threatened to survive, alongside the new custom of employing women.
For a few years both played the heroines, but the race of actors who
could portray women was fast dying out and, owing to a changed public
opinion, was not replenished.[225] When, in 1663, the King granted
patents to Killigrew and D’Avenant, those managers were virtually
instructed to employ none but women to represent female characters:
“Whereas”--the royal patents read,--“the women’s parts in plays have
hitherto been acted by men in the habits of women, at which some have
taken offense, we do give leave that for the time to come all women’s
parts be acted by women.” In a year or so the “boy-actresses” had
virtually disappeared from the stage.
Our old friend Pepys had the pleasure,--undoubtedly a keen one for
him,--of seeing some of the earliest appearances of actresses in
London. We have it from him that in 1661 he saw women acting in
Beaumont and Fletcher’s _Beggar’s Bush_. If he was present at the Red
Bull on the eighth of the previous December, when the first English
actress walked on, he strangely omits to say so.
Something should be said of the changing conditions in the actress’
calling since 1660. As we all know, the complete social recognition
of actors and actresses is distinctly modern. Of course, in the
nature of things, they were always the objects of acclamation and
often admiration; but they were long in attaining real public
respect, strange as that seems to an actor-worshiping (or especially
actress-worshiping) age.
There was plenty of historical background for the old state of things.
The ancients loved their theatre, but their actors did not, as a rule,
rank high in public estimation. According to Cicero, at one time any
Roman who turned actor was disincorporated and unnaturalized by order
of the Censors; and Livy states that players were not thought good
enough for common soldiers. The early Christians maintained the same
attitude, probably with better reason, for in their day the drama fell
into a parlous state. The two councils of Arles excommunicated all
players, and in A. D. 424 another church council declared that “the
testimony of people of ill-reputation, of players, and others of such
scandalous employments, shall not be admitted against any person.”
With the rise of the wonderful Elizabethan drama in England the
actors attained a measure of respect, mixed, however, with a certain
condescension.[226] Later in the seventeenth century, when actresses
began regularly to appear on the English stage, the actor’s standing
was at least no better. William Mountford, a respectable actor, one of
the most accomplished of his day, was killed in a street brawl by Lord
Mohun and Captain Hill, two dissolute “gentlemen,” who were attempting
to abduct the renowned actress, Anne Bracegirdle. Mohun was tried in
1692 by the House of Lords, and though he was flagrantly guilty, he
was acquitted, 69 to 14. During the hearing one nobleman could not
understand why so great a fuss should be made about so small a matter
and said that “after all, the fellow was but a player, and players are
rogues.” And of the period immediately following, John Fyvie says:
“In the earlier part of the eighteenth century anybody might insult
an actor with impunity; and if an actor were thrashed by a person of
quality neither he nor anybody else would have dreamed that he had any
right to retaliate.”[227]
Dr. Johnson’s comments have been quoted as typifying the attitude
which even in Garrick’s day, a man of intellect could maintain toward
the player’s profession,[228] though it is to be noted that not even
in the Doctor’s distinguished circle were his prejudices generally
shared. And Johnson himself, it will be remembered, felt honored to
receive a visit from the celebrated Mrs. Siddons. “At all periods
of his life, Johnson used to talk contemptuously of players,” says
Boswell, “for which, perhaps there was formerly too much reason
from the licentious and dissolute manners of those engaged in that
profession. It is but justice to add,” Boswell goes on, “that in our
own time such a change has taken place, that there is no longer room
for such an unfavorable distinction.”
A century had, indeed, seen a change. In 1660, when actresses invaded
the theatre, there was a long road to travel before the actor could
be thought of as he is today,--innocent of social stigma until proved
guilty. It was then the other way about,--he belonged to an outcast
class, until he proved himself deserving of exceptional consideration.
