion was under consideration, and the Fif-\\nteenth Hussars were ordered to the front.\\nMr. Faversham s brothers succeeded in get-\\nting him invalided home just in time to es-\\ncape the fighting. Mr. Faversham lost his\\ntwo brothers and a cousin in that war. Of\\ncourse my going home was a farce, he re-\\nmarked. I was perfectly well, but I was glad\\nenough to get back to England, just the same.\\nBy sending me this way I got my passage,\\nand simply had to report to headquarters in\\nLondon and get my discharge papers.\\nNo sooner was he free from the army than\\nhe began to prepare himself for the stage.", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0120.jp2"}, "119": {"fulltext": "William Faversham. 101\\nHe studied first with Charlotte Le Clerq,\\nand made his debut at one of her matinees,\\non February 12, 1886, at the Vaudeville\\nTheatre, London, with a number of others\\nwho were her pupils. Mr. Faversham ap-\\npeared that afternoon in The Swiss Cot-\\ntage, Blanche Horlock, and The Loan\\nof a Lover, besides a little comic opera.\\nHis work attracted enough attention to se-\\ncure him an engagement in the provinces.\\nAt first he played old men, making a try at\\nSir Peter Teazle when he was nineteen years\\nold, but the leading man of the company was\\ntaken sick after a few weeks, and Mr. Faver-\\nsham succeeded to his characters, among\\nthem Charles Surface and Hamlet.\\nHe next joined a stock company at Rams-\\ngate, where he remained seven months. The\\nbill was changed several times weekly, and\\nthe young actor fell heir to all sorts of char-\\nacters, among them Claude Melnotte, Lord\\nBertie Cecil in Moths, Correze in Under", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0121.jp2"}, "120": {"fulltext": "102 Famous Actors.\\nTwo Flags, and Dick Swiveller. Many a\\nnight, said Mr. Faversham, I lay out on\\nthe jetty in my topcoat and studied my\\npart by the flare of the lighthouse and fell\\nasleep there. One of my greatest successes\\nwas Quilp, which I played when Horace\\nBarry, the manager, who was the husband of\\nMaude Elliston, the star of the troupe, fell ill.\\nI was very proud of that performance and\\nenjoyed it, for I always thought old Quilp a\\ngreat character.\\nMr. Faversham came to the United States\\nin 1887 in the company that was brought to\\nthis country to support the beautiful English\\nbarmaid, Helen Hastings, whom somebody\\nwanted to make over into an actress. She\\nappeared at the Union Square Theatre in\\nNew York, in a play called Pen and Ink,\\nand failed. Two others in her company, who\\nremained in the United States, where they\\nmade positions for themselves, were Ida\\nVernon and W. J. Ferguson.", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0122.jp2"}, "121": {"fulltext": "William Faversham. 103\\nAfter the Helen Hastings fiasco Mr. Faver-\\nsham was engaged by Daniel Frohman to join\\nhis forces in the fall and to remain with him for\\nfive years. In the spring he acted for a few\\nweeks with E. H. Sothern in The Highest\\nBidder, and then came summer, and with it\\nan experience, regarding which Mr. Faver-\\nsham tells the following story\\nThat summer was one of the most inter-\\nesting of my whole career to me. At that\\ntime I was almost a stranger here. I had no\\nmoney. I had possibly earned something\\nlike twenty dollars a week, and the long\\nvacation was before me. I gave up my\\nmodest room at the hotel, and for a few\\nweeks lived as best I could, selling what few\\nthings I had that could be sold. I finally\\nhad nothing left but my dog Sambo, a famous\\nbull. Every one knows Sambo.\\nFinally I made up my mind that I must\\nget work. One day I took my dog and\\nwalked up Harlem way, until I reached High", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0123.jp2"}, "122": {"fulltext": "104 Famous Actors.\\nBridge. I stood watching the men at work\\nuntil it occurred to me that I might get\\nsomething like that to do. I went up to a\\nman who seemed to be an overseer, and\\nasked him if there was any work around that\\na fellow might get to do. I suppose I had\\na very British accent, for the man laughed\\noutright and mimicked me as he replied\\nthat there was work to be had, but he\\ndoubted if I was the man to do it. I ex-\\nplained that the truth of the matter was, I\\nhad never done anything of that sort before,\\nbut that I was broke and wanted to get\\nthrough the summer.\\nHe sent for a fellow named Tom Pil-\\ngrim. I ll never forget him. He was the\\nplumber-pipe layer. Pilgrim took me home\\nwith him and taught me his trade. In four\\ndays I could wipe a joint like an old hand.\\nI worked all that summer. I used to get\\nup at half-past four, get to work at five,\\nput in my ten hours a day, earn my nine", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0124.jp2"}, "123": {"fulltext": "William Faversham. 105\\nor ten dollars a week, sleep as I had never\\nslept in my life, and eat my bread and cheese\\nwith an appetite and a relish that I have\\nvainly sought to duplicate ever since. I\\nmight never have abandoned that life, and\\nreturned to acting, but for an accident.\\nI had friends living not far away Tre-\\nmont Avenue. One day I was lying out on\\nthe grass, looking up in the sky, with Sambo\\nby my side, when this family drove by.\\nSambo was too well known. I heard a voice\\nI knew call out my name. I took to my\\nheels as a natural impulse, and dodged be-\\nhind a house. My pursuer went the other\\nway. We met.\\nThere was nothing for it then but to\\nmake a clean breast of the whole thing.\\nSuch a weeping and wailing you never\\nheard. Why didn t I tell them my fix\\nHow could I do such a thing? No one\\nseemed to understand at all, except the old\\ngentleman, who said, No, by Jove, it s the", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0125.jp2"}, "124": {"fulltext": "106 Famous Actors,\\nproper spirit. It won t hurt him a bit.\\nIt didn t, it did me good. But of course,\\nnow I was discovered, I had to go back\\nto civilisation.\\nMr. Faversham s first appearance that fall\\nwas as Leo in She. He next played Robert\\nGrey in The Wife, after which Mr. Froh-\\nman loaned him to Minnie Maddern, and he\\nacted with her Jacob Henderson in Ca-\\nprice, Carrol Glendenning in In Spite of\\nAll, Valentine and Don Stephano in Feath-\\nerbrain, and Helmer in A Doll s House.\\nWhen Miss Maddern retired from the stage\\nin 1890, Mr. Faversham returned to the\\nLyceum Company, and appeared there as\\nClement Hale in Sweet Lavender. His next\\nengagement was with Elsie Leslie in The\\nPrince and the Pauper, in which he played\\nLord Seymour. The next season Mr. Faver-\\nsham acted the leading r61e, Alfred Hast-\\nings, in the New York run of Gillette s\\nfarce, All the Comforts of Home.", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0126.jp2"}, "125": {"fulltext": "William Faverskam. 107\\nMr. Faversham became connected with the\\nEmpire Theatre Company in 1893, being\\nselected after his hit in Bronson Howard s\\nAristocracy, at Palmer s Theatre. He\\nplayed seconds to Henry Miller, his most\\nvivid impersonations being Ned Annesley, in\\nSowing the Wind, Hubert Garlinge in\\nJohn-a-Dreams, and Lord Skene in The\\nMasqueraders. In August, 1896, at the\\nBaldwin Theatre in San Francisco, he made\\nhis first appearance as the leading man of\\nthe Empire Company, acting in Bohemia,\\nThe Councillor s Wife, The Benefit of the\\nDoubt, and The Masqueraders. The next\\nyear he was seen as Gil de Berault in\\nUnder the Red Robe. Mr. Faversham s\\ngreatest success last season was as Lord\\nAlgy in Lord and Lady Algy, which was pro-\\nduced at the Empire Theatre in New York on\\nFebruary 14, 1899. Regarding the produc-\\ntion of the play in New York, and Mr. Faver-\\nham s part in it, Norman Hapgood wrote", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0127.jp2"}, "126": {"fulltext": "108 Famous Actors.\\nThis new comedy is far from subtle or\\nprofound, but it is assuredly smart and in-\\nspiring. It is superficial, but the surface is\\namusing. Neat, compact, progressive in con-\\nstruction, it is sharp and tart in dialogue,\\nand clear and dramatic in its situations. The\\nauthor knows his business, an excellent thing\\nfor an author to know. It belongs to the\\nbrassy Oscar Wilde type of comedy, but it\\nis good after its kind, which is all we need\\nto ask. There is no character creation, and\\nnone is needed. The only jars are, perhaps,\\ndue to its British origin. We Americans\\ndo not understand how anybody but chumps\\ncan have all their thoughts concentrated in\\nhorses, or make such a fuss, even in fun,\\nover cigarettes and drinks. Women smoke\\nor they don t, which seems to end the matter.\\nThis foreign stress on matters, which seem\\nto be deemed half sinful and wholly smart,\\ndoesn t need to be condemned, for it is\\nalways intelligent to give the unknown the", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0128.jp2"}, "127": {"fulltext": "William Faversham. 109\\nbenefit of the doubt. Only fools are so\\nterribly horsey in America, but nobody\\naccuses Lord Rosebery of being a fool.\\nWilliam Faversham made easily the hit\\nof the evening, the largest number of recalls\\nafter the second act being intended wholly\\nfor him. In the first act his lack of smart\\ncomedy manner was noticeable, and his ina-\\nbility to stand still or keep his face from\\nworking violently, but in the more active\\nrequirements of the second act he was admi-\\nrable, and deserved all the applause he got.\\nIn the third act his seriousness came in prop-\\nerly. He is the best actor in the cast, and\\nhe ought to be able to learn a great deal\\nabout the smart comedy manner in the next\\nfew weeks. A good beginning would be to\\ndrop twenty or thirty of his Eh What\\nexclamations and turns of the face to the\\naudience, and practise on a half blase\\nimmobility.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0129.jp2"}, "128": {"fulltext": "CHAPTER VIII.\\nJOHN B. MASON.\\nJohn B. Mason, for many years the lead-\\ning man of the Boston Museum stock com-\\npany, and one of the last year s successes in\\nThe Christian, is an actor of magnetic\\npersonality and more than ordinary art. He\\nis versatile to an unusual degree, and time\\nand time again has demonstrated his ability\\nto play acceptably romantic parts, high grade\\ncomedy characters, in both classic and mod-\\nern dramas, farcical and even light opera\\nroles. He is at his best, perhaps, in com-\\nedy, where his fine stage presence, finesse\\nin acting, and clear-cut distinction make him\\na figure both attractive and satisfying. To\\nthe romantic drama he brings grace, dash,", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0130.jp2"}, "129": {"fulltext": "JOHN B. MASON\\nIn Shenandoah.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0131.jp2"}, "130": {"fulltext": "", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0132.jp2"}, "131": {"fulltext": "John B. Mason. 1 1 1\\nand masculine charm, and his inherent sin-\\ncerity and complete mastery of technique lend\\nconviction and force to the wildest melo-\\ndrama. In farce he shows deftness and\\nlightness of touch, combined with the snap\\nand go that are so essential to that vari-\\nety of entertainment. He has a sweet-toned\\nbaritone voice of considerable range, though\\nnot of great power, which enables him to\\nappear to advantage in light opera.\\nMr. Mason makes an ideal leading man,\\nas his long service at the Boston Museum\\nplainly shows. He appeared at that house,\\nnot only in many modern dramas, but also in\\nthe revivals of the old comedies that were for\\na number of seasons an annual event. At\\nthe Museum, Charles Surface, Harry Don-\\naton, Pomander, Rover Littleton Coke, Daz-\\nzle, Dick Dowlas, Captain Absolute, Young\\nMarlow, Frederick Bramble, and Bronzely\\nwere some of the famous characters that\\nhe impersonated with really marvellous skill", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0133.jp2"}, "132": {"fulltext": "112 Famous Actors.\\nwhen the mood was on him. Unfortunately,\\nhe had in those days a not undeserved repu-\\ntation for occasional lapses into carelessness\\nand indifference.\\nJack Mason was born in Orange, N. J.,\\nin July, 1857, but nevertheless to all practi-\\ncal purposes he is a native Bostonian. His\\nparents were Daniel and Susan W. Belcher\\nMason, while his grandfather was Lowell\\nMason, the eminent hymnologist. His the-\\natrical career did not begin until after he had\\nreceived a thorough education in Germany,\\nFrance, and Switzerland, though he was\\nfamiliar with the playhouse even as a child.\\nThe first play he ever saw was Rosedale,\\nwith Lester Wallack as Eliot Grey. Mason\\nwas only two years old at that time, but he\\nremembered distinctly the admiration that\\nhe felt for Grey when he knocked down the\\nvillain in the first act.\\nMr. Mason was taken to Germany in 1866\\nby his mother, who placed him in a boarding-", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0134.jp2"}, "133": {"fulltext": "John B. Mason. 113\\nschool in Frankfort. Later he joined his\\nfather at the Paris Exposition. During the\\nsummer of 1871 he saw the Passion Play,\\nwhich was given at Oberammergau that year,\\nbecause in 1870 Joseph Maier, the imper-\\nsonator of the Christ, was drafted for service\\nduring the Franco-Prussian War. After re-\\nturning to this country Mr. Mason entered\\nColumbia College in 1876, but soon left that\\ninstitution to go on the stage, making his\\nprofessional debut at the Walnut Street\\nTheatre, Philadelphia.\\nMr. Mason s first appearance at the Bos-\\nton Museum was on August 25, 1879, when\\nthe Museum began its thirty-seventh regular\\nseason with a single night s performance of\\nThe School for Scandal. In the cast\\nwere the long-time favourites, William War-\\nren, Charles Barron, Mrs. Vincent, and\\nAnnie Clarke. It was the same year that\\nWilliam Seymour, May Davenport, and Mary\\nShaw joined the company, but their stay at", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0135.jp2"}, "134": {"fulltext": "H4 Famous Actors.\\nthe old house was comparatively brief. Mr.\\nMason, however, with the exception of two\\nseasons, one spent as leading juvenile in the\\nUnion Square Theatre Company of New\\nYork, and the other in support of Nat\\nGoodwin on the road, remained in Boston\\nuntil 1890. While Charles Barron was lead-\\ning man, Mr. Mason played the juveniles.\\nAs the seasons passed, he was given more\\nimportant characters, in which he acquitted\\nhimself well when he chose. He became\\nleading man after Mr. Barron s retirement,\\nassuming in August, 1888, the part of Cap-\\ntain Vere in Bells of Haslemere. Lieut.\\nKerchival West in Bronson Howard s\\nShenandoah followed. Others of his\\nroles were Horace Bream in Sweet Lav-\\nender, Eliot Grey in Rosedale, Charles\\nSurface in School for Scandal, Freddy\\nin The Guv nor, Joseph Andrews in\\nJoseph s Sweetheart, Bob Brierly in A\\nTicket-of-Leave Man, Talbot Champreys", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0136.jp2"}, "135": {"fulltext": "John B. Mason. 1 1 5\\nin Our Boys, Lord Travers in Hazel\\nKirke, Capt. Dudley Smooth in Money,\\nand Jack Dudley in Hands Across the\\nSea.\\nAfter Mr. Mason s sudden departure from\\nthe Museum, in October, 1890, and his mar-\\nriage to Marion Manola, the light opera\\nsoprano, he was next heard of professionally\\nat the St. James Theatre, London, in Febru-\\nary, 1 89 1, in support of George Alexander\\nin The Idler. He made a remarkable\\nsuccess as Simeon Strong, but this en-\\ngagement terminated as abruptly as did his\\nconnection with the Boston Museum. Com-\\nmenting on his work in The Idler, Clement\\nScott said\\nMr. John Mason leaped at once into the\\nartistic confidence of a highly critical audi-\\nence. The play and the author owe\\neverything to Mr. George Alexander and\\nthe new American comer, Mr. John Mason,\\nwho reminds us not a little of that ad-", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0137.jp2"}, "136": {"fulltext": "1 16 Famous Actors.\\nmirable American comedian, Mr. Charles\\nThorne.\\nMr. Watson said in the Standard: A\\nmost favourable impression was made by a\\nnew actor, Mr. John Mason, an American,\\nwho makes his first appearance in London,\\nand plays a character which has something\\nalmost of tragedy, and an element of comedy\\nas well, with excellent taste and judgment.\\nWhen Mr. Mason abandoned The Idler,\\nhe also abandoned his luck. With his wife\\nhe attempted a starring tour in William\\nYoung s If I Were You, but the play\\nwas not successful. Friend Fritz, which\\nfollowed, was an artistic production, but it\\nfailed to be profitable. The Gilbert and\\nSullivan operas were tried, but they, too,\\nfailed to win patronage. So matters drifted\\nfrom bad to worse, until finally Mason was\\nlost to public view.\\nWhen The Christian was brought out\\nin the fall of 1898, Mr. Mason immediately", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0138.jp2"}, "137": {"fulltext": "John B. Mason. 1 1 7\\nattracted attention by his impersonation of\\nHoratio Drake, the wealthy young man\\nof the world who wanted to marry Glory\\nQuayle. The character was by no means\\na showy one, quite the contrary, in fact,\\nand it was far from being a fat part,\\nlike John Storm. Drake was always getting\\njust a little the worst of it, either from Storm\\nor from Lord Robert Ure, and, in the end,\\nhe also lost the girl, whom, by all laws of\\nreason and logic, he should have married.\\nAll that was left him was the thankless\\nposition of extending his blessing to a couple\\nwho, he must have known, were ridiculously\\nmismated. Under the circumstances, Mr.\\nMason s personal success was surprising.\\nHe made himself felt in a character that\\ncommonly would have faded into the back-\\nground and have been forgotten. In a\\nthoroughly artistic fashion, by quiet inten-\\nsity and persuasive sincerity, rather than by\\nany extraordinary display of dramatic force,", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0139.jp2"}, "138": {"fulltext": "1 1 8 Famous Actors.\\nwhich, in a negative character like Horatio\\nDrake, would have been out of place, Mr.\\nMason made apparent Drake s individuality\\nand created a distinct impression.", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0140.jp2"}, "139": {"fulltext": "NAT C. GOODWIN\\nAs David Garrick.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0141.jp2"}, "140": {"fulltext": "", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0142.jp2"}, "141": {"fulltext": "CHAPTER IX.\\nNAT C. GOODWIN.\\nAlthough Nat C. Goodwin has been one\\nof the leading figures on the American stage\\nalmost from the time that he made his pro-\\nfessional debut at the Howard Athenaeum in\\nBoston on March 5, 1874, as the newsboy\\nin a farce by Joseph Bradford, called Law\\nin New York, in which Stuart Robson was\\nlaunched as a star, he is still regarded by\\nthe public as something experimental and\\nunclassified. Mr. Goodwin is generally ac-\\nknowledged to be, more than any other of\\nthe younger actors, our representative come-\\ndian but the hitch comes when one tries\\nto tell just what kind of a comedian he is.\\nThe difficulty can be traced to two distinct\\n119", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0143.jp2"}, "142": {"fulltext": "1 20 Famous Actors.\\ncauses, the first, that Mr. Goodwin won\\nhis early reputation as a burlesquer the\\nsecond, that he refuses to remain in the light\\ncomedy field, where his natural gifts and his\\ntheatrical training both persist in keeping\\nhim. Mr. Goodwin hankers for pathos as\\na thirsty man hankers for water, and to all\\napparent purposes this born light comedian\\ncannot be happy except amid tears wrung\\nfrom the eyes of spectators that protest\\nwhile they weep.\\nIt has been customary to praise without\\nthought, I think Mr. Goodwin s desire to\\nbecome an emotional actor. But is it kind-\\nness to counsel him to forsake that line of\\nartistic endeavour in which he is with the\\nexception of Charles Wyndham without\\na peer on the English-speaking stage I\\ndo not doubt that Mr. Goodwin has the\\nability to win general recognition in emo-\\ntional roles, but will he ever attain preem-\\ninence in them Mr. Goodwin is mistaken", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0144.jp2"}, "143": {"fulltext": "Nat C. Goodwin. 121\\nif he considers light comedy acting a mean\\nvariety of art. It requires too much per-\\nsonality, too much deftness and subtlety,\\ntoo much snap and go, too much genuine\\nhumour, to be thought a common and vain\\nthing. Moreover, the notion that light\\ncomedy is of necessity purely artificial, that\\nthere can be no depth, no humanity, no\\nchance for the display of pathetic powers in\\nit, is surely wrong. The dividing line between\\nhumour and pathos is faint indeed, and\\nlaughter and tears rarely are far separated.\\nThat quality for which I would have Mr.\\nGoodwin strive was well illustrated in the\\ncharacter of Silas Woolcott in Brander Mat-\\nthews s and George H. Jessop s A Gold\\nMine. Who can forget the emotion, so\\nbeautiful and touching, and the sentiment,\\nso true and honest, felt while the actor\\nmused over the faded red rose One does\\nnot often experience in the theatre sympathy\\nsuch as Mr. Goodwin s sincerity aroused at", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0145.jp2"}, "144": {"fulltext": "122 Famous Actors.\\nthat moment. Yet A Gold Mine was\\nfar from being a perfect medium, for it was\\nnot free from a touch of caricature that\\nbelonged properly to farce.\\nClyde Fitch s Nathan Hale, which Mr.\\nGoodwin produced at Hooley s Theatre in\\nChicago on January 31, 1898, met last sea-\\nson with a success, due more to the inter-\\nesting theme of the drama than to any great\\nartistic worth that the play possessed. When\\nMr. Fitch chose Nathan Hale as the hero\\nof his play, he displayed sure dramatic\\ninstinct but when he made the play Na-\\nthan Hale he showed an inadequate ap-\\npreciation of dramatic art. What he started\\nout to write was a romantic comedy with the\\nAmerican Revolution as a background, but\\nas he proceeded he found history and Na-\\nthan Hale s self-sacrificing death a fatal\\nhandicap. How Mr. Fitch could ever have\\nconceived the idea of putting into a comedy\\nNathan Hale, who lives in the memories", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0146.jp2"}, "145": {"fulltext": "Nat C. Goodwin. 123\\nof his countrymen as a figure of sublime\\ntragedy, is a mystery but that he did so\\nplan, the first act and the early part of the\\nsecond act plainly testify. As the drama\\ndeveloped, the tragedy forced itself to the\\nfront in spite of the author s efforts to down\\nit. The conclusion of Mr. Fitch s drama has\\nbeen called strikingly original. A better de-\\nscription would be, illogically inevitable,\\ninevitable because historical events made it\\nso, and illogical because the playwright failed\\nproperly to prepare for it. When the point\\nwas reached where the spectator under or-\\ndinary circumstances would be ready for the\\nhappy ending, Nathan Hale leaped into\\ntragedy so far removed from the spirit of the\\npreceding acts that the author dared only to\\nsketch in pantomime the two final scenes, re-\\nlying on competent actors to convey, and a\\nsympathetic audience to comprehend, senti-\\nments that he realised would seem ridiculous\\nshould he try to express them in words. By", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0147.jp2"}, "146": {"fulltext": "124 Famous Actors.\\ngetting into such a predicament Mr. Fitch\\nshowed himself a poor artist by his method\\nof extricating himself he showed that he\\nwas a skilful artisan. However, if Nathan\\nHale could not in any sense be termed a\\nvaluable work of art, the subject certainly\\nclaimed for the play serious consideration.\\nMoreover, Mr. Fitch s treatment of the sub-\\nject was conscientious and dignified his\\ncharacter-drawing was exceptionally good\\nhis lines were at all times excellent, and he\\nnever permitted extravagances of speech or\\naction. It was emphatically a failure well\\nworth making, as well as one that finan-\\ncially paid well.\\nNathan Hale was the most serious role\\nthat Mr. Goodwin ever undertook, and it\\nwas a role that required most of all absolute\\nsincerity. Nathan Hale, after the catastro-\\nphe began toward the end of the second act,\\nreally had little to do with the action of the\\nplay he was never aggressive, and he did", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0148.jp2"}, "147": {"fulltext": "Nat C. Goodwin. 125\\nnot struggle against fate. This passive atti-\\ntude, which was lacking in impressiveness\\nthough not in pathos, was made possible\\nbecause of the audience s sympathy with\\nNathan Hale as a historic rather than as\\na histrionic character. This was a curious\\ncondition of affairs, which I do not think\\noften has been paralleled. In the farcical\\nschoolroom scene of the first act Mr. Good-\\nwin was, of course, thoroughly at home, but\\nhe made his best impression in the second\\nact, which opened with a continuance of the\\nfarcical spirit of the first act, developed into\\na capital comedy scene between Nathan Hale\\nand his sweetheart, and ended with two dra-\\nmatically strong episodes, the volunteering of\\nNathan for spy service, and the parting with\\nhis betrothed after her vain attempts to dis-\\nsuade him from entering upon his dangerous\\nproject. Mr. Goodwin s quiet intensity, when\\nhe announced at the council of officers that\\nhe would undertake for his country the de-", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0149.jp2"}, "148": {"fulltext": "126 Famous Acto7 s.\\nspised mission of a spy, was very fine indeed,\\nand his lofty firmness and manly gentleness\\nduring the trying interview with the frantic\\ngirl whom he loved so dearly lent unusual\\nforce to the pathetic import of the scene.\\nMr. Goodwin s work did not change to any\\nappreciable extent my opinion of his unfitness\\nto act parts approaching tragedy, but it did\\ngive me a high opinion of his artistic sense\\nand his thorough technique. Because of\\nthese two latter qualities, no one knew how\\nnear the ludicrous the last act of Nathan\\nHale came. That long stage wait, when\\none watched the light effects of the sunrise\\nin the orchard, and listened to that obstrep-\\nerous bird whose shrill pipings and whis-\\ntlings I can hear even now, brought about\\na state of extreme nervous tension among\\nthe spectators that made the following death-\\nscene a dangerous experiment. It needed\\nonly the slightest touch of insincerity on\\nthe part of the leading actor to make the", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0150.jp2"}, "149": {"fulltext": "Nat C. Goodwin. 127\\nplay end disastrously. But the play did not\\nend disastrously, and on that account Mr.\\nGoodwin cannot be too highly praised. He\\nwas in a position where his every impulse\\nmust have been to do something. Yet his\\nartistic salvation lay in the skill with which\\nhe did nothing, and, fortunately for him\\nand for Mr. Fitch s play, his repression was\\ncomplete.\\nNathaniel Carr Goodwin, Jr., was born in\\nBoston, on Temple Street, almost beneath\\nthe famous gilded dome of the State-house,\\non July 25, 1857. His youthful days were\\nspent at the Mayhew Grammar School, in\\nBoston, and at the Little Blue Academy in\\nFarmington, Maine. When he finished his\\nschooling, he returned to Boston and went\\nto work in the counting-room of Wellington\\nBrothers Company, a dry goods firm which\\nhad a store on Chauncy Street. While in\\nschool young Goodwin had shown a great\\nfondness for theatricals, and after he went", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0151.jp2"}, "150": {"fulltext": "128 Famous Actors.\\ninto business his spare time was given to\\nreading plays and acting as supernumerary\\nat the Boston Museum whenever he could\\nget a chance. It is said that as a boy he\\nstuttered badly, but if so, he early mastered\\nthe defect in his speech. His first appear-\\nance in Boston was made in the old Paine\\nMemorial Hall, when, in company with a\\nyoung man named Slade, he gave an enter-\\ntainment, which included his famous imita-\\ntions of prominent actors. Stuart Robson\\nheard of the success of these imitations, and\\nthis accident led to Goodwin s first engage-\\nment as an actor. Previous to this, however,\\nGoodwin had studied with Madame Mitchell,\\nMrs. Terrell in private life, an actress for-\\nmerly well known in New York, and with\\nWyzeman Marshall, a prominent old-time\\nactor.\\nIt was in the spring of 1874 that Stuart\\nRobson, then a member of the Globe Theatre\\nstock company of Boston, was engaged by", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0152.jp2"}, "151": {"fulltext": "Nat C. Goodwin. 129\\nJohn Stetson, manager of the Boston How-\\nard Athenaeum, to star in Law in New\\nYork. The role that Robson played\\nwas that of a jolly policeman named John\\nBeat. Robson suggested that Goodwin be\\nengaged to play the small part of the newsboy\\nand incidentally to introduce his imitations.\\nThere immediately arose a dispute over the\\nsalary of the novice. Robson thought that\\n$10 a week would be about right for the\\nyoungster, but economical John Stetson de-\\nclared that half that sum would be enough\\nfor a beginner. So Nat Goodwin became an\\nactor at the modest salary of $5 a week.\\nThe first night Goodwin carried off the\\nhonours. His imitations were a novelty at\\nthat time. The audience was delighted with\\nthem, and kept the newsboy on the stage\\nfor half an hour.\\nThis success brought an engagement at\\nNiblo s Garden, New York, after which\\nGoodwin appeared in two variety sketches,", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0153.jp2"}, "152": {"fulltext": "130 Famous Actors.\\nStage Struck, and Home from School,\\nboth of which he played at the Howard\\nAthenaeum. His next venture was with\\nTony Pastor in New York, where he rap-\\nidly gained a position of first importance on\\nthe variety stage. His success with Tony\\nPastor led to his engagement, late in 1875,\\nto play Captain Crosstree in the burlesque\\nof Black- Eyed Susan at the Fourteenth\\nStreet Theatre, New York. This was fol-\\nlowed by an engagement at the Walnut\\nStreet Theatre, Philadelphia, where, in con-\\njunction with John Brougham, he assumed his\\nfirst comedy part, Tom Tape in Sketches\\nin India. The role of Stephen Poppincourt\\nin The Little Rebel followed. Minnie\\nPalmer was in the cast of the latter play,\\nand later in the season she and Goodwin\\nappeared together in Boston in the old\\nsketch, Stage Struck.\\nWhen the famous burlesque, u Evangel-\\nine, was acted at the Boston Museum on", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0154.jp2"}, "153": {"fulltext": "Nat C. Goodwin. 131\\nJuly 10, 1876, Goodwin was the Captain\\nDietrich in a cast that included William H.\\nCrane as Le Blanc, and Harry E. Dixey and\\nRichard Golden as the fore and hind legs\\nof the frolicsome heifer. The Gabriel was\\nthe beautiful Eliza Weathersby, who first\\nbecame known as one of Lydia Thompson s\\nEnglish burlesquers, and whom Goodwin\\nmarried on June 24, 1877. She died in\\nNew York on March 23, 1887. Goodwin\\nremained with Evangeline until 1878, the\\nlatter part of the time playing Le Blanc, and\\nthen with his wife formed the Eliza Weath-\\nersby Froliques, and produced Hobbies,\\na burlesque or extravaganza by B. E. Woolf,\\nwhich gave Mr. Goodwin an opportunity to\\nring in his imitations. Hobbies was a\\ngreat popular success, and lasted until Mr.\\nGoodwin again joined the Edward E. Rice\\nforces and appeared at the Boston Museum\\non July 4, 188 1, in Cinderella at School.\\nThis was not successful, and to finish out", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0155.jp2"}, "154": {"fulltext": "132 Famous Actors.\\nthe season Goodwin appeared in a round of\\nlight opera characters, including the Pirate\\nChief in The Corsair.\\nThis practically ended the burlesque\\nperiod of Mr. Goodwin s career, for, with\\nthe production of The Member for Slo-\\ncum, in the fall of 188 1, in which he acted\\nOnesimus Epps, he became identified with\\nfarce, a relation which continued with the\\nexception of the season of 1882-83, when,\\nin a company that included his wife and\\nEdwin Thorne, he appeared as Sim Lazarus\\nin Henry Pettit s melodrama, The Black\\nFlag, and the season of 1884-85, when he\\nreturned to burlesque, presenting Hobbies\\nand Those Bells a take-off on Henry\\nIrving in The Bells, until A Gold\\nMine was brought out in 1889. Mr.\\nGoodwin s plays during the intervening\\nyears were The Skating Rink, Little\\nJack Shepard, in which Loie Fuller, the\\nserpentine dancer, had a small part, Turned", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0156.jp2"}, "155": {"fulltext": "Nat C. Goodwin. 133\\nUp, and Confusion. Three incidental\\nevents of considerable importance should\\nalso be noted. In May, 1883, at the Cin-\\ncinnati Dramatic Festival, Mr. Goodwin\\nmade his first appearance in a Shakespear-\\nian character, that of the First Grave-digger\\nin Hamlet. During the Festival he also\\nplayed Modus in The Hunchback. His\\nsecond venture into Shakespeare was made\\nat Tony Hart s benefit in New York on\\nMarch 22, 1888, when he acted, with con-\\nsiderable success, too, Marc Antony in\\nJulius Caesar. The third event, which\\nshowed his growing inclination toward seri-\\nous roles, was the production in 1888 of a\\nlittle drama, a version of De Banville s\\nGringoire, which he called A Royal\\nRevenge. This was almost a tragedy, and\\nMr. Goodwin did not succeed in making it\\ngo with the public.