The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1891-11-30

volunteer fire department, and 1t was as Nose. q
tough fire laddie, that Florence FIRST caught the
popular fancy. Then he succeeded so well in
an Irish character part, which didn't quite At
Brougham, that no thought he had found his
forte in Irish comedy and looked forward to
fame in that limited sphere.
While he was acting at the Broadway In sup
port of Barney Williams, Florence fell in love
with Mrs Barney Williams sister. She was q
dancer and her stage name was simply Malvina,
but on the stage she was Miss Mslvina Pray,
aud on New Years day, 1858, she became Mrs.
William J. Florence and entered into
domestic and professional partnership
that meant fame and fortune for both
members. Six months later they rose as joint
stars above the theatrical horizon and APP
pearsd as the Irish Boy" and the "Yankee
Girl ut the old National theater, New York.
They were SO successful that they made tour
of the United States and Canade, and in 1856
went to London, where they Jared well. Mrs.
Florence could sing as well as dance in those
days, and her song "Bobbin' Round" written
by her husband, made hit on both sides Of the
Atlantic.
The year Of Florence's marriage was also the
year of his frst success in a more serious part
than he had been accustomed to play. In No
vember, 1858, he played Bob Briefly in the first
American performance of "The Ticket-of-Leave
Man" and made a profound sensation, the piece
running for lbs nights in New York. In 1867, in
the first American production of Caste" he
played George D. Alroy, and Mrs. Florence, Polly
Eccles. The next year came "No Thoroughfare,"
with Mr.. Florence's remarkable production OF
Obenreizer.
In 1875, sixteen years ago, Mr.. Florence was
first seen in the original, virile and infinitely
amusing character, with which his name Will
always be associated-the Hon. Bardw ell Slote
member for the Conosh district, in B. z. Woolf's
rlo .sT iuh naIl To-
this character mellowsd In the sunshine OF
popular favor before 1t was laid aside to permit
OF Mr. Florences joining hands with Mr.. Jeffer-
son in the most notable partnership OF come-
dams that the American stage ever knew. In
spite of its extravagance, the Hon. Bardwell
Slote was q distinct, consistent and lifelike
contribution to the notable characters of the
stage, and as q contribution from American life
to the enduring figures of the theater it was and
is unequaled.
In the course of his career Mr.. Florence
played Macduf, to the Macbeth" OF the elder
Booth; Cap'n Cutie, to the "Mr. Dombey" OF
Henry Irving-and in the gratified presence OF
Charles Dickens at that; and Titus and Lucullus
with Edwin Forrest His range was marvellous.
Elwyn A. Barron, the distinguished Chicago
critic wrote OF him: "a comedian of the most
genial, mirthful and kindly nature, he has
powers to depict the most pronounced types OF
melodramatic character with q vital force, an
intense energy, that would seem incredible to
one who had seen his Cap'n Cutie and had
never see his Jules Obenreizer To sum him up
in word, Mr.. Florence is an actor-and how
few actors we have today! We have come to be
content with merely special players. We mean
those actors who play one part well, but can
never submerge their own Individua in any
other part"
OF Mr.. Florences later and more familiar
characters, Bardwell Slote was the most popu-
lar, but Cap'n Cutie was the best beloved of the
actor himself and of the audiences, which
beamed with the fine pleasure that Mr.. Flor
ence's most delightful representation exhaled.
The character was an embodiment of the true
comedy spirit-wherein Joy and sorrow are
such close companions that a culver of the lip
1t made a man feel nearer to his neighbor and
increased his respect for himself to discover the
delight he took in this portrayal of quaint old
soul brimful OF the milk of human kindness.