Naturally, when women came to join the actors’ ranks, they shared more
than to the full the social disadvantages attaching to the calling,
simply because they _were_ women; for, as is well known, it is a queer
twist of the ingrained chivalric attitude toward the sex that when a
woman ranges herself with men of a doubtful class she is accorded a
double portion of the disfavor in which that class may be held. In
any event, the first century of English actresses saw them, for the
most part, doing their best to justify the stigma. Anne Bracegirdle
was notorious in her day, not for lapses from virtue, but actually
for leading a measurably pure life. So singular, in her day, was the
actress who was not the mistress of some one her social superior that
virtuous “Bracey” was hailed as a phenomenon. A number of lords and
gentlemen once met round a festive board and pledged a large purse to
be offered to her as a tribute to her rare chastity.[229] Her sister
actresses, and many who were to follow in the eighteenth century, were,
in many instances, openly the mistresses of lords and other “fine
gentlemen.” It seems superfluous to say of the average nineteenth
century actress that her standards of life were, in general, far
different from those of her earlier sisters; and the fact is of much
importance in its direct bearing on one of the most interesting changes
that have occurred in the realm of the theatre: the improvement in the
social status of the actor and actress.
For another cause of that change we may look to the general dramatic
awakening that characterized the latter part of the nineteenth
century,--the vitalization of the theatre as the home of an art worthy
the study and appreciation of the best minds. In 1660 and for many
years later the English-speaking theatre, at least, was not _that_.
Until fairly recent times the acting class was recruited mainly from
those who were either born to it or who drifted into it more or less
as a matter of chance. Here, too, the nineteenth century saw a change.
Partly as a cause and partly as a result of the improved social
standing of the actor, ambitious men and women of good family in
increasing numbers adopted the stage as a profession.
Again, the latter-day recognition of the stage found a significant
expression, in England, in the knighting of a succession of
distinguished actors and dramatists: Henry Irving, Squire Bancroft,
Arthur Wing Pinero, John Hare, Charles Wyndham, George Alexander,
Herbert Beerbohm Tree, Johnston Forbes-Robertson. In their own country,
and, as one may as well admit, in America too, the knighting of actors
could not fail further to dignify the calling.
All of these causes have acted and interacted, through the years, to
help bring the actor and the actress to a point of public interest and
esteem that is reached by few of the world’s “authentic benefactors.”
Most important of all, however, as a cause of their progress to
something very like adulation has been the increasingly strong position
of the theatre as the artistic meeting ground of all the people. The
drama of 1660 was the amusement of a restricted class; now it is the
universal art. Its skilled exponents, affected by a strong general
interest, cannot fail to receive,--unless they willfully reject it--the
respect and admiration of their contemporaries.
BIBLIOGRAPHY
Of the large number of books that deal, exclusively or incidentally,
with theatrical biography, the following may be named as especially
readable, and as offering further reading in the field covered by the
present volume:
Anderson, Mary, _A Few Memories_, New York, 1896.
Archer, William, _The Theatrical World_, 5 vols. London, 1893–97.
Baker, Henry Barton, _Our Old Actors_, 2 vols. London, 1878.
Bernhardt, Sarah, _Memories of My Life_, New York, 1907.
Clapp, Henry Austin, _Reminiscences of a Dramatic Critic_, Boston,
1902.
Clapp, John Bouvé, and Edwin Francis Edgett, _Players of the
Present_, 3 parts. (In Dunlap Society Publications.) New York,
1899–1901.
Cook, Dutton, _Hours with the Players_, 2 vols. London, 1881.
Doran, John, _Annals of the English Stage_, London, 1888. 3 vols.
(Edited and revised by Robert W. Lowe.)
Eaton, Walter Prichard, _At the New Theatre and Others_, Boston, 1910.
Faxon, Frederick W. (Editor), _The Dramatic Index_; (An Annual Index
of Books and Magazine Articles.) Boston, 1908–
Fyvie, John, _Comedy Queens of the Georgian Era_, New York, 1907.
Fyvie, John, _Tragedy Queens of the Georgian Era_, New York, 1909.
Huret, Jules, _Sarah Bernhardt_ (Translated by G. A. Raper), London,
1899.
Huret, Jules, _Loges et Coulisses_, Paris, 1901.
Mapes, Victor, _Duse and the French_, New York, 1899. (In Dunlap
Society Publications.)
Matthews, Brander, & Laurence Hutton (Editors), _Actors and Actresses
of Great Britain and the United States_, 5 vols. New York, 1886.
McKay, Frederic E., & Charles E. L. Wingate (Editors), _Famous
American Actors of To-day_, 2 vols. New York, 1896.