\\nThe summer of 1890 was spent in Eng-\\nland, where Mr. Goodwin was well received", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0157.jp2"}, "156": {"fulltext": "134 Famous Actors.\\nin A Gold Mine and The Bookmaker/\\nin which he portrayed a cockney character.\\nOn his return to this country he produced\\nThe Nominee, a farce, and the cur-\\ntain-raiser, The Viper on the Hearth.\\nThese were followed by Col. Tom, which\\nproved a failure, Art and Nature, A\\nGilded Fool, Augustus Thomas s In Miz-\\nzoura, in which, as Jim Radburn, Mr.\\nGoodwin did some splendid work, David\\nGarrick, Lend Me Five Shillings, and\\nAmbition. The season of 1895-96 Mr.\\nGoodwin spent in Australia, where he made\\nThe Rivals the feature of his repertory.\\nHis latest productions in this country have\\nbeen An American Citizen, Nathan\\nHale, and The Cowboy and the Lady,\\nby Clyde Fitch, which Mr. Goodwin brought\\nout in Philadelphia on March 13, 1899.\\nLast summer he again visited England,\\npresenting The Cowboy and the Lady,\\nwhich was coolly received, and An Ameri-", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0158.jp2"}, "157": {"fulltext": "Nat C. Goodwin. 135\\ncan Citizen, which proved a far greater\\nsuccess.\\nOn October 17, 1888, Mr. Goodwin mar-\\nried Mrs. Nella Baker Pease, who was granted\\na divorce in 1898. Shortly after Mr. Good-\\nwin married Maxine Elliott, who had been\\nhis leading lady for several seasons, and who\\nlast season was practically a co-star with\\nhim.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0159.jp2"}, "158": {"fulltext": "CHAPTER X.\\nJAMES O NEILL.\\nIt is a cause for general congratulation\\nthat James O Neill, without doubt one of the\\nfinest romantic actors in the United States,\\nhas finally succeeded in breaking away from\\nMonte Cristo, in which he appeared almost\\ncontinuously for sixteen years. Mr. O Neill\\ntried for eight years to drop the character of\\nEdmond Dantes from his repertory, but he\\nseemed to be unable to secure plays in which\\nthe public would accept him. It was largely\\nhis own fault that he became so thoroughly\\nidentified with Dumas shero, though the mis-\\ntake he made of playing only one character\\nfor so many seasons was under the circum-\\nstances a very natural one. Charles R.\\n136", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0160.jp2"}, "159": {"fulltext": "JAMES O NEILL\\nAs D Artagnan in The Musketeers.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0161.jp2"}, "160": {"fulltext": "", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0162.jp2"}, "161": {"fulltext": "James O Neill. 137\\nThorne, Jr., was originally engaged by John\\nStetson to act the part in the revival of the\\ndrama at Booth s Theatre, New York, early\\nin 1883, and he appeared as Dantes the first\\nnight. But the next day, or the day follow-\\ning that, Mr. Thorne died, and Mr. O Neill\\nwas called upon to take the role. He con-\\ntinued to appear in Monte Cristo under\\nMr. Stetson s management for two or three\\nseasons, and then he bought the production\\nand toured the country as Edmond Dantes\\nuntil 1 89 1. By that time the part had be-\\ncome positively obnoxious to the actor, and,\\nalthough it still continued to be a money\\nmaker, he was anxious to shelve it. He\\nproduced a gloomy melodrama, The Dead\\nHeart, which was brought out by Henry\\nIrving in London, but the public would have\\nnone of it. Then he tried a modern play, The\\nEnvoy, but that was equally unsuccess-\\nful. Fontenelle, by Harrison Grey Fiske,\\nbrought him a little relief, and in 1894 he", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0163.jp2"}, "162": {"fulltext": "138 Famous Actors.\\nacted Virginius, Hamlet, and Riche-\\nlieu, in San Francisco, with gratifying suc-\\ncess. Monte Cristo, however, continued\\nin demand, and he did not rid himself en-\\ntirely of the burden until Liebler Com-\\npany secured his services to play D Artagnan\\nin Sidney Grundy s The Musketeers,\\nwhich was produced in Montreal last March.\\nHis success in this has apparently ended the\\ncareer of Edmond Dantes as the chief feature\\nof his repertory.\\nThe version of Monte Cristo that Mr.\\nO Neill used was the same one in which\\nCharles Fechter used to appear. The lead-\\ning role was exceedingly difficult, and re-\\nquired versatility of the widest range and\\nextraordinary physical resources. I had to\\nre-create the character every time I appeared\\nin it, Mr. O Neill once said. If I could\\nnot feel the part anew each time I acted it, I\\ncould not do myself justice. Perhaps you\\ncan imagine the tremendous mental effort", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0164.jp2"}, "163": {"fulltext": "James O Neill. 139\\nthat was required after I had acted the char-\\nacter so long that I came to hate the very\\nthought of it.\\nJames O Neill was born in Kilkenny, Ire-\\nland, on November 15, 1849, an came to\\nthis country when he was five years old. He\\nwent to school in Buffalo and afterward in\\nCincinnati. It was his parents desire that\\nhe should enter the church, but a clerical\\nprofession did not appeal to him, and when\\nhe finished schooling he went to work for a\\nclothing firm in Cincinnati. A business life\\ndid not prove satisfactory, so he resolved to\\nfollow his own inclinations and become an\\nactor. He made his debut in the old Na-\\ntional Theatre in Cincinnati, in support of\\nEdwin Forrest. I supported him by carry-\\ning a spear, Mr. O Neill remarked. The\\nfirst line that he spoke in public was in the\\nmodest capacity of a wedding guest. After\\na few months with the Cincinnati company\\nhe joined a small barnstorming company,", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0165.jp2"}, "164": {"fulltext": "140 Famous Actors.\\nwhich shortly came to grief in Quincy, Il-\\nlinois, after the actors trunks had fallen a\\nprey to exacting landlords.\\nI certainly thought that I should have to\\nwalk home, said Mr. O Neill. The man-\\nager left for Monmouth, Illinois, promising to\\nsend me the wherewithal to pay my board\\nbill. Meanwhile I made the acquaintance of\\na prominent politician, and, being too proud\\nto write home, I borrowed enough money\\nfrom him to pay my landlady and purchase\\na railroad ticket to Monmouth. While in\\nMonmouth a wealthy old gentleman, the head\\nof a prosperous law firm, took a great fancy\\nto me. He invited me to his home to dinner,\\nand offered to adopt me if I would agree to\\ngive up the stage and study law in his office.\\nHe had no children of his own, and said if I\\nproved worthy he wished me to take his name\\nand become his heir. Well, you can imagine\\nthat the proposition nearly knocked me off\\nmy feet. However, he added that he wanted", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0166.jp2"}, "165": {"fulltext": "James O Neil I. 1 4 1\\nme to take twenty-four hours in which to\\nthink it over. The upshot was that my love\\nof acting was so great that I declined the\\nproposition. The old gentleman said that\\nhe did not blame me for wishing to continue\\nin my chosen career. He paid my fare to\\nCincinnati, and gave me enough money beside\\nto put me on my feet again. He died shortly\\nafterward, but I had the pleasure of returning\\nthe money before his death.\\nMr. O Neill s next engagement was as\\nwalking gentleman at the St. Louis\\nVarieties, and the following season he\\ncame under Robert Miles s management in\\nCincinnati, where he remained until 1869.\\nHe then became leading juvenile at the\\nHolliday Street Theatre, Baltimore, of\\nwhich John T. Ford was manager. He\\nwas leading man at the Academy of Music,\\nCleveland, when John Ellsler was manager,\\nand while there supported Edwin Forrest\\nduring his last engagement in that city,", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0167.jp2"}, "166": {"fulltext": "142 Famous Actors.\\nand he also played Macbeth to Charlotte\\nCushman s Lady Macbeth.\\nSpeaking of his experience in the Mc-\\nVicker s Theatre company, Chicago, where he\\nplayed for two years, beginning in 1871, mak-\\ning his first success as Bob Sackett in Bronson\\nHoward s comedy, Saratoga, Mr. O Neill\\nsaid My relations with Charlotte Cush-\\nman at McVicker s were most pleasant. In\\nher support I played the parts of Macbeth,\\nCardinal Wolsey, and Dandie Dinmont. She\\nwas very kind to me, especially in instruct-\\ning me in the part of Macbeth, and she\\ntook especial pains to teach me all the\\n1 business of the famous Macready, who,\\nshe said, was the greatest Macbeth she had\\never played with. She took the trouble to\\nwatch me in the various scenes, and when\\nher engagement closed she requested my\\nservices as far as Buffalo, a privilege which\\nwas granted. The last time I saw this tal-\\nented woman was at the close of the Buffalo", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0168.jp2"}, "167": {"fulltext": "James O NeilL 143\\nengagement, when I bade her good-bye with\\nthe expression of a hope that we might\\nsometime again play together. She put her\\nhand to her heart with the old familiar ges-\\nture, and said, I m afraid not but you con-\\ntinue to work, work, work, and you ll be all\\nright. These were the last words to me of\\nas good and great an actress as the stage\\nhas ever seen.\\nThen came a season with Edwin Booth.\\nWe played ten weeks, during which time I\\nalternated with him in the parts of Othello\\nand Iago, and Brutus, Cassius, and Anthony\\nin Julius Caesar. Speaking of Othello,\\none of the most trying moments of my life\\nwas when, after the public had seen the\\nelder Salvini and Booth play the piece, I\\nwas suddenly called upon to play Othello\\nto Booth s Iago. I went on in the part\\nwith fear and trembling. The house was\\ncrowded. In the great scene of the third\\nact I did not copy Booth nor Salvini, but", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0169.jp2"}, "168": {"fulltext": "144 Famous Actors.\\nintroduced original business, and the large\\naudience gave me three distinct rounds of\\napplause. When the curtain fell the stage\\nmanager grasped my hand and said, I have\\nbeen on the stage many years, and that is\\nthe most prolonged round of applause I have\\never heard. At the end of the play, as I\\nwas leaving for my dressing-room, Mr. Booth\\ncalled, Hold on, O Neill, there s a call,\\nand he led me before the curtain, saying,\\nO Neill, good, very, very good. I shall\\nnever forget these words, coming from Mr.\\nBooth to a youngster, as I was at that time.\\nFollowing this engagement came one of the\\npleasantest of my life. After playing Romeo\\nwith that queen of actresses, Adelaide Neil-\\nson, I received a letter from a mutual friend\\nin San Francisco, who, in an interview with\\nMiss Neilson, asked whom she considered\\nthe best Romeo. Her answer was Of all\\nof the Romeos I have ever played with, a\\nlittle Irishman named O Neill, leading man", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0170.jp2"}, "169": {"fulltext": "James O Neill. 145\\nin Chicago, was the best. Those were\\npleasant days indeed.\\nLeaving Mr. McVicker, Mr. O Neill be-\\ncame a member of R. M. Hooley s stock\\ncompany, of which William H. Crane was\\nthe comedian, and Grace Hawthorne leading\\nlady. When Mr. Hooley went to San Fran-\\ncisco he took Mr. O Neill with him for a\\nthree months engagement, which was ex-\\ntended to a year. In 1875 ne was engaged\\nfor A. M. Palmer s Union Square Theatre\\nCompany in New York, where for two sea-\\nsons he shared the leads with Charles\\nThorne, Jr., playing the cripple Pierre in\\nThe Two Orphans, the prince in The\\nDanicheffs, and Jean Renard in A Cele-\\nbrated Case. Mr. O Neill then returned to\\nSan Francisco, and was for three years con-\\nnected with E. J. Baldwin s theatre.\\nThe Passion Play, by Salmi Morse, was\\nproduced during the third year of my stay\\nin San Francisco, said Mr. O Neill. Man-", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0171.jp2"}, "170": {"fulltext": "146 Famous Actors.\\nager Maguire asked me to take the part of\\nChrist. At first I refused, although, accord-\\ning to the terms of my contract, I had no\\nchoice but to play any part for which I was\\ncast by the management. When I learned,\\nhowever, that Salmi Morse s play had been\\napproved by Bishop Allemani of the Catholic\\nChurch in California, I consented to person-\\nate the character. To me it was not acting,\\nit was devotion, and I tried to speak the\\nlines with all due reverence for their sacred\\norigin. After the piece was taken off in\\nSan Francisco, it was decided to transfer\\nthe production to New York. As you\\nknow, the press and pulpit of New York\\nthundered against the performance of The\\nPassion Play, in which I was to have\\nappeared at Booth s Theatre. Finally the\\nmanagement yielded to popular sentiment\\nand abandoned the production.\\nWhat is your personal opinion of The\\nPassion Play Mr. O Neill was asked.", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0172.jp2"}, "171": {"fulltext": "James Neill. 147\\nMy personal opinion is that the perform-\\nance of The Passion Play was in the nature\\nof a religious service. Many of those who\\nattended The Passion Play in San Fran-\\ncisco declared that there was nothing irrev-\\nerent or theatrical about the performance,\\nbut that its intense solemnity throughout\\nwas most impressive. Young persons who\\nhad never received religious instruction thus\\nobtained in the three hours spent in the\\ntheatre a vivid and lasting knowledge of\\nthe life of Christ. To my mind there was\\nnothing sacrilegious in The Passion Play.\\nIf anything, it was in the line of Biblical\\neducation.\\nWilliam Seymour, speaking of the first\\nproduction of The Passion Play at the\\nCalifornia, said that, when he came unexpect-\\nedly upon Mr. O Neill in his make-up, he was\\nstartled by the remarkable resemblance to\\nthe pictures of the Christ. He was literally\\noverawed, and a joke which he was about to", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0173.jp2"}, "172": {"fulltext": "148 Famous Actors.\\nmake died on his lips. Even the stage\\nhands were quite as much awed as was Mr.\\nSeymour. It was the most impressive sight\\never witnessed behind the scenes, and could\\nnot have been much less so to the audience,\\nfor men were seen actually to kneel during the\\nperformance, so overcome were they by the\\nbeautiful realism of the scene. Mr. O Neill\\nwas arrested after the performance, and was\\nfined $50.\\nIn 1882 Mr. O Neill filled an engagement\\nin a play called Deacon Crankett, and then,\\njust before his appearance in Monte Cristo,\\nmade an unsuccessful venture as a star in\\nAn American King, by Charles Dazey.\\nIn 1894 he made an elaborate production in\\nBoston of Eugene Fellner s drama, Don\\nCarlos de Seville, which, however, proved a\\nfailure.", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0174.jp2"}, "173": {"fulltext": "i,\\niiys\\nH jL J -A k I 1\\n1\\nH\\n,,i\\n4**\\nWILLIAM H. CRANE\\nAs Falstaff.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0175.jp2"}, "174": {"fulltext": "", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0176.jp2"}, "175": {"fulltext": "CHAPTER XL\\nWILLIAM H. CRANE.\\nAfter many years of hard work in the\\nroutine of his profession, William H. Crane\\nhas for a decade past been one of the most\\npopular entertainers in the United States.\\nHe is a character comedian, whose one char-\\nacter is himself. His is a whole-souled, frank,\\nand genial personality, a personality that sug-\\ngests shrewdness and generosity, keen good\\nsense, and tender-hearted chivalry. In a\\nword, he realises to a degree the American\\nideal of what a man should be. This ideal\\nMr. Crane embodied to perfection in his\\ngreatest character, Senator Hannibal Rivers\\nin The Senator. Hannibal Rivers can no\\nmore be thought of apart from William H.\\n149", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0177.jp2"}, "176": {"fulltext": "150 Famous Actors.\\nCrane than Rip Van Winkle can be con-\\nceived apart from Joseph Jefferson. No\\nactor except Crane and many have made\\nthe attempt has ever made any lasting\\nimpression in the role of the bustling poli-\\ntician, the best that could be done being\\nmomentarily to suggest Crane. However, if\\nJefferson and Crane agree in one particular,\\nthey differ radically in another. While one\\ncan imagine only the Rip Van Winkle that\\nJefferson created, one does get a distinct\\nimpression that Rip is an artistic and imag-\\ninary creation. This is not the case with\\nCrane and Senator Rivers the man and the\\ncharacter are so blended that one must be-\\nlieve that Senator Rivers is nothing more\\nnor less than William H. Crane, as William\\nH. Crane would be if he were a Senator\\ninstead of an actor.\\nAlthough Mr. Crane s versatility and his\\ntalent for impersonation are limited, his\\ncomedy powers, within the limitations that", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0178.jp2"}, "177": {"fulltext": "William H. Crane. 1 5 1\\nnature has fixed for him, are exceptionally\\nauthoritative. His humour, especially, is\\nbroad, unctuous, and perfectly understand-\\nable. He laughs, and the world laughs with\\nhim, and there is neither bite nor sting to\\nthe fun that he invokes. His command of\\npathos is not so sure, and he is not always\\nsuccessful in scenes that require sustained\\nemotion. If, however, the pathos be but\\npassing, and the sentiment suggested a\\nshadow rather than a reality, Mr. Crane\\noften moves his audiences surprisingly. This\\nwas notably true in The Senator, the\\naction of which, sometimes during its most\\nfarcical moments, would occasionally reveal\\na flash of sober truth that rarely failed to\\nproduce a discernible effect on the spectator.\\nWilliam H. Crane was born in Leicester,\\nMassachusetts, on April 30, 1845. His fa-\\nther moved to Boston soon after, however,\\nand became a well-known business man in the\\nSouth End. Mr. Crane, therefore, has always", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0179.jp2"}, "178": {"fulltext": "152 Famous Actors.\\nconsidered himself a Boston boy. He was\\ngraduated from the old Brimmer School when\\nhe was about fifteen years old, and his the-\\natrical experience began, after a few years\\nspent as an amateur entertainer, when he was\\ntwenty years old, as a member of Mrs. Harriet\\nHolman s children s troupe, which toured the\\ncountry giving one-act operas, burlesques, and\\npantomimes. Mr. Crane made his profes-\\nsional debut in Mechanics Hall, Utica, New\\nYork, on July 13, 1865, as the notary in an\\nEnglish version of Donizetti s opera, The\\nDaughter of the Regiment. His salary was\\nnot large, I am not sure that he got any-\\nthing at all, but he had a bass voice that\\nwas much appreciated by his associates.\\nI remember the first time I saw my name\\non the bills, said Mr. Crane, and the thrill\\nof conscious pride with which I surveyed the\\nannouncement of the forthcoming appearance\\nof l the new basso prof undo, Master William,\\nto which A. L. Parkes, then our manager, had", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0180.jp2"}, "179": {"fulltext": "William H. Crane. 153\\nadded, with a voice singularly grand and ef-\\nfective. New York Herald I had never\\nbefore been in New York, but I used to stand\\nfor half an hour in front of the bill-boards\\nand look at the name, Master William, and\\nwonder if the passers-by knew that I was\\nthe gifted being of whom the New York\\nHerald had said with a voice singularly\\ngrand and effective. Nothing could equal my\\npride and sense of importance for a time,\\nthough not long after that the basso profundo\\nwith the voice assisted the leading baritone in\\ndelivering handbills of the evening s perform-\\nance in more than one city which was not so\\nlarge then as it is now.\\nThere was hard work in the theatre dur-\\ning those days. Compare this record of a\\nweek with that of the modern actor s season.\\nIt is taken haphazard from my diary when\\nplaying with the Holmans. Monday The\\nStreets of New York, with myself as Badger,\\nand a farce. Tuesday II Trovatore, in", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0181.jp2"}, "180": {"fulltext": "154 Famous Actors.\\nwhich I played Count di Luna, and The\\nLimerick Boy with myself as Paddy Miles.\\nWednesday Rosedale, I playing Miles\\nMcKenna, and a farce. Thursday Faust,\\nin which I played Mephistopheles, and in\\nwhich Julia Holman, by request, introduced\\ninto the fair scene the then popular song,\\nTassels on Her Boots. Friday Kate\\nKearney, an Irish drama, and La Sonnam-\\nbula, and Saturday an opera, a farce, and a\\npantomime.\\nI also have a notice of an evening s per-\\nformance in Toronto, which began with the\\nfarce of The Dead Shot, continued with a\\nperformance on the musical goblets, went\\non with the burlesque extravaganza of The\\nInvisible Prince, incorporated a solo by my-\\nself, which I regret to say was encored, and\\nended with The Limerick Boy.\\nAnother bill recounts that on one occa-\\nsion, at Pike s Opera House, in Cincinnati,\\nI played in one evening Doctor Dulcamara", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0182.jp2"}, "181": {"fulltext": "William H. Crane. 155\\nin L Elisir d Amore Handy Andy, with\\nsongs, Irish jigs, and other playful trim-\\nmings followed it by the then popular\\nminstrel song of Sally Come Up, with a\\ndance thrown in, and finished by acting the\\nclown in the closing pantomime. Not a bad\\nevening s work for a rising young comedian,\\nwas it\\nAfter leaving the Holmans, Mr. Crane\\nbecame connected with the Alice Oates\\nOpera Company, with which he remained\\nfour years. He appeared in Fra Diavolo,\\nThe Flower Girl of Paris, and many other\\nlight operas. He was also the original Le\\nBlanc in the Oates Opera Company s pro-\\nduction of Evangeline, at Niblo s Garden,\\nNew York, in 1873. In the fall of 1874\\nMr. Crane s comic opera days came to an\\nend, and he joined Hooley s Stock Company\\nin Chicago, where he was associated with\\nJames O Neill, Nellie McHenery, Nate Salis-\\nbury, and others. Bartley Campbell was the", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0183.jp2"}, "182": {"fulltext": "156 Famous Actors.\\ndramatist of the company, which, in addition\\nto producing Campbell s plays, presented all\\nthe New York successes. I remember,\\nMr. Crane remarked, that I acted five law-\\nyers in succession in as many different\\nplays. While at Hooley s Mr. Crane ap-\\npeared in Married Life, The Rough\\nDiamond, as Hector Placide in Led\\nAstray, Meddle in London Assurance,\\nTempleton Jitt in Divorce, Mr. Crux in\\nSchool, Aminadab Sleek in The Serious\\nFamily, and Tom Tack in Time Tries\\nAll. Mr. Crane went to San Francisco\\nwith the Hooley company, and later became\\nconnected with the California Theatre, of\\nwhich John McCullough was proprietor,\\nand Barton Hill, manager. In the com-\\npany were Thomas W. Keene and W. A.\\nMestayer. Mr. Crane s greatest success on\\nthe Pacific Coast was in Ultimo, Bartley\\nCampbell s adaptation from the German. In\\nthis play Ella Kraighne, who had but re-", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0184.jp2"}, "183": {"fulltext": "William H. Crane. 157\\ncently made her debut at the California\\nTheatre as Sister Genevieve in The Two\\nOrphans, also appeared, and a short time\\nafter she was married to Mr. Crane.\\nThe comedian s popularity on the Pacific\\nCoast was something to marvel at, and the\\nestimation in which he was held found ex-\\npression in January, 1876, just before Mr.\\nCrane joined Henry E. Abbey s Park Thea-\\ntre Company, in New York, at a benefit given\\nin the Metropolitan Theatre in Sacramento,\\nwhich was attended by the Governor and\\nState officials and many members of the\\nLegislature. Mr. Crane s first appearance\\nin New York was as Dick Swiveller to\\nLotta s Little Nell. In January, 1877, he\\nmade his great hit in Leonard Grover s Our\\nBoarding House, in which he appeared as\\nCol. M. T. Elevator. Stuart Robson was\\nthe Professor Gillipod, and this was the first\\ntime that the two comedians acted together.\\nEvery one knows that Robson and I", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0185.jp2"}, "184": {"fulltext": "158 Famous Actors.\\nfirst came together in Our Boarding\\nHouse, said Mr. Crane, but every one\\ndoesn t know that we nearly came together\\nwith a crash. Grover, who, like most Ameri-\\ncan dramatists of that day, was in a condition\\nof impecuniosity, had produced his play with\\nsome measure of success in San Francisco.\\nHe came to New York and read it to A. M.\\nPalmer, who was then managing the Union\\nSquare Theatre. Palmer liked it and made\\nGrover an advance on the manuscript, the\\nadvance giving the right to control the piece\\nfor a certain time.\\nPalmer was not in a hurry to do the\\nplay, and one day T. H. French, the pub-\\nlisher, walked into Palmer s office and saw\\nthe manuscript lying on the table. Hallo\\nsaid he, what do you think of my play?\\nYour play! returned Palmer; it s my\\nplay. I made Grover an advance on it, and\\nhere s his acknowledgment. And I made\\nGrover an advance on my copy, said French,", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0186.jp2"}, "185": {"fulltext": "William H. Crane. 159\\nand his receipt is at my office, and I think it\\nantedates yours. Well, that was a nice state\\nof affairs. There was no knowing how many\\nmore managers might turn up with interests\\nin the much-owned play so Palmer and\\nFrench decided to pool their issues and\\nproduce the farce as soon as possible.\\nFrench had already entered into negotia-\\ntions with Abbey, who then had the Park\\nTheatre, and the three decided to do the\\npiece in joint account.\\nAt that time I was in Boston, playing\\nLe Blanc in Evangeline. Abbey engaged\\nme to play Professor Gillipod. I was in a\\nhigh feather. But, as luck would have it,\\nRobson, who had long been with Palmer,\\nand had only left him to go starring, re-\\nturned to New York. Palmer didn t know\\nof Abbey s having engaged me, and he gave\\nRobson the same part. The first thing I\\nheard about it was a telegram from Abbey,\\nwhich read something like this Think part", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0187.jp2"}, "186": {"fulltext": "160 Famous Actors.\\nof Elevator will suit you better. Will give\\nyou $15 weekly more. Answer. Now I\\nhad read that Elevator had been played by\\nold men, and I didn t want to act an old\\nman. I wired back a refusal. Then came\\nanother despatch Impossible for you to\\nplay Gillipod. Will give you $25 for Ele-\\nvator.\\nI went to a lawyer, and he told me that\\nI could demand Gillipod, and if it wasn t\\ngiven me, all I need do was draw my salary\\nfor as long as the play ran in New York.\\nBut this didn t suit me. I wanted to act.\\nSo I made an arrangement with Abbey to\\nreceive Elevator, with the understanding\\nthat, if I didn t like it, I should give it up\\nwithout prejudice to my claim. As I con-\\nsidered Gillipod the part of the piece, you\\ncan imagine I didn t look at Robson with\\nany friendly eye. After a time I saw that\\nI could make something out of Elevator, and\\nso I informed Abbey. But my scenes with", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0188.jp2"}, "187": {"fulltext": "William H. Crane. 161\\nRobson didn t go. We didn t work together.\\nIt was the last rehearsal but one when I\\ndetermined to end it. So I went to him and\\nsaid, Robson, do you know that I was en-\\ngaged for your part Well, he said, I\\nhave heard so, but, as you never said any-\\nthing to me about it, I supposed you were\\nsatisfied. I m not, I replied. If you had\\ncome to me sooner, said Robson, I would\\nhave given up the part, but I can t in justice\\nto the managers do that now. I believed\\nhim then, and from what I have known of\\nhim since, I am sure that he meant it. So\\nwe shook hands, and set to work to do what\\nwe could with our scenes, and the piece\\nmade a hit.\\nAs the play originally was written, I had\\nscarcely anything to do in the last act, so I\\nsuggested to Grover a little burlesque love\\nscene. He consented and wrote me perhaps\\nten lines. That, however, was all I wanted.\\nIt was a chance to get on, and once on, I", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0189.jp2"}, "188": {"fulltext": "1 62 Famotis Actors.\\nwasn t coming off till I got ready. I went\\nto Miss Harrison, who was playing Beatrice,\\nand told her what I was going to do, and\\nasked her to help me out. All she had to\\nutter was an occasional exclamation of sur-\\nprise. She very willingly agreed, and I ex-\\npanded the scene on my own lines until it\\nwas ten times as long as Grover had written\\nit. The result was that it went with screams,\\nand I got one of the biggest recalls I have\\never had. The next morning there was a\\nrehearsal. Grover said to me, Mr. Crane, I\\nshall cut that love scene in the last act.\\nI didn t say any more than Very well, sir,\\ncut it if you want to, but I took care to say\\nit pretty loud. It reached Abbey s ears.\\nWhat s that he cried. What are you\\ngoing to cut Mr. Grover wants to cut\\nmy love scene in the last act, I observed.\\nI ll be blessed if he will/ said Abbey, and\\nhis blessing ended the matter, and the scene\\nremained as I introduced it.", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0190.jp2"}, "189": {"fulltext": "William H. Crane. 163\\nAt the Park Theatre Robson and Crane\\nalso played in Dion Boucicault s Forbidden\\nFruit, and then the two began their career\\nas joint stars, first achieving remarkable suc-\\ncess in Joseph Bradford s Our Bachelors.\\nIn the succeeding years they brought out\\nSharps and Flats, The Comedy of Er-\\nrors, in which Mr. Crane played one of the\\nDromios, and The Merry Wives of Wind-\\nsor, in which he acted Falstaff. In the fall\\nof 1887, at the Union Square Theatre in\\nNew York, Bronson Howard s The Henri-\\netta was produced, with Mr. Crane as Nich-\\nolas Vanalstyne, a character that he made\\npeculiarly his own. The Henrietta was\\nthe greatest hit Robson and Crane had ever\\nknown, and the play lasted them until 1 889,\\nwhen the two decided to end their partner-\\nship.\\nMr. Crane s productions since that time\\nare well known to the public. He has\\nalways shown a commendable desire to", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0191.jp2"}, "190": {"fulltext": "164 Famous Actors.\\npatronise home industries, and has been\\nan encouraging figure for the native-born\\ndramatist to contemplate. His first and\\ngreatest success as an individual star was\\nThe Senator. Then came Jonathan Sils-\\nbee in On Probation, Benjamin Franklin\\nLawton in The American Minister, John\\nHackett in Brother John, Buchanan Bill-\\nings in The Wife s Father, and The\\nGovernor of Kentucky, by Franklyn Fyles.\\nThe latter dramas were only moderately suc-\\ncessful, and for a time Mr. Crane struggled\\nwith several successive failures. He brought\\nout one after another, A Virginia Court-\\nship, by Eugene W. Presbrey, His Honour\\nthe Mayor, by Charles Henry Meltzer and\\nA. E. Lancaster, and Worth a Million,\\nalso by Mr. Presbrey, but none of them fur-\\nnished just the material he desired. In New\\nYork, on December 5, 1898, however, he\\nduplicated his old-time successes with The\\nHead of the Family, an adaptation by", "height": "3238", "width": "1944", "jp2-path": "famousactorsofda00stra_0192.jp2"}, "191": {"fulltext": "William H. Crane. 165\\nClyde Fitch and Leo Dietrichstein, from\\nAdolph L Arronge s German play, Hase-\\nman s Tochter, which, the New York Sun\\nwent so far as to say, provided Mr. Crane\\nwith the best character he had had since\\nThe Senator.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0193.jp2"}, "192": {"fulltext": "CHAPTER XII.\\nWILTON LACKAYE.\\nWilton Lackaye was the creator on the\\nstage of the character of Svengali, and a\\nremarkably forceful performance he made of\\nit. Of course, George DuMaurier s concep-\\ntion had in it all the elements necessary to\\nmake it dramatically powerful. Even in the\\nnovel, Svengali stood forth with a weirdness\\nthat was almost startling. His devilishness\\nseemed hardly human, and he was as awe-in-\\nspiring in his unreality as the goblins and\\ngnomes of our childhood. All this was great\\nmaterial for the character actor all he had to\\ndo was to take it and mould and fashion it\\ninto a form that could be presented on the\\nstage. Moreover, he found his make-up all\\n1 66", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0194.jp2"}, "193": {"fulltext": "Copyright, 1895, by B. J. Falk, N. Y.\\nWILTON LACKAYE\\nAs Svengali in Trilby.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0195.jp2"}, "194": {"fulltext": "", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0196.jp2"}, "195": {"fulltext": "Wilton Lackaye. 167\\nprepared for him, a make-up far more nearly\\nperfect than any he could have evolved\\nworking by himself.