The Portland daily press., 1877-10-25
The Debut Of Clara Morris.

In the fall of 1869 Augustine DAILY began to
hear extraordinary stories of the emotional
powers of Clara Morris, who was then pro-
tege of the genial John Ellsler, the protector
and manager of the magnificent Euclid Av-
enue opera house in Cleveland. The genial and
fatherly John was anxious to advance the for
tunes of his pupils, and q New York opening
was thought to be desirable thing. In fact,
the metropolitan stage is the Mecca toward
which all ambitious stage folk bend their steps
in dubious pilgrimage, and on the results there
of hang all their hopes of fame and fortune.
After considerable correspondence DAILY en-
gagged the little Morris to play minor parts.
Re had made contract by which Wilkie Col
Inns was to dramatize his "Man and Wife,"
with which the Napoleonic manager was to
open the season of 1S69-7O. Two weeks before
the opening night he had heard nothing from
Mr. Collins in regard to the dramatization, so
he sat down apd dramatized the novel himself
put it in rehearsal and laid himself out for a
brilliant hit. At the last moment his leading
woman, Agnes Ethel, severed her connection
With the Fifth Avenue theatre. DAILY was in a
quandary. Suddenly thought flashed upon
him. Clara Morris! Why would it not be a
masterly stroke to send her up the dizzy ladder
at a leap or kill her off at once? Done! Ten
minutes later he had wired the following dis
patch:
New York,-,1S69.- Ellslsr, Cleye-
land: Can Clara Morris play Anne Sylvester?
Answer. lAUGUsTIN DAILY,
In due time the following reply was re-
ceived:
Cleveland d,--186O.-Augustn DAILY, Fifth
Avenue Theatre, New York: Try her.
JOHN ELLsLER.
Nothing more passed between the two man
ayers on the subject. DAILY cast Miss Morris
for Anne Sylvester, and the town wondered
what new crotchet he had taken up. They
went to the theatre on the opening night to
see what she was like. They found sliaht
frail girl, feeling at every step that she was nm
dergoing the crucial test by which she was
surely to make or break 1t was supreme
moment in great career. The first two acts
moved well enough. The more careful observ-
ers said she was getting on nieely-bstter than
they hadlexpected, and they rather thought she
would win at least a success of esteem. The
critics were out in force. Winter of the Tri-
bune fdgeted uneasily and not unsympathet-
ically. Bronson Howard, then In the field of
New York journalism, looked on, but his inn
perturbable demeanor disclosed nothing of
his thoughts. The cynical MIN Crinkle, the
Mephistophelean metaphysician of metropol-
itan critics, elevated his contemptuous nose
in manner that meant anything or nothing;
the brilliant and warm hearted William Stuart
broke out now and then with little excama-
ton of satisfaction, and others of the guild
looked on and hoped. The old play goers-the
New York type of which is sui generis-sat
there crowd of Thomases, when suddenly the
climax of the third act was reached. Then ii
was that Aune Sylvester, gosded to indignant
frenzy, turned on her rival the vials Of her
wrath and swept the theater like q tornado.
The surprise was as great as the acting, and
both were unparalleled in the experience Of
most of those who sat in the Fifth Avenue
theater on that memorable night The next
day Clara Morris was the lion of the town, and
to-day, despite her physical frailty, she is to
the metropolis what Sarah Bernhardt Is to
Paris.