McLeod, Addison, _Plays and Players in Modern Italy_, London, 1912.
Modjeska, Helena, _Memories and Impressions_, New York, 1910.
Robins, Edward, _Echoes of the Playhouse_, New York, 1895.
Robins, Edward, _Twelve Great Actresses_, New York, 1900.
Ruhl, Arthur, _Second Nights_, New York, 1914.
Scott, Clement, _Ellen Terry_, New York, 1900.
Shaw, George Bernard, _Dramatic Opinions and Essays_, 2 vols. New
York, 1906.
Simpson, Harold, & Mrs. Charles Braun, _A Century of Famous
Actresses_, London, 1913.
Strang, Lewis C., _Famous Actresses of the Day in America_, 2 series.
Boston, 1899, 1902.
Strang, Lewis C., _Players and Plays of the Last Quarter Century_, 2
vols. Boston, 1903.
Symons, Arthur, _Plays, Acting and Music_, London, 1903.
Terry, Ellen, _The Story of My Life_, New York, 1908.
Walkley, A. B., _Playhouse Impressions_, London, 1892.
Winter, William, _Other Days_, New York, 1908.
Winter, William, _Shakespeare on the Stage_, 2 series. New York,
1911, 1915.
Winter, William, _The Wallet of Time_, 2 vols. New York, 1913.
INDEX
Abbey, Henry E., 26, 29 note, 246, 247.
Abington, Frances, iii.
Adams, Annie, 325.
Adams, Maude, 324–46;
parentage and birth, 325;
career as a child actress, 325–29;
goes to New York, 329;
with E. H. Sothern, 330;
_A Midnight Bell_, 331;
in Charles Frohman’s company, 331–2;
John Drew’s leading woman, 332–34;
becomes a “star,” 334;
_The Little Minister_, 335;
_Romeo and Juliet_, 336;
_L’Aiglon_, 337;
_Peter Pan_, 338–9;
_What Every Woman Knows_, 339–40;
_Chanticler_, 340–41;
_The Maid of Orleans_, 341–2;
Miss Adams and Barrie, 342;
her personality, 343–6;
her _repertoire_, 333 (note), 335 (note); 347.
Agar, Marie, 13.
Aguglia, Mimi, 366.
_Aiglon, L’_, 337.
Aldrich, Mildred, 271 (note).
Alexander, George, 376.
Alexandra, Queen, 49.
Allen, Viola, 362 (note).
Allgood, Sara, 366.
Alma-Tadema, Laurence, 87, 248.
_Ambigu_, The, 129–30.
Anderson, Mary, 230–264;
parentage, 230;
birth, 231;
girlhood and schooling, 232–35;
decides on a stage career, 236;
first appearance, 237;
early trials, 239–40;
acts in eastern cities, 242;
goes abroad, 244;
her _repertoire_, 245 (note);
acts in London, 246–7;
her friendships, 248;
a London ovation, 252;
distaste for the theater, 256–7;
last appearance on the stage, 268–9;
marriage, 260;
her acting, 261–2;
her personality, 262–3; 269 (note).
Angelo, Mlle., 133.
Anglin, Margaret, 354–6.
Antoine, André, 153.
Archer, William, 157, 184 (note), 202, 221 and note, 283.
Arliss, George, 286.
Arnold, Matthew, 45 (note).
Arthur, Julia, 362 (note).
Asquith, Herbert, 318.
Augier, Emile, 139, 150.
Baker, George Pierce, 265.
Bancroft, Squire B., 109, 111, 376.
Barrett, Lawrence, 208, 242, 247.
Barrie, James M., 334, 342.
Barron Charles, 308.
Barry, Elizabeth, iii.
Barrymore, Ethel, 350–53.
Barrymore, Maurice, 286, 350.
Bartet, Jeanne, 149, 180 (note).
Bates, Blanche, 362 (note).
Beauplan, Victor, 136.
Beauregard, General, 240.
_Becky Sharp_, 285.
Belasco, David, 327–8.
Bennett, Arnold, 166, 168.
Bernhardt, Maurice, 13 note, 32 note, 34.