\\nAll these things Mr. Lackaye used to the\\nbest advantage. His personal appearance\\nwas a remarkable example of the art of mak-\\ning up. He completely transformed himself\\nhis round, full cheeks became haggard and\\ncavernous his eyes, which are naturally hu-\\nmorously kindly, were made wild and staring\\nand frightfully fascinating. The spectator\\nhimself almost felt the hypnotic power used\\non poor Trilby.\\nThere was no doubt that, in the hands of\\nan actor proficient in character studies,\\nSvengali was a part that to a considerable\\nextent won its own way with an audience, a\\nfat part, the actors would call it. Paul\\nPotter made Svengali the one personage\\nin the book whose character was forceful and\\nat the same time complex the embodiment\\nof a mystery that piqued the curiosity a mar-", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0197.jp2"}, "196": {"fulltext": "1 68 Famous Actors.\\nvellous musician, yet a man whom one in-\\nstinctively classed as a reprobate a being of\\nlight and shadow, full of violent contrasts and\\nsurprising oddities the centre of interest in\\nhis drama, which was perfectly justifiable, even\\nthough it destroyed the spirit of DuMaurier s\\nnovel. It is not always recognised that novel-\\nwriting and play-writing are two distinct arts\\nthat have almost nothing in common. A\\nperfect dramatisation of a novel is impossi-\\nble often it is impossible even to tell in all\\nits essentials, by means of a drama, the same\\nstory that is told in the novel. If the so-\\ncalled dramatisation be a good play that can\\nstand on its own bottom, the dramatiser has\\ndone well. It is of absolutely no importance\\nwhether he has developed exactly the same\\nplot as the novel from which he derived his\\ninspiration, whether he has introduced the\\nsame incidents, or whether he has used the\\nsame characters. The play Trilby in no\\nway reflected the spirit of the book Trilby,", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0198.jp2"}, "197": {"fulltext": "Wilton Lackaye. 169\\nand the play The Little Minister had only\\na superficial and misleading resemblance to\\nthe novel The Little Minister. And both\\nof these were unusually successful dramatisa-\\ntions.\\nSvengali gave Mr. Lackaye a wider repu-\\ntation than he had previously attained, al-\\nthough he was well known as a character\\nactor and portrayer of villains before he\\nacted the arch-hypnotist in Boston in March,\\n1895. His first substantial success was as\\nGouroc in Paul Kauvar. During the sum-\\nmer of 1888 he played Demetrius in A\\nMidsummer Night s Dream at McVicker s\\nTheatre, Chicago. That fall he appeared\\nwith Rose Coghlan in Jocelyn, acting\\nSaviani so well that it was not thought advis-\\nable to keep him in the company for any\\nlength of time.\\nMr. Lackaye s theatrical career began,\\nhowever, as a member of Lawrence Barrett s\\ncompany. He was born in Loudoun County,", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0199.jp2"}, "198": {"fulltext": "170 Famous Actors.\\nVirginia, and was educated for the priest-\\nhood. He spent two years at college in\\nOttawa and four years at Georgetown Uni-\\nversity. Then he received the nomination\\nfor the propaganda at Rome.\\nMy father, said Mr. Lackaye, came on\\nto New York with me to see me off for\\nHavre. The steamer wasn t to sail for sev-\\neral days, so I had an opportunity to see\\nEsmeralda at the Madison Square Theatre.\\nThat proved my downfall. After the per-\\nformance I informed my father that, instead\\nof becoming a priest, I intended to go on the\\nstage. You can imagine his consternation.\\nHe suggested that a padded cell was more in\\nthe line for a chap that could change his\\nmind in regard to a vocation in ten minutes\\ntime. The upshot was that he took me back\\nto Washington, where I began to study law.\\nIn Washington Mr. Lackaye became presi-\\ndent of an amateur dramatic society known\\nas the Lawrence Barrett Dramatic Associa-", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0200.jp2"}, "199": {"fulltext": "Wilton Lackaye. 171\\nciation, and by tactful use of his judicial\\nposition he succeeded in getting an introduc-\\ntion to Mr. Barrett, and after that a place\\nin his company. His first part was one of\\nPaolo s friends in the production of Fran-\\ncesca da Rimini at the Star Theatre, New\\nYork, in 1883, and the best character he had\\nwith Mr. Barrett was Salarino in The Mer-\\nchant of Venice. Then he acted for a time\\nwith a stock company in Dayton, Ohio, and\\nafter that with the Carrie Swain company.\\nSubsequently he appeared in Mayblossom.\\nThe season of 1886-87 was spent with\\nFanny Davenport, with whom he played\\nClaudio in Much Ado About Nothing,\\nand also acted in Fedora and As You\\nLike It. Early in the summer of 1887 Mr.\\nLackaye attracted some attention in New\\nYork as Robert Le Diable in Allan Dare,\\nand still more the following fall by his play-\\ning of Leo in William Gillette s version of\\nShe, produced at Niblo s. Then followed", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0201.jp2"}, "200": {"fulltext": "1 72 Famous Actors.\\nhis successes in Paul Kauvar and with\\nRose Coghlan. In the spring of 1889 came\\nhis amusing portrayal of the Portuguese,\\nDon Stephano, in Featherbrain, with\\nMinnie Maddern. Haverhill in Shenan-\\ndoah and Gilchrist in Bootle s Baby\\nfollowed, and then he came under Augustin\\nDaly s management, playing first De Noir-\\nville in Roger La Houte, with William\\nTerriss and Jessie Millward, and O Donnel\\nDon in The Great Unknown at Daly s\\nTheatre. After a week in this play Mr.\\nDaly cast him for Oliver in As You Like\\nIt, but Mr. Lackaye refused to accept the\\npart and resigned from the company.\\nDuring the following half-dozen seasons Mr.\\nLackaye took part in many new productions,\\nappearing as Sir Barton in My Jack, the\\nRussian in Colonel Tom, Latour in The\\nDead Heart, Jack Adams in Money Mad,\\nBarillas in The Pembertons, Jim Currie\\nin The Canuck, in the title role of both", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0202.jp2"}, "201": {"fulltext": "Wilton Lackaye. 173\\nDr. Bill and Nero, Steve Carson in\\nThe Power of the Press, King Louis in\\nPompadour, Perrin in Mr. Wilkinson s\\nWidows, and Jefferson Stockton in Aris-\\ntocracy.\\nAs a member of A. M. Palmer s stock\\ncompany he acted in Lady Windermere s\\nFan, The Dancing Girl, Saints and Sin-\\nners, Alabama, Jim the Penman, A\\nWoman s Revenge, The American Heir-\\ness, Price of Silence, The Transgressor,\\nNew Blood, and The New Woman.\\nHe played the title role in The District At-\\ntorney at the American Theatre. After that\\ncame the production of Trilby in Boston.\\nMr. Lackaye practically starred as Svengali\\nthroughout the country under A. M. Palmer s\\nmanagement. Then he brought out on his\\nown account a play by Charles Klein called\\nDr. BelgrafT, which had hypnotism as a\\ntheme. Last season he appeared in Charles\\nO Malley.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0203.jp2"}, "202": {"fulltext": "CHAPTER XIII.\\nWILLIAM GILLETTE.\\nIn considering William Gillette two dis-\\ntinct persons have to be taken into account.\\nThere is Mr. Gillette, the playwright, the\\nauthor of two such fine acting dramas as\\nHeld by the Enemy and Secret Ser-\\nvice, and the adapter of numerous success-\\nful farces, such as The Private Secretary,\\nToo Much Johnson, and Because She\\nLoved Him So and there is Mr. Gillette,\\nthe actor, the creator of serious-minded Rev.\\nMr. Spaulding in The Private Secretary,\\nof the cool and mendacious Billings in Too\\nMuch Johnson, and of the remarkable char-\\nacter of the Union spy in Secret Service.\\n174", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0204.jp2"}, "203": {"fulltext": "WILLIAM GILLETTE\\nIn Secret Service.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0205.jp2"}, "204": {"fulltext": "", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0206.jp2"}, "205": {"fulltext": "William Gillette. 175\\nIt is with Mr. Gillette, the actor, that I shall\\nhave to do in this article.\\nThe remarkable feature of Mr. Gillette s\\nwork on the stage is the well-nigh perfect\\nrealism that he imparts to every character\\nwhich he plays, whether that character be in\\nwildest farce or in most thrilling melodrama.\\nThe Rev. Mr. Spaulding was a farcical char-\\nacter in every sense his seriousness was\\nfunny, his bashfulness was funny, and his\\nawkwardness was funny. Moreover, the\\nsituations in which he was placed were\\nalways ridiculous in the extreme. Yet Mr.\\nSpaulding, as played by Mr. Gillette, was\\nvery much a human being, and, in spite of\\nthe fact that there was absolutely no appeal\\nmade, directly or indirectly, to one s sym-\\npathy, one could not help feeling just a little\\nsorry for the unfortunate fellow.\\nAgain, in Billings of Too Much John-\\nson, another farcical role, the same element\\nof genuineness was in evidence. In Secret", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0207.jp2"}, "206": {"fulltext": "1 76 Famous Actors.\\nService, this realism was, naturally enough,\\nvery much more impressive, for Secret Ser-\\nvice was a play of extraordinary dramatic\\nintensity. It was a melodrama whose effect-\\niveness depended greatly on the care with\\nwhich it was acted. It did not on the sur-\\nface appear machine made, but this was\\nbecause the machinery was operated with\\nexceptional subtlety. It was a play that\\ndeveloped quickly and logically, and whose\\naction carried the spectator along with a\\nrush, scarcely giving him time to think. I\\ndo not believe there was as much dialogue\\nin the whole of Secret Service as one\\nwould find in three acts of the average four-\\nact drama, but in place of this dialogue there\\nwas action, vivid, interesting, and straight to\\nthe point. Take the scene in the telegraph\\noffice. Minutes passed without a word being\\nspoken, yet how closely every move on the\\nstage was followed and how the suspense\\nworked on one s nerves", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0208.jp2"}, "207": {"fulltext": "William Gillette. iyy\\nThe success of the play was largely due to\\nMr. Gillette s acting and to his gift for\\nforming and maintaining an atmosphere of\\nactuality. It was no small feat to establish\\nsufficient interest in a spy to make him the\\nhero of a play. Particularly difficult was it\\nto arouse this sympathy, not by an appeal\\nto patriotic sentiment, but by the dramatic\\nstrength of the character. Yet this was\\nwhat Mr. Gillette did, as was shown by the\\nfull acceptance of the drama south of the\\nMason and Dixon line and in England. Sim-\\nplicity and sincerity, intensity and force, are\\nthe qualities that have made Mr. Gillette a\\nthoroughly convincing actor.\\nIn spite of his success and facility in both\\nfarcical and melodramatic characters, Mr.\\nGillette is by no means a versatile actor.\\nHe is essentially the same in every part in\\nwhich he appears, always cool, collected, and\\nunabashed. In farce, by contrast, this sang-\\nfroid yields a wealth of fun in melodrama it", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0209.jp2"}, "208": {"fulltext": "178 Famous Actors.\\nserves to increase immeasurably the power of\\na dramatic situation. Indeed, Mr. Gillette s\\nmethods of expressing emotion are so much\\nhis own, so individual, that they may almost\\nbe called mannerisms. His points he makes\\nquietly, a twitching of the fingers, perhaps,\\nor a compression of the lips, or a harden-\\ning of the muscles of the face. He rarely\\ngesticulates, and his bodily movements often\\nseem purposely slow and deliberate. His\\ncomposure is absolute and his mental grasp\\nof a situation is complete. In a sense he is\\nwonderfully restful but he never fails to\\nmake himself understood, and he is never\\nambiguous.\\nWilliam Gillette came from one of the\\nanti-slavery families of New England, and he\\nwas born in Connecticut. He is related to\\nHenry Ward Beecher and to Charles Dudley\\nWarner. His father, Hon. Francis Gillette,\\nwas one of Connecticut s representative men,\\nthe leader of the Free Soil party in that State,", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0210.jp2"}, "209": {"fulltext": "William Gillette. 179\\nprominent as an abolitionist and social re-\\nformer, and at one time a member of the\\nUnited States Senate and a candidate for\\nGovernor of the State. Anti-slavery views\\nwere slow to progress in Connecticut at first,\\nbut the time came when there was a coalition\\nwith the Democrats, somewhat similar to that\\nwhich first sent Charles Sumner to the Senate\\nfrom Massachusetts. Under this Francis\\nGillette was chosen Senator from Con-\\nnecticut to fill out an unexpired term. The\\nWhigs usually carried Connecticut at that\\nperiod, but the Democrats occasionally stole\\na march on them, and this time the Free\\nSoilers came in for a share of benefit.\\nWilliam Gillette once said that his connec-\\ntion with the theatre was due to predestina-\\ntion and insubordination. At the early age\\nof nine or ten years he was astonishing his\\nfamily and neighbours in Hartford with a min-\\niature theatre fitted out with grooves, scenery,\\nfoot and border lights, the puppets for which", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0211.jp2"}, "210": {"fulltext": "180 Famous Actors\\nwere worked from above with black thread.\\nA year or two later a better theatre was con-\\nstructed, showing advanced methods in mise-\\nen-scene and wardrobe. The next step in this\\njuvenile theatrical experiment was the or-\\nganisation in the Gillette attic one of the\\nold-fashioned roomy sort of a complete\\nhigh-class stock company. When this had\\nbeen tried on a dog, as it were, at the top\\nof the house, it descended to the drawing-\\nroom, which became an extemporised temple\\nof the drama, to the dubious edification of\\nthe Gillette household.\\nMr. Gillette s parents shared, with other\\nNew Englanders, the prejudice against actor\\nfolk, and frowned at their son s disposition\\nto go on the stage. He finally settled the\\nquestion by running away from home. Mean-\\nwhile he had been graduated from the Hart-\\nford high school and had studied to some\\nextent at the University of the City of New\\nYork and at Boston University. He had", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0212.jp2"}, "211": {"fulltext": "William Gillette. 181\\ngiven public readings in a number of towns\\nand villages in Connecticut and had met with\\nsome success in imitating famous actors.\\nWhat might be called my professional\\ndebut, said Mr. Gillette, was made in New\\nOrleans. It was not especially profitable.\\nIt came about in this manner When I ran\\naway from home, I drifted to St. Louis, where\\nI met Ben DeBar, who, on ascertaining that\\nI was willing to act gratuitously and supply\\nmy own costumes, engaged me as leading\\nutility man for his New Orleans stock com-\\npany. Shortly afterward I suggested the\\nadvisability of paying me a salary, and\\nmy services were immediately dispensed\\nwith.\\nAfter this experience Mr. Gillette re-\\nturned to his home in Hartford, but in the\\nfall of 1875, through the influence of Mark\\nTwain, who was a neighbour of his, in Hart-\\nford, he obtained an engagement at the\\nGlobe Theatre in Boston. On September", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0213.jp2"}, "212": {"fulltext": "1 82 Famous Actors.\\n1 3 1875, he appeared as Guzman in Faint\\nHeart Never Won Fair Lady. In No-\\nvember of that year he supported John T.\\nRaymond at the Globe Theatre in The\\nGilded Age, taking the part of the Counsel\\nfor the Defence. During the season at the\\nGlobe he appeared in such parts as Lord\\nKootoo in King Turko, Longford in My\\nPrecious Betsy, Malcolm in Macbeth,\\nMontano in Othello, Benvolio in Romeo\\nand Juliet, Markham in Still Waters Run\\nDeep, Master Wilford in The Hunch-\\nback, Captain Collins in Around the\\nWorld in Eighty Days, Mr. Buffler in\\nMarried in Haste, Philippe in La Tour\\nde Nesle, Gamier in Retribution, Ga-\\nbriel in Guy Mannering, the Duke of\\nSuffolk in A Crown of Thorns, Lord\\nMelton in The Marble Heart, Rosencranz\\nin Hamlet, Hortensio in Katherine and\\nPetruchio, Archambent in The Child of\\nthe Regiment, the Admiral in Black-Eyed", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0214.jp2"}, "213": {"fulltext": "William Gillette. 183\\nSusan/ and Prince Florian in Broken\\nHearts.\\nThe last character was his greatest suc-\\ncess, and he undertook it in consequence of\\nthe sudden illness of Harry Murdock. Mr.\\nGillette received the manuscript of the part\\nat noontime, and, without a rehearsal, went\\non the stage at night letter perfect. He\\nacquitted himself so well that he retained\\npossession of the role during the play s run\\nin Boston.\\nAfter leaving the Globe Theatre, Mr. Gil-\\nlette was for two seasons with McCauley s\\nstock company in Cincinnati and Louisville,\\nand subsequently he spent a season with a\\ntravelling company. Then he turned his\\nattention to play-writing.\\nMy first attempts never reached the foot-\\nlights, said Mr. Gillette. I was a most\\nambitious and conscientious playwright at\\nthe outset of my career. So much so that\\nI decided to study human nature at its foun-", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0215.jp2"}, "214": {"fulltext": "184 Famous Actors.\\ntain source. I accordingly went to Cleve-\\nland and became an apprentice in a machine\\nshop in order to study the lingo and charac-\\nteristics of the genuine mechanic. At the\\nsame time I hung out a doctor s shingle at\\nMarietta, and put in my spare time as ped-\\ndler in another small town. As I tried to\\ncarry on these three occupations at the same\\ntime, you can easily see that a conflict of\\ninterests was bound to follow. After coming\\nin contact with all sorts of malades imagi-\\nnaires in Marietta for about a month, I\\nascertained that it was against the law to\\npractise medicine without a diploma. I may\\nsay in extenuation of my illegal practice that\\nI always referred patients that were really\\nill to the local physicians, so that there was\\nno harm done through my medical masquer-\\nade. My apprenticeship in the machine shop\\nwas also of short duration, as the foreman\\ntold me point-blank one morning that he had\\nno use for an apprentice who was absent", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0216.jp2"}, "215": {"fulltext": "William Gillette. 185\\nfour days out of six. I entered all sorts of\\nplaces in the guise of a peddler, and had\\noccasion to make mental memoranda of all\\nsorts and conditions of men, but I relin-\\nquished the peddler s vocation when Cleve-\\nland wouldn t have me any longer as an\\napprentice, and Marietta made the writing\\nof harmless prescriptions a dangerous pas-\\ntime.\\nThe first of Mr. Gillette s plays to be\\nproduced was The Professor, which was\\nbrought out at the Madison Square Theatre,\\nNew York, on June 1, 1881. The author\\nappeared in the title role, an absent-minded\\nstudent. The play proved a substantial\\nsuccess, and had quite a run at the Madison\\nSquare and a prosperous tour on the road.\\nMr. Gillette next assisted Mrs. Frances\\nHodgson Burnett in the dramatic construc-\\ntion of Esmeralda, and then acted for a\\nseason in Young Mrs. Winthrop.\\nIn 1884, Mr. Gillette continued, I", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0217.jp2"}, "216": {"fulltext": "1 86 Famous Actors.\\nproduced at the Comedy Theatre, New York,\\nan adaptation of Von Moser s play, Der\\nBibliothekar, under the title of Digby s\\nSecretary, in which I played the part of the\\nSecretary, the Rev. Job McCosh. On the\\nsame night A. M. Palmer produced The Pri-\\nvate Secretary at the Madison Square The-\\natre. This was Hawtrey s adaptation of the\\nsame German play. Both versions were suc-\\ncessful, and a lawsuit was pending between\\nMr. Palmer and myself when we wisely\\nagreed upon a compromise. The best parts\\nof each adaptation were combined, and I\\nappeared for several seasons in the title role\\nof The Private Secretary at the Madison\\nSquare and elsewhere.\\nMr. Gillette s next venture was Held by\\nthe Enemy, which was first produced in 1886\\nat the Criterion Theatre in Brooklyn, where\\nit did not attract a great deal of attention.\\nLater, when brought out at the Madison\\nSquare Theatre, with Mr. Gillette as Thomas", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0218.jp2"}, "217": {"fulltext": "William Gillette. 187\\nBean, the war correspondent, it appeared to\\na far better advantage, and it has been run-\\nning off and on in various parts of the\\ncountry ever since. At Niblo s Garden, in\\n1887, Mr. Gillette s dramatisation of Rider\\nHaggard s She was given a spectacular\\nproduction. All the Comforts of Home\\nand Wilkinson s Widows followed, in 1890\\nand 1 89 1, and then Ninety Days proved\\na failure at the Broadway Theatre in New\\nYork. Too Much Johnson was his next\\nadaptation, and this proved profitable.\\nMr. Gillette s struggle for health in the\\npine woods of North Carolina banished him\\nfrom active participation in theatrical affairs\\nfor a considerable length of time, and during\\nthe period he wrote his finest play, Secret\\nService, which was produced at the Broad\\nStreet Theatre, Philadelphia, on May 15,\\n1895, with Maurice Barrymore as the hero.\\nIn view of the subsequent triumph of\\nthis drama, the following criticism, which", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0219.jp2"}, "218": {"fulltext": "1 88 Famous Actors.\\nwas written after the first performance, is\\namusing\\nWhile the play has intensity and many\\ningenious situations, it is inferior to his\\nHeld by the Enemy in design, elabora-\\ntion, and power. Picturesque as Mr. Barry-\\nmore is as the hero, it is clear that as\\nChalfoner he works against the honest sen-\\ntiments of his auditors, for spying is an ugly\\nbusiness at the best. There is a lack of\\nstage-craft in the development of the action,\\nand the outside porch, to which Mr. Gil-\\nlette s characters continually retreat when\\nthey get in the way, is one of the most valu-\\nable adjuncts of the play. In its present\\ncondition the play drags very unpleasantly,\\nbut with repetitions it may be expected that\\nthe Secret Service will win a position,\\nthough not a commanding one.\\nMr. Gillette s last work was the farce,\\nBecause She Loved Him So, an adapta-\\ntion from the French, which was brought", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0220.jp2"}, "219": {"fulltext": "William Gillette. 189\\nout last season. It played long engagements\\nin Boston, New York, and Chicago, and\\nproved one of the most delightful features\\nof the theatrical season.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0221.jp2"}, "220": {"fulltext": "CHAPTER XIV.\\nHENRY MILLER.\\nHenry Miller was born in London, Eng-\\nland. He was taken to Toronto, Canada,\\nhowever, by his parents when he was very\\nyoung, and it was in that city that he grew\\nup. It was there, also, that he first became\\nimbued with a desire to be an actor, an am-\\nbition inspired by reading an article on the\\nearly struggle and final success of Sir Henry\\nIrving.\\nI made up my mind, said Mr. Miller,\\nto emulate him, to work earnestly as he\\nhad worked, and, if possible, to gain some-\\nthing of the success that he had even then\\nattained. At fifteen I became the pupil in\\nelocution of the late C. W. Couldock, and,\\n190", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0222.jp2"}, "221": {"fulltext": "HENRY MILLER\\nIn Liberty Hall.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0223.jp2"}, "222": {"fulltext": "", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0224.jp2"}, "223": {"fulltext": "Henry Miller. 191\\nbesides getting at his hands four years of\\nexcellent training in the Shakespearian\\ndrama, I had the good fortune to form an\\naffectionate friendship with him that endured\\nuntil the time of his death.\\nMr. Miller made his professional debut\\njust before his nineteenth birthday, as a\\nmember of a stock company in Toronto.\\nHis first part was that of the bleeding ser-\\ngeant in Macbeth. The season in Toronto\\nwas not a very successful one, and as the\\nweeks passed by without the customary\\npedestrianism on the part of the ghost, the\\nold members of the company sought other\\nfields. So it happened that before the end\\nof his first season, Mr. Miller found himself\\nplaying the leading juvenile roles in the\\nclassic drama.\\nIn 1878, Mr. Miller became a member of\\nModjeska s company, sharing the general util-\\nity roles with Robert Mantell. With Mo-\\ndjeska he was billed as J. H. Miller. One of", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0225.jp2"}, "224": {"fulltext": "192 Famous Actors.\\nhis best characters was Paris in Romeo and\\nJuliet. Two seasons with Adelaide Neilson\\nfollowed, during which time he acted Peter\\nin Measure for Measure, Paris in Romeo\\nand Juliet, Arviragus in Cymbeline, and\\nOliver in As You Like It. He took part\\nin Miss Neilson s farewell performance in\\nNew York, and then, after a short engage-\\nment with Ada Cavendish, he joined Au-\\ngustin Daly s forces, appearing first in\\nOdette, when that play was produced\\nat Daly s Theatre on February 6, 1882.\\nI may say that I gained my first foothold\\nin New York while at Mr. Daly s theatre,\\nMr. Miller remarked. I played the leading\\nrole in Odette at short notice, in place of\\nH. M. Pitt, who was suddenly taken ill. In\\nthe cast on that occasion were Ada Rehan,\\nJames Lewis, and John Drew.\\nFrom Daly s Mr. Miller went to A. M.\\nPalmer s Madison Square Theatre, where he\\nmade a hit as Herbert in Young Mrs. Win-", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0226.jp2"}, "225": {"fulltext": "Henry Miller. 193\\nthrop. After that he was leading man for\\nMinnie Maddern for a time, and then he\\njoined with Mrs. Agnes Booth Schoeffel\\nand a number of others in a production of\\nArthur W. Pinero s The Squire, Mr.\\nMiller acting Eric Thorndike. Ada Rehan\\nand John Drew had already appeared in the\\ndrama in New York, and the Agnes Booth-\\nHenry Miller production, which was made at\\nthe Park Theatre, Boston, on September 1,\\n1884, was the result of a summer association\\non the Massachusetts North Shore of several\\nmembers of the cast. Mrs. Schoeffel played\\nKate Verity so remarkably that those who\\nsaw her declare that no one since has ever\\nequalled her in the character. Mr. Miller\\nwas also very successful, and when Daniel\\nFrohman organised his Lyceum Theatre\\nCompany, he engaged Mr. Miller as leading\\njuvenile.\\nWith the Lyceum Company he acted\\nRobert Gray in The Wife, Clement Hale", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0227.jp2"}, "226": {"fulltext": "194 Famous Actors.\\nin Sweet Lavender, and Randolph in the\\nversion of Ferreol, which was known at\\nthe Lyceum as The Marquise. He re-\\nmained with Mr. Frohman until the produc-\\ntion of The Charity Ball, when he left\\nthe company because he did not care to\\ntake the part of Dick, the younger brother\\nof the clergyman-hero. The departure of\\nMr. Miller, by the way, was the first break\\nin the original Lyceum Theatre Company.\\nAfter acting Kerchival West in the revised\\nversion of Bronson Howard s Shenandoah,\\nMr. Miller was engaged by Charles Frohman\\nas leading man of the newly organised Em-\\npire Theatre Company, and it was while he\\nheld this position that his splendid work\\nattracted widespread attention. His parts\\nwere of wide range. There was his Frederic\\nLemaitre in Clyde Fitch s one-act romance,\\na role which, however, was created by\\nFelix Morris his Mr. Brabazon in Sowing\\nthe Wind, an old man part his Mr. Owen", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0228.jp2"}, "227": {"fulltext": "Henry Miller. 195\\nin Liberty Hall, a juvenile role of exqui-\\nsite sentiment, which Mr. Miller portrayed\\nto perfection his J. Ffolliet Treherne in\\nGudgeons, a character study and a mag-\\nnificent impersonation. He played Ru-\\ndolph in Bohemia, the ministerial hero\\nof Michael and His Lost Angel, and the\\nstar-gazing David Remon of The Masquer-\\naders.\\nMr. Miller became a star in 1 896, present-\\ning first Heartsease, by Charles Klein and\\nJ. I. C. Clarke, a work of considerable emo-\\ntional force though of uneven merit but his\\ngreatest success, perhaps, was in Stuart Ogil-\\nvie s peculiar drama, The Master, which\\nwas brought out in New York in February,\\n1898. Writing of the first performance,\\nFranklyn Fyles said\\nMr. Miller acts throughout with sincerity\\nand fervour. Nothing has ever done more\\nto justify his claim to a high position among\\nthe artists of our stage. He is easy, flexible,", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0229.jp2"}, "228": {"fulltext": "196 Famous Actors.\\ngraceful, and free from mannerisms of speech\\nand gesture. Unsuited as he is in some par-\\nticulars to the role, his treatment is wholly\\ncommendable. He has to do all manner of\\nheartless things with the same indifference\\nthat the queen in Alice in Wonderland\\ncries, Off with his head He disinherits\\nhis son and his daughter because the boy\\nwants to go into the army rather than into\\nbusiness, and because the girl refuses to\\nmarry a debauchee.\\nThis catastrophe is developed precipi-\\ntately before the audience has realised the\\nmaster s stern character, though he has said\\nthat he cannot be made to yield to anybody\\nand has told an allegory to prove that quality.\\nMr. Miller reads the latter delightfully, even\\nif with some apparent effort at purely rhetor-\\nical effect. The obdurate man also tells char-\\nacteristic stories to prove how domineering\\nand unyielding he is. But his rejection of\\nhis children is the first exhibition of his tem-", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0230.jp2"}, "229": {"fulltext": "Henry Miller. 197\\nper that the spectators see, and they regard\\nhim as a headstrong and disagreeable old\\nparty, with little about him at this time to\\nappeal to the sympathies.\\nIt is remarkable how sympathy is lost\\nand regained in The Master by the charac-\\nter which Mr. Miller assumes. The last trace\\nthe audience s regard vanishes when he turns\\nhis wife out-of-doors. But the touch that\\nmakes a play liked by the people comes in\\ntime to make the success of this one. The\\nfather is then alone, as he well deserves to\\nbe. Even the servants have fled from his\\ntemper, which has grown more aggressive\\nwith gout. The wife arrives, and the first\\ntender note in the old man s character is\\nsounded, and if the audience titters when,\\nanxious about the birth of his daughter s\\nchild, he asks, And did she have a hard\\ntime it is rather at the homely phrase\\nthan through any lack of real emotion in\\nthe situation.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0231.jp2"}, "230": {"fulltext": "198 Famous Actors.\\nThe son, who has won his spurs in an\\nAfrican campaign, is to return this day and\\nwith the troops march by the house. The\\nfather s softening toward his son is as cer-\\ntain as the sympathy he shows for his\\ndaughter, although it comes more slowly.\\nBut it does come, and possibly the master,\\nlike the audience, gives way under the thrill\\nof that old expedient with which this new\\nauthor closes his play. Just as in Ours,\\nin many other pieces, and more recently\\nin Sothern s production of The Lady of\\nLyons, martial music has its sure effect,\\nso does Mr. Ogilvie s use of it accomplish\\nhis purpose. The father sees his son in\\nthe ranks, the music grows louder, and the\\nmaster surrenders, waving his handkerchief\\nand cheering for the returning soldier.\\nMr. Ogilvie s play takes a firm grip on\\nthe heart through these methods, conven-\\ntional as they may be, and it is owing to\\nthe last act that his work will become very", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0232.jp2"}, "231": {"fulltext": "Henry Miller. 199\\npopular. Under its agreeable impression\\nthe spectators forget what a disagreeable\\ncharacter the master has been, and are\\nalmost prepared to sympathise with him\\nwhen his children return, not because he\\ndeserves it, but because the band plays so\\nmovingly in the wings.\\nLast summer, in company with Edward\\nJ. Morgan, Mr. Miller acted in San Fran-\\ncisco at the head of his own company, pre-\\nsenting all the recent Eastern successes,\\nincluding The Liars and Lord and Lady\\nAlgy, and also winning much praise as\\nHamlet.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0233.jp2"}, "232": {"fulltext": "CHAPTER XV.\\nJAMES K. HACKETT.\\nJames K. Hackett has by no means\\nreached his full artistic growth, and there-\\nfore an estimate of him as an actor can at\\nthis time be of little permanent value. One\\nmight describe minutely and criticise pro-\\nfusely the James K. Hackett of to-day, only\\nto find his labour and thought made ridicu-\\nlous by the James K. Hackett of to-morrow.\\nFor Mr. Hackett is still in an active state\\nof development, and he is, except in a most\\ngeneral fashion, unclassified. We know him\\nas an excellent leading man, as a fascinating\\nromantic actor in The Prisoner of Zenda,\\nas more than ordinarily interesting in such", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0234.jp2"}, "233": {"fulltext": "JAMES K. HACKETT.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0235.jp2"}, "234": {"fulltext": "", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0236.jp2"}, "235": {"fulltext": "James K. Hackett. 