The times. [volume] (Richmond, Va.) 1890-1903, 1891-08-23
Personal RecONecH0ls Of WGl-HnOVn Old
FaT0riiGS.
FAMOUS ARTISTS OF FORTY YEARSAG0.
xacrezdv. Forrest. Cushman, Burton hicn-
ard Booth snd Others
Drawn Bctwccn Them.


hearing. be able to form Cor themselves SALTS
factory opinion. Il is Of some famous actors
sho appeared on the American stage some
thirty or forty years ago that | now DISCOURSE
and will briefly consider and compare their
respective characteristics.
The value Of criticisms of actors is, in q con-
adorable degree. dependant upon the opportu-
atty Of forming an opinion. The writer OF TINS
is sure he had good opportunities from a resi-
dence in Washington during the administra-
tions of Presidents Taylor and Fillmore. and
from various visits TO Northern cities,o form
inc lust opinion of the actors herein sketch
Ell ali of whom he saw and heard in the cities
mentioned in the decade Just previous to the
late war in order not TO weary the reader
will only consider, and that briefly, II few
of the most famous actors OF the
period mentioned. and IN connection
with some Of their best characters.
"A may be inferred from this article. the
writer does not belong 70 the class when
thinks all theatres should be avoided but he
does 10 that one which holds that such thea
tres only should be patrOnlzed wherein usual
ly plays are performed whose tendency IS
good. corrupt people and hcehuous
drama generally go together. Iney acs a .hu
react rDOn each other. The period OF the
reign of Charles H. of England was one or
unusual corruption and RIGHTEOUSNESS, which
prevailed especially in the upper classes. then
m. chief patrons Of the drama. IL IS
not strange. therefore, that the. plays OF
Dryden. Vanbrugh. Congreve Wycheriey ana
most of their contemporaries are generally
GROSS and immoral. They dispensed moral
poison because it was in demand The heroes
of many of their plays are habitual violaters
of the Seventh Commandment and guilty OF
all sorts of bad behavior, and Their her0lnes
are no better. The age OF Queen hlzaDetn
of England was one of far greater soclai purl-
Nv than that of Charles III. The most distin-
guished plays Of that peTlod-those OF SNAKES
peare and Ben JOnson-with slight e1cep-
ZION are free from filth. 1t cannot be
Justly said that their plays should not DE
acted for they do not undermine the moral
sense by making the criminal too interesting.
In Shakespeare, especially, virtue seneraily
meets its due reward and vice its popular pun
ishment Many Of his male characters are
worthy Of our imitation. No writer has sur
passed him in wildly portraylng the virtues
and loneliness of woman. To prove the cor
rectness OF my assertion / need but refer 10
his characters of lmogen, Viola. Miranda, Ju-
liet, Desdemona, Ophela, Portia ana lss-
bella.
The writer of this thinks that the abuse Of
thing is no conclusive argument against
thing unless abuse is necessarily connected
with its use. How great plays-such. for e1-
ample. as those OF the English Shakespeare
and the German Scnillar-can be injurious l
cannot conceive. A great tragedy Ike Mac
beth, which portrays the dismal fate of I'M
bridled ambition, teaches IN important
moral lesson, and that most powerfully, be-
cause the lesson Is received both through tne
eve and the ear. The performance OF great
and moral plays not only elevates the charac-
ter. but improves the taste for poetry and
Oratory. The advice of Hamlet to the players
is q valuable treatise on oratory and acting ID
q very condensed form.
John Milton, who was purity itself. wrote
a tragedy of the most elevated morality In
one OF his writings he says: Tragedy as 1t
was anciently composed hath been ever held
the pravest mOralast and most profitable
OF ali other poems" Shakespeare most adj
mirably portrays the true mission of the drama.
when he says: THE purpose OF playing was.
and is. to hold. as twere. the mirror up to ma
ture: TO show virtue her own feature,
scorn her own image and the, very
age and body of the time his form and pres
sure After this brief preliminary to my
special subject, will consider the. following
actors and actresses (whom heard in their
last characters viz. Edwin Forrest, William
Macready, Richard Booth William +. Burton,
Joseph jefferson, Anna Cora Mowatt, and
Charlotte S. Cdshman. in the period already
mentioned.
EDWIN FORREST.
Some thirty-odd years ago | heard Edwin
Forrest, then in the height of his fame as an
actor heard him in most of his best charac-
ters such as Richeheu. Otheilo, Nngnius,
Damon. Spartacus and Matamora. In the
decade Just before the late war he was gene
rally considered the first American actor.
Bold, daring, clearly defined characters, like
those of Virginius and Othello, best suited
the style Of his acting BY common consent
it was admitted that he was the best Richeheu
on the stage Forrest had all the natural spti;;
tudes for great actor. lie was splendid
specimen of the physical man. HIS voice was
powerful and musical He had the arms and
chest of an athlete When he walked across
the stage TO confront Appius Claudlus his
step and bearing were majestic. heard For
rest both In Hamlet and III Lear. HIS rendl-
ton Of them was inferior 70 that OF the char
acters just above mentioned.
FORREST AND MAcRRADY COMPARED.
William Macready was an Englshman an 4
never acted much in this country. | heard
him in Washington in his greatest character,
Hamlet. which he had made special study,
and 10 the proper rendition of which he was
both mentally and morally well adapted.
When acting in New York he was interrupted
and Kissed by some who were considered ad-
mirers of Forrest jealous for the fame of the
latter: but nothing could have been
more foolish, for the style of acting of Forrest
and Nacready were so different that it is diff
cult 10 compare them. They were both great
actors, but they moved and We're great IN
different spheres of acting. In appear
snce they were entirely unlike. That of
Forrest has already been described Macready
was of medium height and slight frame. HIS
appearance, like his acting was very refined.
His forehead was high and broad, his features
were classic and his cOuntenance 'sickled
DER with the pale cast of thought" His voice,
though not as powerful as that of Forrest,
was thoroughly trained and always distinct.
His pronunciation and emphasis were emil
nently proper and Just His delivery of Ham,
let's advice TO the players WAS faultless. in
deed. have never heard it equalled. Char
acters of much complexity and calling for
much delicacy Of taste and refinement he
specially excelled in Forrest did not usually
choose such. but when he did he failed com
paratiyely in them.
(IcHARD) BOOTH.
(Richard) Booth or as he was sometimes
called. The Elder Booth" was. of distin-
guished family of actors. ] saw him act in
the characters of Hamlet. Lear and Richard
i'll. In Hamlet he was not equal 20 Macready.
but he was superior in that character and IN
Lear to Forrest. Booth was man of intense
emotional nature he entered thoroughly into
and was absorbed by his characters. His
rendition Of the character of Richard Ill
was matchless. When he performed it he
drew great audiences. His intense earnest
ness. his every look and gesture seized and
held the attention. His appearance was
striking; OF medium height, stout built, with
splendid chest. a well-shaped head and ex-
pressiye countenance and voice
strong, deep-toned and musical, he i'm