Bernhardt Sarah, iv, 3–51;
birth, 5;
schooling, 6–7;
at the _Conservatoire_, 8–9;
her motto, 9;
_début_ at the _Comédie Française_, 10;
at the _Odéon_, 11–16;
hospital services during War of 1870, 13;
returns to the _Comédie_, 16;
eccentricities, 19;
her sculpture, 19, 22;
acts in London, 20–23;
leaves the _Comédie_, 24;
first American appearance, 28;
marriage, 31;
world-wide tours, 32;
becomes a manager, 33;
the “Marie Colombier” and Mme. Noirmont scandals, 34;
the _Memoirs_, 35;
her art, 36–41, 44–46;
_fêtes_ in her honor, 41, 43;
Sarah the worker, 4, 42;
professor at the _Conservatoire_, 43;
admitted to Legion of Honor, 43;
loses her leg, 47;
_repertoire_, 12, 18, 28, 33 (notes); 160, 171, 175, 183,
184 (note), 186–92, 199, 201, 224, 226, 244.
Berton, Pierre, 133 (note), 151.
Bertrand, Eugène, 151.
Besnard, Paul, 169.
Betterton, Mrs., iii.
Bingham, Amelia, 362 (note).
Black, William, 248.
Bloodgood, Clara, 362 (note).
Bonnetain, Paul, 34 (note).
Booth, Edwin, 77 and note, 208, 234, 240, 242, 247, 347.
Boucicault, Dion, 242.
Bracegirdle, Anne, iii, 373, 375 and note.
Brady, William A., 359.
Brand, Thomas, 369.
Brandes, George, 87.
Brougham, John, 208.
Browning, Robert, 248.
Burke, Billie, 351.
Burne-Jones, Edward, 87.
Byron, Arthur, 205 (note).
Byron, Oliver Doud, 205.
Campbell, Mrs. Patrick, 366.
_Captain Brassbound’s Conversion_, 121–122.
Carew, James, 123 (note).
Carter, Mrs. Leslie, 362 (note).
Carré, Albert, 138.
Caruso, Enrico, 123.
Cayvan, Georgia, 89 (note).
_Chanticler_, 340.
Charpentier, Gustave, 41.
Chartran, T., 169.
Chartres, Mme. Vivanti, 194 (note).
Chaumont, Céline, 160.
Cheatham, Kitty, 214.
Checchi, Signor, 175.
Chetwood, Wm., 371 (note).
Chilly, M., 11, 12.
Chlapowski, Count Karol Bozenta, 67, 69, 72, 75, 76, 79, 82–3 (note),
90 (note).
Coghlan, Charles, 109, 111.
Coghlan, Rose, 362 (note).
Coleman, Mrs. Edw., 370 (note).
Collins, Wilkie, 248.
Colombier, Marie, 34.
_Comédie Française_, profit-sharing system, 20 (note);
see Bernhardt and Réjane.
Conquest, Ida, 362 (note).
Cook, Dutton, 96–7, 99.
Coppée, François, 41, 42.
Coquelin, B.-C., 23, 41, 193.
Corbin, John, 45, 314.
Corey, Mrs., 370.
Cowl, Jane, 362, 365.
Crabtree, Lotta, 228.
Craig, Ailsa, 106.
Craig, Gordon, 106, 121.
Crehan, Kate, 205 and note.
Crews, Laura Hope, 359, 360–1.
Crosman, Henrietta, 362.
Crosnier, Mme., 153.
Cushman, Charlotte, iv, 235, 239 (note), 347.
Daly, Arnold, 350.
Daly, Augustin, 207, 208, 214–15 and note, 219–20, 222–27.
Daly’s Theatre, London, 223.
Damala, M., 31.
d’Annunzio, Gabriel, 197, 276.
d’Aurevilly, B., 150.
D’Avenant, William, 370 and note, 371.
Davenport, Mrs., 370.
Davenport, E. L., 270.
Davenport, Fanny, 208.
Davey, Thomas, 267.
David, Félicien, 132.
Davies, Acton, 328, 336 (note).
Dean, Frederic, 344 (note).
de Banville, Theodore, 36.
Defère, M., 150.
de Lesseps, F., 20 (note).
de Navarro, Antonio F., 260.
de Reszke, Eduard, 89.
de Reszke, Jan, 89.
de Saint-Victor, Paul, 17.
Deschanel, Paul, 49.