201\\na poor drama as Rupert of Hentzau, and\\nfinally as the one featured player in the\\nMaude Adams production of Romeo and\\nJuliet, whom all critics those that wept\\nat the downfall of tradition, as well as those\\nwho hailed with joy the new Juliet\\nagreed was in every way competent.\\nAll that can at present safely be said of\\nMr. Hackett is that he is a popular star,\\nyoung in years and unquestionably talented,\\nwhose future, moreover, is very much in his\\nown hands. In spite of the fact that a\\nyoung actor, full in the lime-light of popular\\nattention, is the envied of the many, he is\\nnot always to be congratulated. A failure\\nmeans much to him, and only under ex-\\nceptional circumstances such as the Shake-\\nspearian production previously referred to\\ndoes he dare to attempt any new thing.\\nPossibly, as in Mr. Hackett s case, he won\\nhis first great applause as a romantic actor,\\nand a romantic actor he feels that he must", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0237.jp2"}, "236": {"fulltext": "202 Famous Actors.\\nremain until the end of the chapter. How\\ndoes he know that he has not the genius\\nto become a really great character delineator,\\nand how, pray, is he going to find out?\\nSurely, not by starring in one new romantic\\ncharacter a season, for the rest of his life.\\nThere is no worse place in the world to de-\\nvelop a well-rounded art than at the head of\\none s own company.\\nMr. Hackett, however, has had two ad-\\nvantages enjoyed by few young actors. He\\nreceived a college education before he had\\nany thought of going on the stage profes-\\nsionally, and his preliminary training during\\nhis first years as a player was under the\\nmost favourable circumstances and in the\\nfinest theatrical companies of the country.\\nWith the A. M. Palmer, the Augustin Daly,\\nand the Lyceum companies Mr. Hackett\\nplayed many parts, and played them under\\nthe direct supervision of men who knew\\nhow to correct mistakes and whose valuable", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0238.jp2"}, "237": {"fulltext": "James K. Hackett. 203\\nadvice was also a command. This experi-\\nence developed in Mr. Hackett versatility,\\nease, self-confidence, and suppleness of tech-\\nnique. What he lacks is experience, ex-\\nperience on the stage to give authority to\\nhis art, and experience off the stage to\\nreveal to him life and humanity and to de-\\nvelop sympathy, without which an actor s\\nart is lifeless and unappealing.\\nMr. Hackett s Mercutio was to many a\\ngenuine surprise. While he did not in the\\nleast suggest the sixteenth century atmos-\\nphere, that is properly a part of the char-\\nacter, there was so much freshness, vivacity,\\nand life in his impersonation that one could\\nalmost forgive him for making Mercutio seem\\nlike a masquerading nineteenth century per-\\nsonage. It is curious how the medieval\\nspirit, or rather the ability to depict the\\nmedieval spirit, has departed from the stage,\\nthat power, found now in but a few of the\\nold actors, of assuming with the old-time", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0239.jp2"}, "238": {"fulltext": "204 Famous Actors.\\ngarments old-time thoughts, old-time habits,\\nand old-time mannerisms. It is a lost art\\nso far as the young generation of mummers\\nis concerned, and the commonest of criti-\\ncisms on a Shakespearian performance of\\nto-day is, too modern. Such a fault was in\\nMr. Hackett s Mercutio. Otherwise it was\\na clear-cut, adequate conception capably pre-\\nsented. Rollicking, devil-may-care, full of\\njollity, with a beast of a temper, too, and a\\nboy s fondness for a scrap, this Mercutio\\ndied logically, with a jest on his lips and a\\nsmile at the yawning grave.\\nRupert of Hentzau, in which Mr.\\nHackett starred last season, was little better\\nthan a lightning change exhibition. The\\nplay was written as a sequel to The Pris-\\noner of Zenda, and the star was called upon\\nto depict the character of the dissipated\\nking, Rudolph V., and the gallant English-\\nman, Rudolph Rassendyll. There was a\\nmighty duelling scene, which stirred the", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0240.jp2"}, "239": {"fulltext": "James K. Hackett. 205\\nblood of those fond of stage excitement,\\nand there was a death scene, which was\\nmechanically and pictorially pathetic. Mr.\\nHackett differentiated the two characters\\nrather cleverly, though also very obviously,\\nbut beyond this no especial demand was\\nmade on his histrionic talent.\\nJames K. Hackett s father was James\\nHenry Hackett, who fifty years ago was\\nesteemed one of the most talented actors\\non the American stage. He was successful\\nin both comedy and tragic roles, but his\\nFalstaff was the presentation on which his\\nfame was most firmly planted. That char-\\nacter was familiar to and was approved by\\nthe entire English-speaking stage of his time.\\nYoung Hackett was born on Wolfe, one of\\nthe Canadian Thousand Islands, on Septem-\\nber 6, 1869. Two years later, on December\\n28, 1 871, at Jamaica, Long Island, the elder\\nHackett died, but the boy had the advantage\\nof the training of his mother, Mrs. Clara C.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0241.jp2"}, "240": {"fulltext": "206 Famous Actors.\\nHackett, at one time a popular actress. Nat-\\nurally enough, with such blood in his veins,\\nthe child s attention was early directed toward\\nthe theatre. At the age of seven he recited\\nShakespeare s Seven Ages in public, and\\nfrom that time his leisure was devoted to\\ntheatricals. While in school and at college\\nMr. Hackett was prominently identified with\\nthe New York amateur stage. At eighteen\\nhe acted Touchstone, and at twenty he tried\\nOthello. As an amateur he played most of\\nOliver Doud Byron s roles, and one of his\\ngreatest successes was Carraway Bones, the\\nundertaker in Turned Up. At college he\\nacquired considerable reputation as a bur-\\nlesque actor, and he was not only the first\\nmale imitator of Carmencita, but he gave\\nthe best of all imitations of her terpsichorean\\nmannerisms. It is well to add that Hackett\\nwas also prominent athletically and socially\\nwhile in college, and was a member of the\\nAlpha Delta Phi Greek letter fraternity.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0242.jp2"}, "241": {"fulltext": "James K. Hackett. 207\\nMr. Hackett took his Bachelor of Arts\\ndegree at the College of the City of New\\nYork in 1891, and immediately began the\\nstudy of law. The stage had too many\\nattractions, however, and on March 28, 1892,\\nat the Park Theatre, Philadelphia, he made\\nhis debut as a professional actor, a humble\\nmember of A. M. Palmer s stock company.\\nHis first part was Francois in The Broken\\nSeal. In the Palmer company at that time\\nwere James H. Stoddart, Frederick Robin-\\nson, Agnes Booth, Mrs. Bowers, and Julia\\nArthur. The week following Mr. Hackett s\\nfirst appearance, Mr. Stoddart was compelled\\nto leave the organisation on account of the\\ndeath of his wife, and Mr. Hackett was given\\nMr. Stoddart s part of Jean Torqueric, which\\nhe first acted in Brooklyn. His success was\\nsurprising when one considers his short ex-\\nperience. Mr. Hackett left Mr. Palmer in a\\nfew weeks to become leading man for Lotta,\\nwith whom he remained during the spring", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0243.jp2"}, "242": {"fulltext": "208 Famous Actors.\\nuntil illness compelled her permanently to\\nclose her season.\\nThe season of 1892-93 was spent with\\nAugustin Daly s company, with which the\\nyoung actor played many roles in the familiar\\nrepertory. When Mr. Daly went to London,\\nhowever, Mr. Hackett became leading man\\nof Arthur Rehan s company, and continued\\nin that capacity until the end of the regular\\nseason. During the season of 1893-94 he\\nstarred under the management of D. A.\\nBonta, in a repertory that included The\\nArabian Nights, The Private Secretary,\\nMixed Pickles, and a number of Charles\\nMathews s farces. His appearance as the\\nathletic parson in Minnie Seligman s pro-\\nduction of Lady Gladys followed, and\\nthen he went to the Queen s Theatre,\\nMontreal, where as leading man he acted\\nin Heart and Hands, American Money,\\nSnowball, and The Pink Mask. His\\nnext important engagement was as the Count", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0244.jp2"}, "243": {"fulltext": "James K. Hackett. 209\\nde Neippery in Kathryn Kidder s production\\nof Madame Sans-Gene at the Broadway\\nTheatre, New York, on January 14, 1895.\\nThe following September he was seen as\\nthe Count de Charney with Mrs. James\\nBrown Potter and Kyrle Bellew in The\\nQueen s Necklace.\\nMr. Hackett s first appearance with Daniel\\nFrohman s Lyceum Theatre Company was\\nin November, 1895, as Morris Lecalle in\\nThe Home Secretary, by R. C. Carton.\\nHe was next cast for the leading role, in the\\nLyceum Theatre revival, on February 10,\\n1896, of The Prisoner of Zenda. That\\nwas virtually his debut as leading man of the\\ncompany, for Herbert Kelcey, who for many\\nyears had held that position, shortly after\\nthe Zenda success, resigned. On Novem-\\nber 23d following, Mr. Hackett appeared as\\nBruce Leslie in H. V. Esmond s modern\\ncomedy, The Courtship of Leonie. This\\noccasion was also the American debut of", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0245.jp2"}, "244": {"fulltext": "2io Famous Actors.\\nMary Mannering, whom Mr. Hackett married\\nthe following March. His other r61es with\\nDaniel Frohman s company were Captain\\nTrefuss in The Late Mr. Costello, by\\nSidney Grundy, the Prince of Wales in The\\nFirst Gentleman of Europe, by Mrs.\\nFrances Hodgson Burnett and George\\nFleming, Lord Gervasse Carew in The\\nMayflower, by Louis N. Parker, and Sir\\nGeorge Lamorant in The Princess and the\\nButterfly, by A. W. Pinero. During the\\nrun of Pinero s comedy, which was produced\\nin this country on November 23, 1897, Mr.\\nHackett was taken seriously ill with typhoid\\nfever, and he did not act for two months.\\nThen he assumed the leading part of Nigil\\nStanyon in The Tree of Knowledge, by\\nR. C. Carton, succeeding Edward J. Morgan.\\nMr. Hackett s starring tour began in the fall\\nof 1898 in The Tree of Knowledge, which\\nwas shelved after the production in Phil-\\nadelphia, on November 21st, of Anthony\\nHope s Rupert of Hentzau.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0246.jp2"}, "245": {"fulltext": "HENRY JEWETT.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0247.jp2"}, "246": {"fulltext": "", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0248.jp2"}, "247": {"fulltext": "CHAPTER XVI.\\nHENRY JEWETT.\\nHenry Jewett made a great success in\\nBoston last season as John Storm in The\\nChristian, a part, however, which two others\\nplayed before him. They, too, made great\\nsuccesses, for John Storm was a character\\nsuch as actors like. Joseph Haworth de-\\nclared that it was the best part he ever had\\nplayed, and Mr. Haworth was a Hamlet\\nonce on a time, and not a bad one, either.\\nWhat Mr. Haworth meant to say was that\\nhe got more applause in John Storm than\\nhe ever did in any other role. Storm was\\nwhat the players call a fat part. He was\\nbound to be popular with the average\\naudience. He had innumerable bombastic", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0249.jp2"}, "248": {"fulltext": "212 Famous Actors.\\nspeeches, and he was continually the centre\\npiece of a thrilling situation.\\nMr. Jewett was the only actor whom I\\nsaw play John Storm, so I cannot be accused\\nof comparing his work with that of either\\nof his predecessors. He gave a manly, frank,\\nand perfectly sincere interpretation of the\\nrole. Indeed, sincerity was the chief charac-\\nteristic of his work. It is true that he did\\nnot in the least, in physical appearance, sug-\\ngest the ascetic, for Mr. Jewett is a robust\\nand powerful fellow, with the chest and\\nmuscles of an athlete; but he evidently\\nunderstood the man, John Storm, and, most\\nimportant of all, he appreciated the honesty\\nof purpose that accompanied Storm s fanat-\\nicism. Mr. Jewett s tremendous physique\\nproved a genuine aid, especially in moments\\nof vehement passion, such as the scene in\\nwhich he made the attempt on Glory s life\\nand the scene which culminates in the expul-\\nsion of the mob from the chapel.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0250.jp2"}, "249": {"fulltext": "Henry Je wett. 213\\nThere was an element of perfect repose in\\nMr. Jewett s acting in The Christian that\\nwas hardly to be expected in the represen-\\ntation of a conception that was so far from\\nreposeful as was John Storm. This was due\\nto the complete self-control that pervaded\\nevery scene in which Mr. Jewett appeared.\\nHe had himself thoroughly in hand, and he\\nwas always absolute master of the situation.\\nThere was no ranting, there were no vain\\nheroics, there was no wasted energy. He\\nwas quiet, straightforward, and without\\naffectation.\\nMr. Jewett was an actor of wide experi-\\nence and thorough training before he became\\nknown in this country. He was born in\\nAustralia, but when he was very young his\\nparents moved to New Zealand. He grew\\ninto manhood in Dunedin, the capitol of the\\nprovince of Otago. Although his family had\\nat no time been connected with the theatre,\\nMr. Jewett early showed a bent toward dra-", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0251.jp2"}, "250": {"fulltext": "214 Famous Actors.\\nmatic affairs. When he was only ten years\\nold he won a prize for declamation, competed\\nfor by children from all the schools in the\\nprovince, and from that time until he was\\nfifteen years old he was in demand as a\\nreciter. He also gained considerable notice\\nby his proficiency in outdoor games and\\nsports. This fondness for outdoor life led\\nhim, while still a boy, to go to work on a\\nranch in New Zealand, where for a time\\nhe lived with the cowboys and shared their\\nhardships.\\nOn his return to school, Mr. Jewett again\\nentered heart and soul into athletics, and\\nsoon became one of the most prominent\\ncricket and football players in New Zealand.\\nThis reputation clung to him even after he\\nbecame a professional actor, and as long as\\nhe stayed in the province he was in demand\\nby all first-class teams. Then he began his\\nbusiness life at the foot of the ladder in the\\nBank of New Zealand. While a clerk he", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0252.jp2"}, "251": {"fulltext": "Henry Jewett. 215\\nbecame interested in amateur theatricals, and\\nin 1879 took part in his first play, acting\\nRalph Waters, the leading role in Bitter\\nCold, which was performed in Dunedin by\\na cast composed of both amateurs and\\nprofessionals.\\nHis professional debut was made on\\nApril 1, 1880, in Wellington, New Zealand,\\nin a company headed by Walter Reynolds.\\nAfter a month with this organisation he\\nbecame connected with a stock company at\\nChrist Church, of which William Hoskins was\\nthe manager. Here he appeared in The\\nDanites, Arrah-na-Pogue, and The Three\\nGuardsmen. W. H. Leake was the D Ar-\\ntagnan of this last performance.\\nA year of stock work in his home town of\\nDunedin followed, during which time he sup-\\nported many local stars. Then Miss Louise\\nPomeroy, who was touring New Zealand in\\nlegitimate drama, offered him a position\\nin her company, which he accepted. Mr.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0253.jp2"}, "252": {"fulltext": "216 Famous Actors.\\nJewett s next venture was in Australia, where\\nhe came under the management of W. J.\\nHolloway. He first played sixteen weeks in\\nBallarat, Victoria, opening on Boxing Day,\\nDecember 26, 1882, as Clifford Armitage, in\\nThe Lights o London. Others of his\\ncharacters at that time were the Chevalier\\nin The Two Orphans, and Jack Adderly\\nin Across the Continent. Among the\\nstars whom he supported were J. B. Polk,\\nin The Strategist, and George Darrell.\\nIn support of Mr. Darrell, in The Sunny\\nSouth, Mr. Jewett went to Melbourne,\\nwhere he appeared also in a play called\\nThe Naked Truth. Louise Pomeroy then\\njoined the company as a star, and with her\\nwas Arthur Elliott, afterward well known in\\nthe United States as a member of the Fanny\\nDavenport and the MacDowell-Walsh com-\\npanies. After the Melbourne engagement\\nthe company journeyed to Queensland, where\\nthe plays presented were The Silver King,", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0254.jp2"}, "253": {"fulltext": "Henry Jewett. 217\\nThe Lights o London, Queen s Evi-\\ndence, and The Two Orphans.\\nIn 1884 Mr. Jewett joined Wybert Reeve s\\ncompany in Adelaide as leading juvenile.\\nHere he had an opportunity to appear in\\nmany modern dramas, including Diplomacy,\\nThe Money Spinner, The Squire, and\\nothers of the early Pinero plays. After this\\nengagement Mr. Jewett returned to Aus-\\ntralia, playing on tour the Spider in The\\nSilver King. During the season of 1885\u00e2\u0080\u0094\\n86, under Mr. Holloway s management, he\\nacted in support of the popular Australian\\nstar, Essie Jenyns, playing Mercutio in\\nRomeo and Juliet, and Iachimo in Cym-\\nbeline. A year in the stock company of the\\nTheatre Royal in Melbourne followed, during\\nwhich time he appeared in the first production\\nof Human Nature, which was later known\\nin this country as The Soudan. Mr. Jew-\\nett created the part of the villainous attorney.\\nMr. Jewett s next experience was as lead-", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0255.jp2"}, "254": {"fulltext": "218 Famous Actors.\\ning man for Signor and Signora Majeroni,\\nwith whom he spent two years, travelling\\nwith them in Victoria, Queensland, and New\\nZealand. He appeared as Louis XVI. in\\nMarie Antoinette, Chateau Renaud in The\\nCorsican Brothers, James of Scotland in\\nQueen Elizabeth, Leicester in Mary\\nStuart, and Prince Egon in a version of\\nOuida s Wanda. In i883 he was at Her\\nMajesty s Theatre, Sydney, as leading man\\nfor George Rignold, with whom he played\\nparts of the widest range, among them Cas-\\nsius in Julius Caesar, Danny Mann in\\nThe Colleen Bawn, Clifford Armitage in\\nThe Lights o London, the Chevalier\\nin The Chevalier de Vaudry, Philip Roy-\\nton in Romany Rye, Michael Feeny in\\nArrah-na-Pogue, Ned Singleton in My\\nPardner, and Faust in Faust. During\\nthis engagement he married Miss Frances\\nHastings, of Melbourne.\\nAfter a short farewell season in Aus-", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0256.jp2"}, "255": {"fulltext": "Henry J ewe tt. 219\\ntralia, when he played with Jennie Lee,\\nacting, last of all in Australia, Bob Brierly\\nin The Ticket-of-Leave Man, Mr. Jewett\\ncame to America. He arrived in San Fran-\\ncisco in September, 1892, and the next\\nmonth he made his first appearance in this\\ncountry as a member of the Stockwell The-\\natre company of San Francisco. In the\\ncompany, of which Mr. Jewett was leading\\nman, were E. J. Henley, John Jack, Arthur\\nByron and Aubrey Boucicault. Mr. Jewett s\\nfirst part was Charles Cashmore in My\\nUncle s Will, played as a curtain raiser to\\na play by Aubrey Boucicault, called The\\nFavourite. Later Mr. Jewett acted in\\nNancy Co., A Night Off, Siberia,\\nShadows of a Great City, Two Roses,\\nand Pink Dominoes.\\nThe next season Mr. Jewett became lead-\\ning man for Julia Marlowe, and in this\\ncapacity he was first seen in the East. He\\nacted in all the dramas in Miss Marlowe s", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0257.jp2"}, "256": {"fulltext": "220 Famous Actors.\\nrepertory at that time, among his characters\\nbeing Wildrake in The Love Chase, Ben-\\nedick in Much Ado about Nothing, Sir\\nThomas Clifford in The Hunchback, Do-\\nrincourt in The Belle s Stratagem, Romeo,\\nIngomar, and Malvolio.\\nDuring the season of 1894-95 Mr. Jewett\\nwas with the Richard Mansfield company,\\nand created the character of Sergius in\\nGeorge Bernard Shaw s remarkable play,\\nArms and the Man. With Rose Cogh-\\nlan Mr. Jewett acted Julian Beauciere in\\nDiplomacy, and also appeared in To\\nNemesis. Then he returned to Mr. Mans-\\nfield and again assumed the role of Sergius\\nat the Garrick Theatre in New York. Later\\nhe was in The King of Peru, a failure,\\nand after that he assumed leading characters\\nin the Mansfield repertory.\\nMr. Jewett was seen on December 27,\\n1895, and on January 15, 1896, in New\\nYork and Brooklyn, in a drama by W. Echard", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0258.jp2"}, "257": {"fulltext": "Henry Jewett. 221\\nGolden called Benedict Arnold. This did\\nnot prove to be a success, but Mr. Jewett s\\nwork brought forth the following comment\\nfrom the Brooklyn Eagle\\nJewett s performance of Benedict Ar-\\nnold places him at a bound in the foremost\\nrank of a difficult and overcrowded profes-\\nsion. His performance is clearly conceived,\\nand executed with judgment and power. If\\nit does nothing else for him, it at least\\nsettles his claim to be considered an actor\\nof great distinction and of equal versatility.\\nWe have not often seen anything so good\\nas his death-scene in this play. Equal to\\nthis in tenderness and fidelity to nature were\\nhis scenes with his wife, manly, not mawk-\\nish romantic, not gushing.; dignified, while\\ninstinct with love. He did not as a lover\\nstrike one false note.\\nFollowing this, Mr. Jewett appeared in\\nclassic drama in a company organised by\\nGeorge C. Miln, in which appeared also", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0259.jp2"}, "258": {"fulltext": "222 Famous Actors.\\nEben Plympton, who was afterward replaced\\nby John Malone, and Mary Shaw. Perform-\\nances of Julius Caesar and Othello\\nwere given in New York and Brooklyn,\\nMr. Jewett playing Cassius and Othello.\\nFor the summer season Mr. Jewett organised\\na stock company, which appeared in Kansas\\nCity in Benedict Arnold, Captain Swift,\\nand Pink Dominoes, and gave open-\\nair performances of The Merry Wives of\\nWindsor, with William F. Owen as Fal-\\nstaff, Twelfth Night, with Mrs. Jewett\\nas Viola, and The Lyons Mail.\\nDuring the season of 1896-97 Mr. Jewett\\nwas again with Mr. Mansfield. The next\\nseason he was in Fanny Davenport s pro-\\nduction of Joan of Arc, and during the\\nsummer of 1898 he played in St. Louis in\\nShakespearian and classic dramas. He joined\\nThe Christian company on March 6, 1899,\\nin Boston, and continued with it until the\\nend of the season.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0260.jp2"}, "259": {"fulltext": "m v*4\\nS ll$r\\nA\\nV^Jjf^\\n4 l\\nI\\nS^\\nSTUART ROBSON\\nAs Bertie in The Henrietta.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0261.jp2"}, "260": {"fulltext": "", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0262.jp2"}, "261": {"fulltext": "CHAPTER XVII.\\nSTUART ROBSON.\\nStuart Robson was a page in the Thir-\\ntieth and Thirty-first Congresses before he\\nbecame an actor. He was born in Annap-\\nolis, Maryland, on March 4, 1836, and was\\nchristened Henry Robson Stuart. His father\\nwas Charles Stuart, a Scotchman by descent\\nand a lawyer by profession. His mother\\ncame from a well-known Maryland family.\\nHer father, John Thompson, built the first\\nRoman Catholic church in St. Mary s\\nCounty, Maryland, at his own expense.\\nJohn Thompson was a nephew of Charles\\nThompson, a signer of the Declaration of\\nIndependence. Stuart Robson s mother s\\nfather, Henry Johnson, was a Senator from.\\n223", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0263.jp2"}, "262": {"fulltext": "224 Famous Actors.\\nMaryland. Her cousin, John Johnson, was\\nChancellor of the State for many years, and\\nhis second cousin, Reverdy Johnson, was the\\ngreatest lawyer of his time in Maryland.\\nCharles Stuart moved to Baltimore soon\\nafter Stuart Robson was born, and the boy\\ngrew up in that city. The family resources\\nwere not over large, and it early became\\nnecessary for the youth to do something to\\nincrease the family fund. Reverdy Johnson\\ngave him letters to friends in Washington,\\nand to that city he journeyed for the purpose\\nof becoming a Capitol page.\\nOn my arrival there, said Mr. Robson,\\nI found more than a hundred boys, all with\\nmore influence than I had, clamouring for\\nthe dozen places to be filled. Yet I held on\\nto what little grip my letters gave me, and\\none day secured Jefferson Davis as one of\\nmy sponsors. One of the boys was reported\\nsick one morning, and I immediately rushed\\nfor the doorkeeper, and was sent on the floor", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0264.jp2"}, "263": {"fulltext": "Stuart Robson. 225\\nof the House to take the place of the sick\\nboy. Howell Cobb was then Speaker of the\\nHouse, and Robert Toombs and Alexander\\nH. Stephens of Georgia were members. Mr.\\nToombs had signed my application. I natu-\\nrally kept my eye on him that fateful day,\\nand never missed an opportunity to jump to\\nhis desk on the slightest provocation. Late\\nin the afternoon, he and Mr. Stephens were\\nat their desks, and talking to them was a very\\nlarge gentleman, with the biggest feet I ever\\nsaw on a man. Finally, a member sitting di-\\nrectly behind Mr. Toombs clapped for a page.\\nI immediately made for him, and in passing\\nthis ponderous man with the big feet I stum-\\nbled over him. He gave me an awful nudge\\nin the ribs with his elbow, which nearly\\nknocked me down, and said\\nYou careless little rascal Can t you\\nsee where you re going?\\nMr. Toombs laughed heartily, but I was in\\nanything but good humour over the incident.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0265.jp2"}, "264": {"fulltext": "226 Famous Actors.\\nI completed my errand for the member who\\nhad called, and then took my seat below the\\nSpeaker s desk. A few minutes later the\\nlarge man with the big feet, who, as I after-\\nward learned, was General Winfield Scott,\\nleft the House, and Mr. Toombs called me.\\nHe was in excellent humour, and said\\nSon, there s another man over there\\nwith big feet, and if you ll go over and fall\\nover them, I ll give you half a dollar. Then\\nhe added You re a new boy here, aren t\\nyou I explained to him that I was on duty\\nonly for the day, and reminded him that he\\nwas on my petition for a regular place.\\nIs that so said he. Well, I will go\\nto the doorkeeper with you now, and have it\\nfixed.\\nHe took me by the hand and went\\ndirectly to Mr. Horner, and said, bluffly,\\nto him\\nWhy don t you give this boy a place.\\nDidn t I recommend him", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0266.jp2"}, "265": {"fulltext": "Stuart Robson. 227\\nThe doorkeeper explained that he was so\\ncrowded with applications that he could not\\nfind a place for me, but he promised Mr.\\nToombs that I should have the first vacancy.\\nOne morning I found out that one of the lads\\nhad been taken off by his parents. I imme-\\ndiately pounced upon the doorkeeper and re-\\nminded him of his promise, but he put me\\noff, saying that he was so crowded with\\nother obligations that he could not take care\\nof me. I reported the facts to Mr. Toombs.\\nThe devil you say, said the statesman\\nfrom Georgia. I ll see whether he puts you\\non or not.\\nHe took me by the hand and walked\\ndirectly over to where the doorkeeper was\\nsitting and said\\nWhy don t you put this boy on as you\\nagreed to\\nMy dear Mr. Toombs, he answered, I\\ncannot do it. I have made some other prom-\\nises that I must first fulfil.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0267.jp2"}, "266": {"fulltext": "228 Famous Actors.\\nThe thunder you must said Mr.\\nToombs, very emphatically. You ll either\\nput this boy on or I ll put you out.\\nFrom that day I was a page in the Capi-\\ntol until I got so big that I had no business\\nthere. I kept the boy s jacket buttoned to\\nthe trousers until I was a sight, and they\\ncaught on to it and I had to leave.\\nMr. Robson s first theatrical experience\\nwas when, as a boy, in company with Edwin\\nand John Wilkes Booth, S. Barry, John\\nSleeper Clarke, W. Talbot, and G. H. Stout,\\nhe rigged up a stage in a stable loft in Balti-\\nmore, and gave shows, to which boys were\\nadmitted for three cents and little boys for\\ntwo cents. When Mr. Robson made up his\\nmind to adopt the stage professionally, he re-\\nsolved to become a great tragedian. His first\\nengagement was as a member of the Baltimore\\nMuseum company, of which John Owens was\\nmanager, and he made his debut on January\\n5, 1852, as Horace Courtney, a serious", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0268.jp2"}, "267": {"fulltext": "Stuart Rob son. 229\\nand sentimental youth, who appeared in a\\npiece called Uncle Tom s Cabin As It Is,\\nwhich was written to counteract the effect\\nof Mrs. Stowe s work. Mr. Robson had just\\none line to speak, and it was pure tragedy,\\nthe words being, Farewell, my mother,\\nfarewell, perhaps for ever He studied\\nthat line long and earnestly, and fancied that\\nhe could put any amount of pathos into it,\\nbut, as well may be imagined, the audience\\nreceived the speech, given in a high-pitched\\nvoice, that shook and quavered from a vio-\\nlent attack of stage fright, with roars of\\nlaughter. Mr. Robson s connection with the\\nBaltimore Museum and his purpose to be\\na tragedian ended that same night. Low\\ncomedy, he vowed, was good enough for him.\\nFor the next three years he played utility\\nand small comedy parts in John Keenan s\\nVarieties Theatre in Washington, and, in\\nSeptember, 1855, he became second low\\ncomedian in Wayne Olwyne s Museum in", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0269.jp2"}, "268": {"fulltext": "230 Famous Actors.\\nTroy, New York. During 1856 he toured\\nthe Western circuit as leading comedian in a\\ncompany managed by John G. Cartlitch, the\\noriginal Mazeppa. In September, 1857, he\\nreturned to the Baltimore Museum. His suc-\\ncess was so great that he was engaged by John\\nT. Ford, of the Holliday Street Theatre, where\\nhe remained three years. The seasons of\\n1860-61-62 were passed in Richmond, St.\\nLouis, Washington, and Cincinnati, and then\\nMr. Robson became the comedian at Laura\\nKeene s Theatre in New York, making his\\nfirst appearance in that city in September,\\n1862, as Bob in Old Heads and Young\\nHearts. The next season he was engaged\\nby Mrs. John Drew for the Arch Street\\nTheatre, Philadelphia, and there he remained\\nfor three years.\\nWhen I joined the Arch Street Theatre\\ncompany, said Mr. Robson, J. S. Clarke\\nhad preceded me, and so had the elder John\\nDrew. It was up-hill work for me for a long", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0270.jp2"}, "269": {"fulltext": "Stuart Rob son. 231\\ntime. I played Bob Acres the first night.\\nI was as anxious to make the people laugh\\nthat night as I had been to impress them\\nseriously when on the stage of the Baltimore\\nMuseum, but the house was as silent as the\\ngrave over my work. I couldn t raise a\\nghost of a laugh. After the curtain went\\ndown it was decided to drop me as soon as it\\ncould be done decently. In the meantime I\\nwas cast to play the leading part in John\\nWopps, Policeman/ Now it chanced that\\nat that time Philadelphia was stirred up over\\na real policeman who was in love with a\\nwidow, and had left his post to court her.\\nHe declared that he had been absent in\\nthe pursuit of duty. In the play I made\\nlove to a butcher s wife, played by Cor-\\nnelia Jefferson, Joseph Jefferson s sister,\\nand the butcher discovered me embracing\\nher, whereat he cried out\\nKnuckles o beef and ribs o weal, here s\\na go What s this I see", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0271.jp2"}, "270": {"fulltext": "232 Famous Actors.\\nI don t recall the written answer to this,\\nbut I do remember the one I improvised. It\\ncame to me like a flash. Without removing\\nmy arm from about the woman s waist I said\\nHow dare you interrupt a policeman in\\nthe pursuit of his official duties, sir\\nThat brought down the house, and there\\nwas no more talk about getting rid of me as\\nsoon as possible. In fact, from that time I\\nwas a great favourite in Philadelphia.\\nMr. Robson next appeared in New Or-\\nleans, and during 1868-69-70 he was at\\nSelwyn s North Globe Theatre in Boston.\\nAfter a brief engagement with Mrs. John\\nWood in King Carrott, at the Grand\\nOpera, New York, he became a star as John\\nBeat, a policeman, in John Bradford s farce,\\nLaw in New York, opening at the How-\\nard Athenaeum in Boston. This venture\\nwas only moderately successful, and a three\\nyears engagement at the Union Square\\nTheatre, New York, followed. After this", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0272.jp2"}, "271": {"fulltext": "Stuart Robson. 233\\nMr. Robson and Charles R. Thorne, Jr.,\\nacted in London, opening at the Gaiety\\nTheatre on July 1, 1874, in Led Astray,\\nMr. Robson playing Hector. In 1876 began\\na tour in Bret Harte s Two Men of Sandy\\nBar, which proved a failure, and Mr. Rob-\\nson lost $6,000, the savings of ten years.\\nThe next year saw him in his great success,\\nin connection with William Crane, of Pro-\\nfessor Gillipod in Leonard Grover s Our\\nBoarding House, which was produced at the\\nPark Theatre, New York, on January 23,\\n1877. The meeting resulted in the partner-\\nship of Mr. Crane and Mr. Robson, which\\nlasted twelve years, during which time they\\nproduced a number of successful farces,\\nbesides Shakespeare s Twelfth Night,\\nComedy of Errors, and Merry Wives of\\nWindsor. In 1888 came The Henrietta,\\nregarding the production of which Mr. Rob-\\nson said\\nCrane and I began our association in a", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0273.jp2"}, "272": {"fulltext": "234 Famous Actors.