Desclée, Aimée Olympe, 137 and note, 222 (note).
Devrient, Fritz, 58.
Dillingham, C. B., 313.
_Doll’s House, A_, 280.
Doran, Dr. John, 368.
Dornis, Jean, 174 (note).
Doro, Marie, 351.
Doucet, C., 9 (note).
Dow, Ada (Mrs. Currier), 301, 302 and note, 306.
Drew, John, 206, 214, 226, 332–4, 350.
Drew, Mrs. John, 204 (note), 206.
Drew-Barrymore, Georgie, 350 (note).
Dumas, Alexandre, _fils_, 175–7, 185, 188–9.
Dumas, Alexandre, _père_, 13 (note).
Dunn, Emma, 362, 365.
Duquesnel, M., 11, 16, 142, 143.
Duse, Eleonora, iv, 123, 171–202;
birth, 171;
family, 172;
childhood, 173–4;
first important appearances, 174, 175;
marriage, 175;
Duse and Dumas, 176;
foreign appearances, 177–8;
acts in America, 178, 183;
her art, 179–81, 199–202;
acts in London, 183;
acts in Paris, 184–93;
the Dumas memorial performance, 188–9;
her personality, 194–6;
the d’Annuzio alliance, 197;
her _repertoire_, 182 (note), 197 (note); 265 (note).
Eaton, Walter Prichard, 280, 352, 355, 361.
Eberle, Robert, 344 (note).
Echegaray, Jose, 276.
Edison, Thomas A., 29.
Elliott, Gertrude, 366.
Elliott, Maxine, 362 (note).
Emmet, J. K., 270, 326.
Easier, Jane, 129.
Eugénie, former Empress, 49.
Faversham, William, 336, 350.
Fenwick, Irene, 363, 365.
Ferguson, Elsie, 302, 364.
Field, Eugene, 87.
Filon, Augustin, 156 and note, 159.
Fiske, Harrison Grey, 269, 289–90, 292.
Fiske, Mrs. Minnie Maddern, 181 (note); 265–298;
speaks at Harvard, 265;
her significance, 266;
parentage, 267;
birth, 268;
career as a child actress, 268–71;
marriage and retirement, 272;
Mrs. Fiske and the modern spirit, 273;
her _repertoire_, 270 (note), 274 (note);
her art, 275–87;
encouragement of native-made drama, 288–9;
Mr. Fiske’s share, 289–90;
the theatrical syndicate, 290–1;
as a stage director, 291;
as a playwright, 292;
outside interests, 293;
her personality, 294–6; 357.
Forbes, Mary, 366.
Forbes-Robertson, J., 255, 376.
Frohman, Charles, 313, 331–2, 350.
Frohman, Daniel, 330.
Fulda, Ludwig, 276.
Fyvie, John, 373 and (note).
Garden, Mary, 279.
Genée, Adeline, 123.
George, Grace, 359–60.
Gilbert, Mrs. James, 214, 226.
Gilbert, W. S., 248, 255, 262.
Gilder, Richard Watson, 87.
Gillette, William, 350.
Gladstone, Wm. E., 248.
Glendinning, Ernest, 350.
Gosse, Edmund, 248.
Got, François, 20, 27, 187.
Grant, General U. S., 87, 241.
Griffin, Dr. Hamilton, 232, 236, 237.
Griffith, Frank Carlos, 269 (note), 271 (note), 293 (note),
295 (note), 296 (note).
Grille-d’Egout, Mlle., 154.
Gwynn, Nell, 370.
Hackett, James K., 336, 350.
Hale, Philip, 49.
Halévy, L., 155, 187.
Harancourt, Edmond, 42.
Hare, John, 111, 376.
Harned, Virginia, 330, 362 (note).
_Hedda Gabler_, 279, 280.
Hedman, Martha, 356, 362, 365.
Herne, James A., 327–8.
Hichens, Robert, 260.
_High Road, The_, 289.
Hill, Barton, 80 and note.
Hollis Street Theatre, Boston, 225 (note), 309.
Hood, General, 240.
Howells, William Dean, 284, 314 (note).
Hughes, Margaret, 370.
Hugo, Victor, 14 and note, 249.
Huneker, James, 357.