\\nfarce. After a season or two of Our\\nBachelors we did the Comedy of Errors/\\nbut without any scenic display. Then we\\nhad farce-comedies written for us by Clay\\nGreen and Joseph Bradford. These also did\\nvery well, but we felt that we wanted, if\\npossible, to get above that class of work.\\nThen we tried Twelfth Night, but Sir\\nAndrew and Sir Toby are only subsidiary\\nto the main story, and the public didn t care\\nto see stars in minor parts. So we deter-\\nmined on a grand revival of The Dromios.\\nWe spent $23,000 on it before the curtain\\nwent up. Well, it was a very great success,\\nbut it would not last very long in the coun-\\ntry because so many had seen us in these\\nparts before, and they didn t want to come\\nagain simply because we were doing the\\npiece more elaborately. Then we did The\\nMerry Wives of Windsor, and this paid, but\\nas Crane played Falstaff I didn t have much\\nchance. Next we considered if there were", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0274.jp2"}, "273": {"fulltext": "Stuart Robson. 235\\nany more of the Shakespearian comedies we\\ncould do, but we found the same objection\\nthat had arisen in the case of Twelfth\\nNight, that the comedy parts were too\\nsubordinate to be starred in.\\nAs our performances of Shakespeare s\\ncomedies had raised us above our former\\nfarces, we did not want to return to them.\\nWe sought Bronson Howard. This was just\\nabout a year before The Henrietta was\\nproduced. He had never seen Crane act.\\nWe had many talks, and at last Howard\\nevolved a scheme. When he told Crane\\nit necessitated his doing a little pathos,\\nCrane said it was simply impossible. He\\nhad been trained in burlesque, and he had\\nnever ventured on in anything with a touch\\nof sentiment in it. However, we both in-\\nsisted that Crane could do what was needed,\\nand later, when Howard saw him play in\\nsome of our old pieces, he became more\\npositive on the point.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0275.jp2"}, "274": {"fulltext": "236 Famous Actors.\\nIt was nine months after our first talk\\nwith Howard that he read us the first act\\nat Cohasset. From that time each act, as\\nit was finished was read and discussed, and\\nsuggestions given and alterations made.\\nFinally we heard the whole play read many\\ntimes. Howard took lots of pencilled notes\\nand went away with his manuscript. We\\nheard no more of it until it was read to the\\nwhole company. As it was then read so it\\nwas played, without a word being altered or\\na line cut out. This I think is wonderful,\\nand speaks volumes for Mr. Howard s knowl-\\nedge of his craft. I don t believe there is\\nanother instance known of a modern play\\nnot having been altered at rehearsal.\\nOn May 12, 1889, the partnership between\\nMr. Crane and Mr. Robson was dissolved,\\nMr. Robson purchasing Mr. Crane s interest\\nin The Henrietta for $25,000. He con-\\ntinued as a star in this play, in succeeding\\nyears adding to his repertory Is Marriage", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0276.jp2"}, "275": {"fulltext": "Stuart Robson. 237\\na Failure? Comedy of Errors, and She\\nStoops to Conquer. Last season he ap-\\npeared in Augustus Thomas s comedy, The\\nMeddler.\\nMr. Robson s first wife died in 1890, and\\na year later, he married Miss May Waldron,\\nwho had been for many seasons a member\\nof his company and who still acts with him.\\nShe was the daughter of W. H. Dougherty,\\na New York journalist, and was born in\\nHamilton, Ontario. In 1885 she was a\\nmember of Augustin Daly s company, and\\nshortly after that she joined Robson and\\nCrane, first acting Phryne in the Comedy\\nof Errors. She played Lady Mary Tre-\\nlawney in The Henrietta, and afterward\\nMrs. Cornelia Opdyke. In Is Marriage a\\nFailure she was Mrs. Kent, and in She\\nStoops to Conquer, Kate Hardcastle.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0277.jp2"}, "276": {"fulltext": "CHAPTER XVIII.\\nMELBOURNE MACDOWELL.\\nWhen Fanny Davenport produced Sar-\\ndou s La Tosca in this country, at the\\nBroadway Theatre, New York, on March 3,\\n1888, Melbourne MacDowell acted the part\\nof Scarpia. One year later he married Miss\\nDavenport, and his theatrical career was\\nidentified with hers until her death in 1898.\\nThen he became associated with Blanche\\nWalsh, who last season was so successful in\\nthe Davenport repertory. Mr. MacDowell s\\nname is closely connected with the roles of\\nLoris in Fedora, Scarpia in La Tosca,\\nand Marc Antony in Cleopatra. Mr. Mac-\\nDowell has an imposing stage presence, and\\n238", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0278.jp2"}, "277": {"fulltext": "MELBOURNE MACDOWELL,", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0279.jp2"}, "278": {"fulltext": "", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0280.jp2"}, "279": {"fulltext": "Melbourne MacDowelL 239\\nhis physique is superb. Histrionically, while\\nby no means great, he always attracts one\\nby his sincerity and intelligence. His range\\nis somewhat limited, but within that range\\nhe is convincing, forceful, and dramatically\\nimpressive. I like best of all his Marc\\nAntony, which pictorially realises the ideal\\nof the Roman warrior. Mr. MacDowell in-\\nterprets the character with rare simplicity.\\nHis action is straightforward and honest.\\nOther actors might excel him in subtilty\\nand in suggestiveness, but it is doubtful if\\nany could make the Sardou creation more\\nlifelike or more comprehensive.\\nMr. MacDowell was born in Little Wash-\\nington, New Jersey, and the late E. A. Mac-\\nDowell was his older brother. Melbourne\\nMacDowell began life by running away to\\nsea. His first experiences in the theatrical\\nbusiness occurred in Montreal, where he was\\na ticket-seller and assistant doorkeeper in\\nthe theatre of which his brother was man-", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0281.jp2"}, "280": {"fulltext": "240 Famous Actors.\\nager. Occasionally the stage-manager would\\nborrow him to help out in some production,\\nand once he played Charles, the wrestler, in\\nAs You Like It, when Adelaide Neilson\\nwas the Rosalind and Eben Plympton the\\nOrlando.\\nI was very fond of boxing and wrestling,\\nand had something of a local reputation as\\nan amateur athlete, remarked Mr. Mac-\\nDowell, but my ideas of acting were a\\nlittle vague. The first scene between Charles\\nand Oliver had to be cut because I could\\nnot speak the lines, but in the scene of\\nthe wrestling match I collared my one line,\\nfor Charles s second speech was also\\ncut, and when my cue came I bellowed\\nit forth at the top of my voice. The house\\nhooted and hissed and applauded. Miss Neil-\\nson nearly swallowed her handkerchief as\\nshe made a break for the back of the stage.\\nShe had a keen sense of humour, and that\\nwas just the sort of a mishap that she would", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0282.jp2"}, "281": {"fulltext": "Melbourne MacDowell. 241\\nenjoy. I thought I had made the hit of my\\nlife. I was proud of myself. Then came\\nthe wrestling match. The house was still\\napplauding and laughing when we began, and\\nin a minute I had forgotten that my part\\ncalled for a voluntary fall. I wasn t going\\nto let Plympton down me before all those\\npeople. My blood was up. If I went down\\nit would only be because Plympton threw me\\nfairly by skill. Fall, fall/ said he, under his\\nbreath. I ll be hanged if I do unless you\\nthrow me, I replied. My dear fellow, you\\nmust, you know, he argued and still I\\ntugged on. Fall/ came the command from\\nmy brother who was in the wings. The gal-\\nlery got on to the fact that the wrestling\\nwas in earnest, and the boys shouted with\\ndelight. Finally, I did the Greco-Roman act,\\nand poor Plympton went over my head and\\nflat on his back where Charles should have\\nbeen, and the scene had gone all to pieces.\\nA similar unwillingness to be beaten, even", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0283.jp2"}, "282": {"fulltext": "242 Famous Actors.\\nin the interests of dramatic art, got Mr.\\nMacDowell into trouble when he was given\\nthe part of Tim Cogan in Arrah-na-Pogue.\\nCogan has an Irish jig contest with Katy\\nWalsh in the wedding scene, and Cogan is\\nsupposed to be out-danced by the woman.\\nMr. MacDowell forgot all about this during\\nthe excitement, and only came to a realising\\nsense of his wrong-doing when the woman,\\nafter striving bravely to follow the author s\\ndirections, was compelled to quit, completely\\nexhausted.\\nMr. MacDowell s first regular engagement\\nas an actor was at the Boston Museum, to\\nwhich he went in 1877. Annie Clarke was\\nthen leading woman of the company, and\\nCharles Barron was leading man. William\\nWarren was principal comedian. E. A. Mac-\\nDowell was a member of the company, and\\nat his earnest request Melbourne had himself\\nbilled as William Melbourne. His first part\\nwas the sheriff s officer in Road to Ruin.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0284.jp2"}, "283": {"fulltext": "Melbourne MacDowell. 243\\nUp to the time I came to Boston, said\\nMr. MacDowell, I had never known what\\nstage fright was. My first entrance in Road\\nto Ruin was to arrest the man playing Mil-\\nford. Unluckily it was in a front scene. A\\nfront set is a young actor s terror. It brings\\nhim on right down at the footlights, so near\\nthe audience. When he comes on up the\\nstage, on a full set, he doesn t feel the audi-\\nence, but in one of those front sets it is\\ndreadful. Well, I, who had never been ner-\\nvous in my life, was suddenly and unexpect-\\nedly stricken with stage fright. I went on\\nall right. I lifted my hand and opened my\\nmouth. I couldn t take my hand down. I\\ncouldn t shut my mouth. I was simply para-\\nlysed, transfixed. I haven t a notion how\\nlong I stood there when Barney Nolan\\nfetched me off. But the scene had to be\\ndone. I was pulled together and went on\\nagain. This time I managed to speak. I\\nshouted. Every one on the stage was whis-", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0285.jp2"}, "284": {"fulltext": "244 Famous Actors.\\npering, Easy, easy, my boy, or Sh, Sh\\nDon t shout But I was keyed up and\\nhad to go on. Barron used to say after that,\\nin his quiet way, MacDowell is a good actor,\\nbut he s a bit loud. By the way, what a\\ngood actor Barron was I never knew a\\nman who could play so many parts so well,\\nand play them so easily. You never heard\\nhim complaining. Yet the bill was changed\\nconstantly, for there were no long runs in\\nthose days. You never knew even when he\\nlearned his parts, but he always came to\\nrehearsal letter perfect, which was more than\\nthe young actors did.\\nAfter leaving the Museum Mr. Mac-\\nDowell returned to Montreal, where he re-\\nmained two seasons, playing leading heavy\\nparts, his first character being the Duke de\\nGonzague in The Duke s Motto. Next\\nhe was three years in a stock company in\\nMinneapolis, first as walking gentleman, and\\nthen in more important capacities. One of", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0286.jp2"}, "285": {"fulltext": "Melbourne MacDowell. 245\\nhis roles was Cinq Mars in The Iron Mask,\\na part that Lester Wallack used to play. A\\nseason with the Molly Maguire piece, The\\nBlack Diamond Engineer, which was under\\nthe management of Charles Forbes, followed.\\nForbes just doted on me, declared Mr.\\nMacDowell, dryly. He thought I was the\\nbiggest actor going because I could shout\\nso. The season after leaving Forbes Mr.\\nMacDowell acted Aaron Rodney in one of\\nthe Madison Square Hazel Kirke com-\\npanies, and then Joseph Murphy engaged\\nhim to play Valentine Hay in Kerry Gow.\\nDo you know, said Mr. MacDowell, I\\ncould go back to Murphy and play that part\\nany day He wants me, and I really don t\\nthink he sees any reason why I shouldn t\\ncome. I don t believe he thinks for a mo-\\nment that I have had such a good oppor-\\ntunity since. Once, when I was in San\\nFrancisco appearing in Cleopatra, I met\\nMurphy on the street. He came to me", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0287.jp2"}, "286": {"fulltext": "246 Famous Actors.\\nand said, You out here Say, now, what s\\nto prevent you coming over and playing Val-\\nentine Hay with me for awhile Nothing\\nat all/ I said. He hadn t a notion what I\\nwas doing and didn t discover until the next\\nday. Now Murphy liked me because I was\\na big fellow and he could knock me down.\\nYou know on the stage it is one thing to\\ngive a blow, but the effect depends entirely\\non how the man takes it. Very few men are\\nwilling to be hit in the face. In one act of\\n1 Kerry Gow, in the blacksmith scene, Dan\\nO Hara that s Murphy hits Hay that\\nwas I a blow fairly in the face. I used\\nto square off and take it and do a big fall.\\nMurphy admired that. He would rush up to\\nme after the curtain came down and feel me all\\nover. Ain t yer hurt, man he d ask, anx-\\niously. How the devil do you do it Now\\nthat made Murphy think me a great actor.\\nMy brogue was something queer, I can tell\\nyou, but I could take a blow squarely and do", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0288.jp2"}, "287": {"fulltext": "Melbourne MacDoivell. 247\\na great fall. That fixed me with Murphy. If\\never I want an engagement, he ll give it to\\nme.\\nDuring the season of 1884-85, Mr. Mac-\\nDowell played in this country Jean de Le-\\nrieux, the part which his brother had created\\nin England, and then he joined Fanny Dav-\\nenport, to create in this country the role of\\nScarpia in La Tosca.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0289.jp2"}, "288": {"fulltext": "CHAPTER XIX.\\nSOL SMITH RUSSELL.\\nNo one that ever saw Sol Smith Russell\\nas the impecunious inventor in A Poor\\nRelation, or as Hosea Howe, the green\\ncountry boy in A Peaceful Valley, can\\nforget the unique temperament and quaint\\npersonality that so thoroughly permeated\\nthose two plays. He will remember that\\nlong, lank figure, and those thin legs, awk-\\nward and unstable and full of queer twists\\nand turns that homely face, with its sweet,\\npathetic smile, its good-natured drollery and\\nits beautiful kindliness, the face of a humour-\\nist, keen for a silver lining to brighten the\\ndarkest cloud, and marvellously suscepti-\\nble to the slightest touch of honest senti-\\n248", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0290.jp2"}, "289": {"fulltext": "SOL. SMITH RUSSELL\\nAs Doctor Pangloss in The Heir-at-Law.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0291.jp2"}, "290": {"fulltext": "", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0292.jp2"}, "291": {"fulltext": "Sol Smith Russell. 249\\nment, a face that children instinctively love.\\nWhat the average spectator will not recall,\\nwhen he thinks of Sol Smith Russell, is the\\nactor s art, for that is the thing least in evi-\\ndence when Mr. Russell is on the stage.\\nOf course, with his pronounced individu-\\nality, Mr. Russell is obliged to select charac-\\nters that are to an extent eccentric. He has\\nfound, especially fitted to his purpose, the\\nodd types that are characteristic of certain\\nphases of American life, characters, un-\\ncouth in physique, unschooled in social con-\\nventionalities, but with minds alert, with vast\\nambitions, and with the get-there, never-say-\\ndie spirit. Such a personage under the actor s\\nmagic touch becomes one of nature s gentle-\\nmen, lovable, kind of heart, generous, and\\nchivalrous. Mr. Russell is a true imperson-\\nator he never caricatures, and he never\\nburlesques. He is sympathetic to an aston-\\nishing degree, and his command of pathos is\\nalmost as complete as is Joseph Jefferson s.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0293.jp2"}, "292": {"fulltext": "250 Famous Actors.\\nAn optimist in every sense, he idealises\\nhuman nature, not to such an extent, how-\\never, that one feels that he has gone beyond\\nthe range of man s possibilities. He is always\\nfaithful to life, and he is always sincere.\\nYears of hard work and conscientious\\nstriving for better things have resulted in\\nthe development of this accomplished artist.\\nMr. Russell s experiences have been mani-\\nfold he has trod the dark by-paths, and he\\nhas struggled long with adversity and misfor-\\ntune. As a boy he travelled on foot from\\ntown to town, giving his little entertainments\\nin barns and cellars. He shared the hard-\\nships of the soldiers during the great Civil\\nWar, brightening their lives with his songs\\nand clever imitations, and receiving in return\\na portion of their army fare. As a humble\\nmember of a canal boat circus, he often shared\\nwith the mules the task of dragging the un-\\nwieldy barge. There were years of unsatis-\\nfied ambition, when he was counted only an", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0294.jp2"}, "293": {"fulltext": "Sol Smith Russell. 251\\nexceptionally bright entertainer in variety\\nshows.\\nMr. Russell was born in Brunswick, Mis-\\nsouri, on June 15, 1848, but the first dozen\\nyears of his life were spent in St. Louis,\\nwhere his father moved when his son was\\nvery young. At that time the father made\\nand sold tinware, but later he became an\\nitinerant doctor and preacher. Mr. Russell s\\nmother was a daughter of Edwin Matthews,\\nwho taught music in Cincinnati, and one of\\nMr. Russell s aunts was the wife of Sol\\nSmith, the actor, for whom Mr. Russell was\\nnamed. Both of Mr. Russell s parents were\\nstrongly religious, and in those days that was\\nequivalent to saying that they were vigor-\\nously opposed to the theatre, so the boy s\\nearly fondness for the drama was gratified\\nsurreptitiously.\\nMy very earliest recollections of any con-\\nnection with the stage are of the production\\nof The Savage of the Rocks of Borneo, in a", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0295.jp2"}, "294": {"fulltext": "252 Famous Actors.\\ncellar, said Mr. Russell. I had seen the\\nplay at the St. Louis Theatre, and attempted\\na reproduction in this underground play-\\nhouse but, to our misfortune, the boy who\\nwas to act the part of the persecuted Indian\\ngot into a row with the boy who played the\\nWhite Maiden, the result being that this first\\nepisode in my theatrical career came to a\\nsudden termination.\\nIn i860 Mr. Russell s father moved to\\nJacksonville, Illinois, and it was shortly after\\nthis that Mr. Russell organised a little min-\\nstrel company among his schoolmates. The\\nboys walked from town to town, giving in\\nbarns and cellars their entertainments, the\\nchief features of which were Mr. Russell s\\ncomic impersonations. Then the war broke\\nout, and the youthful actor was wild to enlist.\\nHe finally ran away and became a drummer-\\nboy, but was taken ill at Paducah, Ken-\\ntucky, from which place he struggled home\\nby steamboat and afoot. This experience did", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0296.jp2"}, "295": {"fulltext": "Sol Smith Russell. 253\\nnot kill his liking for army life, however, and\\nas soon as he recovered his health he started\\nout again and wandered from camp to camp,\\nentertaining the soldiers with songs and im-\\npersonations, and sharing their bed and board.\\nMy first theatrical engagement was at the\\nDefiance Theatre, Cairo, Illinois, in 1862, at\\nthe magnificent salary of six dollars a week,\\nsaid Mr. Russell. For this recompense I\\nsang between the acts and played and\\ndrummed in the orchestra. I had for a\\nbed the stage lounge, and counted myself\\nlucky to have even so good a place to sleep\\nas that. The manager of the theatre, Mr.\\nHolland, was very kind to me. He took me\\nto his home and gave me free access to his\\nexcellent theatrical library, and during such\\nspare time as I had, I read. My first acting\\nwas in a play called The Hidden Hand, and\\nmy part was that of a negro girl. I made\\nquite a success of it.\\nHe was then offered twelve dollars a week", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0297.jp2"}, "296": {"fulltext": "254 Famous Actors.\\nif he would learn to walk the slack wire.\\nHe accepted and joined Bob Carter s\\nDog Show, which travelled on a canal-\\nboat. When it was necessary Mr. Russell\\njoined the mules in hauling the craft. His\\nnext engagement was at John Bates s\\nNational Theatre in Cincinnati, where he\\nsang between the acts, and after that he\\nwas a stock actor and a singer in Deagle s\\nTheatre, St. Louis. Then he played in Mil-\\nwaukee, later becoming connected with the\\nPeake Family Bell Ringers, who followed\\nthe army into Arkansas and Tennessee.\\nDuring the season of 1864-65 Mr. Russell\\nwas second comedian in the Nashville\\nTheatre, where Laura Keene and Maggie\\nMitchell also played, and the following season\\nhe was at Ben DeBar s Theatre, St. Louis,\\nwith Lawrence Barrett. The fall of 1866\\nfound him visiting some small Western towns\\nand experiencing every variety of hard luck.\\nPerhaps you d like to have me tell you of", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0298.jp2"}, "297": {"fulltext": "Sol Smith Russell. 255\\nmy walk of thirty-six miles on a given occa-\\nsion, with my wardrobe, tied up in a yellow\\nhandkerchief, under my arm, Mr. Russell\\nremarked of my offering to give an enter-\\nment, single-handed and alone, in a town,\\none of the small towns of the region, for\\nwhich exhibition of my talents the boys of\\nthe place drove me into the river and pom-\\nmelled me to their evident delight and satis-\\nfaction of my subsisting for three days on\\none chicken of my arriving at the little town\\nof Meredosia, Illinois, where there was no\\nprinting-office of my taking one old hand-\\nbill from my bundle, and, procuring a bell,\\ngoing about the village and arousing the\\ninhabitants, taking my bill from house to\\nhouse, from store to store, and showing my\\nprogramme, and then, when evening came,\\nexhibiting my abilities and talents to a house\\nwhose receipts brought me, all told, exactly\\nsixty-five cents But after all this was a\\ngood house for me at that particular time.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0299.jp2"}, "298": {"fulltext": "256 Famous Actors.\\nOften I avoided hall hire, sang in the open\\nair, and took up a collection and on a cer-\\ntain occasion I added the sale of eye- water,\\nat ten cents a bottle, to my entertainment\\nwithout any noticeable increase of receipts.\\nMr. Russell first came East with the\\nBerger Family, and his impersonations of\\neccentric characters and imitations of John\\nB. Gough attracted considerable attention.\\nDuring 1867 he was connected with the\\nstock company of William E. Sinn s Arch\\nStreet Theatre, Philadelphia, of which James\\nE. Murdock was the leading actor. The next\\nthree years were spent as a monologue en-\\ntertainer in variety theatres in New England\\nand elsewhere. Mr. Russell s first appear-\\nance in New York was in 1871, at Lina\\nEdwin s Theatre. He was then engaged for\\nthe Olympic Theatre, New York, of which\\nJames Duff, the father-in-law of Augustin\\nDaly, was then manager. The stock com-\\npany, which regularly played at the Olympic", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0300.jp2"}, "299": {"fulltext": "Sol Smith Russell. 257\\nTheatre, was an unusually large one, and\\nincluded a ballet corps and a numerous\\nchorus. Two or three different plays were\\ngiven every night and sometimes, during\\nthe same evening, Mr. Russell was called\\nupon to appear as a ballet girl in one piece\\nand to impersonate one of the bearded ruf-\\nfians in the next. The late James Lewis,\\nformerly of Daly s Theatre, was also a mem-\\nber of the company.\\nIn 1874 Mr. Russell joined Augustin\\nDaly s company, making his first appearance,\\non August 24th, as Mr. Peabody in What\\nCould She Do or Jealousy. He left the\\norganisation after one season, but rejoined it\\nagain in 1876. While with Mr. Daly he played\\nTrip in The School for Scandal, Colander\\nin Masks and Faces, and like characters.\\nMr. Russell first appeared as a star in\\n1880. He opened in Buffalo in Edgewood\\nFolks, a piece written for^ him by J. E.\\nBrown, of Boston, especially to display his", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0301.jp2"}, "300": {"fulltext": "258 Famous Actors.\\npeculiar abilities as a character impersona-\\ntor and entertainer, Mr. Russell s specialties\\nbeing made a prominent feature.\\nI organised the best company, in the\\nway of support, that I could gather, includ-\\ning several members of Wallack s stock com-\\npany, said Mr. Russell. I made a great\\neffort, looking to splendid success. Our\\ncompany played thirty-eight weeks with\\nvarying fortunes indeed, with small lustre\\nand little profit. But the following season\\nwas good; the third better still, and, at the\\nend of the fifth year the play in question\\nEdgewood Folks had made my reputa-\\ntion as a drawing star.\\nThen on the retirement of William War-\\nren in 1885 from the Boston Museum, Mr.\\nRussell succeeded him as leading comedian,\\nbut in 1886 he resumed his starring tours,\\nbringing out Felix McKusick, by J. E.\\nBrown. In 1887 he produced Pa in\\n1887 Bewitched, by Edward Kidder; in", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0302.jp2"}, "301": {"fulltext": "Sol Smith Russell. 259\\n1889 A Poor Relation, by the same\\nauthor; The Tale of a Coat, by Dion\\nBoucicault, in 1890. Since then Peaceful\\nValley, April Weather, a revival of The\\nHeir-at-Law, A Bachelor s Romance, and\\nHon. John Grigsby have shown him at\\nhis best. Mr. Russell s home is in Minneap-\\nolis, and his wife is the daughter of the late\\nWilliam T. Adams, known to boy readers as\\nOliver Optic.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0303.jp2"}, "302": {"fulltext": "CHAPTER XX.\\nOTIS SKINNER.\\nOtis Skinner has a vivacious and attract-\\nive personality, and is splendidly endowed\\nphysically his face is handsome, and his\\nfigure is well-knit and athletic. He is artis-\\ntic in his tastes, and intellectually he is the\\nequal of any person on the American stage.\\nYet, with all these advantages, I do not think\\nthat Mr. Skinner is a born actor; I do not\\nthink that he has a strong dramatic instinct.\\nHis art is not intuitive, and the effects he\\nproduces are the results of hard study and\\npainstaking effort. Personally, I would rather\\nsee Mr. Skinner act than I would a num-\\nber of others whose financial and popular suc-\\ncess has been greater than his. I admire\\n260", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0304.jp2"}, "303": {"fulltext": "OTIS SKINNER\\nAs Shylock in The Merchant of Venice.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0305.jp2"}, "304": {"fulltext": "", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0306.jp2"}, "305": {"fulltext": "Otis Skinner. 261\\nhis intelligence I like his method and I\\nenjoy watching him. Where he fails, I am\\nconvinced, is in simulating spontaneity, and\\nthis accounts, it seems to me, for his unsuc-\\ncessful attempt several seasons ago perma-\\nnently to establish himself as a producer of\\nthe better class of plays.\\nMr. Skinner s stage training has been of\\nthe most thorough description. He is a\\ncapable exponent of Shakespeare as a ro-\\nmantic actor he stands well to the fore in\\nthis country his success last year in Rose-\\nmary perhaps the greatest popular hit he\\nhas ever made gives him rank as a come-\\ndian. Here is versatility to an unusual\\ndegree, and versatility, moreover, that has\\nbeen tested, that is real and genuine. His\\nsincerity is never to be questioned, and his\\nconscientiousness is superb. An excellent\\ncriticism from the Chicago Chronicle of Mr.\\nSkinner s Shylock treats fairly of the actor s\\nvirtues and faults as they are manifested in", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0307.jp2"}, "306": {"fulltext": "262 Famous Actors.\\nthis particular role, and, it may be added,\\nthese virtues and faults are found in other\\nof Mr. Skinner s characters.\\nMr. Skinner represents Shylock with\\nremarkable moderation in the matter of ac-\\ntion and speech. We know of no one else\\nso temperate in these particulars. He is not\\nby any means commonplace, however. In\\ngiving to the character a familiar manner and\\na colloquial style, with the purpose to create\\nan artistic naturalism, he is careful to pre-\\nserve a poetic quality that keeps his work on\\nthe plane of classic art. He depends upon\\nintensity for the right expression of the spirit\\nof the Jew and is rather more interested, it\\nwould seem, in perfecting a rational and con-\\nsistent view of Shylock as a type than in\\nrevealing the passionate, vehement emotion\\nof a particular and vindictive man. Mr.\\nSkinner may not claim to be the first actor\\nto deal with Shylock as a normal creature,\\none in whom are the attributes and proper-", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0308.jp2"}, "307": {"fulltext": "Otis Skinner. 263\\nties of heart and mind common to men who\\ncherish affection, resent injustice, and would\\navenge wrong, but it can be said of him that\\nhe keeps more within the bounds of proba-\\nbility, the circumstances of Shylock s life\\nconsidered, than any actor who has seen fit\\nto regard Shakespeare s Jew as something\\nbetter and finer than a vulgar usurer and\\nmerely malevolent seeker after revenge\\nagainst one who has hindered him of bar-\\ngains.\\nThe Shylock Mr. Skinner shows to us is\\nsuch a man as, under favouring conditions,\\nmight have achieved distinction in some hon-\\nourable calling a man of good presence,\\nself-respect, and pride, educated and of sound\\nunderstanding, qualified to be a leader. A\\nshrewd, successful business man it is, making\\nthe best of the only calling other than that\\nof medicine permitted to him sordid, not\\nbecause he loves money, but because he\\nknows it to be the only defence he has", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0309.jp2"}, "308": {"fulltext": "264 Famous Actors.\\nagainst his enemies, perceiving gold to be,\\nas Shelley happily styled it, an old man s\\nsword, certainly the buckler and security of\\nthe Jew at a time when he is compelled by\\nlaw to wear the badge of sufferance, the\\nyellow or red hat that Venice put upon a\\ndespised race tolerated in her midst.\\nThus far Mr. Skinner is only in the for-\\nmative period of his work, getting his concep-\\ntion into substance that may be perfected\\nby repeated touches and corrections in prac-\\ntice. He lacks much of the subtilty that is\\nmore necessary in these quiet, thoughtful\\ninterpretations that the artist would substi-\\ntute for the energised passion of dramatic\\nutterance and action with which we are\\nsomewhat too well acquainted. He has not\\nmastered the part even in accordance with\\nhis own conception, and in the original busi-\\nness he introduces he sometimes goes amiss,\\neither through falling short of or exceeding\\nthe demands of the occasion. For example,", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0310.jp2"}, "309": {"fulltext": "Otis Skinner. 265\\nbusiness, the introduction of which requires\\nthe actor to supplement the text with words\\nof his own, is, in standard classic perform-\\nances, invariably inelegant and inartistic, and\\ncan only serve to throw the action out of\\nkey.\\nMr. Skinner has not yet made a com-\\nmanding picture of the trial scene, in which\\nhe is less original than elsewhere. He clings\\nto much of the old melodramatic business,\\nas in the whetting of the knife, which he\\nmakes laboriously deliberate instead of hav-\\ning it an incidental, casual bit of business.\\nAn intelligent student of Shakespeare has\\nexpressed the opinion that Shy lock should\\nbe seated, and, his legs being crossed, should\\nstroke his knife on the leather of his shoe\\nin that semi-preoccupied way so frequently\\nnoted in real life. There is not actual\\nsharpening be sure that Shylock has seen\\nto it that his knife s edge be in readiness\\nfor its office. Taken as a whole, however,", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0311.jp2"}, "310": {"fulltext": "266 Famous Actors.\\nMr. Skinner s performance is interesting and\\nfull of intelligence, promising well for the\\nfuture.\\nOtis Skinner was born on June 28, 1857,\\nin Cambridge, Massachusetts. His father\\nis the Rev. Charles A. Skinner, a Univer-\\nsalist minister, and at that time in charge of\\nthe First Universalist Church of Cambridge,\\nand now of Somerville. One of Otis Skin-\\nner s brothers is Charles M. Skinner, of\\nBrooklyn, prominent as an author, play-\\nright, and dramatic critic. Otis Skinner s\\ntaste for the drama was inherited both\\nfrom his father and his mother, from his\\nmother particularly, for she was a woman\\nof poetic temperament, refined taste, and\\nartistic impressibility. Mr. Skinner was ed-\\nucated in Hartford, Connecticut, and after\\nleaving school he became a clerk in a com-\\nmission house in that city, intending to\\nlearn the business. On a visit to New\\nYork, however, he saw The Hunchback of", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0312.jp2"}, "311": {"fulltext": "Otis Skinner. 26J\\nNotre Dame acted at the old Lyceum,\\nnow the Fourteenth Street Theatre, and\\nthis turned his attention toward the stage.\\nHis first efforts were directed to organising\\na dramatic company among his friends, and\\nfor a year this company appeared spasmodi-\\ncally in small towns in what was termed a\\nDramatic, Musical, and Literary Entertain-\\nment.\\nThen Mr. Skinner secured his father s\\nconsent to try the professional stage. But\\nhis father did more for him than that. He\\nobtained for his son from P. T. Barnum,\\nthe showman, who was also a Universalist,\\na letter of introduction to William Davidge,\\nJr., the manager of Wood s Museum in\\nPhiladelphia, and there, on October 30,\\n1877, Otis Skinner made his debut as Old\\nPlantation, an aged negro, in a rural play\\ncalled Woodleigh. His salary was eight\\ndollars a week when the business was good,\\nand nothing when it was bad. It happened", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0313.jp2"}, "312": {"fulltext": "268 Famous Actors.\\nto be bad most of that winter, and the\\nneophyte was obliged to tide over some\\nweeks with money procured by pawning his\\nbooks. He stuck to the company, however,\\nwhich was more than the older actors did,\\nand the result was that before long he was\\nplaying important parts. During the sum-\\nmer he acted in the stock company of the\\nChestnut Street Theatre, of which William\\nE. Sheridan was leading man and Louis\\nJames a member, and the following fall he\\njoined the Walnut Street Theatre stock\\ncompany, where he supported such stars as\\nLawrence Barrett, John McCullough, Mary\\nAnderson, John T. Raymond, and Madame\\nJanauschek.\\nHow she frightened me one night\\nremarked Mr. Skinner, recalling his expe-\\nriences in Philadelphia. The play was\\nMacbeth/ and I was given the part of Sey-\\nton. We had been very carefully rehearsed,\\nand I was letter perfect. In those days", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0314.jp2"}, "313": {"fulltext": "Otis Skinner. 269\\nJanauschek was magnificent. In her pas-\\nsionate scenes you could see the fire flash\\nfrom her eyes. I had to announce the\\narrival of the king, and did so before I re-\\nceived my cue. Madame gave me my cue\\nat the proper time, but, realising the mis-\\ntake I had made, the lines fled, and I was\\nspeechless. I could feel the lightning flash\\nfrom her eyes, and waited for the explosion\\nwith a very sinking heart. Fortunately, it\\ndid not come.\\nThe first time that I really stuck in my\\nlines was with John McCullough. He was\\nplaying Coriolanus, and I had the very\\nminor part of a Roman general. We had\\nplayed the piece several nights, and every-\\nthing went well until the night in question.\\nIt was during the scene I had with McCul-\\nlough, and my lines went completely out of\\nmy head. I could think of nothing. I was\\nterrified. The stage seemed to whirl around\\nme. McCullough picked up my lines and", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0315.jp2"}, "314": {"fulltext": "270 Famous Actors.\\nfinished the scene. When I went off I felt\\nas if I had committed some awful crime.\\nThis feeling gave way to a sense of the\\nkeenest shame, which was, in turn, suc-\\nceeded by anger. I was fearfully angry,\\nand the hot tears were streaming down my\\nface. Suddenly I felt a hand on my shoul-\\nder, and heard the great actor say, in the\\nkindest tone Feeling badly, my boy Don t\\nmind it a bit. Accidents will happen to the\\nbest of us.\\nThe next season Mr. Skinner spent in\\nNew York, appearing first at Niblo s with\\nthe Kiralfys in Enchantment. Later he\\nwas in Hearts of Steel, and for a few\\nweeks with Colonel Sinn in Brooklyn. Then\\nhe played a short season with Edwin Booth\\nat Booth s Theatre, making a success as\\nFrancois in Richelieu. During the season\\nof 1880-81 Mr. Skinner was a member of\\nthe Boston Theatre Company, first appearing\\non October 26th as Lord Glenaroon in Voy-", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0316.jp2"}, "315": {"fulltext": "Otis Skinner. 271\\nagers in Southern Seas. In the cast were\\nFrank Lawler, Dan Maguinniss, Mark Price,\\nC. Leslie Allen, John T. Craven, Seth\\nSpringer, E. Y. Backus, Mrs. Pennoyer, and\\nRachel Noah. Two children also appeared\\nin the play, and one of them was Harry\\nWoodruff, who was last season with the\\nNew York Lyceum Theatre Company. After\\nleaving the Boston Theatre Mr. Skinner\\nbecame leading man for Lawrence Barrett,\\nwith whom he remained for three seasons,\\nacting Marc Antony, Edmond in Yorick s\\nLove, Laertes, Cassio, Gratiano, and Paolo\\nin Francesca da Rimini. Five years with\\nAugustin Daly s company followed, during\\nwhich time Mr. Skinner made three trips\\nto Europe with the organisation. He made\\nhis first appearance at Daly s in November,\\n1884, in The Wooden Spoon, and a new\\nmember of the company that same night was\\nEdith Kingdon, who afterward became Mrs.\\nGeorge Gould.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0317.jp2"}, "316": {"fulltext": "272 Famous Actors.\\nDuring the summer of 1889 Mr. Skinner\\nproduced at the Grand Opera House, Chi-\\ncago, The Red Signal, which was by him-\\nself and his brother Charles, and that fall\\nhe became leading man for Edwin Booth\\nand Helena Modjeska, assuming the roles\\nof De Mauprat, Laertes, Del A Quilla, Don\\nCaesar, Mortimer, Petruchio, Bassanio, and\\nMacduff.\\nIt was one of the pleasantest engage-\\nments I ever had, said Mr. Skinner, for\\nboth Mr. Booth and Madame Modjeska were\\ncharming persons to be associated with. It\\nwas during this engagement that I nearly\\nkilled Mr. Booth. We were playing Mac-\\nbeth, Mr. Booth acting the king and I\\nMacduff. You remember the scene in the\\nlast act where Macduff rushes on, crying to\\nthe king, Turn, hell-hound, turn and\\nforces him to combat. Mr. Booth was grow-\\ning weaker, and, although an accomplished\\nswordsman, had little strength in his guard.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0318.jp2"}, "317": {"fulltext": "Otis Skinner. 273\\nIn the nervousness of the first performance\\nI rushed on, crying the lines, and brought\\nmy blade down with a crashing blow square\\nat his head. He held up his sword, but as\\nthe two weapons struck mine broke through\\nhis guard and struck him with great force\\non the head. Had he not worn a very heavy\\nwig, and about his head a circlet of iron, the\\nblow would have certainly killed him. As it\\nwas, he was stunned for a moment, and after\\nthe act, when he took off his wig and circlet,\\nthere was a tremendous bump where my\\nsword had struck. The weapons, by the\\nway, were heavy combat swords, and are now\\nin my possession.\\nAt the end of the Booth-Modjeska season\\nMr. Skinner went to London, where for eight\\nweeks he played Romeo in a production of\\nRomeo and Juliet at the Globe Theatre.\\nTwo seasons with Margaret Mather followed,\\nMr. Skinner appearing as La Hire, Rudolph,\\nRomeo, and similar characters. During the", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0319.jp2"}, "318": {"fulltext": "274 Famous Actors.\\nseason of 1892-93 he was leading man with\\nModjeska, and the next season he remained\\nwith her as joint star. Besides appearing\\nas Macbeth and Shylock and in other roles\\nin the Modjeska repertory, such as Leices-\\nter in Mary Stuart, Armand in Camille,\\nand Orlando in As You Like It, Mr.\\nSkinner created in this country the character\\nof Lieutenant-Colonel Schwartz in Herman\\nSudermann s Magda. It did not prove\\nto be one of his best parts, however. In the\\nfall of 1894 Mr. Skinner became a star,\\nopening at Chicago in September in a ro-\\nmantic drama by Clyde Fitch, His Grace\\nde Grammont. Later he produced The\\nKing s Jester, an adaptation by Charles\\nSkinner from Victor Hugo s Le Roi\\nS Amuse, and Villon, the Vagabond,\\na play by Charles Skinner.\\nEvery dramatic season has its climax.\\nThis climax of the season of 1895-96 in this\\ncountry came when Mr. Skinner played", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0320.jp2"}, "319": {"fulltext": "Otis Skinner. 275\\nHamlet in Chicago. When Modjeska\\nwas taken ill in Cincinnati, Mr. Skinner was\\nin the wearying monotony of one-night stands\\nin Indiana. With no notice whatever, he\\nwas thrust before the Chicago public on\\nthe stage of the Grand Opera House, an\\nemergency attraction to fill Modjeska s time.\\nThen came the suggestion that he try\\nHamlet. Walker Whiteside, well known\\nand much admired in the West, was pre-\\nsenting the same character in another\\ntheatre, and Creston Clarke was announced\\nin the same role for the following week.\\nMr. Skinner protested. He had only played\\nHamlet four times, he explained, and that\\nin far-away places. Besides, he had no\\nscenery. Hamlet it must be, however,\\nand the rehearsals began, a ridiculous stage\\nsetting being provided by the theatre.\\nOn the first Tuesday night of his engage-\\nment he presented his characterisation of the\\nDanish Prince. The house was small, but", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0321.jp2"}, "320": {"fulltext": "276 Famous Actors.\\nthe critics were out in full force. Before\\ntwo acts had passed, Mr. Skinner had won.\\nHis success was marvellous. Every paper\\nin the city sang his praises. Again and again\\nduring the remainder of his two weeks stay\\nhe repeated his first triumph, but no longer\\nto empty benches. The house held audi-\\nences that had not been duplicated since\\nEdwin Booth and Lawrence Barrett were\\nthe stars. The romantic Hamlet was what\\nChicago writers termed Mr. Skinner s imper-\\nsonation. Again they accentuated its hu-\\nmanity and its sincerity. There was no\\nartificial air, no affected accent, no elocu-\\ntionary trick.\\nLast season Mr. Skinner was a member of\\nJoseph Jefferson s company until the veteran\\nwas compelled to close his season because of\\nillness. Then Mr. Skinner starred with suc-\\ncess through the South and West in Rose-\\nmary. In April, 1895, Mr. Skinner married\\nMiss Maud Durbin, who had been associated", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0322.jp2"}, "321": {"fulltext": "Otis Skinner. 2JJ\\nwith him professionally for several seasons.\\nIn June of that same year he was given the\\nhonorary degree of Master of Arts by Tufts\\nCollege.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0323.jp2"}, "322": {"fulltext": "CHAPTER XXI.\\nJ. E. DODSON.\\nJ. E. Dodson is one of the finest charac-\\nter actors on the English-speaking stage.\\nHe is a Londoner by birth, and although he\\ncame to this country only ten years ago,\\nafter a stage experience of over fifteen\\nyears duration, he is comparatively un-\\nknown in the British theatrical centre. Mr.\\nDodson s training was confined entirely to\\nthe provinces. It is curious that this fine\\nEnglish actor should have remained practi-\\ncally unrecognised until he came to the\\nUnited States with the Kendals. Fate,\\napparently, conspired to keep Mr. Dodson\\nout of London. When he first went on the\\nstage, in the seventies, he resolved not to\\n278", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0324.jp2"}, "323": {"fulltext": "J. E. DODSON\\nAs John Weathersby in Because She Loved Him So.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0325.jp2"}, "324": {"fulltext": "", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0326.jp2"}, "325": {"fulltext": "J. E. Dodson. 279\\nappear in London until he could act a first-\\nclass character in a first-class theatre with a\\nfirst-class company. In 1885, while he was\\nplaying the Hon. Vere Queckett in The\\nSchoolmistress, John Clayton saw him, and\\nengaged him to appear as Mr. Posket in\\nThe Magistrate. Mr. Dodson s work in\\nthat character pleased Mr. Clayton so much\\nthat he made arrangements for Mr. Dodson\\nto present Arthur Cecil s roles for two\\nyears at the Court Theatre, London. Mr.\\nClayton s death in 1888 frustrated these\\nplans, and in 1889 Mr. Dodson joined the\\nKendals. He came with them to the United\\nStates, and after that visit, in 1893, he made\\nhis debut in London while still a member\\nof the Kendals company.\\nMr. Dodson was one of last season s great\\nsuccesses in the old man character of John\\nWeatherby in the bright little farce, Be-\\ncause She Loved Him So. Mr. Dodson\\nalways had a genius for makeup, but in this", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0327.jp2"}, "326": {"fulltext": "280 Famous Actors.\\npart he fairly outdid himself. Not only was\\nthe face perfect, denoting in every line benign\\nold age, but the imitation was carried into\\nthe stooping shoulders and into the walk,\\nwhich had a hint of a shuffle and just a\\ntouch of feebleness. No one that saw Mr.\\nDodson on the stage would take him for a\\nsprightly man of forty-two years, who, how-\\never, does not begin to look his age. Mr.\\nDodson s assumption of old age did not end\\nwith mere physical imitation. His mental\\nconception was equally as true to life, and\\nthe part was played with a zest, a rich hu-\\nmour, and a finish that could hardly have\\nbeen bettered.\\nMr. Dodson was born in 1857. He was\\noriginally intended for the bar, but after\\nstudying law for six months he decided that\\nthe stage would suit him better. He had\\nhad a little amateur experience before he\\nmade his professional debut in 1877 at the\\nPrincess Theatre, Manchester, which was", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0328.jp2"}, "327": {"fulltext": "y. E. Dodson. 281\\nunder the management of Boston Browne,\\na wealthy American. Augustus Harris was\\nthe stage-manager. Mr. Dodson s first part\\nwas in The Spelling Bee, in which J. L.\\nToole was starring. Mr. Dodson remained\\nin Manchester for two years, and between\\nthe seasons he went to Paignton in Devon-\\nshire to play juvenile leads, such parts as\\nPygmalion, Claude Melnotte, and Bob Brierly.\\nHe could not have been startlingly success-\\nful, for Edward Terry advised him to make\\na specialty of character and comedy parts.\\nAnd Mr. Dodson had the wit to follow the\\nadvice.\\nAt the Theatre Royal and Gaiety The-\\natre, Dublin, both under the management of\\nMichael Gunn, Mr. Dodson played second\\nlow comedy parts. Engagements in Liv-\\nerpool, Glasgow, and Edinburgh followed,\\nand then he was secured by T. C. King\\nas first low comedian of the Royal Theatre,\\nWorcester.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0329.jp2"}, "328": {"fulltext": "282 Famous Actors.\\nI assumed my histrionic duties with fear\\nand trembling, Mr. Dodson remarked, and\\nin the course of the season appeared in an\\nexclusive round of old comedy, Shakespearian\\nand modern roles. In fact, I had the good\\nluck to become quite a local favourite, and\\nwas tendered a benefit at the end of the\\nseason. During the Christmas holidays I\\nwas cast as the comedy old woman in the\\npantomime of Jack and Gill/\\nSubsequently Mr. Dodson acted at Bath,\\nAberdeen, Dundee, Greenock, and appeared\\nagain in Edinburgh in both pantomime and\\ndrama. He supported Joseph Jefferson in\\nRip Van Winkle and J. K. Emmett in\\nFritz. He travelled with W. Calder in\\nThe White Slave. He was the origi-\\nnal Carraway Bones in Turned Up, in\\nGlasgow, and the original Professor in\\nKleptomania. He played the dual r61e\\nin J. Derrick s Twins. He toured with\\nClayton and Cecil s company for two years,", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0330.jp2"}, "329": {"fulltext": "J. E. Dodson. 283\\nand in 1889 he joined Mr. and Mrs.\\nKendal.\\nI played in Rip Van Winkle with\\nJoseph Jefferson for five or six weeks, said\\nMr. Dodson, and with Emmett I played\\nSnow, the negro, in Fritz for four months\\nin the provinces. Emmett was a wonder-\\nfully magnetic actor. He crowded the houses\\neverywhere. While I was with him he never\\nwould take an encore for a song, no matter\\nhow persistent the applause. He was opposed\\nto encores on the ground that any persons in\\nthe audience who were bent on hearing the\\nsong a second time could come again the fol-\\nlowing night. Another peculiarity of Emmett\\nwas that he would never allow long waits\\nbetween the acts. He maintained that the\\npeople came to see the performance, and that\\nthe scenic setting was of minor considera-\\ntion. So he d have the curtain rung up on\\ntime, no matter whether the setting was\\ncompleted or not.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0331.jp2"}, "330": {"fulltext": "284 Famous Actors.\\nDuring a tour with James Buchanan in\\nIt s Never Too Late to Mend, I played\\nJackey and afterward Peter Crawley. I also\\nplayed a negro part in a revival of Black\\nand White, which Wilkie Collins wrote for\\nCharles Fechter, and I took part in the\\nprovincial production of a piece by Arthur\\nSketchley, called Craft. I looked for-\\nward to playing Carraway Bones in Lon-\\ndon, but Willie Edouin decided to act it\\nhimself there, so that was another time\\nthat I was disappointed in my London as-\\npirations.\\nMr. Dodson tells this amusing experience\\nthat he had with a portion of his makeup\\nduring the first performance of Turned\\nUp in Glasgow\\nIn order to give Carraway Bones the\\nrequisite facial eccentricity, I was in the\\nhabit of enlarging my nose. In the second\\nact I had to make a precipitate fall through\\na thatched roof, which caused considerable", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0332.jp2"}, "331": {"fulltext": "J. E. Dodson. 285\\ndamage to my facial enlargement. My fall\\nbrought down the house, and as that was the\\nfirst night the manager was so delighted with\\nthe success of the scene that he came to my\\ndressing-room and opened a bottle of cham-\\npagne. Consequently I had no time properly\\nto adjust my false nose before going on for\\nthe next scene. That was a fatal mistake,\\nbecause Captain Medway, according to stage\\ndirections, had to shake the life out of Carra-\\nway Bones, and Bones had to shake his head\\nviolently to make the shaking seem extra\\nvigorous. These directions were faithfully\\ncarried out, so much so that the artificial\\nportion of my nose flew over my head, which\\nnearly sent the audience into convulsions.\\nWe received a call after the scene, and, in\\nresponse to some chaff from the gallery, I\\nassured the audience that my nose always\\npeeled in hot weather.\\nMr. Dodson was for five years the charac-\\nter comedian of the Kendals company, and", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0333.jp2"}, "332": {"fulltext": "286 Famous Actors.\\nit was in the course of their American tours\\nthat he achieved his great popularity in this\\ncountry. He appeared in a number of char-\\nacters originated by John Hare, as well as\\nseveral created by himself. His parts were\\nBaron Montrichard in The Ladies Battle,\\nRadford in All for Her, Penguin in A\\nScrap of Paper, Moulinet in The Iron\\nMaster, Sam and the Colonel in The\\nQueen s Shilling, Gunnion in The Squire,\\nBaron Croodle in The Money Spinner,\\nCayley Drummie in The Second Mrs. Tan-\\nqueray, Mr. Bargus, M.P., in The Weaker\\nSex, Hoel Brinnilow in Katherine Kava-\\nnagh, Mr. Barker in Uncle s Will, Al-\\nfred Hart in It Was a Dream, Potter in\\nStill Waters Run Deep, Captain Mount-\\nraffe in Home, and the title r61e in The\\nDisciple.\\nMr. Dodson s best known characters since\\nhe came under Charles Frohman s manage-\\nment five years ago have been Matthew", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0334.jp2"}, "333": {"fulltext": "J. E. Dodson. 287\\nKeber in The Bauble Shop, Montague\\nLushington in The Masqueraders, and\\nthe Rev. Stephen Wynn in John-a-\\nDreams.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0335.jp2"}, "334": {"fulltext": "CHAPTER XXII.\\nROBERT B. MANTELL.\\nIt was in the early eighties that Fanny-\\nDavenport produced Victorien Sardou s\\ndrama, Fedora, at the Fourteenth Street\\nTheatre in New York. This play was origi-\\nnally written for Sarah Bernhardt, who made\\nan extraordinary impression in the title role.\\nIt was also the first of that series of dramas,\\nwhich included La Tosca, Cleopatra,\\nand Gismonda, in which the French dram-\\natist, a master of the mechanics of play\\nbuilding, depicted with wonderful theatric\\nintensity womankind swayed by barbaric\\npassion. These plays depended entirely for\\neffect on the most harrowing situations, de-\\n288", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0336.jp2"}, "335": {"fulltext": "ROBERT B. MANTELL\\nIn The Corsican Brothers.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0337.jp2"}, "336": {"fulltext": "", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0338.jp2"}, "337": {"fulltext": "Robert B. Mantell. 289\\nveloped by the author with remarkable in-\\ngenuity. They were not in any sense related\\nto the higher class of the drama, which re-\\ngards the development and study of charac-\\nter as the prime essential in a dramatic work.\\nYet these Sardou s plays were so cunningly\\nwrought that the right kind of actor found\\nthem exceptionally good vehicles for the con-\\nveyance of striking dramatic impressions.\\nFedora was new to this country when\\nFanny Davenport brought it out, and, more-\\nover, the theatre-going public of those days,\\ncomparatively unaccustomed to the refined\\nform of the mechanical drama, was in just\\nthe proper condition to be carried completely\\nout of itself by the crafty Sardou. It was\\nnot surprising, therefore, that Fedora was\\npronounced a great play, and that Fanny\\nDavenport, already an accomplished and\\npopular actress, was accorded high rank as\\na dramatic artist. But it was not Fedora\\nnor Miss Davenport that made the occasion", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0339.jp2"}, "338": {"fulltext": "290 Famous Actors.\\nof the play s first production in this country\\none of the most remarkable on record. The\\ncredit for that belongs to Robert B. Mantell,\\nwho, up to the moment that he made his\\nentrance as Loris Ipanoff in the middle of\\nthe second act, was almost unknown. To\\nbe sure, he had been on the stage for twelve\\nyears and had acted in the United States for\\nseveral seasons, but until he played Loris he\\nwas merely one of the thousands.\\nThat scene in the second act of Fedora\\nis now a familiar one. Loris enters quietly\\nwith a number of others, and attention is not\\ndirected toward him until he begins to tell\\nthe story of the murder. The effect that Mr.\\nMantell made by this recitation is vividly re-\\nmembered by those that witnessed the scene.\\nMen trembled and women grew white with\\nemotion. As the play progressed he swayed\\nthe house with the brilliancy and potency of\\nhis acting, until it seemed as if the limit\\nof human endurance were reached. There", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0340.jp2"}, "339": {"fulltext": "Robert B. Mantell. 291\\nwere sobs and hysterical laughter from an\\naudience that was fairly beside itself. For-\\ntunately, such scenes in the theatre are of\\nrare occurrence. This one gave Mr. Man-\\ntell a national reputation, and established him\\na few seasons later as a successful star.\\nRobert Bruce Mantell was born in Ayr-\\nshire, Scotland, on February 7, 1854. When\\nhe was four years old his parents moved to\\nBelfast, Ireland, and there the boy grew up\\nand figured as an amateur actor, playing\\nPolonius in Hamlet when he was sixteen\\nyears old. Mr. Mantell s parents were not\\ninclined to favour his desire to adopt the\\nstage as an avocation, and accordingly he\\nran away from home. His theatrical debut\\nwas made in Rockdale, Lancashire, England,\\nin 1874, as the Sergeant in Boucicault s\\nArrah-na-Pogue. George Clarke, after-\\nward for many years identified with the\\nAugustin Daly Company, was the star of\\nthis performance. Later, in the same com-", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0341.jp2"}, "340": {"fulltext": "292 Famous Actors.\\npany, Mr. Clarke and Mr. Mantell appeared\\ntogether in The Shaughran, the former\\nacting Conn, and the latter Father Dolan.\\nFor the next three years Mr. Mantell wan-\\ndered through the British provinces, sup-\\nporting such eminent players as Barry Sul-\\nlivan, Charles Mathews, Dion Boucicault,\\nCharles Calvert, Miss Marriott, and Samuel\\nPhelps.\\nMr. Man t ell s first visit to the United\\nStates was made in 1875. He hoped to\\nget an engagement at the Boston Museum,\\nbut being unsuccessful in that he walked the\\nstreets of Boston for ten days, and then in-\\nvested what money he had left in a return\\nticket to England. In 1878 he came again\\nand joined Modjeska s company, in which he\\nacted small parts for a season. Next he was\\nwith George Knight, playing Catto Dove to\\nKnight s Buster in Forbidden Fruit. Then\\nhe returned to England and became leading\\nman for Miss Ellen Wallis, with whom he re-", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0342.jp2"}, "341": {"fulltext": "Robert B. Mantell. 293\\nmained three years, appearing in Wills s play,\\nThe Miron, Romeo and Juliet, Mac-\\nbeth, as Benedick in Much Ado, Charles\\nSurface in The School for Scandal, Young\\nMarlow in She Stoops to Conquer, Claude\\nPaul in Paul and Virginia, Iago, and\\nOthello. He also played Leicester to the\\nAmy Robsart of Marie de Gray.\\nIn 1883, Mr. Mantell came again to this\\ncountry, expecting to take part in John Stet-\\nson s production of Romany Rye. There\\nwas some misunderstanding about his en-\\ngagement, however, and when he got here\\nhe found his position in the company already\\nfilled. So he toured the States with a com-\\npany that was presenting The World.\\nStetson sent for him later on, and Mr.\\nMantell took the part in Romany Rye,\\nfor which he was originally engaged. His\\ngreat success with Fanny Davenport fol-\\nlowed. After leaving Miss Davenport he\\ncreated the character of Gilbert Vaughn in", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0343.jp2"}, "342": {"fulltext": "294 Famous Actors.\\nHugh Conway s Called Back. The play\\nwas not successful, and he next appeared in\\nDakolar, under Daniel Frohman s manage-\\nment at the New York Lyceum Theatre.\\nAnother engagement with Fanny Daven-\\nport in Fedora ended his career as a\\nleading man.\\nIn 1885, for his debut as a star, Mr. Man-\\ntell produced at the Fifth Avenue Theatre,\\nNew York, Mr. Keller s Tangled Lives,\\nwhich he presented that season throughout\\nthe United States. Monbars was his\\nnext play, and that was followed by produc-\\ntions of The Corsican Brothers, Othello,\\nHamlet, The Marble Heart, Romeo\\nand Juliet, The Lady of Lyons, A Les-\\nson in Acting, The Louisianian, Par-\\nrhasius, A Face in the Moonlight, The\\nQueen s Garter, and The Secret Warrant.\\nIn Shakespeare Mr. Mantell is remarkably\\nsuccessful in catching the popular ear. I\\nsaw him play Othello last year in a thea-", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0344.jp2"}, "343": {"fulltext": "Robert B. Mantell. 295\\ntre given over principally to second-class\\nmelodrama and boisterous farce, and the im-\\npression that he made on the spectators, who\\ncared nothing for Shakespeare and every-\\nthing for the play, was remarkable. The\\ndrama was given with the most ordinary\\nscenery and the most meagre of stage ac-\\ncessories, and it was astonishing to see with\\nwhat raptness the audience followed the de-\\nvelopment of the plot and how quickly it\\ngrasped the import of the changing situation.\\nMr. Mantell s art is not always refined, nor\\nis his self-restraint absolute, but his personal\\nmagnetism is great and his appeal to his\\naudience direct and convincing. He did not\\nseem to get into the spirit of Othello at first,\\nand his reading of the address to the Duke,\\njustifying Othello s marriage to Desdemona,\\nwas artificial, without proper dignity, and\\naltogether disappointing. In the scenes\\nfollowing the degradation of Cassius, how-\\never, Mr. Mantell s work became forceful.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0345.jp2"}, "344": {"fulltext": "296 Famous Actors.\\nHis conception of the character broadened,\\nand he set forth the jealousy and mad passion\\nof the Moor with a vividness that reacted\\ntremendously on the spectators.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0346.jp2"}, "345": {"fulltext": "ROLAND REED.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0347.jp2"}, "346": {"fulltext": "", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0348.jp2"}, "347": {"fulltext": "CHAPTER XXIII.\\nROLAND REED.\\nBlessed with an odd personality that is\\nirresistible in its appeal to the comic sense,\\nwith abundant humour, and with mobile fea-\\ntures that of themselves suggest fun and\\nlaughter, Roland Reed has won his success\\non the stage by remaining distinctly himself.\\nWhen he was a call-boy at the Arch Street\\nTheatre in Philadelphia, Mrs. John Drew\\nonce said to him You will make a come-\\ndian. Your nose, if nothing else, will bring\\nyou fame. Mr. Reed has little or no gift\\nof impersonation, but he has the ability un-\\nerringly to adapt every character that he\\nacts to his own limitations. He has the\\nquick, breezy firmness of touch that is nec-\\n297", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0349.jp2"}, "348": {"fulltext": "298 Famous Actors.\\nessary to a farceur. His methods are broad\\nand open, and his perception of the ridic-\\nulous is sure. On the stage he is never\\nanything but Roland Reed, and for the time\\nbeing no one wants him to be anything else.\\nMr. Reed s nose is so much a part of his\\ntheatrical equipment that it warrants a care-\\nful description. To be sure, it is not as\\nlong as the wax one that Richard Mansfield\\nfastens to his face when he plays Cyrano de\\nBergerac, but Mr. Reed s is large enough\\nfor all practical purposes, so large, in fact,\\nthat he cannot always escape talking through\\nit. It is about all one sees of his face,\\nis the way one man put it. A front view\\nphotograph of Mr. Reed shows nothing es-\\npecially out of the ordinary. The nose is\\nthere, of course, but, comparatively speaking,\\nonly mildly. One must catch his profile\\nto get the full effect. It is a feature as\\nRoman as Julius Caesar himself.\\nIf one were to attempt to classify Mr.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0350.jp2"}, "349": {"fulltext": "Roland Reed. 299\\nReed he would perhaps call him an eccentric\\nlight comedian but he would be obliged to\\nadd that Mr. Reed s comedy always has a\\ntouch of caricature and always suggests a\\ntendency to burlesque. I do not mean to\\nsay that he does actually burlesque, but\\nwhen an actor has purposely divorced him-\\nself from all seriousness, as is the case with\\nMr. Reed, the temptation to overdo the thing\\na little bit, for the sake of the laugh that is\\nsure to follow, is strong. I think that Mr.\\nReed honestly resists this temptation, and,\\nas far as I have had the opportunity to judge,\\nhe is usually successful.\\nMr. Reed s connection with the stage is\\nhereditary. His father was John Roland\\nReed, who was connected with the Walnut\\nStreet Theatre, Philadelphia, for fifty-six\\nconsecutive years as actor and stage me-\\nchanic. His services began in 1824, when\\nhe was sixteen years old, as the rider of\\nthe celebrated stallion, Lord Nelson, in the", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0351.jp2"}, "350": {"fulltext": "300 Famous Actors.\\ngrand entree that preceded a circus per-\\nformance which was being given in the\\ntheatre. After that he was the dragon\\nin a production called St. George and the\\nDragon. Next he was employed to care\\nfor the lights of the theatre, and from that\\nhe worked into the position of gas man\\nafter the use of oil was discontinued in play-\\nhouses. After leaving the Walnut Street\\nTheatre, in 1880, Mr. Reed was engaged\\nat the National Theatre, Philadelphia, where\\nhe remained for five years. He then at-\\ntempted to retire from active service, but\\nhe could not stand idleness. He secured\\na position in the Temple Theatre, Philadel-\\nphia, in 1887, where he remained until the\\nhouse burned down. After that Mr. Reed\\nwas induced to give up work for good.\\nRoland Reed was born in 1856 in Phila-\\ndelphia, and as a child was often made use\\nof in pieces produced at the Walnut Street\\nTheatre. His first appearance occurred in", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0352.jp2"}, "351": {"fulltext": "Roland Reed. 301\\nthe old-time farce, called Peter White,\\nwith Tom Placide, when he was six months\\nold. When he wore ginghams and was still\\nat school, he tended the stage door at the\\nWalnut for $1.50 a week, and studied his\\nnext day s lesson at the theatre in the even-\\ning. Next he became an usher at the Arch\\nStreet Theatre, for which he received $3.50\\na week.\\nOne night an old gentleman asked me\\nif I didn t want to play a bootblack in The\\nStreets of New York, which they were going\\nto put on. Mrs. John Drew was manager\\nat that time, said Mr. Reed. I told him\\nI wouldn t mind. Then one day I got a\\nnote from Mrs. Drew to come to see her.\\nShe offered me the position of call-boy at\\na salary of $5 a week. This was a rise in\\nlife, and from call-boy I became prompter.\\nI used to read the plays to the actors, stand-\\ning beside Mrs. Drew, who corrected me\\nwhen I made mistakes. When I was still", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0353.jp2"}, "352": {"fulltext": "302 Famous Actors.