Huret, Jules, 7 (note), 128 (note), 143, 153, 168, 169, 192.
Hyde, James Hazen, 165.
Ibsen, Henrik, 273, 276–7, 279–81, 357.
Illington, Margaret, 362, 363.
Ingersoll, Robert G., 306–7, and note.
Irish national theatre, 103.
Irving, Henry, 105, 112–3, 115, 117, 118, 120, 215 (note), 247, 351,
376.
Irving, Isabel, 214, 362 (note).
Irwin, May, 362 (note).
James, Henry, 21.
Janauschek, Francesca, v, 347.
Janis, Elsie, 49 (note).
Jefferson, Joseph, 242, 270.
Johnson, Samuel, 373–4 and note.
Jones, Henry Arthur, 273.
Jordan, Dorothy, iii.
Jordan, Thomas, 370, 371 (note).
Jourdain, Frantz, 132.
Kalich, Bertha, 356, 366.
Kean, Charles, 95, 97, 101.
Keane, Doris, 362, 365.
Keene, Laura, 270.
Kelly, Charles; see Wardell.
Kelm, Joseph, 132.
Kemble, Frances Ann, iv, 256.
Kester, Paul, 292.
Killigrew, Thomas, 370, 371.
Kiskadden, James, 325.
Knipp, Mrs., 370.
_L’Aiglon_, 337.
Laurent, Marie, 129.
Lavedan, Henri, 41.
_Leah Kleschna_, 287.
Legault, Mlle., 135.
_Legend of Leonora, The_, 343.
Legouvé, Ernest, 136.
Lemaître, Frédérick, 129.
Lemaître, Jules, 36, 41, 50, 155, 187.
Levick, Milnes, 237.
Lewis, James, 214, 226.
_Little Minister, The_, 334–5.
Long, John Luther, 288, 298.
Longfellow, Henry Wadsworth, 87–88, 242.
Lowell, James Russell, 87, 248, 249, 255.
Lyceum Theatre, 113–114.
Lynch, Arthur, 210, 218 (note).
Lytton, Lord, 248.
Macauley’s Theatre, Louisville, 207.
McCarthy, Justin H., 87.
McCarthy, Lillah, 356, 366.
McCracken, Elizabeth, 321, 323.
McCullough, John, 79–80, 81 (note), 208, 236, 247, 270.
MacKaye, Percy, 124 (note).
McLellan, C. M. S., 215 (note), 288, 308.
Macready, William C., 98 (note).
McWade, Robert, 301.
_Madame Sans-Gêne_, 155–6, 158, 160, 162 and note.
Maeterlinck, Maurice, 277.
Magnus, Baron, 27.
_Maid of Orleans, The_, 341.
Manchester Players, The, 103.
_Man of Destiny, The_, 122.
Mannering, Mary, 362 (note).
Mansfield, Richard, 225 (note).
Mantell, Robert, 350.
Mapes, Victor, 189 (note).
Marlowe, Julia, 89 (note), 299–323;
birth, 299, 305 (note);
girlhood, 300;
first appearances, 300;
course of training, 302–4;
returns to stage, 305;
early uncertainties, 306–8;
first triumph, 309;
marriage to Robert Taber, 311;
_repertoire_, 311 (note);
the Julia Marlowe Taber period, 311–3;
the period of the commercial plays, 313–6;
the “Sothern and Marlowe” period, 316–21;
acts in London, 318;
at the New Theatre, 319;
her personality, 321–3; 347.
Marshall, Anne, 370.
Martin, Frederick Roy, 164.
_Mary of Magdala_, 287.
Matthison, Edith Wynne, 356, 358–9.
Maurice, Paul, 15 (note).
Maxwell, Perriton, 330 (notes).
Mayer, Gaston, 168 (note).
Meilhac, Henri, 137, 153, 170.
Mendès, Catulle, 38 (note), 42, 187.
Mendès, Catulle, Mme. Jane, 47.
Meunier, Dauphin, 126, 140, 154, 155.
_Mid-Channel_, 352.
Miles, Robt. E. J., 301, 305.
Miller, Henry, 350.
Mitchell, Langdon, 285.