\\ncall-boy Lotta came to play her first star\\nengagement in Philadelphia. One day Bob\\nCraig, the comedian, was ill, and announced\\nthat he wouldn t be able to play his part\\nin The Firefly. I hurried to Mrs. Drew\\nand asked for the part. She hesitated, but\\nI assured her it would be all right. So she\\ntold me to try, and I sang the songs with\\nLotta and made a hit. Then I applied for\\nthe position of comedian for the next season,\\nbut Mrs. Drew had already engaged another,\\nan Englishman. Then I resolved to strike\\nout for something better, and I left the\\nArch. My father said My boy, you ve\\nruined yourself. I replied Do you think\\nI want to spend my life carrying tables and\\nchairs on the stage And I went to the\\nWalnut, where they made me an offer to\\nshare the comedy roles with Chapman. I\\nworked there for $18 a week. In 1871\\nGoodwin became manager, and about that\\ntime I left Philadelphia.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0354.jp2"}, "353": {"fulltext": "Roland Reed. 303\\nWhen I was a boy and used to sit at the\\nstage door, Mr. Reed continued, I don t\\nthink I ever wanted to be an actor. To be\\na grocer seemed to me the summit of human\\nglory. I did like to watch the fight in\\nRichard III., though. No Richard ever\\nfought that combat in those days that I\\ndid not get some substitute at the stage\\ndoor while I would steal up to the gallery\\nor flies to witness the blood-curdling combat.\\nOf all the throng of celebrities who passed in\\nand out of that historic old back door, John\\nWilkes Booth impressed me most by the\\nelegance of his dress and manner, and by his\\nhandsome face, which was so striking that no\\none could fail to be impressed by it. It was\\nabout six months before the assassination of\\nLincoln that I saw him. Once, in passing\\nout, Booth looked closely at me, and, seeing\\nwhat a small boy I was for such a position,\\nturned back, shook hands with me, leaving\\nin my palm a substantial present, which I", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0355.jp2"}, "354": {"fulltext": "304 Famous Actors.\\nmade all haste to spend, not foreseeing what\\na memento of the man it would be now.\\nMrs. Drew s Arch Street Theatre Com-\\npany was a famous organisation. Mrs. Drew\\nwas leading comedy actress, and Barton Hill\\nwas leading man. Lizzie Price, afterward\\nthe wife of Charles Fechter, was leading-\\njuvenile. Fanny Davenport was the sou-\\nbrette Louis James, walking gentleman\\nStuart Robson, second low comedian F. F.\\nMackay, character and old man parts Clara\\nFisher Maeder, character old women, Mrs.\\nThayer, general old women and Robert\\nCraig, first low comedian. Craig was also\\nsomething of a dramatist, and wrote the\\nfirst sketches in which Lotta appeared, and\\nalso several for Mr. Reed.\\nFrom Philadelphia Mr. Reed went to New\\nOrleans, where he appeared in the Academy\\nof Music. Then he acted at the Olympic\\nTheatre in St. Louis, and also in Kansas\\nCity. In 1873, Lizzie B. Price, with whom", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0356.jp2"}, "355": {"fulltext": "Roland Reed. 305\\nhe had played at the Arch Street Theatre,\\norganised a company, under the management\\nof David Hanchett, to present Lucretia\\nBorgia and The Octoroon on tour, and\\nMr. Reed joined her. The venture was an\\nunfortunate one, but the company finally\\nreached Port Huron, Michigan, where it was\\nbilled to play Lucretia Borgia one night\\nand The Octoroon the next. Mr. Reed\\nwas Geppo in Lucretia Borgia, and T. R.\\nHann was Gubette. Mr. Hann s costume\\nwas a remarkable affair. He wore an old\\npair of cotton tights darned at the knees,\\nand held in position by a belt, which his\\njerkin was too short to cover, a pair of old\\nrusset shoes, of about the time of Charles L,\\nand on his head a wig minus of all except\\nfour of its original curls.\\nThe audience was none too friendly in the\\nfirst place, and this rig was almost more than\\nit could stand. However, the banquet scene\\nin Lucretia Borgia s palace was reached. The", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0357.jp2"}, "356": {"fulltext": "306 Famous Actors.\\ncavaliers were seated at the table, the fatal\\nliquid was poured out. Mr. Harm, whose\\nsense of smell was somewhat defective be-\\ncause of old age, raised his goblet to his lips\\nand drank. He flung the goblet from him.\\nHis eyes fairly stuck out of his head. He\\nchoked and sputtered and finally gasped,\\nCoal oil The audience shrieked with\\nlaughter, and there ended the performance\\nfor that night. The next day Miss Price\\nand her manager left the company stranded.\\nThere were twelve actors in the party, and\\nthey organised the Roland Reed Comedy\\nCompany and went over the border into Can-\\nada. After a few weeks they returned to Port\\nHuron, quite as badly off financially as they\\nwere before. Mr. Reed induced the local band\\nto accept a benefit and pay the company $50\\nfor its services. The band lost just $30 by\\nthe deal, but the $50 was enough to send\\neleven of the actors to their homes, Mr.\\nReed himself reaching Detroit by means of a", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0358.jp2"}, "357": {"fulltext": "Roland Reed. 307\\nfreight train. It was midsummer, and how\\nto keep alive until fall, when he could get an\\nengagement, was a serious problem.\\nI was almost on the point of despair,\\nsaid Mr. Reed, when I ran across a book\\nagent who wanted me to buy an illustrated\\nmusic-book, price two dollars. Music being\\nin my line, I fell into conversation with the\\nfellow, who informed me that he was doing\\nvery well, but could do better if he could\\nplay the piano. Here was a chance for me,\\nthought I, and so out of my ridiculously small\\npile I sent for some of the books, and started\\nout to try my luck as a music seller. From\\nDetroit I canvassed the whole State of Mich-\\nigan, making from $75 to $100 a week. I\\nsoon found out that I must get the entree\\nto the houses so, upon arriving at a place,\\nI would go straight to the mayor or the\\nprincipal lawyer or the doctor and present\\nhim with a set of songs. I would soon be\\nsummoned by the ladies of the family to", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0359.jp2"}, "358": {"fulltext": "308 Famous Actors.\\nsing and play the music the book con-\\ntained. The songs were not first-class, so\\nwhen I found the ladies were cultivated I\\nwould play the finest classical music I knew.\\nSometimes a lady would read the music over\\nmy shoulder and tell me the notes I played\\nwere not there. I crept out by saying I was\\nplaying the air part, and so never failed to\\nsell a book. At the end of my five weeks of\\ncanvassing the publisher of the music-book\\noffered me $150 a week if I would continue\\nin the business.\\nThat fall Mr. Reed became leading come-\\ndian in John Ellsler s Cleveland Theatre,\\nwhere he succeeded James Lewis, who had\\njoined Augustin Daly s company. While\\nMr. Reed was there E. L. Davenport saw\\nhim act, and secured him a position in the\\nWalnut Street Theatre, and he was at that\\nhouse during the Centennial season. He\\nagain went to New Orleans, and in 1878\\njoined McVicker s Chicago company, with", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0360.jp2"}, "359": {"fulltext": "Roland Reed. 309\\nwhich he remained two seasons, appearing in\\nsuch characters as Doctor Ollapod in The\\nPoor Gentleman, Doctor Pangloss in The\\nHeir-at-Law, Bob Acres in The Rivals,\\nGobbo in The Merchant of Venice, the\\nFirst Grave Digger in Hamlet, Picard in\\nThe Two Orphans, O Rourke, the Irish\\nsergeant, in A Celebrated Case, and the\\nleading comedy part in Lord Bulwer-Lytton s\\ncomedy, Money.\\nAfter leaving McVicker s he was the lead-\\ning comedy light of the Colville Comedy\\nCompany, which travelled from New York to\\nSan Francisco and back again, presenting\\nburlesques and extravaganzas. In the early\\neighties he appeared as a star at Daly s Thea-\\ntre, New York, in An Arabian Girl. Then\\nhe played the Jew in The World, after\\nwhich he was billed as a star in Fred Mars-\\nden s Cheek, and again in the same au-\\nthor s Humbug. He was the creator of\\nthe character of Ko Ko in this country in", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0361.jp2"}, "360": {"fulltext": "310 Famous Actors.\\nthe production of an unauthorised version of\\nThe Mikado, which Sidney Rosenfeld\\nbrought out in New York. It was a short-\\nlived affair, though Mr. Reed made a personal\\nsuccess. Then Mr. Rosenfeld staged an\\nadaptation of one of Audran s operas, which\\nhe called The Bridal Trap, but this was\\nalso a failure.\\nIn 1887 Mr. Reed produced Lend Me\\nYour Wife, an adaptation of the same farce\\nfrom which Jane was afterward taken,\\nand since that time his success has been\\ncontinuous. His plays have been The Club\\nFriend, Innocent as a Lamb, The Poli-\\ntician (a revised version of For Congress,\\na popular comedy in John T. Raymond s\\nrepertory), The Wrong Mr. Wright, and\\nHis Father s Boy.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0362.jp2"}, "361": {"fulltext": "JOSEPH HAWORTH\\nAs Hamlet.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0363.jp2"}, "362": {"fulltext": "I", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0364.jp2"}, "363": {"fulltext": "CHAPTER XXIV.\\nJOSEPH HAWORTH.\\nIn 1895 Joseph Haworth played a long\\nengagement in Boston in the standard drama,\\nacting the leading roles in Hamlet, Rich-\\nard III., and Richelieu, besides appearing\\nin The Bells, Rosedale, and Rinaldo.\\nAlthough Mr. Haworth s support was not\\ngood, he himself made an excellent impres-\\nsion in a most arduous repertory. His\\nHamlet was conventionally conceived. While\\nit never rose to sublime heights, never carried\\nthe spectator entirely out of himself, it was\\nat all times scholarly, and in moments gen-\\nuinely effective. It could not justly be\\ncalled great, but neither was it ordinary or\\ncommonplace.\\n3", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0365.jp2"}, "364": {"fulltext": "3 1 2 Famous Actors.\\nHis Richard III. was, as a whole, more im-\\npressive than his Hamlet, though he made\\nthe mistake of using the ridiculous Colley\\nCibber version with its introduction of King\\nHenry IV. in the first act. There was one\\ngreat moment in Mr. Haworth s presentation\\nof the character, and that came when, recov-\\nering from the commotion into which the\\nvision of his murdered victims had thrown\\nhim, he cried, Richard is himself again\\nAt that moment Mr. Haworth touched a\\nheight which he did not reach at any other\\ntime during the performance. He was sin-\\ncere, thrilling, and dramatic without being\\ntheatrical.\\nMr. Haworth was entirely new to the\\ncharacter of the Duke of Gloster, and con-\\nsequently he had by no means wholly mas-\\ntered his conception and impersonation of the\\npart. Indeed, the actor could do little more\\nthan show the lines on which he intended to\\ndevelop his characterisation. Richard III.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0366.jp2"}, "365": {"fulltext": "Joseph Haworth. 3 1 3\\nis an exceedingly complex personage. He\\nis deformed both in body and mind. He is\\nsupremely selfish and abnormally ambitious,\\nand he knows no law but his own will. He\\nis bold, even courageous he is crafty, knows\\nhow to dissimulate, how to play upon the\\nhearts of men, and how to win their confi-\\ndence so that, though they know him black,\\nthey would fain believe him white. He has a\\ntongue which can speak soft, soothing words\\nof flattery, or send forth between smiling\\nlips keen shafts of sarcasm that cut like\\nknives. What a master artist of play acting\\nis he that can conceive and set forth in all\\nits entirety such a character\\nMr. Haworth s Richelieu was stronger\\nthan either his Hamlet or his Richard III.\\nHe did not comprehend to the full the crafty\\nside of the cardinal s nature he did not\\nmake plain the master mind that ruled\\nFrance by probing into the secrets and in-\\ndulging the weaknesses of her king and his", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0367.jp2"}, "366": {"fulltext": "314 Famous Actors.\\ncourt. He failed also thoroughly to estab-\\nlish the fact of the cardinal s physical weak-\\nness. He did appreciate the force of the\\npower of will that in moments of excitement\\nwould conquer decrepitude and bring a flash\\nof the old-time bodily vigour. Mr. Haworth\\ngave one the notion that the cardinal s illness\\nwas a good deal of sham, and such an im-\\npression threw the character entirely out of\\nfocus. Once in awhile the actor was in-\\nclined to preach, but usually he read Bulwer-\\nLytton s sonorous speeches with good elocu-\\ntion. Richelieu s affection for Julie was\\noften beautifully indicated. Of course, the\\nmark where she stands speech was effect-\\nive, for no actor ever failed to thrill an\\naudience at this wonderful dramatic climax.\\nMr. Haworth s Matthias is utterly differ-\\nent from either Irving s or Coquelin s, wrote\\nMildred Aldrich, in a criticism of Mr. Ha-\\nworth s performance of The Bells. He\\nmakes him a hard-visaged, morose-looking", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0368.jp2"}, "367": {"fulltext": "Joseph Haworth. 315\\nman, who, even on his return home in the\\nfirst act, looks out of a face on which tor-\\ntured conscience has already set its marks.\\nFrom the very opening of the play he is a\\nbroken man. On this point Mr. Haworth, as\\nhe plays into the part, will doubtless think\\nbetter. Prosperity, security, a happy family\\nhave quite wiped out of the life of Matthias\\nthe Polish Jew, until the mesmerist arouses\\nhis fears by showing him an unthought-of\\ndanger, and then, with the resistlessness\\nof fate, events but events that none save\\nhimself either see or suspect sweep him\\non to death. Matthias is a bold man. In\\nthe face of the new crime he carried himself\\nwith such control that he escaped suspicion.\\nWhen that crime is old and safely buried,\\nthough conscience, bad dreams, and drink\\nmight drive him to temporary frenzy and\\napoplexy, he would not become a cringing,\\nshivering old man at whom every one would\\nhave looked askance. Yet such is the", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0369.jp2"}, "368": {"fulltext": "316 Famous Actors.\\npicture that Haworth presents as Matthias.\\nIt may have its justifications, but even then\\nthe part is robbed by that treatment of\\nvariety and attractiveness.\\nMr. Haworth s Matthias was theatrically\\neffective. He made every point tell with\\nforce and skill, but it lacked either spiritual\\nsweetness or personal attraction. It was, in\\nfact, the work of a well-trained actor who\\nunderstands his business of acting better\\nthan he does the dissection of character.\\nThis is a point, however, about which the\\npopular audience gives itself little trouble,\\nshowing as great satisfaction with the per-\\nsonality of the favourite actor as it would\\nhave felt for a new and original characterisa-\\ntion of Matthias. There is one failing of\\nMr. Haworth s which may appropriately be\\nnoted here, because it has appeared in other\\nparts, his failure to carry an emotion past\\na climax. One incident alone a small one\\nwill suffice to illustrate that. His Mat-", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0370.jp2"}, "369": {"fulltext": "Joseph Haworth. 3 1 7\\nthias arrives in his bedchamber quite drunk,\\nlike his guests, and has to be assisted across\\nthe room. Yet all trace of that disappears\\nthe moment he is left alone. Even this may\\nbe justified. Yet it s best not, because it\\nrobs the scene of theatrical effectiveness.\\nJoseph Haworth was born in Providence,\\nRhode Island, on April 7, 1855, but was\\nbrought up and educated in Cleveland, Ohio.\\nHis debut as an actor was made in May,\\n1873, at tne Academy of Music in Cleve-\\nland, when he played the Duke of Buck-\\ningham to the Richard III. of Charlotte\\nCrampton, who gave him an engagement\\nin her company, after hearing him recite\\nShamus O Brien at an amateur enter-\\ntainment. Miss Crampton s Richard was\\nconsidered a remarkable performance. She\\nhad a masculine voice, which helped her to\\nestablish an illusion, and, as a part of her\\nmake-up, she wore a small moustache and\\ngoatee, which gave her face a villainous ex-", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0371.jp2"}, "370": {"fulltext": "3 1 8 Famous Actors,\\npression. After a year with Miss Crampton,\\nMr. Haworth joined John Ellsler s company\\nat the Euclid Avenue Opera House, in Cleve-\\nland, as utility man, though, as a matter of\\nfact, he was given more important roles.\\nFor instance, his opening performance was\\nOrlando in As You Like It, to the Rosa-\\nlind of Effie Ellsler. Later, during the en-\\ngagement of Lawrence Barrett, Mr. Haworth\\nacted a small part in Julius Caesar, and\\nreceived this compliment from Mr. Barrett\\nYoung man, those lines were delivered\\nbeautifully. Take care of yourself, and you\\nwill make your mark.\\nMr. Haworth remained with Mr. Ellsler\\nfour years, playing most of the time in\\nCleveland, though also visiting many of the\\nprincipal Western cities with the company.\\nHe also appeared for a short time at Augus-\\ntin Daly s Fifth Avenue Theatre, and at the\\nEagle Theatre in New York, in support of\\nAnna Dickinson, acting Cromwell in The", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0372.jp2"}, "371": {"fulltext": "Joseph Haworth. 319\\nCrown of Thorns. His last appearance\\nunder Mr. Ellsler s management was on May\\n10, 1877, in Cleveland, when at his farewell\\nbenefit he played Hamlet for the first time\\nto the Ophelia of Effie Ellsler. In connec-\\ntion with this performance, Mr. Haworth\\nrelates the following incident\\nI got along nicely enough until the closet\\nscene. I had just finished the lines look\\nupon this picture/ when I looked across the\\nstage, and there stood Charlotte Crampton\\nin her Richard III. costume, glaring at me\\nin exactly the same manner as she glared at\\nme on the night of my debut. Why, the\\nwoman had been dead a year I stood trans-\\nfixed with horror, and my tongue cleaved to\\nthe roof of my mouth. The audience thought\\nit was acting, and gave me round after round\\nof applause. As I looked, the apparition, or\\nwhatever you want to call it, vanished slowly,\\nand for a moment I closed my eyes. When\\nI looked again, the demon-like figure had", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0373.jp2"}, "372": {"fulltext": "320 Famous Actors.\\ngone. I was stuck in my lines, and I don t\\nknow how I recovered them again but I\\ndid go through the part mechanically until\\nthe end. I was called before the curtain\\nagain and again at the close. I am not a\\nspiritualist, and I cannot account for that\\nhorrible experience. Call it an optical illu-\\nsion or anything you will, I shall never for-\\nget it. Miss Crampton was buried in a little\\nCatholic burying-ground in Louisville. I re-\\nmember when I was playing there I visited\\nher grave. A small stone marks her last\\nresting-place.\\nThe next season Mr. Haworth supported\\nEdwin Booth, and the four years following\\nthat he was a member of the Boston Museum\\nstock company, making his first appearance\\nat that house on September 7, 1878, as\\nCount Henri de Beausoleil in Satan in\\nParis. After leaving the Museum, Mr.\\nHaworth supported John McCullough for\\nseveral seasons, and he was with the trage-", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0374.jp2"}, "373": {"fulltext": "Joseph Haworth. 321\\ndian at the time of his last appearance,\\nwhich occurred at McVicker s Theatre, Chi-\\ncago. Mr. Haworth s account of this unfor-\\ntunate affair is as follows\\nFor a long time signs of breaking down\\nwere noticeable, and on that last perform-\\nance in Chicago we all saw that the poor\\nGuv nor would not last much longer. The\\nplay was The Gladiator, with McCullough\\nas Spartacus. I played Pharsarius. When\\nthe brothers met in the arena, he seemed to\\nforget his lines, and he became confused.\\nHe placed both his hands on my shoulders,\\nand trembled, as he said, What next, Joe,\\nwhat next I gave him the cue, and we\\nfinished. After the act we received two\\nrecalls where we generally got six or seven.\\nHe said, My boy, they seem to like it to-\\nnight it s going fine. He slipped up on\\nthe lines several times after this act, and\\nonce he accused me of reading his lines.\\nThe last act came, and those who heard the", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0375.jp2"}, "374": {"fulltext": "322 Famous Actors.\\nwords of the boy attending him can never\\nforget how they sounded General, you\\nhad best go to your tent you are unfit for\\nbattle. He was called before the curtain\\nat the close, the audience seeming to under-\\nstand that something was wrong. There\\nwere loud calls for a speech, and he spoke\\na few words. They were the last spoken in\\npublic. He said\\nIf you had suffered as I have to-night,\\nyou would not have done this. Good night.\\nThe company was disbanded the next\\nmorning, and it assembled at the theatre\\non business. The Guv nor came in, and,\\nmeeting me in the lobby, said, The show\\ndid not go very well last night, and the\\npapers cut me up a bit this morning.\\nNever mind that, I replied, you need not\\ncare for what is said. I asked him if there\\nwas to be a rehearsal, and he answered yes.\\nKnowing his condition, the company con-\\nsented just to humour him. The first play", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0376.jp2"}, "375": {"fulltext": "Joseph Haworth. 323\\nto be rehearsed was The Gladiator. He\\nwas perfect in every line, and he had the\\nentire company in tears during parts of his\\ndelivery. When he said to me, in giving\\nme charge of his wife and family, Pharsa-\\nrius, I give thee more than my life, guard\\nthem well, there seemed to be more mean-\\ning to the lines than I ever heard before.\\nIt was with genuine sorrow that Mrs. Fos-\\nter, the wife, replied, Husband, husband, do\\nnot send me away if I leave thee now it\\nwill be for ever. There was not a member\\nof the company that did not feel the deep\\nmeaning of this line, and even the strongest\\nman in the company, Harry Langdon, was\\nsobbing like a child. McCullough did not\\nseem to mind what was going on about\\nhim. When Spartacus died, after the lines,\\nThere are green valleys in Thrace, his\\nhead dropped listlessly, as though he was\\ndead in reality.\\nWhen The Gladiator was finished, he", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0377.jp2"}, "376": {"fulltext": "324 Famous Actors.\\ncalled for a rehearsal of Richelieu, and of\\ncourse his order was obeyed. He went\\nthrough the play in the same perfect man-\\nner that characterised The Gladiator. He\\ndelivered the curse in a magnificent manner,\\nand, at its conclusion, the entire company\\njoined in loud and heartfelt applause. When\\nBaradas recited the line, His mind and life\\nare breaking fast, the Guv nor turned to\\ndenounce him. As he did so, he broke\\ndown completely, and was taken away to\\nthe hotel. It was with feelings of sad-\\nness that the company left the theatre that\\nday. We all felt that we had bid a long\\ngood-bye to poor John McCullough, and that\\nwe would never see him again on this earth.\\nI cannot add anything to the tributes that\\nhave been paid to the memory of McCul-\\nlough. He was a dear, good friend, a whole-\\nsouled man, loved by his friends, and his\\nenemies well, his kindly, genial nature\\nwas proof against them.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0378.jp2"}, "377": {"fulltext": "Joseph Haworth. 325\\nThe season following McCullough s col-\\nlapse, Mr. Haworth became a star in popu-\\nlar drama, presenting Hoodman Blind,\\nThe Bells, Ruy Bias, The Leaven-\\nworth Case, and Paul Kauvar. He ap-\\npeared in The Crust of Society, and last\\nseason he was successful as John Storm in\\nThe Christian.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0379.jp2"}, "378": {"fulltext": "CHAPTER XXV.\\nHERBERT KELCEY.\\nHerbert Kelcey won his spurs in the\\nfrock coat, kid glove era of the New York\\nLyceum Theatre. He was one of the origi-\\nnal members of Daniel Frohman s company,\\nand he remained with the organisation until\\n1896, when he was succeeded by James K.\\nHackett. His first appearance with the\\nLyceum Company was in October, 1887, as\\nJohn Rutherford in The Wife, which part\\nhe created.\\nIn the fall of 1896, Mr. Kelcey appeared\\nwith Mrs. Leslie Carter in The Heart of\\nMaryland. When Clyde Fitch s play, The\\nMoth and the Flame, was produced in New\\nYork, Mr. Kelcey took the part of the vil-\\n326", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0380.jp2"}, "379": {"fulltext": "HERBERT KELCEY.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0381.jp2"}, "380": {"fulltext": "", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0382.jp2"}, "381": {"fulltext": "Herbert Kelcey. 327\\nlain, Edward Fletcher, an entirely new line\\nof work for him, and he made a decided\\nsuccess. His acting from first to last was\\nconspicuously good. His style had not pre-\\nviously greatly impressed me, and the skill\\nwith which he presented the complex emo-\\ntions that moved Fletcher during the last\\nact of The Moth and the Flame there-\\nfore surprised me. He laid bare Fletcher s\\nsoul in all its horrible baseness. Yet so\\nhuman was he withal, so carefully did he\\nindicate the hysterical frenzy under which\\nthe man laboured, so forcibly did he empha-\\nsise the fundamental fact that Fletcher\\nloved, selfishly, it is true, but with con-\\nquering passion, nevertheless, that he suc-\\nceeded in not wholly divorcing the spectators\\nsympathy. When he left the stage, one\\ncould not help pitying to a degree the man,\\nrascal though he was, who had fought so\\nhard, who had risked all, and lost all This\\npity was Mr. Kelcey s great triumph.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0383.jp2"}, "382": {"fulltext": "328 Famous Actors.\\nClyde Fitch s plays always seem to fall\\nshort of what one expects of them. His\\nBeau Brummel, as given by Richard\\nMansfield, was as good as anything that he\\never did, though I doubt if that play would\\nstand the test of poor acting. Mr. Fitch s\\nmost ambitious play was Nathan Hale,\\nbut this was not an artistic drama. It was\\nsaved from failure by the actors and its own\\ninteresting subject. In The Moth and the\\nFlame Mr. Fitch aimed to produce a mod-\\nern drama of serious interest. His theme\\nwas a familiar social condition, and his set-\\nting was society life in New York City. It\\nis well to say at once that Mr. Fitch unques-\\ntionably made an effective acting play, and\\nhis sharp-witted puppets, moving in an envi-\\nronment of glittering superficialities, and en-\\nlivened by the art and magnetic personalities\\nof competent actors, seemed for the moment\\nto reflect truth and to touch human nature.\\nAs a matter of fact, however, The Moth", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0384.jp2"}, "383": {"fulltext": "Herbert Kelcey. 329\\nand the Flame did not develop a single\\ncharacter. A striking example of Mr. Fitch s\\nfailure to conceive his characters as person-\\nages was seen in Mrs. Lorrimer, the doubly\\ndivorced. For two acts the author beguiled\\nus into believing her the most frivolous and\\ninsincere of women, and when he had this\\nnotion firmly fixed, he astonished and bewil-\\ndered us by giving her a heart. Even the\\ntwo chief characters in the play, the only\\nones, in fact, that were vital to the action,\\nMarion Wolton and Edward Fletcher, were\\nwithout individuality or temperamental force.\\nThey were interesting only because of the\\nexperiences they had.\\nThe motif of The Moth and the Flame,\\nthe love of a good woman for a man who is a\\nmoral degenerate, is as old as civilisation, but\\nit is a subject, nevertheless, that has an abid-\\ning interest. For the purpose, probably, of\\nheightening the dramatic effect, Mr. Fitch\\nexaggerated his conditions until they ap-", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0385.jp2"}, "384": {"fulltext": "330 Famous Actors.\\nproached improbability. Fletcher was a fas-\\ncinating enough villain, and he might easily\\nhave turned the head of an inexperienced\\nschoolgirl. But Marion Wolton was many\\ndegrees removed from the schoolgirl. She\\nwas a serious-minded woman of the world,\\nwhose life had been passed amid the petty\\njealousies and scandalous gossipings of an\\nidle and useless social circle. She had no\\nromantic notions. That a man like Fletcher,\\nwith whose misdoings she was in a general\\nway acquainted, could have wormed himself\\ninto her affections, was hard to believe.\\nThat she would have clung to him even after\\nshe knew that another woman claimed to be\\nhis wife, was a greater task on one s credu-\\nlity. Yet to make possible the theatrical\\nchurch scene, she must cling, and cling she\\ndid.\\nMr. Fitch s work was meagre in closely\\nconnected incident. It had three big scenes,\\nwhich in themselves were uncommonly strong,", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0386.jp2"}, "385": {"fulltext": "Herbert Kelcey. 331\\nbut the remainder of the play was made up\\nof bright speeches and preparations for the\\nclimaxes. In the church scene, for instance,\\nthe real dramatic interest did not come until\\na few minutes before the curtain fell. The\\nfirst part of the act was mere padding, clever\\nin its way and entertaining, but padding for\\nall that. Logically, the drama ended with\\nMarion s renunciation of Fletcher at the al-\\ntar after she had seen him strike the woman\\nwho was asking for justice for herself and\\nher child. But the last act, which was purely\\nepisodical as far as the main theme was\\nconcerned, was the most interesting of the\\nthree. For one thing, it gave Mr. Kelcey a\\nchance to do some very effective acting, and\\nit was in this act also that one made the sur-\\nprising discovery of Mrs. Lorrimer s heart.\\nThe ending of the play, however, which placed\\nMarion in the position of a reward of merit\\nfor the good lover, was only a makeshift.\\nHerbert Kelcey s family name is Lamb,", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0387.jp2"}, "386": {"fulltext": "332 Famous Actors.\\nand he comes of good English stock. He\\nwas born on October 10, 1855, and as the\\neldest son he was destined for the army. In\\na spirit of adventure rather than with any seri-\\nous purpose to become an actor, he accepted\\na minor position in a provincial company,\\nand in 1877 made his debut at Brighton in\\nFlirtation. His success determined him\\nto adopt the stage as an avocation.\\nMr. Kelcey s first prominent London en-\\ngagement was in Youth, by Paul Merritt\\nand Sir Augustus Harris, when that drama\\nwas produced at the Drury Lane Theatre\\non August 6, 1 88 1. Mr. Kelcey created the\\nrole of Captain Lord Loverton. He came to\\nthis country a year later, and made his first\\nappearance on September 9th, at Wallack s\\nTheatre in New York, as Philip Radley in\\nTaken from Life. He was the original\\nin this country of Count Orloff in Diplo-\\nmacy, and the original Spider in The Sil-\\nver King.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0388.jp2"}, "387": {"fulltext": "Herbert Kelcey. 333\\nIn 1884 Mr. Kelcey was a member of the\\nMadison Square Company, in which he played\\nsuch parts as Cheviot Hill in Engaged,\\nEdward War burton in Old Love Letters,\\nand Philip Van Pelt in Our Society. In the\\nfall of 1886 he rejoined Wallack s Company,\\nplaying Colonel Tressidor in Henry Hamil-\\nton s Harvest, Lord Juru in Moths,\\nJoseph Surface in the Wallack production of\\nThe School for Scandal, Mark Helstone\\nin Harbour Lights, Tom Coke in Old\\nHeads and Young Hearts, and Major Bar-\\nton in The Dominie s Daughter. His\\nnext engagement was as leading man of\\nDaniel Frohman s Lyceum Company.\\nTHE END.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0389.jp2"}, "388": {"fulltext": "", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0390.jp2"}, "389": {"fulltext": "INDEX.\\nAbbey, Henry E., 66, 157,\\n159-\\nAcross the Continent,\\nHenry Jewett in. 216.\\nAdams, Maude, 201.\\nAdams, William T., 259.\\nAdventure of Lady Ur-\\nsula, E. H. Sothern in,\\n81.\\nAfter the Ball, E. M. Hol-\\nland in, 66.\\nAlabama.\\nHolland, E. M., 63, 67.\\nLackaye, Wilton, 173.\\nAldrich, Mildred, 314.\\nAlexander, George, 115.\\nAll the Comforts of\\nHome,\\nFaversham, William,\\n106.\\nGillette. William, 187.\\nAllan Dare, Wilton Lack-\\naye in, 171.\\nAllen, C. Leslie, 271.\\nAll for Her, J. E. Dodson\\nin, 286.\\nu Alpine Roses, Richard\\nMansfield in, 53.\\nAmbition, N. C. Good-\\nwin in, 134.\\nAmerican Citizen, N. C.\\nGoodwin in, 134.\\nAmerican Heiress, Wil-\\nton Lackaye in, 173.\\nAmerican King, James\\nO Neill in, 148.\\nAmerican Minister, W.\\nH. Crane in, 164.\\nAmerican Money, J. K.\\nHackett in, 208.\\nAnderson, Mary, 268.\\nApril Weather, Sol Smith\\nRussell in, 259.\\nArabian Girl, Roland\\nReed in, 309.\\nArabian Nights, J. K.\\nHackett in, 208.\\nAristocracy,\\nFaversham, William,\\n107.\\nLackaye, Wilton, 173.\\nArms and the Man,\\n335", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0391.jp2"}, "390": {"fulltext": "33^\\nIndex.\\nJewett, Henry, 220.\\nMansfield, Richard, 56.\\nAround the World in\\nEighty Days, William\\nGillette in, 182.\\nArrah-na-Pogue,\\nJewett, Henry, 215, 218.