Modjeska, Helena, 52–92;
birth, 52;
childhood, 52–58;
marriage, 59;
first appearance, 60;
life as a strolling player, 61;
joins company at Lemberg, 63;
in stock company at Czerniowce, 63;
in company of Cracow theatre, 64–69;
goes to Imperial Theatre at Warsaw, 70;
goes to America, 76;
the farming experiment in California, 78;
first appearance in America, 81;
_repertoire_, 82 (note);
her personality, 83;
her art 85–87;
her friendships, 87;
her address at the Chicago Exposition, 89;
testimonial of 1905, 90;
death, 92; 347.
Modrzejewski, Gustave, 56, 57, 59, 61, 64.
Mohun, Lord, 373.
Morris, Clara, 89 (note), 242, 362 (note).
Mountford, William, 373.
Naptal-Arnault, Mme., 128 (note).
Nazimova, Alla, 356–8.
Neilson, Adelaide, v, 208, 219.
Neilson, Julia, 94 (note).
Neilson-Terry, Phyllis, 94 (note), 366.
Newman, Cardinal, 248.
New Theatre, The, 124 (note), 316, 319, 359.
_New York Idea, The_, 283–284 (note).
Noirmont, Mme., 35.
Offenbach, J., 145.
Oldfield, Anne, iii.
_Olivia_, 111–2.
O’Neil, Nance, 358, 362.
O’Neill, James, 292.
Orleneff, Paul, 356.
Owen, William, 308.
Paderewski, Ignace J., 88, 90, 91 (note).
Page, Adèle, 129.
Parker, H. T., 279, 280.
Parker, Louis N., 334.
Peabody, Josephine Preston, 124 (note).
Pepys, Samuel, 370, 371.
Perrin, Emile, 17, 19, 22, 24, 27.
_Peter Pan_, 338–9.
_Pillars of Society_, 279, 282.
Pinero, A. W., 273, 276, 376.
Poincairé, Raymond, 43.
Porel, D. P., 152, 166.
Power, Tyrone, 286, 287.
Prince of Wales’s Theatre, 109.
Princess’s Theatre, 95.
Provost, Jean, 9 (note).
Prynne, William, 369.
Rachel (Rachel Felix), iv, 45 (note), 150.
Raymond, John T., 208.
Reade, Charles, 104, 108, 116.
Reed, Florence, 363, 365.
Regnier, F. J., 9 (note), 133, 134, 135 and note, 136, 138, 140, 144,
145–9, 150, 151, 161.
Rehan, Ada, iii, 203–229;
birth, 204;
brought to America, 204;
her family, 205;
first appearance, 205;
in various companies, 206–209;
joins Augustin Daly, 209;
her _repertoire_, 208 (note), 217 (note);
her personality, 210–13;
the Daly Company, 214;
her acting, 217–21, 226;
first plays in London, 221;
becomes a “star,” 224;
her last appearances, 227–8; 347.
Reicher, Hedwig, 356, 366.
Réjane, Gabrielle, 126–170;
birth, 128;
childhood, 128–131;
at school, 131–133;
enters the _Conservatoire_, 133;
first public appearance, 138;
joins the _Vaudeville_, 142;
_repertoire_, 143–4 (note);
correspondence with Regnier, 145–9;
informal appearances, 150;
joins the Variétés, 151;
a typical first night, 152;
_Madame Sans-Gêne_, 165;
her personality, 126, 156, 168–70;
her art, 158–160;
appearances outside France, 160–1, 167;
the American tours, 161;
the Havana fiasco, 163–4;
the Hyde dinner, 165;
marriage, 166;
the _Théâtre Réjane_, 166–7; 291.
Richepin, Jean, 34 (note), 35.
Richman, Charles, 228.
Riley, Josephine, 301.
Ristori, Adelaide, iv, 200, 244.
Robinson, Mary, iv.
Robson, Eleanor, 362 (note).
Rochefort, Henri, 187.
_Rosemary_, 334.
_Rosmersholm_, 281.
Rossi, Cesare, 175.
Rostand, Edmond, 3, 4 (note), 41, 42, 43, 49, 189.
Ruhl, Arthur, 357.
Russell, Annie, 362.
Russell, Hattie (Harriet Crehan), 205 (note).
_Salvation Nell_, 279, 288.
Salvini, Tommaso, 183, 200.