\\nMacDowell, Melbourne,\\n242.\\nMantell, R. B., 291.\\nArt and Nature, N. C.\\nGoodwin in, 134.\\nArthur, Julia, 207.\\nAs You Like It,\\nDrew, John, 91.\\nHackett, J. K., 206.\\nHaworth, Joseph, 318.\\nLackaye, Wilton, 171.\\nMacDowell, Melbourne,\\n240.\\nMiller, Henry, 192.\\nSkinner, Otis, 274.\\nAunt Jack, E. M. Hol-\\nland in, 63, 67.\\nBachelor s Romance, Sol\\nSmith Russell in, 259.\\nBarnum, P. T., 267.\\nBarrett, Lawrence, 28, 72,\\n169,171,254,268,271,318.\\nBarron, Charles, 113, 114,\\n242, 244.\\nBarry, S., 228.\\nBarrymore, Maurice, 91, 187.\\nBauble Shop,\\nDodson, J. E., 287.\\nDrew, John, 92.\\nBeau Brummel, Richard\\nMansfield in, 55.\\nBecause She Loved Him\\nSo,\\nDodson, J. E., 279.\\nGillette, William, 174,\\n188.\\nBeecher, Henry Ward, 178.\\nBelle s Stratagem, Henry\\nJewett in, 220.\\nBellew, Kyrle, 209.\\nBells, Joseph Haworth in,\\n311,314,325.\\nBells of Haslemere, John\\nB. Mason in, 114.\\nBenedict Arnold, Henry\\nJewett in, 221, 222.\\nBenefit of the Doubt, Wil-\\nliam Faversham in, 107.\\nBerger Family, Sol Smith\\nRussell with, 256.\\nBetsy Baker, John Drew\\nin, 89.\\nBewitched, Sol Smith\\nRussell in, 258.\\nBig Bonanza, John Drew\\nin, 90.\\nBitter Cold, Henry Jewett\\nin, 215.\\nBlack and White, J. E.\\nDodson in, 284.\\nBlack Diamond Engineer,\\nMelbourne MacDowell in,\\n245-\\nBlack-Eyed Susan,\\nDrew, John, 89.\\nGillette, William, 182.\\nGoodwin, N. C, 130.\\nBlack Flag, N. C. Good-\\nwin in, 132.\\nBlanche Horlock, Wil-\\nliam Faversham in, 101.\\nBohemia,\\nFaversham, William,\\n107.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0392.jp2"}, "391": {"fulltext": "Index.\\n337\\nMiller, Henry, 195.\\nBookmaker, N. C. Good-\\nwin in, 134.\\nBooth; Edwin, 28, 90, 96,\\n143, 228, 270, 272, 320.\\nBooth, John Wilkes, 228,\\n303.\\nBootle s Baby, Wilton\\nLackaye in, 172.\\nBoston Museum, 32, 54, 72,\\n96, no, in, 113, 128, 130,\\n131, 242, 258, 320.\\nBoucicault, Aubrey, 219.\\nBoucicault, Dion, 66, 292.\\nBoulangere, Richard\\nMansfield in, 52.\\nBowers, Mrs., 207.\\nBridal Trip, Roland Reed\\nin, 310.\\nBroken Hearts, William\\nGillette in, 183.\\nBroken Seal, J. K. Hack-\\nett in, 207.\\nBrother John, W. H.\\nCrane in, 164.\\nBrorgham, John, 130.\\nBro me, Boston, 281.\\nBu hanan, James, 284.\\nButterflies, John Drew\\nin, 92.\\nByron, Arthur, 219.\\nByron, Oliver Doud, 206.\\nCameron, Beatrice, 55.\\nCamille, Otis Skinner in,\\n274.\\nCampbell, Bartley, 155.\\nCanuck, Wilton Lackaye\\nin, 172.\\nCaprice, William Faver-\\nsham in, 106.\\nCaptain Lettarblair, E. H.\\nSothern in, 80.\\nCaptain of the Watch,\\nJohn Drew in, 89.\\nCaptain Swift,\\nHolland, E. M., 6^, 67.\\nJewett, Henry, 222.\\nCoriolanus, Otis Skinner\\nin, 269.\\nCarte, D Oyly, 49, 52.\\nCarter, Mrs. Leslie, 326.\\nCartlitch, John G., 230.\\nCaste, E. M. Holland in,\\n65.\\nCastle Sombras, Richard\\nMansfield in, 56.\\nCavendish, Ada, 192.\\nCecil, Arthur, 279.\\nCelebrated Case,\\nO Neill, James, 145.\\nReed, Roland, 309.\\nChange Alley, E. H.\\nSothern in, 81.\\nCharles O Malley, Wilton\\nLackaye in, 173.\\nCheek, Roland Reed in,\\n309-\\nChevalier de Vaudry,\\nHenry Jewett in, 218.\\nChild of the Regiment,\\nWilliam Gillette in, 182.\\nChristian,\\nHaworth, Joseph, 325.\\nJewett, Henry, 211, 222.\\nMason, John B., no,\\n116.\\nChristopher, Jr., John\\nDrew in, 92.\\nCinderella at School, N.\\nC. Goodwin in, 131.\\nClarke, Annie, 113, 242.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0393.jp2"}, "392": {"fulltext": "338\\nIndex.\\nClarke, Creston, 275.\\nClarke, George, 291.\\nClarke, John Sleeper, 228,\\n230.\\nClayton, Estelle, 78.\\nCleopatra (Sardou s), Mel-\\nbourne MacDowell in, 238,\\n239-\\nClub Friend, Roland\\nReed in, 310.\\nCoghlan, Rose, 169, 172,\\n220.\\nColleen Bawn, Henry\\nJewettin, 218.\\nColonel Carter of Carters-\\nville, E. M. Holland in,\\n67.\\nColonel Tom,\\nGoodwin, N. C, 134.\\nLackaye, Wilton, 172.\\nColonial Girl, E. H. Soth-\\nern in, 81.\\nComedy of Errors,\\nCrane, W. H., 163, 233,\\n234-\\nRobson, Stuart, 163,\\n233, 234, 237.\\nConfusion, N. C. Good-\\nwin in, 133.\\nC onquerors, William\\nFaversham in, 97.\\nCool as a Cucumber, John\\nDrew in, 89.\\nCoquelin, 314.\\nCorcoran, Katherine, 28.\\nCorsair, N. C. Goodwin in,\\nI3i-\\nCorsican Brothers,\\nJewett, Henry, 218.\\nMantell, R. B., 294.\\nCouldock, C. W., 190.\\nCouncillor s Wife, Wil-\\nliam Faversham in, 107.\\nCountry Girl, John Drew\\nin, 91.\\nCourtship of Leonie, J.\\nK. Hackett in, 209.\\nCowboy and the Lady, N.\\nC. Goodwin in, 134.\\nCraig, Robert, 302, 304.\\nCrampton, Charlotte, 317,\\n320.\\nCrane, William H., 131, 145,\\n149, 233.\\nCricket on the Hearth,\\nJoseph Jefferson in, 14, 15.\\nCrown of Thorns,\\nGillette, William, 182.\\nHaworth, Joseph, 319.\\nCrust of Society, Joseph\\nHaworth in, 325.\\nCushman, Charlotte, 142.\\nCymbeline,\\nJewett, Henry, 217.\\nMiller, Henry, 192.\\nCyrano de Bergerac, Rich-\\nard Mansfield in, 36, 39, 56.\\nDakolar, R. B. Mantell in,\\n294.\\nDaly, Augustin, 84, 90, 91,\\n172, 192, 202, 208, 237,\\n256, 257, 271, 291, 308,\\n309, 3 l\\nDancing Girl,\\nLackaye, Wilton, 173.\\nSothern, E. H., 80.\\nDanicheffs, James O Neill\\nin, 145.\\nDanites,\\nHolland, E. M., 66.\\nJewett, Henry, 215.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0394.jp2"}, "393": {"fulltext": "Index.\\n339\\nDarrell, George, 216.\\nDaughter of the Regiment,\\nW. H. Crane in, 152.\\nDauvray, Helen, 78.\\nDavenport, E. L., 28, 65,\\n308.\\nDavenport, Fanny, 91, 171,\\n216, 222, 238, 247, 288,\\n290, 293, 294, 304.\\nDavenport, May, 113.\\nDavid Garrick,\\nGoodwin, N. C., 134.\\nSothern, E. H., 75.\\nDay after the Fair, E. M.\\nHolland in, 64.\\nDeacon Crankett, James\\nO Neill in, 148.\\nDead Heart,\\nLackaye, Wilton, 172.\\nO Neill, James, 137.\\nDead Shot, W. H. Crane\\nin, 154.\\nDeBar, Ben, 181.\\nDeGray, Marie, 99, 293.\\nDenning, Susan, 27.\\nDevil s Disciple, Richard\\nMansfield in, 56.\\nDickinson, Anna, 318.\\nDick Swiveller,\\nCrane, W. H., 157.\\nFa versham, William, 102.\\nDinner at Eight, E. M.\\nHolland in, 67.\\nDiplomacy,\\nDrew, John, 91.\\nJewett, Henry, 217, 220.\\nKelcey, Herbert, 332.\\nDisciple, J. E. Dodson in,\\n286.\\nDistrict Attorney, Wilton\\nLackaye in, 1 73.\\nDivorce, W. H. Crane in,\\n156.\\nDixey, Henry E., 131.\\nDodson, J. E., 278.\\nDollars and Sense, John\\nDrew in, 92.\\nDool s House, William\\nFa versham in, 106.\\nDomestic Earthquakes, E.\\nH. Sothern in, 77.\\nDominie s Daughter, Her-\\nbert Kelcey in, 333.\\nDon Carlos de Seville, 148.\\nDon Juan, Richard Mans-\\nfield in, 56.\\nDr. Belgraff Wilton Lack-\\naye in, 173.\\nDr. Bill, Wilton Lackaye\\nin, 173-\\nDrew, John, 84, 192, 193.\\nDrew, John, Sr., 89, 230.\\nDrew, Mrs. John, 89, 230,\\n297, 304.\\nDrifting Apart, James A.\\nHeme in, 30.\\nDr. Jekyll and Mr. Hyde,\\nRichard Mansfield in, 54.\\nDr. Pangloss, Heir-at-law,\\nJoseph Jefferson as, 13, 15,\\n16.\\nDuff, James, 256.\\nDuke s Motto, Melbourne\\nMacDowell in, 244.\\nDurbin, Maud, 276.\\nEdgewood Folks, Sol\\nSmith Russell in, 257.\\nEditha s Burglar, E. H.\\nSothern in, 79.\\nElaine, E. M. Holland in,\\n67.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0395.jp2"}, "394": {"fulltext": "340\\nIndex.\\nElliott, Arthur, 216.\\nElliott, Maxine, 135.\\nElliston, Maude, 102.\\nEllsler, Effie, 318, 319.\\nEllsler, John, 141, 308, 318,\\n3i9-\\nEmmett, J. K., 282, 283.\\nEmpire Theatre, 94, 107, 194.\\nEnchantment, Otis Skin-\\nner in, 270.\\nEnemy to the King, E. H.\\nSothern in, 81.\\nEngaged, Herbert Kelcey\\nin, 333.\\nEnvoy, James O Neill in,\\n137-\\nEsmeralda,\\nGillette, William, 185.\\nHolland, E. M., 67.\\nEvangeline,\\nCrane, W. H., 155, 159.\\nGoodwin, N. C., 130.\\nFace in the Moonlight, R.\\nB. Mantell in, 294.\\nFaint Heart Never Won\\nFair Lady, William Gil-\\nlette in, 182.\\nFaust (opera), W. H.\\nCrane in, 154.\\nFaust (play), Henry\\nJewett in, 218.\\nFaversham, William, 94.\\nFavette, E. H. Sothern\\nin, 78.\\nFavourite, Henry Jewett\\nin, 219.\\nFeatherbrain,\\nFaversham, William,\\n106.\\nLackaye, Wilton, 172.\\nFechter, Charles, 138, 284,\\n3\u00c2\u00b04-\\nFedora,\\nLackaye, Wilton, 171.\\nMacDowell, Melbourne,\\n238.\\nMantell, R. B., 288, 289,\\n294.\\nFelix McKusick, Sol\\nSmith Russell in, 258.\\nFerguson, W. J., 102.\\nFirefly, Roland Reed in,\\n302.\\nFirst Gentleman of\\nEurope, J. K. Hackett\\nin, 210.\\nFirst Violin, Richard\\nMansfield in, 56.\\nFiske, Minnie Maddern, 54,\\n106, 172, 193.\\nFlirtation, Herbert Kel-\\ncey in, 332.\\nFlorence, William, 15.\\nFlower Girl of Paris, W.\\nH. Crane in, 155.\\nFontenelle, James O Neill\\nin, 137-\\nForbes, Charles, 245.\\nForbidden Fruit,\\nCrane, W. H, 163.\\nMantell, R. B., 292.\\nRobson, Stuart, 163.\\nFord, John T., 141, 230.\\nForrest, Edwin, 139, 141.\\nFoundling, E. M. Hol-\\nland in, 68.\\nFra Diavolo, W. H.\\nCrane in, 155.\\nFrancesca da Rimini,\\nLackaye, Wilton, 171.\\nSkinner, Otis, 271.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0396.jp2"}, "395": {"fulltext": "Index.\\n341\\nFrederic Lemaitre, Henry\\nMiller in, 194.\\nFrench Flats,\\nHolland, E. M., 66.\\nMansfield, Richard, 53.\\nFriend Fritz, John B.\\nMason in, 116.\\nFritz, J. E. Dodson in,\\n282.\\nFrohman, Charles, 59, 78,\\n94, 194, 286.\\nFrohman, Daniel, 58, 66,\\n67, 78, 103, 193, 209, 294,\\n326, 333.\\nFuller, Loie, 132.\\nFyles, Franklyn, 195.\\nGasparone, Richard Mans-\\nfield in, 53.\\nGilbert, John, 65.\\nGilbert, W. S., 51.\\nGilded Age, William Gil-\\nlette in, 182.\\nGilded Fool, N. C. Good-\\nwin in, 134.\\nGillette, Hon. Francis, 178.\\nGillette, William, 174.\\nGladiator, Joseph Ha-\\nworth in, 321.\\nGolden, Richard, 131.\\nGold Mine, N. C. Good-\\nwin in, 121, 132,134.\\nGoodwin, N. C., 114, 119.\\nGovernor of Kentucky,\\nW. H. Crane in, 164.\\nGreat Unknown, Wilton\\nLackaye in, 172.\\nGriffith Davenport, James\\nA. Heme in, 18.\\nGudgeons, Henry Miller\\nin, 195.\\nGuv nor, John B. Mason\\nin, 114.\\nGuy Mannering, William\\nGillette in, 182.\\nHackett, James H., 205.\\nHackett, James K., 200,\\n326.\\nHackett, Mrs. Clara C, 206.\\nHamlet,\\nDrew, John, 90.\\nFaversham, William,\\n101.\\nGillette, William, 182.\\nGoodwin, N. C, 133.\\nHaworth, Joseph, 311,\\n3 X 9-\\nMantell, R. B., 291, 294.\\nMiller, Henry, 199.\\nO Neill, James, 138.\\nReed, Roland, 309.\\nSkinner, Otis, 271, 272,\\n275-\\nHands Across the Sea,\\nJohn B. Mason in, 115.\\nHann, T. R., 305.\\nHapgood, Norman, 107.\\nHarbour Lights, Herbert\\nKelcey in, 333.\\nHare, John, 286.\\nHarned, Virginia, 83.\\nHarris, Augustus, 281.\\nHarrison, Maude, 162.\\nHarvest, Herbert Kelcey\\nin, 333.\\nHastings, Frances, 218.\\nHastings, Helen, 102.\\nHaworth, Joseph, 211, 311.\\nHawthorne, Grace, 145.\\nHazel Kirke,\\nHolland, E. M., 66.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0397.jp2"}, "396": {"fulltext": "342\\nIndex.\\nMacDowell, Melbourne,\\n245-\\nMason, John B., 115.\\nHead of the Family, W.\\nH. Crane in, 164.\\nHeart and Hands, J. K.\\nHackett in, 208.\\nHeart of Hearts, E. M.\\nHolland in, 67.\\nHeart of Maryland, Her-\\nbert Kelcey in, 326.\\nHearts of Oak, James A.\\nHeme in, 30.\\nHearts of Steel, Otis\\nSkinner in, 270.\\nHeartsease, Henry Miller\\nin, 195.\\nHeir-at-Law,\\nJefferson, Joseph, 13,\\n15, 16.\\nReed, Roland, 309.\\nRussell, Sol Smith, 259.\\nHeld by the Enemy, Wil-\\nliam Gillette in, 174, 186,\\n188.\\nHenley, E. J., 219.\\nHenrietta,\\nCrane, W. H., 163, 233,\\n235-\\nRobson, Stuart, 163,\\n2 33 235.\\nHeme, James A., 18.\\nHidden Hand, Sol Smith\\nRussell in, 253.\\nHighest Bidder,\\nFaversham, William,\\n103.\\nSothern, E. H., 79.\\nHill, Barton, 156.\\nHis Father s Boy, Roland\\nReed in, 310.\\nHis Grace de Grammont,\\nOtis Skinner in, 274.\\nHis Honour the Mayor,\\nW. H. Crane in, 164.\\nHobbies, N. C. Goodwin\\nin, 131, 132.\\nHolland, E. M., 58.\\nHolland, George, 63.\\nHolland, Joseph, 58, 62,\\n68.\\nHome, J. E. Dodson in,\\n286.\\nHome from School, N. C.\\nGoodwin in, 130.\\nHome Secretary, J. K.\\nHackett in, 209.\\nHon. John Grigsby, Sol\\nSmith Russell in, 259.\\nHoodman Blind, Joseph\\nHaworth in, 325.\\nHoward, Bronson, 235, 236.\\nHuman Nature, Henry\\nJewett in, 217.\\nHumbug, Roland Reed\\nin, 309.\\nHunchback,\\nDrew, John, 90.\\nGillette, William, 182.\\nGoodwin, N. C, 133.\\nJewett, Henry, 220.\\nIdler, John B. Mason in,\\n5-\\nIf I Were You, John B.\\nMason in, 116.\\nInconstant, John Drew in,\\n116.\\nIngomar, Henry Jewett\\nin, 220.\\nIn Mizzoura, N. C. Good-\\nwin in, 134.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0398.jp2"}, "397": {"fulltext": "Index.\\n343\\nInnocent as a Lamb, Ro-\\nland Reed in, 310.\\nIn Spite of All,\\nFaversham, William,\\n106.\\nMansfield, Richard, 54.\\nInvisible Prince, W. H.\\nCrane in, 154.\\nIolanthe, Richard Mans-\\nfield in, 52.\\nIron Mask, Melbourne\\nMacDowell in, 245.\\nIron Master, J. E. Dod-\\nson in, 286.\\nIrving, Sir Henry, 36, 54,\\n137, 190, 3 J 4-\\nIs Marriage a Failure,\\nStuart Robson in, 236.\\nIt s Never too Late to\\nMend, J. E. Dodson in,\\n284.\\nIt Was a Dream, J. E.\\nDodson in, 286.\\nJack, John, 219.\\nJack and Gill, J. E. Dod-\\nson in, 282.\\nJames, Louis, 268, 304.\\nJanauschek, Madame, 268.\\nJefferson, Cornelia, 231.\\nJefferson, Joseph, 11, 64, 79,\\n89, 150, 249, 276, 282, 283.\\nJenyns, Essie, 217.\\nJewett, Henry, 211.\\nJim Crow, Joseph Jefferson\\nas, 13.\\nJim the Penman,\\nHolland, E. M., 63, 67.\\nLackaye, Wilton, 173.\\nJoan of Arc, Henry Jew-\\nett in, 222.\\nJocelyn, Wilton Lackaye\\nin, 169.\\nJohn-a-Dreams,\\nDodson, J. E., 287.\\nFaversham, William,\\n107.\\nJohn Wopps, Policeman,\\nStuart Robson in, 231.\\nJoseph s Sweetheart, John\\nB. Mason in, 114.\\nJulius Caesar,\\nGoodwin, N. C, 133.\\nHaworth, Joseph, 318.\\nJewett, Henry, 218, 222.\\nO Neill, James, 143.\\nSkinner, Otis, 271.\\nKate Kearney, W. H.\\nCrane in, 154.\\nKatherine and Petruchio,\\nWilliam Gillette in, 182.\\nKatherine Kavanagh, J.\\nE. Dodson in, 286.\\nKeene, Laura, 254.\\nKeene, Thomas W, 156.\\nKelcey, Herbert, 209, 326.\\nKendal, Mr. and Mrs., 278,\\n283, 285.\\nKenilworth, R. B. Man-\\ntell in, 293.\\nKerry Gow, Melbourne\\nMacDowell in, 245.\\nKidder, Kathryn, 209.\\nKing Carrott, Stuart\\nRobson in, 232.\\nKingdon, Edith, 271.\\nKing of Peru,\\nJewett, Henry, 220.\\nMansfield, Richard, 56.\\nKing s Jester, Otis Skin-\\nner in, 274.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0399.jp2"}, "398": {"fulltext": "344\\nIndex.\\nKing Turko, William Gil-\\nlette in, 182.\\nKing s Musketeer, E. H.\\nSothern in, 82.\\nKleptomania, J. E. Dod-\\nson in, 282.\\nKnight, George, 292.\\nKraighne, Ella, 156.\\nLackaye, Wilton, 166.\\nLadies Battle, J. E. Dod-\\nson in, 286.\\nLady Gladys, J. K. Hack-\\nett in, 208.\\nLady of Lyons,\\nDodson, J. E., 281.\\nDrew, John, 89, 90.\\nFaversham, William,\\n101.\\nMantell, R. B., 294.\\nSothern, E. H., 81.\\nLady Windermere s Fan,\\nHolland, E. M., 68.\\nLackaye, Wilton, 173.\\nLast Word, John Drew\\nin, 92.\\nLate Mr. Costello, J. K.\\nHackett in, 210.\\nLa Tosca, Melbourne\\nMacDowell in, 238, 247.\\nLaughing Hyena, John\\nDrew in, 89.\\nLaw in New York,\\nGoodwin, N. C., 119,\\n129.\\nRobson, Stuart, 232.\\nLeake, W. H., 215.\\nLeavenworth Case, Jo-\\nseph Haworth in, 325.\\nLeClerq, Charlotte, 101.\\nLed Astray,\\nCrane, W. H., 156.\\nRobson, Stuart, 233.\\nLee, Jennie, 219.\\nL Elisir d Amore, W. H.\\nCrane in, 155.\\nLend Me Five Shillings,\\nN. C. Goodwin in, 134.\\nLend Me Your Wife, Ro-\\nland Reed in, 310.\\nLesbia, Richard Mans-\\nfield in, 55.\\nLeslie, Elsie, 79, 106.\\nLesson in Acting, R. B.\\nMantell, 294.\\nLewis, James, 90, 192, 257,\\n308.\\nLiberty Hall, Henry Mil-\\nler in, 195.\\nLiars,\\nDrew, John, 92, 93.\\nMiller, Henry, 199.\\nLights o London, Henry\\nJewett in, 216, 217, 218.\\nLittle Jack Shepard, N.\\nC. Goodwin in, 132.\\nLittle Rebel, N. C. Good-\\nwin in, 130.\\nLimerick Boy, W. H.\\nCrane in, 154.\\nLoan of a Lover, William\\nFaversham in, 101.\\nLondon Assurance,\\nCrane, W. H., 156.\\nDrew, John, 89.\\nLord and Lady Algy,\\nFaversham, William,\\n107.\\nMiller, Henry, 199.\\nLord Chumley, E. H.\\nSothern in, 79.\\nLotta, 207, 302.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0400.jp2"}, "399": {"fulltext": "Index.\\n345\\nLottery of Love, John\\nDrew in, 92.\\nLouisianian, R. B. Man-\\ntell, 294.\\nLove Chase,\\nJewett, Henry, 220.\\nSothern, E. H., 78.\\nLove in Tandem, John\\nDrew in, 92.\\nLove s Labours Lost,\\nJohn Drew in, 91.\\nLucretia Borgia, Roland\\nReed in, 305.\\nLyceum Theatre, 193, 202,\\n209, 271, 294, 326, 333.\\nLyons Mail, Henry Jew-\\nett in, 222.\\nMacbeth,\\nGillette, William, 182.\\nMiller, Henry, 191.\\nO Neill, James, 142.\\nSkinner, Otis, 268, 272,\\n274.\\nMacDowell, E. A., 239,\\n242.\\nMacDowell, Melbourne, 216,\\n238.\\nMadame Sans-Gene, J. K.\\nHackett in, 209.\\nMaddern, Minnie (see Min-\\nnie Maddern Fiske).\\nMadison Square Theatre,\\n58, 67, 185, 192, 333.\\nMaeder, Clara Fisher, 304.\\nMagda, Otis Skinner in,\\n274.\\nMagistrate, J. E. Dodson\\nin, 279.\\nMaguinness, Dan, 271.\\nMaier, Joseph, 113.\\nMaister of Woodbarrow,\\nE. H. Sothern in, 80.\\nMalone, John, 222.\\nMannering, Mary, 210.\\nMan with a Past, E. M.\\nHolland in, 68.\\nManola, Marion, 115.\\nMansfield, Richard, 36, 220,\\n222.\\nManteaux Noirs, Richard\\nMansfield in, 52.\\nMantell, Robert B., 191,\\n288.\\nMarble Heart,\\nGillette, William, 182.\\nMantell, R. B., 294.\\nMargaret Fleming, James\\nA. Heme in, 30.\\nMarie Antoinette, Henry\\nJewett in, 218.\\nMarlowe, Julia, 219.\\nMarquise, Henry Miller\\nin, 194.\\nMarriage of Convenience,\\nJohn Drew in, 92.\\nMarried in Haste, Will-\\niam Gillette in, 182.\\nMarried Life, W. H.\\nCrane, 1 56.\\nMarshall, Wyzeman, 128.\\nMartyr, E. M. Holland\\nin, 67.\\nMary Stuart,\\nJewett, Henry, 218.\\nSkinner, Otis, 274.\\nMasked Ball, John Drew\\nin, 85, 92.\\nMasks and Faces, Sol\\nSmith Russell, 257.\\nMason, John B., 96, no.\\nMason, Lowell, 112.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0401.jp2"}, "400": {"fulltext": "346\\nIndex.\\nMasqueraders,\\nDodson, J. E., 287.\\nFaversham, William,\\n107.\\nMiller, Henry, 195.\\nMaster, Henry Miller in,\\n195-\\nMather, Margaret, 273.\\nMathews, Charles, 65, 292.\\nMayblossom, Wilton\\nLackaye in, 171.\\nMayflower, J. K. Hackett\\nin, 171.\\nMcCullough, John, 72, 73,\\n75, 156, 268, 269, 320,\\n321.\\nMcHenery, Nellie, 155.\\nMcVicker s Theatre, 31, 142,\\n145, 169, 308, 321.\\nMeasure for Measure,\\nHenry Miller in, 192.\\nMeddler, Stuart Robson\\nin, 237.\\nMember from Slocum,\\nN. C. Goodwin in, 132.\\nMerchant of Venice,\\nLackaye, Wilton, 171.\\nMansfield, Richard, 56.\\nReed, Roland, 309.\\nSkinner, Otis, 261, 271,\\n272, 274.\\nMerry Wives of Windsor,\\nCrane, W. H, 163, 233,\\n234-\\nDrew, John, 91.\\nJewett, Henry, 222.\\nRobson, Stuart, 163,\\n233, 234.\\nMestayer, W. A., 156.\\nMet by Chance, E. H.\\nSothern in, yS.\\nMichael and His Lost An-\\ngel, Henry Miller in,\\n195-\\nMidsummer Night s\\nDream,\\nDrew, John, 91.\\nLackaye, Wilton, 169.\\nMikado,\\nMansfield, Richard, 54.\\nReed, Roland, 310.\\nMiller, Henry, 107, 190.\\nMillward, Jessie, 172.\\nMiln, George C, 221.\\nMilton, E., E. M. Holland\\nknown as, 65.\\nMinute Man, James A.\\nHeme in, 30.\\nMiron, R. B. Mantell in,\\n293-\\nMitchell, Madame, 128.\\nMitchell, Maggie, 254.\\nMixed Pickles, J. K.\\nHackett in, 208.\\nModjeska, Helena, 191,\\n272, 274, 275, 292.\\nMona, E. H. Sothern in,\\n78.\\nMonbars, R. B. Mantell\\nin, 294.\\nMoney,\\nMason, John B., 115.\\nReed, Roland, 309.\\nMoney Mad, Wilton\\nLackaye in, 172.\\nMoney Spinner,\\nDodson, J. E., 286.\\nJewett, Henry, 217.\\nMonsieur, Richard Mans-\\nfield in, 54.\\nMonte Cristo, James\\nO Neill in, 136, 138.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0402.jp2"}, "401": {"fulltext": "Index.\\n347\\nMorgan, Edward J., 199, 210.\\nMorris, Felix, 194.\\nMoth and the Flame,\\nHerbert Kelcey in, 326.\\nMother in Law, E. M.\\nHolland in, 66.\\nMoths,\\nFaversham, William,\\n101.\\nKelcey, Herbert, 333.\\nMounet- Sully, 37.\\nMr. Wilkinson s Widows,\\nGillette, William, 187.\\nLackaye, Wilton, 173.\\nMuch Ado about Noth-\\ning,\\nJewett, Henry, 220.\\nLackaye, Wilton, 171.\\nMantell, R. B., 293.\\nMurdoch, Harry, 183.\\nMurdoch, James E., 256.\\nMurphy, Joseph, 245.\\nMusketeer s, James\\nO Neill in, 138.\\nMy Jack, Wilton Lack-\\naye in, 172.\\nMy Partner, Henry Jew-\\nett in, 218.\\nMy Precious Betsy, Will-\\niam Gillette in, 182.\\nMy Uncle s Will, Henry\\nJewett in, 219.\\nNaked Truth, Henry\\nJewett in, 216.\\nNancy Co.\\nDrew, John, 92.\\nJewett, Henry, 219.\\nNathan Hale, N. C.\\nGoodwin in, 122, 134.\\nNeilson, Adelaide, 192, 240.\\nNero, Wilton Lackaye in,\\n172.\\nNethersole, Olga, 68.\\nNew Blood,\\nHolland, E. M., 68.\\nLackaye, Wilton, 173.\\nNew Way to Pay Old\\nDebts, E. M. Holland in,\\n65.\\nNew Women,\\nHolland, E. M., 68.\\nLackaye, Wilton, 173.\\nNight Off,\\nDrew, John, 92.\\nJewett, Henry, 219.\\nNinety Days, William\\nGillette in, 187.\\nNita s First, E. H.\\nSothern in, 78.\\nNoah, Rachel, 271.\\nNolan, Barney, 243.\\nNominee, N. C. Goodwin\\nin, 134.\\nOctoroon,\\nJefferson, Joseph, 14.\\nReed, Roland, 305.\\nOdette, Henry Miller in,\\n192.\\nOld Heads and Young\\nHearts,\\nKelcey, Herbert, 333.\\nRobson, Stuart, 230.\\nOld Love Letters, Her-\\nbert Kelcey in, 333.\\nOliver Twist, James A.\\nHeme in, 28.\\nOn and Off, E. M. Hol-\\nland in, 59, 63.\\nOn Probation, W. H.\\nCrane in, 164.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0403.jp2"}, "402": {"fulltext": "348\\nIndex.\\nOne of Our Girls, E. H.\\nSothern in, 78.\\nOne Summer s Day, John\\nDrew in, 92.\\nO Neill, James, 136, 155.\\nOthello, 38.\\nGillette, William, 182.\\nHackett, J. K., 206.\\nJewett, Henry, 222.\\nMantell, R. B., 293, 294.\\nO Neill, James, 143.\\nOur American Cousin,\\nJefferson, Joseph, 14.\\nSothern, E. H., 75.\\nOur Bachelors,\\nCrane, W. H., 163, 234.\\nRobson, Stuart, 163,\\n234.\\nOur Boarding House,\\nCrane, W. H, 157, 233.\\nRobson, Stuart, 157,\\n233.\\nOur Boys, John B. Ma-\\nson in, 115.\\nOur Society, Herbert\\nKelcey in, 333.\\nOwens, John, 228.\\nOwen, William F., 222.\\nPa, Sol Smith Russell\\nin, 258.\\nPair of Spectacles, E. M.\\nHolland in, 67.\\nPalmer, A. M., 58, 66, 67,\\n107, 145, 158, 173, 186,\\n192, 202, 207.\\nPalmer, Minnie, 130.\\nParisian Romance, Rich-\\nard Mansfield in, 52.\\nParrhasius, R. B. Mantell\\nin, 294.\\nPartners, E. M. Holland\\nin, 67.\\nPassion P lay, James\\nO Neill in, 145.\\nPastor, Tony, 130.\\nPaul and Virginia, R. B.\\nMantell in, 293.\\nPaul Kauvar,\\nHaworth, Joseph, 325.\\nLackaye, Wilton, 169,\\n172.\\nPeaceful Valley, Sol\\nSmith Russell in, 248,\\n259-\\nPeake Family Bell Ringers,\\nSol Smith Russell with,\\n254.\\nPease, Mrs. Nella Baker,\\n135-\\nPeg Woffington, E. H.\\nSothern in, 78.\\nPembertons, Wilton Lack-\\naye in, 172.\\nPen and Ink, William\\nFaversham in, 102.\\nPeter White, Roland\\nReed in, 301.\\nPhroso, William Faver-\\nsham in, 97.\\nPinafore, Richard Mans-\\nfield in, 51.\\nPink Dominoes, Henry\\nJewett in, 219, 222.\\nPink Mask, J. K. Hackett\\nin, 208.\\nPique, John Drew in, 91.\\nPitt, H. M., 192.\\nPlympton, Eben, 222, 240.\\nPolitician, Roland Reed\\nin, 310.\\nPolk, J. B., 216.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0404.jp2"}, "403": {"fulltext": "Index.\\n349\\nPomeroy, Louise, 215, 216.\\nPompadou r, Wilton\\nLackaye in, 173.\\nPoor Gentleman, Roland\\nReed in, 309.\\nPoor Relation, Sol Smith\\nRussell in, 247, 259.\\nPotter, Mrs. James Brown,\\n209.\\nPower of the Press, Wil-\\nton Lackaye in, 173.\\nPrice, Lizzie, 304, 306.\\nPrice, Mark, 271.\\nPrice of Silence, Wilton\\nLackaye in, 173.\\nPrince and the Pauper,\\nWilliam Faversham in,\\n106.\\nPrince K a r 1, Richard\\nMansfield in, 54.\\nPrincess and the Butter-\\nfly, J. K. Hackett in,\\n210.\\nPrisoner of Zenda,\\nHackett, J. K., 200,\\n209.\\nSothern, E. H., 81.\\nPrivate Secretary,\\nGillette, William, 174,\\n175, 186.\\nHackett, J. K., 208.\\nHolland, E. M., 67.\\nProfessor, William Gil-\\nlette in, 285.\\nPygmalion and Galatea,\\nJ. E. Dodson in, 281.\\nQueen Elizabeth, Henry\\nJewett in, 218.\\nQueen s Evidence, Henry\\nJewett in, 217.\\nQueen s Garter, R. B.\\nMantell in, 294.\\nQueen s Necklace, J. K.\\nHackett in, 209.\\nQueen s Shilling, J. E.\\nDodson in, 286.\\nQuilp, William Faversham\\nRailroad of Love, John\\nDrew in, 92.\\nRajah, E. M. Holland in,\\n67.\\nRankin, McKee, 58, 66.\\nRaymond, John T., 182, 268,\\n310.\\nRed Signal, Otis Skinner\\nin, 272.\\nReed, German, 49.\\nReed, John Roland, 299.\\nReed, Roland, 297.\\nReeve, Wybert, 217.\\nRehan, Ada, 91, 192, 193.\\nRehan, Arthur, 208.\\nRetribution, William Gil-\\nlette in, 182.\\nRev. Griffith Davenport\\n(see Griffith Daven-\\nport\\nRice, Edward E., 131.\\nRichard II., John Drew\\nin, 90.\\nRichard III.,\\nHaworth, Joseph, 311,\\n312, 317.\\nMansfield, Richard, 55.\\nSothern, E. H., 73.\\nRichelieu,\\nDrew, John, 90.\\nHaworth, Joseph, 311,\\n313. 324-", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0405.jp2"}, "404": {"fulltext": "35o\\nIndex.\\nO Neill, James, 138,\\n142.\\nSkinner, Otis, 270, 272.\\nRignold, George, 218.\\nRinaldo, Joseph Haworth\\nin, 311.\\nRip Van Winkle,\\nDodson, J. E., 282.\\nHolland, E. M., 65.\\nJefferson, Joseph, 14,\\n15, 16.\\nRip Van Winkle (opera),\\nRichard Mansfield in, 52.\\nRivals,\\nGoodwin, N. C, 134.\\nJefferson, Joseph, 1 5,\\n16.\\nMason, John B., in.\\nReed, Roland, 309.\\nRobson, Stuart, 231.\\nRoad to Ruin,\\nHolland, E. M., 65.\\nMacDowell, M., 242,\\n243-\\nRobinson, Frederick, 207.\\nRobson, Stuart, 119, 128,\\n129, 157, 163, 223, 304.\\nRoger La Houte, Wilton\\nLackaye in, 172.\\nRomany Rye,\\nJewett, Henry, 218.\\nMantell, R. B., 293.\\nRomeo and Juliet,\\nFaversham, William,\\n95 98-\\nGillette, William, 182.\\nHackett, J. K., 201, 203.\\nJewett, Henry, 217, 220.\\nMantell, R. B., 293,\\n294.\\nMiller, Henry, 192.\\nO Neill, James, 143.\\nSkinner, Otis, 273.\\nRosedale,\\nCrane, W. H., 154.\\nHaworth, Joseph, 311.\\nMason, John B., 114.\\nRosemary,\\nDrew, John, 92.\\nSkinner, Otis, 261, 276,\\nRough Diamond, W. H.\\nCrane in, 156.\\nRoyal Revenge, N. C.\\nGoodwin in, 133.\\nRudersdorff, Emma, 45.\\nRupert of Hentzau, J. K.\\nHackett in, 201, 204, 210.\\nRussell, Sol Smith, 248.\\nSaints and Sinners,\\nHolland, E. M., 67.\\nLackaye, Wilton, 173.\\nSalvini, Tomasso, yj^ 143.\\nSalisbury, Nate, 155.\\nSam, E. H. Sothern in,\\n7i-\\nSaratoga, James O Neill\\nin, 142.\\nSatan in Paris, Joseph\\nHaworth in, 320.\\nScarlet Letter, Richard\\nMansfield in, 56.\\nScrap of Paper, E. H.\\nSothern in, 78.\\nScenes from the Life of\\nNapoleon Bonaparte,\\nRichard Mansfield in, 56.\\nSchoeff el, Mrs. Agnes Booth,\\n193, 207.\\nSchool,\\nCrane, W. H., 156.\\nHolland, E. M., 65.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0406.jp2"}, "405": {"fulltext": "Index.\\n351\\nSchool for Scandal,\\nDrew, John, 87, 92.\\nFaversham, William,\\n101.\\nKelcey, Herbert, 333.\\nMason, John B., in,\\n113, 114.\\nMantell, R. B., 293.\\nRussell, Sol Smith, 257.\\nSchoolmistress, J. E. Dod-\\nson in, 279.\\nScott, Clement, 115.\\nScrap of Paper, J. E. Dod-\\nson in, 286.\\nSealed Instructions, E.\\nM. Holland in, 67.\\nSecond Mrs. Tanqueray,\\nJ. E. Dodson in, 286.\\nSecret Service, William\\nGillette in, 174, 176, 187.\\nSecret Warrant, R. B.\\nMantell in, 294.\\nSeligman, Minnie, 208.\\nSenator, William H.\\nCrane in, 149, 164.\\nSerious Family, William\\nH. Crane in, 156.\\nSeven-Twenty-Eight, John\\nDrew in, 92.\\nSeymour, William, 113, 147.\\nShadows of a Great City,\\nHenry Jewettin, 219.\\nSharps and Flats,\\nCrane, W. H., 163.\\nRobson, Stuart, 163.\\nShaughran, R. B. Man-\\ntell in, 292.\\nShaw, Mary, 72, 113, 222.\\nShe,\\nFaversham, William,\\n106.\\nGillette, William, 187.\\nLackaye, Wilton, 171.\\nSheridan, William E., 268.\\nShe Stoops to Conquer,\\nMantell, R. B., 293.\\nMason, John B., m.\\nRobson, Stuart, 237.\\nShe Would and She\\nWouldn t, John Drew\\nin, 91.\\nShenandoah,\\nLackaye, Wilton, 172.\\nMason, John B., 114.\\nMiller, Henry, 194.\\nSheridan, E. H. Sothern\\nin, 81.\\nShore Acres, James A.\\nHeme in, 31.\\nSiberia, Henry Jewett in,\\n219.\\nSilver King,\\nJewett, Henry, 216,\\n217.\\nKelcey, Herbert, 332.\\nSkating Rink, N. C.\\nGoodwin in, 132.\\nSketches in India, N. C.\\nGoodwin in, 130.\\nSkinner, Charles M., 266.\\nSkinner, Otis, 260.\\nSnowball, J. K. Hackett\\nin, 208.\\nSocial Highwayman, E.\\nM. Holland in, 62, 63, 68.\\nSmith, Sol, 251.\\nSonnambula, W. H.\\nCrane in, 154.\\nSothern, E. A., 70, 75.\\nSothern, Edward H., 70,\\n103.\\nSothern, Lytton, 70, 75.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0407.jp2"}, "406": {"fulltext": "352\\nIndex.\\nSothern, Sam, 70.\\nSowing the Wind,\\nFaversham, William,\\n107.\\nMiller, Henry, 194.\\nSpelling Bee, J. E. Dod-\\nson in, 281.\\nSquire,\\nDodson, J. E., 286.\\nJewett, Henry, 217.\\nMiller, Henry, 193.\\nStage Struck, N. C.\\nGoodwin in, 130.\\nStevenson, Charles, 66.\\nStill Waters Run Deep,\\nDodson, J. E., 286.\\nGillette, William, 182.\\nStoddart, James H., 52, 66,\\n68, 207.\\nStory of Rodion the\\nStudent, Richard Mans-\\nfield in, 56.\\nStout, G. H., 228.\\nStranger, John Drew in,\\n90.\\nStrategist, Henry Jewett\\nin, 216.\\nStreets of New York,\\nW. H. Crane in, 153.\\nStuart, Henry Robson,\\nStuart Robson s name,\\n223.\\nSullivan, Barry, 292.\\nSunlight and Shadow, E.\\nM. Holland in, 67.\\nSunny South, Henry\\nJewett in, 216.\\nSwain, Carrie, 171.\\nSweet Lavender,\\nFaversham, William,\\n106.\\nMason, John B., 114.\\nMiller, Henry, 194.\\nSwiss Cottage, William\\nFaversham in, 101.\\nTaken from Life, Her-\\nbert Kelcey in, 332.\\nTalbot, W., 228.\\nTale of a Coat, Sol\\nSmith Russell in, 259.\\nTaming of the Shrew,\\nJohn Drew in, 90, 91.\\nTen Thousand a Year,\\nRichard Mansfield in, 55.\\nTerriss, William, 172.\\nTerry, Edward, 281.\\nThorne, Charles, Jr., 116,\\n137, 145, 233.\\nThose Bells, N. C. Good-\\nwin in, 132.\\nThree Guardsmen, Henry\\nJewett in, 215.\\nThree Wives to One Hus-\\nband, E. H. Sothern in,\\n78.\\nTicket-of-Leave Man,\\nDodson, J. E., 281.\\nJewett, Henry, 219.\\nMason, John B., 114.\\nTime Tries All, W. H.\\nCrane in, 1 56.\\nTo Nemesis, Henry Jew-\\nett in, 220.\\nToole, J. L., 281.\\nToo Much Johnson, Will-\\niam Gillette in, 174, 175,\\n187.\\nTour de Nesle, William\\nGillette in, 182.\\nTransgressor, Wilton\\nLackaye in, 1 73.", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0408.jp2"}, "407": {"fulltext": "Index.\\n353\\nTree of Knowledge, J.\\nK. Hackett in, 210.\\nTrilby, Wilton Lackaye\\nin, 166, 173.\\nTrovatore, W. H. Crane\\nin, 153-\\nTurned Up,\\nDodson, J. E., 282,\\n284.\\nGoodwin, N. C, 133.\\nHackett, J. K., 206.\\nTwain, Mark, 181.\\nTwelfth Night,\\nCrane, W. H., 233, 234,\\nJewett, Henry, 220, 222.\\nRobson, Stuart, 233,\\n234-\\nTwilight, E. M. Holland\\nin, 68.\\nTwins, J. E. Dodson in,\\n282.\\nTwo Men of Sandy Bar,\\nStuart Robson in, 233.\\nTwo Old Boys, E. M. Hol-\\nland in, 68.\\nTwo Orphans,\\nJewett, Henry, 216, 217.\\nO Neill, James, 145.\\nReed, Roland, 309.\\nTwo Roses, Henry Jew-\\nett in, 219.\\nUltimo, W. H. Crane in,\\n156.\\nUncle s Will, J. E. Dod-\\nson in, 286.\\nUncle Tom s Cabin, James\\nA. Heme in, 27.\\nUncle Tom s Cabin as It\\nIs, Stuart Robson in,\\n229.\\nUnder the Red Robe,\\nWilliam Faversham in,\\n107.\\nUnder Two Flags, Will-\\niam Faversham in, 102.\\nVernon, Ida, 102.\\nVictoria Cross, E. H.\\nSothern in, 80.\\nVie Parisienne, Richard\\nMansfield in, 53.\\nVillon the Vagabond, Otis\\nSkinner in, 274.\\nVincent, Mrs., 113.\\nViper on the Hearth, N.\\nC. Goodwin in, 134.\\nVirginia Courtship, W.\\nH. Crane in, 164.\\nVirginius, James O Neill\\nin, 138.\\nVoyagers in Southern\\nSeas, Otis Skinner in,\\n270.\\nWalda Lamar, E. H.\\nSothern in, 78.\\nWaldron, May, 237.\\nWallack, Lester, 112, 245.\\nWallis, Ellen, 292.\\nWalsh, Blanche, 216, 238.\\nWanda, Henry Jewett in,\\n218.\\nWarde, Frederick, 91.\\nWarner, Charles Dudley,\\n178.\\nWarren, William, 113, 242,\\n258.\\nWay to Win a Woman,\\nE. H. Sothern in, 81.\\nWeaker Sex, J. E. Dod-\\nson in, 286.", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0409.jp2"}, "408": {"fulltext": "354\\nIndex.\\nWeathersby, Eliza, 131.\\nWestern, Helen, 28.\\nWestern, Lucille, 28.\\nWhat Could She Do? or\\nJealousy, Sol Smith\\nRussell in, 257.\\nWhiteside, Walker, 275.\\nWhose are They (see\\nDomestic E a r t h-\\nquakes\\nWife,\\nFaversham, William,\\n106.\\nKelcey, Herbert, 326.\\nMiller, Henry, 193.\\nWife s Father, W. H.\\nCrane in, 164.\\nWilliams, Fritz, 60.\\nWinter, William, 84.\\nWoman s Revenge, Wil-\\nton Lackaye in, 173.\\nWomen of the Day, John\\nDrew in, 90.\\nWood, Mrs. John, 232.\\nWooden Spoon, Otis\\nSkinner in, 271.\\nWoodleigh, Otis Skinner\\nin, 267.\\nWoodruff, Harry, 271.\\nWorld,\\nMantell, R. B., 293.\\nReed, Roland, 309.\\nWorth a Million, W. H.\\nCrane in, 164.\\nWrong Mr. Wright, Ro-\\nland Reed in, 310.\\nWyndham, Charles, 120.\\nYorick s Love, Otis Skin-\\nner in, 271.\\nYoung Mrs. Winthrop,\\nGillette, William, 185.\\nHolland, E. M., 67.\\nMiller, Henry, 192.\\nYouth, Herbert Kelcey\\nin, 33 2", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0410.jp2"}, "409": {"fulltext": "", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0411.jp2"}, "410": {"fulltext": "", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0412.jp2"}, "411": {"fulltext": "", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0413.jp2"}, "412": {"fulltext": "MOV 27 1899", "height": "3238", "width": "2030", "jp2-path": "famousactorsofda00stra_0414.jp2"}, "413": {"fulltext": "", "height": "3256", "width": "1871", "jp2-path": "famousactorsofda00stra_0415.jp2"}, "414": {"fulltext": "", "height": "3324", "width": "2015", "jp2-path": "famousactorsofda00stra_0416.jp2"}}